Kate Washington

ARCH531 – Contemporary Urban Design

Final Report

THE RAINBOW CROSSING – Sydney, Australia

THE STORY

In 2013, the City of Sydney commissioned a Rainbow Crossing for the 35th anniversary of the

city’s Mardi Gras parade. The crossing was based on other Rainbow Crossings in West

Hollywood and Tel Aviv and conceived of as a temporary installation. It marked the start of the

parade in Taylor Square, the heart of Sydney’s LGBTQ community. The budget for the Rainbow

Crossing was $110,000 to install, monitor, maintain and, eventually, remove.

Though everyone understood from the beginning that the crossing was a temporary installation,

the inevitable removal sparked great protest. It seems there might have been an option to leave

the crossing in place, but enough risky pedestrian behavior was recorded (people pausing to take

photos in the middle of the intersection or laying down in the crosswalk) that the City agreed it

should be removed for safety reasons. Since the City owns the public right of way and has

control over where and how pedestrian crossings are installed regardless of what the public

wishes, there was very little recourse. By then, though, the community had become invested in

the crossing as part of its LGBTQ identity and protested the removal. Both locally and globally,

neighbors, families, children and store owners tactically installed several impromptu rainbow

crossings of their own in solidarity with the Taylor Square community.

Summer Hill, a suburb of Sydney, proved particularly tenacious when residents replaced their

rainbow crossing after the Council washed it away multiple times. Eventually, the Council

conceded to a permit for the crossing and today, it is a permanent addition to the neighborhood

center. For the people of Summer Hill, the crossing is a symbol of pride in their community and

a place where people come together.

THE ANALYSIS

The original objective of the Rainbow Crossing was to commemorate the 35th anniversary of

Sydeny’s Mardi Gras parade; however, as rainbows have significance to the LGBTQ

community, the gesture took on meaning well beyond Mardi Gras. If the crossing felt like a

gesture of inclusion, the removal certainly cut like rejection – and left a noticeable scar on the

pavement, since the crosswalk had to be cut out of the street. A primary lesson learned from this

project is that symbols can generate a great deal of passion and sense of ownership and

investment, even when they are intended to be temporary.

A secondary lesson is that families and children in the suburbs seem to wield more power in the

public realm. Summer Hill was able to win a small victory where others failed, perhaps because

it’s more difficult to tell children they can’t have something that seems so innocent. However,

this raises the question of co-opting. Originally, these families may have meant to show

solidarity with the Taylor Square community, but ultimately, they turned an LGBTQ symbol into

a playground hopscotch outline, entirely transforming the meaning of the rainbow and the

protest.

Source: www.pedestrian.tv

Source: www.penpixels.wordpress.com

Source: The Daily Telegraph

Source: www.abc.net.au

REFERENCES

ABC. (April 10, 2013) Mayor furious as government removes rainbow crossing.

http://www.abc.net.au/news/2013-04-11/government-tears-up-rainbow-crossing/4621896

Change.org. (April 17, 2013) The Hon. Duncan Gay responds to petition.

https://www.change.org/p/nsw-minister-for-roads-and-ports-keep-the-fabulous-taylor-square-

rainbow-crossing/responses/5016

DIYRainbow. (2015) https://www.facebook.com/DIYrainbow

Pearlman, Jonathan. (April 11, 2013) The Telegraph. Sydney’s rainbow road crossing in gay

district removed.

http://www.telegraph.co.uk/news/worldnews/australiaandthepacific/australia/9987002/Sydneys-

rainbow-road-crossing-in-gay-district-removed.html

THE GREAT CRATE – Sydney, Australia

THE STORY

The Great Crate was a temporary living art installation commissioned as part of Art & About

Sydney, an annual city-wide, curated public art festival. The design was created by Plus1, a

collaboration of creative studios and individuals, including design studio Telly Theodore &

Associates, architect Andy MacDonald and curator Danella Bennett. In order to drive home a

sustainability message, the entire project was 100% second hand and/or recyclable. The structure

stood 10m x 10m x 10m tall and was constructed with milk crates (on a metal frame) and at night

it was illuminated by solar powered LED lights. The piece featured 25,000 edible plants both

grown by community members and donated by a local nursery. At the end of the art festival, the

project donated the mature plants back to the community. The Great Crate was funded by a

$40,000 grant from Art & About Sydney.

The Great Crate was located in the Green Square train station. This area was once the city’s food

bowl and is, today, one of the Sydney’s fastest growing districts. The public nature of the square

gave the project a great deal of visibility. The structure was installed from September 21st (spring

equinox on the Southern Hemisphere) to October 21st in 2012, but the timeline leading up to it

involved community workshops and distribution of seeds in August to allow time for the seeds to

germinate. The installation was intended to be a temporary addition to the community, but the

hope was that the impact of the experience would endure and inspire further community activity

around growing food and sustainable lifestyles.

THE ANALYSIS

Community response to the project seemed to be very good, primarily among local gardeners

and families with young children. The vision for the Great Crate was to “greenify” Green Station

by celebrating sustainable growth and encouraging people to work together to find ways they can

live more sustainably and through the community workshops and plant donation, the project

initiated that outcome. The most challenging lesson learned was that, without a proper garden,

plants require a great deal more water. A heat wave nearly wiped out the Crate and the plants

required 4-6 hours of watering each day, driving up cost and work hours.

Though the project was created entirely of second hand or recyclable materials, it still generated

a great deal of waste and with very little to show for it. The project required the accumulation of

stuff in order to build it and it required the consumption of resources such as fuel and water to

maintain it. When all the plants were donated and all the crates were transported away, there was

nothing left to show for all the effort. Perhaps the community adopted every plant and enjoyed

some food and maybe a handful started their own gardens, but there was no plan in place to

follow up with the community and maintain the momentum. It was a stand-alone experience that

relied on the accumulation and disbursement of material things in order to make a brief point.

Photo by John O’Callaghan

Source: The Great Crate Facebook page

REFERENCES

City of Sydney. (September 19, 2012) City of Sydney Media Centre. Living artwork adds colour

to green square. http://www.sydneymedia.com.au/5302-living-artwork-adds-colour-to-green-

square/

Russell-Head, Imogen. (October 29, 2012) Inhabitat. The Great Crate is an LED-illuminated

living sculpture of 25,000 edible plants. http://inhabitat.com/the-great-crate-is-an-led-

illuminated-living-sculpture-of-25000-edible-plants-in-sydney/

The Great Crate. (2015) https://www.facebook.com/TheGreatCrate

Urban Growth. (January 26, 2013) The Great Crate – a 10x10x10 herb garden.

http://www.urban-growth.com/2013/01/the-great-crate-10x10x10-herb-garden.html

BONDI JUNCTION COMPLETE STREETS – Sydney, Australia

THE STORY

The Bondi Junction Complete Streets: Cycleway and Streetscapes project was initiated by

Waverly Council in order to improve the quality of their downtown for pedestrians. Waverly is a

suburb of Sydney and Bondi Junction is one of Sydney’s 13 major town centers, located within

commuting distance of both downtown Sydney and Bondi Beach, both popular destinations. This

project, Sydney’s first complete streets program, focuses on Spring Street, Denison Street and

Oxford Street. Its two components include a comprehensive Complete Streets Plan and the

Waverly Bike Plan. The project also ties into Transport for New South Wales’ Sydney’s Cycling

Future report.

The process started in 2013 and Waverly Council held a public exhibition of street designs in

2014. Waverly Council will review a detailed set of designs in spring 2015 with plans to start

construction that summer. Construction will be finished spring 2016. The Bondi Junction

Complete Streets program will likely be funded by financial support from federal, state, and local

government.

The threefold goal of the project is to improve the public domain, to integrate all modes of

transportation, and to make Bondi Junction an inviting destination rather than a pass-through.

Overall the project is meant to be permanent with long-term impacts, but the pop-up

demonstration projects were temporary, 3-month installations. One was an interactive multi-

media mural called the Jigsaw and the other was a parklet called the Urban Lounge.

ANALYSIS

Waverly Council estimates the project will plant 90 street trees, add over 1,900 square meters of

footpath, including seating and garden beds, encourage people to use active transportation

instead of drive cars, and minimize impact on existing roads and parking. A primary barrier to

implementation of this complete streets project is funding; another is public opposition.

Concerns voiced by the public include loss of parking, increased traffic, pedestrian and bicycle

safety, emergency vehicle and taxi access at Eastgate, and redirecting cyclist traffic from Oxford

Mall (an open air shopping street). However, overall, funding is available in the budget for the

complete streets project and the public is largely supportive of the initiative so this challenge is

limited only to unanticipated problems that might arise.

Bondi Junction already benefits from a strong foundation of outdoor pedestrian space with the

Oxford Street Mall, Waverly Mall and the Westfield shopping center. The complete streets

project will capitalize on that, finessing auto alignments and enhancing the pedestrian

atmosphere. While the equation for a complete street is generally accepted among developers

and planners, the question arises “is the concept of complete streets universally applicable?” Is

this a universal science? Would Eastern and Western cultures apply core principles differently?

It would be interesting to understand whether community engagement in Bondi Junction resulted

in anything that was not already in the complete streets equation.

Source: Wikimedia

Source: Trending City

Source: Waverly Council

REFERENCES

BicycleNSW. (November 26, 2014) Response to Complete Streets: Cycleway and streetscapes

project. http://bicyclensw.org.au/response-to-complete-streets-cycleway-and-streetscapes-

project/

O’Callaghan, John. (September 23, 2013) Trending City. Sydney’s first complete streets project.

http://www.trendingcity.org/blog/2013/9/23/sydneys-first-complete-streets-project

RobertsDay. (June 6, 2014) Complete streets in Bondi Junction.

http://robertsday.com.au/complete-streets-in-bondi-junction

Waverly Council. (August 2013) RobertsDay. Bondi Junction Complete Streets Project.

Waverly Council. (December 2014) Complete Streets FAQ.

Waverly Council. (2015) West Oxford Street precinct plan.

http://www.waverley.nsw.gov.au/building/current_projects/bondi_junction_projects/west_oxford

_street_precinct_plan

SUSTAINABLE CHIPPENDALE – Sydney, Australia

THE STORY

The Sustainable Communities Plan was created by author, lawyer and sustainability coach

Michael Mobbs in 2011 for his local community in Chippendale. Chippendale is a small inner-

city suburb of Sydney on the southern edge of the Sydney central business district that is

currently examining the problems of urban heat islands. At the start of this project, asphalt

temperatures were as high as 93 degrees Fahrenheit on average. Considering asphalt covers 23%

of Chippendale, the heat island was causing significant quality of life degradation.

The Plan outlines ways to transform this busy neighborhood into a healthier place to live. The

Plan was originally written as a policy guide for Sydney City Council, so that Chippendale could

be a testing ground for green policies throughout the city; however, the Council has not adopted

the plan. Over the course of 10 years, Chippendale intends to stage trial demonstration works,

gather data and develop permanent projects from trial projects. While Chippendale intends to use

a variety of strategies and tactics over the decade-long timeframe, its overall cool is to cool the

suburb by 35 degrees Fahrenheit by 2020.

Of all the projects on Sustainable Chippendale’s to do list, composting and gardening seems to

be the most successful. The neighborhood started with rudimentary materials to create compost

bins and “verge gardens” and, over the years the program has expanded into a sophisticated

system of gardens and bins throughout the neighborhood that are tended and used by the

community. The organization hosts classes on gardening topics such as medicinal and edible

plants (grown and harvested along the sidewalk) and has even introduced urban bee keeping,

which works very well in Australia due to a native, sting-less bee.

THE ANALYSIS

Sustainable Chippendale is a small-scale project that intended to be scaled up from the

neighborhood to the city in implementation. This is unusual considering most tactical projects

never intend to get larger and several are adopted by cities in ways they are allowed to manage,

making them no longer tactical. Sustainable Chippendale is inspired by the nation-wide 202020

Vision to create 20% more green space in Australia by 2020 and it has been very effectively in

achieving local results. Each year, it adds more garden space, trains more gardeners and

celebrates larger harvests. A particular success was a native species tree-planting campaign that

added several trees to the neighborhood.

Sustainable Chippendale benefits from a very strong, connected, educated and capable champion

in Michael Mobbs. Mobbs not only authored The Plan and trains new gardeners, but he also

interacts with the media via interviews and news spots to discuss the underlying message of

urban heat islands and resource conservation. This kind of exposure benefits Chippendale and

has attracted classes from both Korea and Boston who want to learn how Chippendale makes

urban farming work. This project creates awareness as well as community benefit with no

wasteful byproduct and it provides a truly multi-public space where diversity is welcome so long

as you’re willing to take your turn digging in the dirt.

Source: Sustainable Chippendale Facebook page

REFERENCES

Sustainable Chippendale. (2015) https://www.facebook.com/SustainableChippendale

Sustainable Chippendale. (2015) http://sustainablechippendale.com/

The Plan. (2015) The sustainable communities plan.

http://theplan.sustainablehouse.com.au/introduction/

Wong, Brendan. (July 2, 2014) The Daily Telegraph. Sustainable Chippendale property proves

green living is both possible ad financially rewarding.

http://www.dailytelegraph.com.au/newslocal/inner-west/sustainable-chippendale-property-

proves-green-living-is-both-possible-and-financially-rewarding/story-fngr8h4f-1226975006445

RENEW SYDNEY – Sydney, Australia

THE STORY

Renew Sydney is part of a national nonprofit program, Renew Australia, to catalyze community

renewal, economic development, the arts and creative industries. The economic revitalization

program is based on a small scale initiative called Renew Newcastle (created 2008) that was

scaled up to include the entire country of Australia in 2011. It is a low-cost, DIY urban renewal

scheme that is considered highly successful. For now, it operates only in the Leichhardt Precinct

of Sydney and only in 2 locations: Norton Street and the Italian Forum. Renew Leichhardt is a

Renew Australia initiative funded and supported by the Leichhardt Council.

Renew Australia/Sydney/Leichhardt’s goal is to pair emerging creators with vacant spaces in

order to provide incubation space for emerging artists, entrepreneurs and community groups, to

encourage foot traffic in urban areas and to help create socially and economically vibrant cities.

While these empty spaces are in transition, Renew Sydney fills them, rent free, with artists,

cultural projects and community groups until they become commercially leased or are

redeveloped. Criteria for projects include: it must be unique, it must be ongoing but temporary

(the project will continue beyond the free lease), it adds life to the area, it has a high degree of

professionalism or a very clever idea, it is ready.

To date, Renew Sydney has hosted 5 projects:

The Rizzeria - a showroom area for Risograph (a high-speed digital printing system)

Writer’s Workshop – a workshop for children hosted by renowned author Berhard Cohen

Wyld & Whimsy – a store front for Skye Rogers’ unique stationery and gifts

Maker’s Place - a shared workshop space and tools library sponsored by ThreeFarm

Backyard Network – a hub to sell and/or exchange gardening supplies and plants

THE ANALYSIS

Renew Sydney is a small-scale initiative that was scaled up to the national level. The project

worked so well in Newcastle (Newcastle has sponsored over 100 projects thus far), that the

national government believes it can be effective in many places if administered centrally.

Interestingly, Renew Sydney only operates in 2 locations in 1 precinct in the city, which may

have to do with how local government is organized. However, in 3 years, Renew Sydney has

only hosted 5 organizations, the fifth added in the first quarter of 2015. Either the initiative is

very picky about who and what is sponsors or funding is too limited to support more projects. It

is also possible that there simply has not been more interest than that.

Renew Sydney intends to be user-generated and open-source when possible. It wants user-

generated content to fill vacant spaces and it prioritizes projects that create an open-source

atmosphere where co-learning can take place. All 5 Leichhardt projects have components that

invite people into a space in order to share knowledge or learn a new skill or craft. Ultimately,

though, it is a national program, which may stifle its ability to be truly user-generated. It would

be useful to know more about the funding and project selection process to ascertain this.

Source: Renew Sydney Facebook page

Source: www.smh.com.au

REFERENCES

Renew Australia. (2015) Renew Leichhardt FAQ. http://renewaustralia.org/leichhardt-faq/

Renew Sydney. (2015) https://www.facebook.com/renewsydney

Renew Sydney. (2015) http://renewsydney.org/

THE ROCKS POP UP – Sydney, Australia

THE STORY

The Rocks Pop-Up is an initiative for activating temporarily empty buildings by providing artists

and creators access to affordable space where they can produce and showcase original work and

host unique events until a long term tenant is secured. The Rocks Pop-Up project was created in

March 2011 by the Sydney Harbor Foreshore Authority and Arts NSW and is hosted exclusively

in a small district called The Rocks in Sydney Harbor. Its goals are:

1. To present The Rocks as a showcase for unique, bespoke and locally distinctive work and

the home of innovation and creativity in Sydney.

2. To activate temporarily vacant properties and bring activity to the precinct.

3. To support emerging creative workers with access to affordable space to make work, run

creative businesses, sell original products and host unique events.

4. To connect the broader arts and creative community with the tenants and residents.

The Pop-up was so popular that the Foreshore Authority re-launched the program in 2012 this

time including artists and creative organizations as the producers, curators and programmers. In

its second year, 90 individual creatives participated and an estimated 40,000 people visited The

Rocks.

THE ANALYSIS

The Rocks Pop-Up project successfully raised the profile of The Rocks as a home of innovation

and creativity in Sydney. The initiative succeeded in attracting new and return visitors,

increasing exposure for a number of artists, providing valuable data for ongoing empty spaces

research and providing exposure for regional artists in a Sydney CBD environment. Overall, this

pop-up project achieved its economic revitalization goal in stimulating the local economy and

fostering maker and creative industries. Given the magnitude of the projects on exhibit, this was

not a small endeavor. Unless artists were required to come with their own budgets (this part was

unclear), the money necessary to fund some of these art shows was significant. For example, one

artist wrapped an entire building. It would be useful to know more about how money was

assembled for The Rocks Pop-up, but it would also be interesting to know what became of the art

and artists afterward. A great deal of the art showed on social media was not replicable- it would

not have been moved to another location and shown again. Therefore, was this temporary

activation of empty space simply generating one-off shows and wasteful byproducts? The

research does not indicate that the Pop-up was renewed after 2012, therefore, we presume that

the initiative was successful enough that there was no need for activating vacant spaces and the

area had become sustainable in its own efforts.

Source: The Rocks Pop Up Facebook page

Source: www.theaspirantg.org

Source: www.sydneycbdhotels.net.au

REFERENCES

Empty Spaces Project. (2015) http://emptyspaces.culturemap.org.au/emptyspace/the-rocks-pop-

up-project

Sydney Harbor Foreshore Authority. (2015) The Rocks. http://www.shfa.nsw.gov.au/sydney-

Our_places_and_projects-The_Rocks.htm

The Rocks. (2015) http://www.therocks.com/

The Rocks Pop Up. (2015) https://www.facebook.com/TheRocksPopUp

MURALS & STREET ART – Christchurch, New Zealand

THE STORY

Since the Canterbury Earthquakes of 2010 and 2011, Christchurch has undertaken numerous

innovative projects to brighten and activate its devastated central business district (CBD). As a

result of the earthquakes, particularly the 2011 quake, the central city lost a third of its buildings

and most of the CBD was cordoned off for a couple years due to safety concerns. Due to the loss,

the loss, many blank walls now stand adjacent to empty lots and the CBD struggles to generate a

sense of place for visitors. In response, the Canterbury Earthquake Renewal Authority (CERA)

has supported additional street art, primarily in the form of murals.

In Christchurch, unlike Portland, a muralist needs only the building owner’s permission, so

murals were an early response to blank space on a case by case basis. However, in 2014, the

Southern Hemisphere’s foremost urban art festival Oy YOU! partnered with the YMCA and

Canterbury Museum to sponsor a street art event called RISE. The event ran from December to

March (summer) and attracted 248,000 visitors, a new record for the Museum. It consisted of 3

exhibits, both inside and outside the museum. The event also sponsored the Big Walls Project,

adding 15 new murals painted by street artists from around the world. The partnership is

currently hosting SPECTRUM, which includes art exhibits, public events, competitions and city

beautification.

SCAPE Public Art is an organization that installs public art in Christchurch. Their goal is to

enhance the urban center and raise the profile for public art in Christchurch. SCAPE has

sponsored 7 permanent and 150 temporary art installations. While the group seems more

interested in “traditional” art, they did host a mural competition for local art students via the

Streets SCAPE Christchurch Murals Project. Since the earthquakes, SCAPE has organized a

biennial public art show. The 2013 Biennial created a public walkway of art works and included

education and events.

THE ANALYSIS

The Christchurch murals are hugely successful at activating empty space and returning a sense of

place to a ravaged CBD where even today, buildings await demolition and blocks of rubble litter

nearly every street. Christchurch’s good weather lends itself to an outdoor experience and the

murals, combined with street art events draw people outside and back into the CBD in record

numbers. All of this, however, is recognized as temporary. Christchurch intends to rebuild, not

become the world’s largest collection of high-quality street art. Special coatings are used beneath

murals in order to protect the original surface when the paint is eventually removed. For

example, the SCAPE mural competition winner’s design was only up for a year. Finally, while

the Christchurch City Council is certainly supportive of the activity, the city’s Graffiti

Programme was not included in RISE or SPECTRUM, which might be a lost opportunity for a

program that does a lot of pushing back on street art to show its more inclusive side.

Photos by Kate Washington

REFERENCES

Chorus. (2015) Chorus cabinet art programme. https://www.chorus.co.nz/chorus-cabinet-art-

programme

Gardyne, Sarah. (March 4, 2015) Christchurch Graffiti Programme. Personal correspondence.

Oi YOU!. (2015) http://streetart.co.nz/

Oi YOU!. (2015) https://www.facebook.com/OiYouStreetArt

SCAPE Public Art. (July 5, 2012) Mural chosen for landmark Christchurch site.

http://scapebiennial.org.nz/mural-chosen-landmark-christchurch-site

GAP FILLER – Christchurch, New Zealand

THE STORY

Gap Filler is a creative urban regeneration initiative that temporarily activates vacant sites in

Christchurch. It is a people-center organization demonstrating that regeneration does not have to

rely on large-scale redevelopment. Its community focus gives people a chance to participate in

their own recovery. Gap Filler’s values are community engagement, experimentation, leadership,

creativity, resourcefulness and collaboration.

Shortly after the 2010 Canterbury Earthquake, Coralie Winn and her partner Ryan Reynolds

founded Gap Filler in a small shed on a vacant lot in Sydeneham, a suburb of Christchurch.

Winn had lost her job at the Arts Centre due to the damage sustained from the 2010 quake and

she saw a need for social connection that she could not ignore. Originally, she did what she could

with the space and materials she had at hand, but Gap Filler was immensely successful and the

need was great, so Gap Filler grew. Today, Gap Filler is funded by the Christchurch City

Council and by the Gap Filler Trust as a registered charity. The Trust has a board of 6 members

and Gap Filler is run by 7 paid staff and hundreds of volunteers. In partnership with a similar

organization called Greening the Rubble, Gap Filler has created Life in Vacant Spaces (LiVS),

which maintains a database of gaps. In order to make it easier to connect people with projects

and spaces, LiVS acts as a broker, identifying and preparing spaces by handling all the

paperwork and insurance.

Gap Filler has managed over 20 projects since 2010, some quite small and some very large;

some brief and others lasting 2 years. They include a bike powered theater, a brightly painted

piano, a golf challenge, curated outdoor art exhibits, a dance-o-mat, audio tours, and a petanque

club. Gap Filler recently hosted a workshop for aspiring young architects, designers and

sculptors and participated in the International Congress on Adaptive Urbanism.

THE ANALYSIS

Gap Filler plays a crucial role in Christchurch’s recovery and has shown itself to be more than

capable of turning an empty corner into a community center. Gap Filler uses projects and events

to add a variety of experiences and attractions, creating reasons for people to return to the central

city despite the loss and chaos caused by the Canterbury Earthquakes. Recovery for the region

will take decades, so while Gap Filler’s projects may be temporary, the overall mission will

likely be a lifelong pursuit for Winn and Reynolds. By the time Christchuch is back on its feet

and declared “recovered,” tactical urbanism will be part of the city’s culture, valued by every

person who has participated in the recovery.

Gap Filler also addresses an important and controversial topic: parking lots. After the

earthquake, lots cleared of rubble were commonly used for parking, which created an over-

supply of parking and an income for owners who could not yet rebuild. It is challenging to

convince parking lot owners to give space over to public purposes and Winn suggests that

community-minded carpark owners be given some kind of incentive to let the space be used for

temporary purposes.

Source: www.algortith.blogspot.com

Source: Gap Filler

REFERENCES

Bradshaw, Alice. (2015) One Quarter Journal. The people’s Christchurch.

http://onequarterjournal.com.au/story/the-peoples-christchurch

EmmaNg. (March 2, 1013). Design Assembly. Christchurch’s gap filler.

http://www.designassembly.org.nz/articles/chchgapfiller

Gap Filler. (2015) http://www.gapfiller.org.nz/

Gap Filler. (2015) https://www.facebook.com/GapFiller

Happyzine. (June 8, 2012) Gap Filler painting Christchurch like a canvas.

http://happyzine.co.nz/2012/06/08/gap-filler-painting-christchurch-like-a-canvas/

PALLET PAVILION – Christchurch, New Zealand

THE STORY

The Pallet Pavilion may be Gap Filler’s most successful project. Responding to the need for new

event venues, Gap Filler opened the Pallet Pavilion in late 2012. It was built on the site of the

former Crowne Plaza Hotel, using the Clarendon Hotel’s floor slabs as well as other materials

salvaged from destroyed buildings and 3,000 blue shipping pallets donated by CHEP. True to

Gap Filler’s principles, the Pallet Pavilion was a community project, involving hundreds of

volunteers, 40 local businesses and unskilled volunteer labor at every stage.

The Pavilion was originally designed to last one summer, but it was so popular that people asked

for a second season. Through global crowdfunding, the project raised an additional 80,000NZ$

in 29 days, demonstrating not only the project’s popularity, but its necessity and value to the

community. The Pavilion officially closed its second season in April 2014 and was “creatively

deconstructed” with the help of volunteers. Materials were recycled and a local archeologist even

performed a survey of the site, cataloging artifacts found under the pallets and floor slabs.

(Everything was photographed and posted on the Facebook page in case someone wanted to

reclaim a lost item.) The floor slabs were turned into bridges and culverts for local farmers.

The Pallet Pavilion was a public space, wired with electricity and a sound system, screen and

stage, located in an area dubbed The Commons, which was also home to Gap Filler’s new

shed/office, Life in Vacant Spaces and the Volunteer Army Foundation, the Arcades Project (10

timber archways pictured in the Gap Filler case study) and some food vendors. The site included

a wood-fired pizza oven and was supported by an audiovisual technology management team as

well as toilets and garbage collection, a maintenance team and ‘round the clock security. (The

fire department required a 24/7 presence, which drove up the cost of maintaining the Pavilion.)

Thanks to the supportive amenities provided on site, the Pavilion was highly programmed,

hosting hundreds of events over 2 seasons. It included events such as a speed dating game show,

an internal busker’s competition, charity fundraising and a market on Saturdays. Gap Filler

created the Palleteer Club raising money through memberships that got people discounts and a

VIP pass to select events.

THE ANALYSIS

The Pallet Pavilion emerged at a critical point in Christchuch’s recovery, when the safety cordon

was nearly done. Christchurch was successfully drawing people to the central city and finally

feeling the need for event venues and places for people to stop and gather, not just pass through.

The Pavilion was a showpiece to capitalize on excitement after CERA’s 2012 release of a rebuild

blueprint. The project is one of Gap Filler’s more top-down feats, but still maintained a high

level of community involvement and featured quite a variety of entertainment, creating a public

space when it was not hosting paid events. Its significance to the community was demonstrated

by the last-minute crowd funding effort to get another year out of the project and since its

deconstruction, The Commons has continued to be a center of activity for the community; the

pallets only came down because the material was never meant to last.

Source: www.inhabitat.com

Source: www.stuff.co.nz

Source: Pallet Pavilion Facebook page

REFERENCES

Bennett, Barnaby & Halliday, Jessica. (March 21, 2014) Architectureau. The Pallet Pavilion.

http://architectureau.com/articles/the-pallet-pavilion/

Creative Spaces. (2015) Gap Filler NZ – Pallet Pavilion. http://www.creativespaces.net.au/case-

studies/gap-filler-nz-pallet-pavilion

Mead, Thomas. (June 5, 2013) 3News. Christchurch rushes to save Pallet Pavilion.

http://www.3news.co.nz/nznews/christchurch-rushes-to-save-pallet-pavilion-

2013060515#axzz3SVN2IzB5

Re:START CONTAINER MALL – Christchurch, New Zealand

THE STORY

The epicenter of the February 2011 Canterbury Earthquake was beneath Christchurch’s central

city, devastating the central business district. The area was cordoned off for safety, throttling

local retail. The situation was rather dire for the Cashel Street Mall, a pedestrian shopping area

that had just completed redevelopment in 2009. Committed to re-opening as quickly as possible,

the mall managers hired Anton Ttritt of the Buchan Group out of Brisbane. Tritt had recently

completed a container house project and was inspired to apply that experience to retail. As a

result, he envisioned the Re:START Container Mall (the mall refers to itself as the Cashel Mall

Re:START) – a shipping container shopping mall.

The project was funded via an interest-free loan of 3,368,523NZ$ from the Christchurch

Earthquake Appeal Trust and 300,000NZ$ from ASB Bank in combination with local donations

and support. The entire process took 27 weeks to get up and running, opening October 2011. The

mall started with 27 vendors and grew to 40 retailers and a handful of food carts. It hosts a

market on the weekends and is home to Quake City, an exhibit featuring information about the

Canterbury Earthquakes, stories of local recovery and artifacts from destroyed buildings. The

mall has even attracted a fringe market just beyond its boundaries were vendors in pop up tents

sell their wares.

THE ANALYSIS

The Re:START Mall re-established retail in the CBD years before it might have been otherwise,

considering the last of the safety cordon was not lifted in June 2013. The Mall, was, of course,

motivated by profit, but every agency in Christchurch understands that the city needs to survive

its recovery intact and that involves keeping people engaged in the central city. The mall could

not afford to lose that momentum and has, in the process, attracted the interest of the global land

use community and created an attraction that draws tourists from around the world. Part of the

attraction is the novelty, but another impressive feat is the speed of the process. The project

demonstrates that when priorities are aligned and funds are made available, local initiatives can

respond quickly.

While shipping container housing was still a rather new concept at the time, examples of

shipping container retail were already available in Mexico, Kyrgyzstan and Brooklyn.

Unfortunately, around the same time, London was preparing to launch the Boxpark Mall and

tried to sue Re:START. This did not deter the project and the suit was unsuccessful. Since

Christchurch’s highly publicized example, shipping container retail risks becoming en vogue.

This starts to feel like a co-opting of innovation born out of necessity. Recently, El Paso opened

a shopping center that, while innovative for El Paso, feels somewhat contrived in person.

Finally, the Re:START Mall has been a global attraction, yet the intent has always been to

replace the container mall with a permanent structure. Just recently, the Council relocated a

portion of Re:START in order to begin construction on the new mall. Will Christchurch keep

any portion of the colorful container mall that has charmed activity back to the heart of the city?

Photos by Kate Washington

REFERENCES

NZ.com. (2015) The Re:START Mall. http://www.christchurch.nz.com/re-start.aspx

Re:START. (2015) http://restart.org.nz/

Strongman, Lara. (August 23, 2012) Australian Design Review. Re:START Mall, Christchurch.

http://www.australiandesignreview.com/architecture/23596-restart-mall-christchurch

TVNZ. (June 13, 2014) Christchurch container mall reopens across the road.

http://tvnz.co.nz/national-news/christchurch-container-mall-reopens-across-road-6002191

Rem Koolhaas, Junkspace 2002

SUMMARY

Junkspace is written to critique the processes of design and planning that create our physical

space. The term “junkspace” refers to what is being produced during the cycle of construction

and destruction of physical space. This selection is written in a style called “over-identification,”

which exaggerates a situation to its extreme in order to make a point. To Koolhaas, junkspace is

without order; junkspace is the built product of modernization, which involves rationalization

and mass production. Koolhaas argues that modernization leads to consumption and

accumulation which both overfills our lives and leaves us completely unfulfilled.

AUTHOR

Remment Koolhaas is a Dutch architect with a reputation as a provocateur. He is a product of

Modernism and, at the same time, critical of its impact on society and architecture. Koolhaas’

projects always push the limits or architecture and he has worked all over the world. Koolhaas’

work responds to the efficiency and sameness of Modernist planning and architecture, breaking

out of the mass production in favor of a truly unique experience of architecture in every single

project.

RELEVANCE

This selection is relevant to the Great Crate case study because, though the Great Crate was

recyclable and gave plants to the community, it was, ultimately a temporary use of materials and

public space. It was designed and erected with the sole purpose of being disassembled and never

seen again. Though the hope was that the installation would be a catalyst for community and

sustainable lifestyles, in its essence, it was casually consumed architecture that provided no

enduring identity to the people or the place. The article can also be applied to The Rocks Pop-up

case study as well as Gap Filler projects such as the Pallet Pavilion. The Rocks Pop-up generated

a great deal of one-time products like the great crate with no mention of what happened to the

materials or the community afterward. The one-off consumptions. Gap Filler is also using

materials for brief purposes, but with a much larger goal of sustaining community in a place that

desperately needs it. Gap Filler’s materials are part of a much larger vision.

Jane Jacobs, The Uses of Sidewalks 1961

SUMMARY

The Uses of Sidewalks is an examination of the lively chaos of sidewalk life in Ms. Jacobs’

neighborhood and how the variety of interactions is a necessary component to a healthy social

life in an urban setting. People do not want other people “in their hair,” but they do want

interaction and they do need trust. Brief but regular interaction with neighbors and shop owners

builds trust. People also want and need privacy, which can be difficult to lay claim to in a dense

urban setting. People who know how to provide, respect, and protect privacy are especially

valued and when they figure regularly and prominently in public life (e.g., shop owners) they are

trusted and serve a unique, cohesive purpose. These people are in frequent contact with a wide

circle of people and are, most of all, steadily stationed in the public realm.

AUTHOR

Jane Jacobs wrote in a time of political and social change, when grassroots movements began to

push back against top-down bureaucratic (and often racist) planning decisions. She was an

activist who found her footing in defending neighborhoods against urban renewal and highway

expansion. Jacobs was responding to the proscriptive attitude of Modernism and bureaucratic,

visionary land use planning. She went on to influence a new generation of grassroots and

professional planners who find value in the local experience of place.

RELEVANCE

This selection is relevant to the Bondi Junction case study in order to investigate whether the

public realm Waverly Council intends to create is similar to the public realm Jacobs describes as

successful. Modern experience of the public realm involves a sufficient level of separation to

preserve privacy, yes, but modern retail does not usually support the type of regular interaction

necessary to create trust. Today not many people shop daily at the corner market, nor do they

drop in at the same bar evening after evening. People generally shop at one stop grocery stores

where the cashier on shift may be one of several employed there and the rules of the corporation

do not foster keeping neighbors’ keys. Further, boutique shopping is primarily for visitors, not

residents. In order for Bondi Junction to create the public realm Jacobs recommends, they would

need to include daily retail in their shops, not only specialty retail.

Henri Lefebvre, The Production of Space 1991

SUMMARY

The Production of Space outlines the way physical space is socially reproduced. Modern social

space is dominated by the capitalist system of production. Social space contains both the social

relations of biological reproduction and the relations of production, hierarchical social function.

The two are intertwined, impacting each other. Space is social produced through spatial practice

(the everyday uses of space), representations of space (how space is conceived through design)

and representational space (places our imaginations appropriate and give new meaning). This is

called the perceived-lived-conceived triad. Finally, differential space is where old relations are

dissolved and new relations created because new space cannot be created unless it is in contrast

to old space.

AUTHOR

Henri Lefebvre has changed the dialogue around public space by incorporating time into the

conversation. He is best known for his essays on the right to the city and his understanding that

public space must be truly given over to the people in order to be public. Lefebvre was likely

influenced by Marxist-inspired authors who were critical of capitalism as a free market economic

solution. This essay doesn’t necessarily reject capitalism as a system, but acknowledges the way

a new capitalist order changed the experience of social space.

RELEVANCE

This selection is relevant to the Rainbow Crossing case study because the story of the crossing is

about multiple perceptions of how a certain space (a rainbow crossing) should be perceived and

used and, further, how installation of a rainbow crossing creates new space. Places and objects

marked with rainbows are, generally, in Western culture especially, associated with gay culture.

Taylor Square is Sydney’s LGBTQ district and installing a rainbow crossing there established

the crossing as a “gay” space. The argument could be made that a rainbow crossing anywhere

would be a gay space, but when a copycat was formally installed in Summer Hill, the rainbow

changed meaning, having been appropriated by families and children. The new space is

perceived less as a statement of LGBTQ culture and more as a children’s playground. The article

is also applicable to the murals case study in understanding how community produces space in

the midst of changing needs, values and definitions of public space. Before the Canterbury

Earthquakes, many people might have objected to “tacky street art,” but not find its application

to blank walls in Christchurch a perfectly acceptable use.

Kurt Iveson, Putting the Public Back into Public Space 1998

SUMMARY

Putting the Public Back into Public Space explores our historical understanding of public space

through four models. Iveson describes the ceremonial model of public space as “space that

represents the triumph of the public over the market,” usually using large-scale civic design and

grand spaces to reinforce significant events in the life of a nation. These grand public spaces are

ideal for both celebration and protest and this model of public space contributes to our

understanding of the state’s provision of public spaces and its impact on how people use them.

Iveson next describes the community model of public space as “contingent not on state

ownership, but rather on its ability to foster or house community.” Iveson singles out New

Urbanism as physical determination, arguing that community in public space is affected by much

more than form. The third model is the liberal model of public space, which is described as space

that is “open and accessible to all, with social difference ignored,” focusing on inclusion instead

of exclusion. In practice, however, this model is usually built in an attempt to represent the

designer’s interests as universal and winds up excluding different cultures and norms of

behavior. Finally, the multi-public model of public space is Iveson’s ideal of the “public sphere

as the structured setting for the interaction of a number of publics.” In this model, Iveson

envisions public space that embraces difference and disrupts the connection between diversity

and exclusion. However, he proposes that this model needs a more fundamentally spatial

approach in order to be better grounded.

AUTHOR

Kurt Iveson teaches urban geography at the University of Sydney. His primary interest is social

justice in cities and his research has focused on the significance of the public realm for

democracy and citizenship as well as how urban planning might better achieve social justice in

cities. To that end, Iveson has researched differing and contested uses of public space, such as

graffiti, protest and outdoor advertising. He has also considered the ways urban planners should

conceptualize and respond to different forms of urban diversity.

RELEVANCE

This selection is relevant to the Bondi Junction case study because Iveson is critical of who space

is created for. Waverly Council will need to be aware of who is present in the community and

how their program may inadvertently exclude people. What is universally valued in Western

culture may not be the same in aboriginal culture. This article also applies to the Pallet Pavilion

case study and most of Gap Filler’s work because the Pallet Pavilion was designed to create a

space to house community and it seemed to be quite effective. People had to pay to enter most

events, which is exclusionary, but when events were not scheduled, the space was open to the

public, creating more of a multi-public space than most event centers or even public plazas.

Finally, this article can be applied to the Re:START Mall because on its campus and adjacent to

its campus, it creates a public space where different affinity groups can overlap and experience

each other socially and economically.

Iris Marion Young, City Life and Difference 1990

SUMMARY

City Life and Difference explores the necessity of difference in public space. Young argues that

democratic public spaces should not be dominated by the point of view of one group and should

provide a voice for different groups and, further, that these different groups should be able to

dwell side by side in a city without feeling compelled to form community. The ideal of

community is based on homogeneity and represses social difference and this ideal denies the

impact that space and time can have on the social process. In the city, social group differences

can flourish and are entirely compatible with supportive social networks and subcultural

communities. In fact, the interplay and exchange of city life encourages the formation of new

social group affinities and these existing and new social groups need not replace or reduce other

groups. Ultimately, Young argues, social justice in the city requires the realization and

accommodation of a politics of difference where diversity is embraced and affirmed. “The public

is heterogeneous, plural, and playful, a place where people witness and appreciate diverse

cultural expressions that they do not share and do not fully understand.”

AUTHOR

Iris Marion Young taught political science at the University of Chicago and as an affiliate of the

Center for Gender Studies and the Human Rights Program, her research focused on feminist

social theory, political theory and the normative analysis of public policy. Young was influenced

by Jurgen Habermas and Michel Foucault and, in turn, influenced Kurt Iveson’s study of public

spaces. Young was influential around the world and after her death, Penn State University

created the Iris Marion Young Diversity Scholar Award in recognition of Young’s emphasis on

diversity as a positive aspect of urban spaces.

RELEVANCE

This selection is relevant when applied to the Christchurch murals case study. Young discusses

the value of difference in the urban public realm and the variety of artistic styles and content

featured in the murals is a surefire way for someone to experience a perspective to which they

are not accustomed – up to and including nudity, political messages and (sanctioned) graffiti.

The way these murals add value to public space may, in turn, change the way people value this

different type of art and those who create it. This article also applies to Gap Filler’s projects

because they aim to be as inclusive as possible while creating a variety of activities that would

appeal to different social groups. Gap Filler values chaos in community and does not seek to

deliver everything in a neatly wrapped package since they work in some very raw spaces.

Irma Ramirez, Border Urbanites 2015

SUMMARY

Border Urbanites criticizes the practice of remote performance as a valid means of making cities

and argues that “live performance,” or in-person experiences, is more valid and creates more

meaningful outcomes for a multiplicity of audiences. The article reports on a two-year

“experiment” of live performance in Tijuana, Mexico, in order to reintroduce the local

population as a participatory entity that activates and co-creates. Ramirez notes that the success

of placemaking lies in the creation of meaning and value in order to build ties between people

and with their place, therefore, the Tijuana design studio “InfoStructures” was designed to create

an infrastructural network within local neighborhood dynamics. The primary goal was to share

information in order to forge and strengthen community ties in the absence of phone technology.

Ramirez draws on Jean Baudrillard’s four value principles in order to understand meaning and

value in a cross-cultural scenario: functional value, exchange value, symbolic value and sign

value. By incorporating these four value principles, the products of the design studio were much

more meaningful to the people in the neighborhood.

AUTHOR

Irma Ramirez teaches housing and urban design at California State Polytechnic University

Pomona. Ramirez’s methodologies involve community-based design and design-build projects

with non-profit organizations. She has worked in both Mexico and China, and published in the

areas of urbanism and housing.

RELEVANCE

This article is relevance to the Sustainable Chippendale case study because Ramirez is

emphasizing that people must be included in the creation of the public space in order to value it.

In Chippendale, community pride comes from shared time in garden beds and shared

responsibility for maintaining the compost bins. People come together for classes to learn about

new sustainability topics and have freedom to initiate new directions to learn, explore and build

together. The materials, format, management and even plant selection reflects the community’s

values and vision for themselves just as Ramirez’s InfoStructures reflect neighborhoods in

Tijuana.

John Bela, User-Generated Urbanism and the Right to the City 2015

SUMMARY

User-Generated Urbanism and the Right to the City describes the growing phenomenon of user-

generated urbanism and evaluates it through Henri Lefebvre’s right to the city theory. Rebar’s

first PARK(ing) Day was held in 2005 and since then, the guerilla art intervention has expanded

to a world-wide event complete with a user manual. Its success has led people into a user

generated urbanism where bottom-up innovation can effect significant change at a small scale

through new processes such as iterative placemaking, new design products such as parklets, and

new funding mechanisms such as crowdfunding. The article evaluates PARK(ing) Day, parklets,

interim uses, and the 5M Project and concludes that user-generated urbanism contributes

important aspects such as adaptability and resilience to top-down structures. A people-centered

approach generates content platform that urban users can shape according to their own desires.

What is not clear, though, is whether user-generated urbanism can contend against the trends of

neoliberal capitalism: privatization, income inequality and unsustainable growth. Of utmost

importance is that all users of the city share a similar set of values about democracy, justice and

social equity.

AUTHOR

John Bela is the founder of Rebar and, as a trained urban designer and landscape architect, he

focuses on public space design. Bela is a pioneer in user-generated urbanism, leading the way via

Rebar with PARK(ing) Day and following that up with projects such as the Civic Center Victory

Garden and the Parkcycle Swarm. Bela is a senior lecturer at the California College of Arts who

lectures around the world. As a tactical urbanism innovator, Bela has almost single-handedly

influenced an entire generation of urban planners and designers. In partnership with Blaine

Merker, Bela launched Gehl Studio, the American office of Gehl Architects, a firm known

globally for its emphasis on people and public space.

RELEVANCE

This article applies strongly to the Gap Filler case study. While Gap Filler acts as a broker of

spaces and projects, they rely primarily on ideas generated by members of the community.

Unless they see a strong need, they rarely impose a project on a space or a neighborhood. In this

way, vacant space activation is generated by the very people who will use it and has more buy-

in, pride of ownership and investment to see it succeed. This model supports community

independence and resilience. In this way, Gap Filler acts as a facilitator of innovation and

significant small-scale change.

Laura Kozak, Open Source City 2015

SUMMARY

Open Source City evaluates a system of shared knowledge and tools in an urban setting. It begins

by describing how everyone has a need to exert some amount of control over their environment

and applies this to cities, which are a series of several “live configurations” that people

continually reorganize as a city evolves. Non-professionals are important in this process because

they are the majority and their organic knowledge is an abundant and valuable resource. Shifts in

our approach to city making have limited their ability to make meaningful contributions, creating

an imbalance in power and authority. These shifts include a loss of yards, basements and garages

(where ‘making’ typically occurs), a scaling up of process, and a decline in access to tools and

equipment. Open source or sharing economies are based on collaboration, a hands-on approach,

and a de-centralized process for generating and critiquing ideas. The article compares and

contrasts Our Community Bikes, the ReBuilding Center, and the Center for Urban Pedagogy as

case studies for open source contribution to the urban built environment and proposes the City

Tool Shop as a comprehensive model.

AUTHOR

Laura Kozak teaches architecture, urban design and cartography at Emily Carr University of Art

+ Design. Her core interest is collaborative design of the urban environment and she has

contributed her knowledge and experience to a variety of projects in that theme. Kozak also uses

her expertise and curate a variety of shows and publications.

RELEVANCE

This selection applies to the Sustainable Chippendale case study because, although the primary

focus of The Plan is to reduce urban heat island effects, the strategies and tactics rely entirely on

open-source knowledge and skills; teaching more and more people how to reduce waste,

compost, garden, grow food, harvest food, etc. As this sharing of tools, knowledge and resources

grows, community knowledge increases and broadens the range and impact of open source urban

life. It also shifts expertise from professionals back to non-professionals and empowers them to

exert control over their environments in ways that fit their evolving visions. This article also

applies to Renew Sydney, though not as strongly, because a component of the economic

revitalization project is that it should teach people new skills or share knowledge in some way,

such as in the Maker’s Farm.

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