Charlotte Murphy Landscape Architecture Portfolio

CHARLOTTE MURPHY

LANDSCAPE ARCHITECTURE PORTFOLIO

M: +49 151 1299 5705 E: CEA.MURPHY@GMAIL.COM

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CONTENTS DESIGNLAB

4

Eden Project New Zealand

4

Lake Ellesmere / Te Waihora

8

Ngai Tahu Farming Dairy Conversion

12

Experience-driven Design Process

14

THESIS 14 Intervention: Brick Secret Gardens

16

Intervention: Nurturing Moss Roof

16

Intervention: CTV Site

16

Intervention: Pioneer Meadows

17

Intervention: Poplar Structures

17

TEACHING 18 Visual Communication

18

Design

20

Theory

21

DESIGN WORK

22

Memorial

22

Analysis

24

Re-imagining the Garden City

26

Construction

28

Planting

30

EVENTS

32

DRAWING 33

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DESIGN WORK: DESIGNLAB EDEN PROJECT NEW ZEALAND A regenerative eco-tourism project A new iteration of the iconic Eden Project in Cornwall, UK, Eden NZ proposes a development for the earthquakedamaged land near the Avon River. The project specifically explores the role of water in sustaining life on this planet in an eco-tourism.

The Designlab was engaged to developed a concept for the Water for Life Trust, including: building concept, site programme, regional and site analysis, and a preliminary masterplan.

Community collaboration was a key part of our approach during the concept development process. Rather than only seeking feedback once the concept was finished, we ran workshop sessions with a range of groups throughout the design process These groups ranged from student volunteer groups, to Ngai Tahu (key local indigenous community and business stakeholders), through to the Mayor and Council members.

Key tasks included: •

Stakeholder & decision-maker engagement and collaboration

•

Extensive concept generation

•

Critique and direction of concept development

•

Model making - prototyping and final construction

•

Collaborating on content and style of presentation images

•

Communications writing for launch

•

Hosted Eden Cornwall founder, Tim Smit

•

Supervision of junior team members

Explaining concepts to Sir Tim Smit, Founder, and David Harland CEO, Eden Project Cornwall, during launch week July 2015

Model of the site and structure www.designlab.ac.nz

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Concept work for Eden Project published in The Press, July 2015

Aerial view of the proposed Eden project and its relationship to the Eastern suburbs of Christchurch, the ocean, and the mountains.

5

EDEN PROJECT NEW ZEALAND MASTERPLAN 1:2000

ALLOTMENT GARDENS/BHU/EDEN KITCHEN GARDENS ZONE DESERT BIOME

Aerial view of the proposed Eden project and its relationship to the Eastern suburbs of Christchurch, the ocean, and the mountains.

TROPICAL RAINFOREST BIOME

EXISTING WILLOWS KEPT, DECIDUOUS SO WINTER GROWING SUPPORTED

RESTORED HISTORIC FOOT BRIDGE WETLAND, THAT ACTS AS AS A STORM VALVE IN RAIN EVENTS FERNERY/GRAPE VINES/KIWI FRUIT OUTDOOR MUSIC VENUE

UC/LU WATERWAYS CENTRE

SOUNDSHELL INDOOR VENUE GLOBAL CLIMATE

CAFES/EDEN KITCHEN SPRINGS

WATERFALL & VIEWING PLATFORM

RAIN ROOM

NATIVE ALPINE SHRUBLAND MOSS ROOM

RAINBOW ROOM

POUNAMU ROOM

ARTISAN WALK

FIORDLAND BIOME MY LIFE IN WATER WALKWAY ICE ROOM KARST WORLD NURSERIES POWHIRI / ENTRANCE PLAZA

NATIVE RAINFOREST INNOVATION CORE ABORETUM OF NATIVE PLANTS OF AOTEAROA NEW ZEALAND (MAP OF COUNTRY) MAHINGA KAI ZONE CONFERENCE

WATER WAY LOCKS/POOLS WHARF WHARF EDEN EDENPRESCHOOL PRESCHOOL

ENTRANCE/CAFE/SHOP EDEN SERVICES BUILDING & CORE CLASSROOM

ECO PARK ECOINNOVATION INNOVATION PARK DROP OFF ZONE WETLAND, THAT ACTS AS AS A STORM VALVE IN RAIN EVENTS CAPARKING

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eden project Te Wai Pounamu

www.designlab.ac.nz

Evening view of the performance area with sails reflecting in shallow pools.

Rain room concept

Moss room concept

Wetland Design

Rainbow room

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LAKE ELLESMERE / TE WAIHORA Ararira Wetland participatory design One of New Zealand’s most pressing environmental challenges lies in juggling exceptionally productive landscapes with environmental sustainability.

The ‘Living Water’ partnership is a scheme under which Fonterra works with New Zealand’s Department of Conservation (DOC) to manage dairy-effected waterways on public conservation land. Lincoln University’s Designlab were engaged by the Living Water team along with Waihora Ellesmere Trust to develop a masterplan proposal, planting strategy and community engagement tool for their stage one site, ‘Yarrs Flat Wildlife Management Reserve’ (WMR), Te Waihora.

Beyond site remediation, the opportunity presented in this project was a focus on generating social value. The agricultural / environmental tension driving this proposal is both illustrative of a 21st Century global issue, and the local situation at Te Waihora.

As such this project presented a unique opportunity to engage the catchment population with the challenges of their setting.

Rather than simply acting as a band-aid solution at the end of the pipe, how could conservation land at the periphery of the LII productive landscapes become a generator of social acceptance within, and affinity for the catchment? What sort of intervention might foster a place-based connection with Te Waihora, and inspire the changes that might be required to not pollute it?

Lincoln Primary School Plant out, October 2015

Key tasks included concept development work, client management, stakeholder and community engagement, & plant species selection.

Te Ara Kakariki Plant Out September 2015 www.designlab.ac.nz

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Site Analysis, L2 Catchment Agribase

RAPID CONCEPT GENERATION SKETCHES

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Spatial Masterplan for Ararira Wetland. 1:2000 @ A1

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Intermediate Plan for Ararira Wetland. 1:500 @ A2

Planting begins

Site development

Planting matures

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TOTARA (PODOCARPUS TOTARA)

1A

1410m

1B

2860m

1C

4146m

1D

5167m

1F

2558m

KOWHAI (SOPHORA MICROPHYLLA) NARROW-LEAVED LACEBARK (HOHERIA ANGUSTIFOLIA) 1D 785m

LEMONWOOD (PITTOSPORUM EUGENIOIDES)

1F 500m 2D 1175m

KOHUHU (PITTOSPORUM TENUIFOLIUM)

1A 450m 2F 300m

2D 412m 2B 530m

2E 552m

BROADLEAF (GRISELINIA LITTORALIS) dri ve

ITALIAN ALDER (ALNUS CORDATA) PRUNUS SPECIES

1D 978m

RED TUSSOCK (CHIONOCHLOA RUBRA)

2C 162m

KOROKIO (COROKIA COTONESTER)

2D 430m 2B 250m

MIKIMIKI (COPROSMA CRASSIFOLIA)

1F 1680m

KOROMIKO (HEBE SALICIFOLIA)

1F 378m

Farm 2

dri ve w

Farm 3

1C 1015m

3A 717m

dri ve

MIKIMIKI (COPROSMA PROPINQUA)

3A 350m

y wa

ay

This intervention takes the functional patterns found in a native forest and distributes them systematically across 7500 ha of industrial farmland.

dri ve

1B 265m

2D 250m

Te Whenua Hou

Farm 1

1A 200m 1D 675m

1D 546m

Farm 4

y wa

NGAI TAHU FARMING DAIRY CONVERSION

1A 200m

y wa

2F 510m

1C 700m 2D 476m

2D 523m

1C 538m 1B 250m 1D 560m

3A 750m

1D 642m

2B 780m

1C 1133m 1B 250m

1B 1235m 1A 235m

1D 590m 1D 385m 3A 362m

2D 622m 1A 315m

1B 543m 3A 300m

2C 1356m

3A 1143m

1C 760m 1B 615m

2A 410m 3A 460m

Initially scoped as a simple gateway design for a complex of 20 dairy farms, this project evolved into a gateway expressed at a regional level, working in both aesthetic and functional modes. The scope of the planting/intervention builds an ecological architecture that negates the ecological desert of the Canterbury Plains and once again allows native birds, such as tui, and kereru, to cross from the Southern Alps to Banks Peninsula.

3A SECONDARY SHELTERBELT - 1 WIDE

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2D 3888m

2C 1190m 1.25m

Hoheria angustifolia Podocarpus totara Alnus cordata

4A EXOTIC WINDOW BAND - DAIRY SHED DRIVEWAYS 36M STRETCHES Prunus spp. @ 4.5m Chionochloa rubra @ 0.75m

4B LOW GROWING MIX (ALONG DRIVEWAYS/INFRONT OF HOUSES) 1.25m 1.25m

Planting as a system: use of patterning across a range of scales.

Coprosma robusta Corokia cotonester Coprosma propinqua Coprosma crassifolia Hebe salicifolia

Key tasks included client management, implementation planning, post-implementation evaluation, concept development for residential planting, plant species selection.

www.designlab.ac.nz

2A 410m

KARAMU (COPROSMA ROBUSTA)

A 350Ha stepping stone supporting native birds travelling across the Canterbury Plains

2E 552m

2F 810m

Te Runanga o Ngai Tahu social housing development

350Ha distributed native forest project across Ngai Tahu Farming’s North Canterbury dairy development Hard elements

Grasses ID An l Ap s As f Ca b Ca c Ca co Ca d Ca f Ca s Ca t Ca v Co b Co bu Co g Co r Gr Ha e He d He g He o He s Ku e Pl d Po t Pr Pr 1 Pr 2 Pr 3 Ps c Ps co So m So mo So p

Qty

38 37 30 164 142 68 41 92 26 113 43 6 7 10 13 1 25 6 8 17 8 20 12 3 1 1 1 1 11 8 1 7 13

Latin Name Anemanthele lessoniana Apodasmia similis Astelia fragrans Carex buchananii Carex comans 'Bronze' Carex comans 'Green' Carex dipsacea Carex flagellifera Carex secta Carex testacea Carex virgata Corokia 'Bronze King' Corokia buddlejoides Corokia 'Geenty's Green' Coprosma 'Roys Red' Grapefrut 'Golden Special' Haloragis erecta Hebe decumbens Hebe gracillima Hebe odora Hebe strictissima Kunzea ericoides Plagianthus divaricatus Podocarpus totara Prunus Plum 'Santa Rosa' Apricot 'Moorpark' Apple 'Initial' Pseudopanax crassifolius Pseudowintera colorata Sophora microphylla Sophora molloyii Sophora prostrata

Common Name Bamboo Tussock Oioi Bush Flax Grass/Sedge Carex 'Bronze' Carex 'Green' Carex dipsacea Carex flagellifera Green sedge Carex testacea Carex virgata Bronze Corokia Korokio Green Corokia Coprosma 'Roys Red' Grapefruit Tree 'Purpurea' Toatoa Hebe decumbens Hebe Boxwood Hebe Banks Peninsula Koromiko Kanuka Swamp Ribbonwood Totara Peach Redhaven Plum Tree Apricot Tree Apple Tree Lancewood Horopito / Pepper Tree South Island Kowhai 'Dragon's Gold' Kowhai Dwarf Kowhai

6-Ca b 1-Ap s 5-Ca b 2-Ca s 5-Ca f 3-As f

5-Ca c

3-Ca f 4-Ca d 3-Ca s

4-Ca f 3-Ap s 4-Ca c 6-Ca d

11-Ca co 1-An l 4-Ca v

5-Ca v 4-Ca b 6-Ca c 4-Ca f

3-Ca s 3-Ap s 10-Ca t 9-Ca b 4-As f 8-Ca c

10-Ca co 3-An l 4-Ap s 9-Ca f 5-Ca c 4-Ca b 3-Ca v

12-Ca t 8-Ca v 6-An l 13-Ca c 5-Ca v 17-Ca t 6-As f 15-Ca d

10-Ca c

8-Ca b 3-Ca t

7-Ca d 7-Ca b 3-Ap s 9-Ca co

28-Ca f 7-Ap s 17-Ca b

4-Ca d 17-Ca f

8-Ca s 29-Ca c 4-An l

12-Ca c 5-Ca v

16-Ca t 13-Ca b

3-Ca t 9-Ca v

Planting plan 5

10

15

20 M

9-Ca b 5-As f

6-Ca t 5-Ap s

7-Ca co 8-Ca f 8-Ca b 5-Ap s

4-An l 3-Ca s 4-Ca b 7-As f

8-Ca t

15-Ca b 5-Ca d 14-Ca f 13-Ca c

9-Ca t 5-Ca b 11-Ca t 26-Ca co 3-As f 9-Ca b

4-An l 9-Ca c 5-Ca co 13-Ca t 7-Ca b

5-Ca t 4-Ca v

2-An l

8-Ca b

0

9-Ca b 9-Ca c 3-An l

2-Ca s 9-Ca b

4-An l 8-Ca c 8-Ca b

5-Ca s

11-Ca c 3-Ap s 4-An l 2-As f

3-Ap s 3-An l

Planting on site at Te Whenua Hou N

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DESIGN WORK: THESIS EXPERIENCE-DRIVEN DESIGN PROCESS

1. Observe

Master’s Thesis: Christchurch CBD Eastern Frame My research explored the recent movement in landscape architecture towards phenomenological design, and investigated what possibilities could be generated through a process that places primacy on embodied experience.

2. Strangemake

The resulting design process is performative in that the majority of work takes place on site, in direct engagement with the landscape. As part of its experiential focus, the design process places importance on what the landscape is doing: materially, operationally, and temporally.

In addition, in order to design landscapes that provide for more grounded experiences, techniques of strangemaking are used.

In particular, cut-up methods are adopted in order to create design briefs that de-familiarise the familiar in the landscape. In doing so, habitual design conventions are disrupted.

3. Storyboard

In order to maintain a focus on embodied experience, perspectival, rather than bird’s-eye viewpoints, are employed in representing the design work. In this process, representation acts as a generative, as well as communicative, tool.

How could a designer working within an experiential process approach the world?

I came to this project wanting to consider the nature of embodied experience, and its potential role within a practice of landscape design. Phenomenological theory concerns itself with the nature of the world’s being: both the landscape and its inhabitants. I was intrigued by the possibilities of adopting a phenomenological approach to design. In this exploration, design was both a means of investigation and a potential outcome of the research.

Examiners’ comments: “[A]n outstanding piece of work”, which, “captures the thoughtful and deep research process that has characterised her approach throughout. The theoretical rigour in relation to the philosophical perspective of phenomenology is balanced by an ability and desire to use design as a vehicle for discovery.... Charlotte’s thesis adds to both methodological understandings as well as to aspects of innovation, representation, and critique.

Full thesis available at: http://hdl.handle.net/10182/6464

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4. Communicate

LATER

SOONER Colour-Block Pioneer Meadows

Colour-Block Pioneer Meadows

Poplar Structures

DESIGNING THREADS IN THE EASTERN FRAME

Poplar Structures

Artesian Baths Complex

Artesian Baths Complex

My research explored the possibilities that arose when I assumed an experiential perspective to design.

Through a short series of design sessions on the ground in sites in Christchurch, I found that being fixed to the spot became a frustration and hindrance and that I felt the need to move while I designed. Not just around the site, but around the wider city: to explore ‘site’ as a series of flowing threads, rather than a demarcated chunk of ground. From an experiential perspective, incorporating such modulating sites in this process may make more sense because they emphasise the movement of the

Willow Plantation

Fernery

Willow Plantation

Fernery

participant observer through the movement of the world.

Site and Programme: Christchurch My explorations of a phenomenological approach to landscape architecture (through reading/writing/observing/designing) have indicated that perspectival experience is key. Within this experience there are certain moments of distinctive inflection. For instance, dramatic weather events (such as flooding or the freezing of a waterfall), unusual juxtapositions of sensory-rich material (caked mud with seedlings and fallen leaves). For Christchurch, the earthquakes for 2011-2012 were unusually powerful moments of inflection that are still strongly reverberating. From these moments, new opportunities for addressing the design of the city have arisen. Namely because of the large tracts of land that have opened up through demolition and because of the latent seismic features which have become apparent. Therefore, a new set of constraints have emerged and there is a need to directly address the effect of the disaster.

Communication Both in the process images and the final conceptual images, hand rendering and an expressive gestural style were employed to imbue the images with atmosphere, rather than ‘realism’.

Watercolours were used for their ability to create amorphous stains of tone and colour which suggest qualities of space, rather than prescribe. By presenting sketches which showed phased snapshots of the interventions over time, the sense of continual change and movement already suggested by the storyboard images was transferred, thus laying out a series of potential design outcomes with which participants could imaginatively engage.

Parterre Meadow

Parterre Meadow

Totara Forest

Totara Forest

Ephemeral Pools

Ephemeral Pools

Brick Incubators

Mud Hills

Brick Incubators

Golden Totara

Mud Hills

Irrigation Channels

Kenton Chambers Shadow-Light

Golden Totara

Irrigation Channels

Kenton Chambers Shadow-Light Enclosure Lightness

Enclosure

Meditation

Lightness

Meditation

Memorial

Memorial

Nurturing Moss Roof

Nurturing Moss Roof

15 Indoor and Outdoor Theatre

Agriculture

Brick Enclosures

1:2000 @ A1

Indoor and Outdoor Theatre

Agriculture

Brick Enclosures

INTERVENTION: BRICK SECRET GARDENS Network of square brick courtyards acting as incubators for native species to establish. While the plants remain small, the courtyards can be used as flexible-use areas for activities such as pop-up food vendors. As the canopy grows, a series of ‘secret gardens’ will develop on the site. The walls additionally have the affect of providing an increased range of plant habitats, by intensifying Northern and Southerly aspect microclimates.

Year 3

Year 10

Year 20

Phased sketches of development of native plants within the brick secret gardens

INTERVENTION: NURTURING MOSS ROOF Intervention to provide recreational and spectator seating in the form of a magnified moss plant. The moss capsules gather together at the top of copper rods, to form an intermittent shelter. The undulating leaf forms are consolidated into a series of rippling rows of seats.

Seating and Roof Pods

Concept development using strangemaking techniques

Plan View

Seating

Macro photo of moss form

INTERVENTION: CTV SITE The memorial at the CTV Site will feature a field of grass that will be mown twice a year with scythes, as a community event. Fifteen desiccated Totara trunks will be relocated from Banks Peninsula to the meadow and place in the arrangement indicated in the perspective below. This number and arrangement have been designed to create a pattern of openness and clustering across the meadow. Networks of the three different memorial strands will weave outwards from the meadow and through the Eastern Frame. The ‘Closeness’ plant grouping will nestle around the edge of the CTV site, with pathways wending their way through the plantings and outwards. The carparks that remain visible at the edge of the CTV site will remain unplanted.

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Day 1

Year 30

INTERVENTION: PIONEER MEADOWS This area would be planted with a series of pioneer plots of a single species to form blocks of colour in the overall form of a meadow. The key colours are yellow, red, purple, blue, light-green and mid-green. Over time, the colour-blocking effect is likely to unravel and the species will mingle and blur.

Additionally, opportunistic species will take root and add themselves to the mix. The pioneer species may need to be supplemented annually by seed balls or extra plantings.

The footprints of the buildings that previously occupied some of these sites will be marked by a parterre border of Coprosma crassifolia.

Meadows Perspective from the Avon River looking into the Pioneer Meadow.

Pioneer plots would be planted, supplemented by annual sowing of seed balls. Both of these planting methods would take place from the centre of each meadow zone, allowing the zones to mingle at their edges.

Parterre

Thumnails of parterre species (left) and meadow species (right).

The strict formality of parterre will be intensified by the chaotic knotted tangle that is produced by Coprosma crassifolia. The plants will form a dense, low hedge that will be largely be characterized by the intertwining of the branches, rather than the presence of foliage.

INTERVENTION: POPLAR STRUCTURES Latex moulds will be taken around the circumference of poplar trees along the Northern Bank of the Avon. These moulds will then be turned inside out and cast in a sepia acrylic. In this way, the oddness of familiar elements in the landscape will be highlighted. The inversion of the form of the Poplars into a three dimensional skin will allow participants to move in and around the shapes and textures of the trees in a way that would not normally be possible.

Within the variety of forms displayed by the Poplar trees, some will lend themselves to acting as seating alcoves, by the nature of their contours. Others that are more buttressed in form will perhaps create nooks for leaning against, while people sit on the ground itself.

Poplar trunk with buttress form Proposed Poplar tree structure example

Poplar Trees line the northern bank of the Avon River

Poplar trunk with grotesque form

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TEACHING: VISUAL COMMUNICATION TEACHING PROJECT: DRAWING AS PROCESS 100-Level Visual Communication Paper

(lead

tutor - primary responsibility) This project was formed to help students develop their ability to use drawing to drive a design process. Particular focus was placed on transferring ideas from the imaginative realm onto paper and then learning to iterate these concepts and forms.

Students learned to alter their ideas in a range of ways, from subtly inflecting them, to disrupting them completely with strangemaking techniques. The project also taught students how to use drawing to communicate their final concept. The task was to design a small-scale intervention at Pine Mound at the Botanic Gardens, Christchurch, NZ. The materials palette will come from the materials salvaged from a single house in New Brighton, Christchurch (http://www. wholehousereuse.co.nz)

he Confusion of Coninement

The design was to explore the theme of ‘shelter’. This may have been in the form of a physical shelter, but it may also have explored the idea of shelter in other forms: spiritual, psychological, political, social.

Part of the initial design phases was to hone in on students’ individual approach to a ‘shelter’ intervention in this place. The interventions could adopt conceptual, functional, or narrative forms. They could be static or interactive, contemplative or arresting. Key questions included: •

How do you represent elements that only exist imaginatively?

•

How do you use drawing to continue to develop imaginative elements?

•

How do your imaginative constructs relate to the space? Are they a Section elevation counterpoint? Are they harmonious?

•

What experiences do the intervention and the site each offer individually?

•

What experiences do the intervention and the site offer when put together?

A Token for Christchurch

Axonometric view of proposal

Comments from Student Evaluations: “Charlotte is awesome! She expressed her passion for LA, drawing and process in a really professional and friendly manner. She was keen for us to learn and would help anyone who is keen to learn.”

“Really clear briefs and really clear, supportive explanations in class and via One-point perspective email. “

D I V E R G E N T

“Always went out of her way to clearly explain what is required and how to Plan of site 1:100 @ A3 effectively produce the standard of work required.”

Above; A series of sections displaying various angles of the structure.

B U I L D I N G SYLVIA ROBINSON:1120404 DESN103

Below; A two-point perspective.

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With the demolition the fate for many of Christchurch city’s earthquake damaged residential houses the odd exception still remains. his is the case for 19 Admiral Way, who’s materials are being used to provide sculptural interest on the Pine Mound in the Botanical gardens.

Students’ (top) isand presentation he proposed sculpture retains the essence concept of its parent, work but its function the opposite, although it has the form of a house, the wires that provide the structure give only a sense of shelter without providing it, this highlights the primary role of structure as a provider of shelter by removing the elements that make its function so. he materials of the house are placed on the wire ‘walls’ to give a sense of the original dwelling.

work (above).

Divergent Building is a sculpture that has been designed in order to reflect the idea of shelter.

This idea has been portrayed through the use of recylced material's, salvaged from a house in New Brighton which was destroyed during the February 2011 Earthquake.

The sculpture reflects the rebuild of Christchurch, it is a simple yet organic form which works effectively on the Pine Mound. The poles represent an enclosement of some form, and the offset corrugated iron sail's represent a roof. The way these elements work together creates a peaceful still atmosphere with a slight uncanny and questionable edge. It will be a space that people are able to visit to relax, enjoy and reflect.

TEACHING PROJECT: DRAWING AS CREATIVE 100-Level Visual Communication Paper (lead tutor - primary responsibility) This project challenges students to stretch the boundaries of their expressive drawing repertoire. This project provided a framework within which students can begin to experiment and document new techniques.

Students began by deconstructing other artists’ images and identifying the different marks, lines, and gestures that made up a particular drawing. Students then mimicked that style in the creation of a new drawing. As part of the development of their analysis skills, students had to describe the overall mood of the image, as well as the mood of each of the different line styles within the image.

Students were also challenged to generate several experimental palettes of new and unique gestures of their own, using a range of drawing materials. Their explorations included tone, markmaking, hatching, stippling, and use of colour. They then drew on these palettes to create a drawing in their own expressive style.

The scope of the requirements meant that even already capable students were stretched outside their area of familiarity and prompted to focus less on technical finesse and more on the power of drawing to communicate emotionally. Regular whole-class discussions gave students the opportunity to become comfortable talking about their work, and hearing how others responded to it. These reflective classroom practices familiarised students with critique and fostered a culture of

Edvard Munch (nd)

Gloomy Dark Disquieting Silent

Edvard Munch

Lonely

(nd)

The drawing has a very gloomy look about it. The hills in the horizon are one of the darkest parts in the picture and that makes them feel a bit frightening. It is as if the hills are Gloomy all covered in an intimidating shadow. There are four really dark areas with hard strokes in the drawing, and that makes your eye seek out these parts at the first glance. The rest of the picture kind of fades away, not being that important, into what I see as a flat, open and misty field, because the strokes gradually decreases in thickness backwards in the picture Dark until they reach the hills. The overall feel of the picture is calm and quiet even though many of the strokes are actually very energetic. It feels dark and misty because almost all the strokes faces approximately the same direction and are all pretty hard but with a slight decrease in thickness towards the Disquieting background.

Edvard Munch (nd)

Silent Lonely

Gloomy Dark The drawing has a very gloomy look about it. The hills in the horizon are one of the darkest parts in the picture and that Disquieting makes them feel a bit frightening. It is as if the hills are all covered in an intimidating shadow. There are four really dark areas with hard strokes in the drawing, and that makes your eye seek out these parts at the first glance. The rest of the picture kind of fades away, not being that important, into what I see as a flat, open and misty field, because the strokes gradually decreases in thickness backwards in the picture until they reach the hills. The overall feel of the picture is calm Silent and quiet even though many of the strokes are actually very energetic. It feels dark and misty because almost all the strokes faces approximately the same direction and are all pretty hard but with a slight decrease in thickness towards the background.

Lonely

The drawing has a very gloomy look about it. The hills in the horizon are one of the darkest parts in the picture and that makes them feel a bit frightening. It is as if the hills are all covered in an intimidating shadow. There are four really dark areas with hard strokes in the drawing, and that makes your eye seek out these parts at the first glance. The rest of the picture kind of fades away, not being that important, into what I see as a flat, open and misty field, because the strokes gradually decreases in thickness backwards in the picture until they reach the hills. The overall feel of the picture is calm and quiet even though many of the strokes are actually very energetic. It feels dark and misty because almost all the strokes faces approximately the same direction and are all pretty hard but with a slight decrease in thickness towards the background.

Adoptig the style of Evard Munch

Greyscale, my own style with fine-tipped pens

visual literacy.

Comments from Student Evaluations: “Always encouraged drawing and sketching and designing to get the most out of a concept. Really constructive and positive feedback and was always able to explain and pinpoint quickly where I could improve things. Always approachable and opened

Students’: analysis work (column 1), artist imitation sketch (column 2), individual expressive palette (column 3) and individual style sketch (column 4).

up a whole new world to me.”

“Charlotte was really thorough and professional about what was required. If I was unclear about something she was really approachable and was able to clarify things quickly.”

“Asked questions about work, when critiquing was done in a positive manner which made me feel more relaxed and more open and willing to try new ideas and push the design further.”

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TEACHING: DESIGN

TEACHING: DESIGN STUDIO AND PLANTING PRACTICE 100-level Introduction to 3D Design Studio (lead tutor) Designed, taught and evaluated introductory projects to, •

explore the technical and experiential aspects of contours and landforms.

•

design a Sonic Garden, where landscapes were to create narratives based on the affect of sound

100-, 200-, 300- and 400-level Design Studios (tutor) Collaboratively designed and delivered a series of studio projects exploring the concept development for the Eden Project with 200-400 level students. Tailored each project within the series to the level and learning outcomes required for each cohort. Evaulated, graded, and moderated student assessments.

200-level Planting Practice (tutor) Assisted and guided students during planting practice learning exercises, including plant walks and plant-out days at native reserves. Evaulated, graded, and moderated student assessments.

Students’ 200-level planting practice (top) and 100-200-level studio exercises (above).

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TEACHING: THEORY

TEACHING: HISTORY, CULTURE AND DESIGN THEORY 100-level History of Design and Culture and 300-level Design Theory (tutor) Prepared and lead small group discussions and exercises.

Reviewed lecture materials and readings, in order to research and present new material. Oversaw student presentations, preparation for examinations and assignments. Provided critical feedback and guidance throughout students’ coursework.

Evaluated, graded and moderated student assessments.

100-level History of Design and Culture (Guest Lecturer, 2014 and 2015) Researched, prepared and delivered original lecture, entitled “The Landscapes of Health: empires, conquests and commodities.”

Lecture available at: http://bit.ly/landscapesofhealth

Students’ 100-level history of design and culture tutorial exercises (top) and 100-level studio drawing exercises (above).

21

DESIGN WORK: MEMORIAL COMPETITION CONCEPT DEVELOPMENT: EARTHQUAKE MEMORIAL Ideas to Remember: The Christchurch Earthquake Memorial This competition entry developed a memorial for victims of the Canterbury, NZ earthquakes of 2010-2011.

A dry-stone wall and cairns will provide key forms, carefully builtup from the materials of Canterbury’s damaged buildings and landscape. Blocks, bricks and other stone elements, including those contributed by affected families, will commemorate and carry the region’s heritage and community identity forward. As a new form created from old materials, it will be re-generative, restorative and replete with opportunity as Canterbury forges its future.

The tactile vertical surfaces will provide a focus for contemplation. Intricate forms allow visitors to encounter with their hands and eyes, grounding them in a time of potential grief.

Stone niche within the wall, with space for a name to be inscribed.

Inclusive in its multiplicity, the site will acknowledge specific and private loss, recognize the selfless and brave acts of those who responded, and also provide spaces for those with less wellknown losses, hardships or shared-traumas.

Families may inscribe stones with the names of loved ones, while others may choose to anonymously include their stone on site, or at another closely connected commemorative site where associated cairns may be established.

The gentle movement of the wall from the site’s high western end to its entry into the water, near Rhododendron Island, can signify the passing of time. When encountered from the opposite direction, the movement is uplifting.

Plans showing effect of growth of Totara near stone cairns over 50 years to succeed the existing Oriental Plane trees.

Section sketch showing movement from grassed slopes, to steps leading down 0.5m, to stone steps on the bank, and then into the Avon River.

The rendering techniques are intended to evoke a sense of the experience of the intervention, rather than a photorealistic impression the visual qualities.

Steps moving down between sections of the wall and then to the Avon River.

22

First Year

Ten Years

Fifty Years

To the Bridge of Remembrance

Plans showing effect of growth of Totara near stone cairns over 50 years to succeed the existing Oriental Plane trees.

Rhododendron Island

Cambridge Terrace Cairns with Podocarpus totara, Pseudowintera colorata, and Coprosma crassifolia planted around,

Sketches exploring site context and initial design ideas.

Steps

Compressed aggregate path

ce

ra

d

or

f Ox

Plan view of memorial site at time of installation 1 : 500 @ A3

r Te

23

DESIGN WORK: ANALYSIS & DESIGN STUDY: CENTRAL CITY 30 YEAR STRATEGIC PLAN A rich topography of communities connected to each other and to a unique Landscape.

Analysis: Christchurch’s residential community suffers from low density, poor cycle and pedestrian connections and a lack of connection to the landscape and local biodiversity.

Public transport connections are infrequent and inefficient.

Many native bird species have not been present in the city for some time as there are few food sources for them. The Avon River is interrupted by roads crossings and it is not possible to walk continuously along the river bank. The South of the Central city is a predominantly industrial area with few street trees, no open space and extremely poor pedestrian and cycle connections.

Model: In The Image of the City, Keith Lynch describes how nodes can act as “strategic points in the city, which are the intensive foci to and from which [a person] is travelling.” [1960, in Wall 2011, 152].

Two or more paths come from each node, create a network across the city. The ‘concentration nodes’ invigorate the surrounding area.

Christchurch Central City 30 Year Strategic Plan 1:5000 @ A1

24

Mixed Use

Bellbird Habitat Patch

Very High Density Living

Civic Space

High Density Living

Education

Medium Density Living

Health Institution

Passive Open Space

Cultural & Religious Spaces

Active Open Space

Water Way

Housing Type

2 Area (km )

Residential Density (dph)

Apartments High Density Medium Density Mixed Use

0.618832 0.978264 0.502224 0.446003

100 70 50 20

Storeys 4-5 2-3 1-2 4-5 TOTAL

Residents 14,233 15,750 5,775 2,051 37,809

Transport Balance automobile needs with ped/cyclist needs (short and long term) with efficient and safe connections between residential and work areas Park and Ride on edge of Central City. To be adapted to Light Rail hub if wider population grows beyond 80 u/h.

Priority pedestrian lane network throughout Central city, concentrated in CBD. Cycle lane network providing efficient routes throughout Central City, connecting residential, work and open spaces.

Landscape Enhance architectural and experiential connection between built environment and landscape.

Avon Green-Blue way Open Space to function both as an ecological and cycle/pedestrian corridor

Open Space Network

Residents’ Tuam Street Entrance

Connect cycle and pedestrian networks to Avon Green-Blue way and Hagley Park.

Green corridors crossing the city with appropriate food-rich plantings for Bellbird as demanding species (plants to be matched to three primary soil types).

Minimum habitat patch of 1ha to support Tui as demanding species 3. Community To provide housing suitable for a wide range of demographics.

Residential

Neighbourhood hubs to be developed to provide essential amenties within a five minute walk.

Mix of housing available to attract a diverse residential population.

Residential

More schools to be located near residential hubs.

Linear Greenways

Office

Linear Greenways will provide attractive and safe spaces for cyclists and pedestrians, while connecting to public transport.

Food-rich plantings provide habitat corridors for Tui as demanding species, throughout the Central City.

Retail

Linear open spaces can “provide long “edges” and offer a close relationship between built-up areas and open spaces.” [Whyte (1968) in Groome, 1990, p384]. As well as offering relief from the urban environment, these spaces can both nurture and connect ecology and community (Hoşgör, p343).

Path

Cycle Lane

Bus Island

Bus Lane

Road

Path

25

RE-IMAGINING THE GARDEN CITY

P1

→

S2

Mixed-use Urban Development, Christchurch, NZ. This project developed a master plan for a facility that would foster a sense of community as well as provide private places of retreat and improve inner-city biodiversity.

Childcare Play Area/ Courtyard for Cafe

Design Strategy Transport Choice: To provide pedestrian, cycle, public transport routes from residential development to key amenities.

Open Space: To provide a range of open spaces catering for public to private uses.

Stormwater: To treat as much grey, storm and first flush water as possible on site.

Housing: To provide housing suitable for a wide range of demographics.

Planting: To include food-rich planting for tui as demanding species.

Underground utility area

A. Four-storey residential Lower two levels combined to comprise larger two-level apartments with first floor raised up 1.5m above ground level to provide private courtyards open space.

•

Upper two levels are single storey apartments.

•

Each level is 6.5m wide x 10m deep, dual aspect.

Basketball half-court

B. Three-storey Residential •

Lower two levels combined to comprise larger two-level apartments with ground level private courtyards.

•

Third level is single storey apartments.

•

Each level is between 6.5 - 7m wide x 10m deep, dual aspect.

C. Three-storey Mixed Use •

•

Ground level is for Childcare Center with access from Eastern access-way (for staff) or through the front play-area, facing Tuam Street for parents and children.

Upper two levels are single storey apartments, each of which are 6.5m wide x 10m deep, dual aspect

D. Two-storey Mixed Use •

Designed as Live/Work units where lower storey is commercial/studio space and the upper level is a connected single storey apartment, 10m wide x 6.5m deep, dual aspect

•

Single-storey Retail/Commercial use

•

Street-fronting units of various widths and 10m deep.

26

S1

Community Garden & Orchard

Carshare Parking

Volleyball Court

KEY

Existing Trees

S3

Rain Garden Greywater Channel

Grass Parterre Roof Top Gardens Tree Planting Stone Sett Paving Stabilised Aggregate

→

•

P2

1:250 @ A1

Sequence of clipped, pencil totara and low 1m high walls provide a rhythmic entrance avenue.

Basement 1.5m below ground level, 3m high for carparking; rubbish and recycling collection; bicycle storage.

Steps up 1.5m to first floor, 200m high steps

Steps down 1.5m to basement, 200m high steps

Sloped grass lawn in shade of building.

Private Courtyard Garden

A A

Central path providing access from carpark to Community Garden.

Stone setts provide stable surface in all weathers.

Disabled Parking Spaces: 3.6 x 5m

C

D

E D

B

Totara Grove with seating for warmer days

E Two large 0.5m deep concrete steps lead down to the grassed Volleyball court 0.4m below.

B D

Solid Stone Wall separating parking level from Open lower play and half- round sports levels concrete pipe to convey water to sports area in large storm events, up to 1/50 year.

Children’s Play Area

Communal Barbeque Area

D1

S3

Perspective of Complex from South-East Steel Table Tennis Table

Step edged with basalt cobble, down 0.2m to play area.

Greywater Rill.

Courtyard adjacent to first floor apartments, raised 1.5m from ground level

Private Courtyard Garden Balcony

27 Residents’ Shared Park 1:100 @ A1

DESIGN WORK: CONSTRUCTION RILL GRATE

St Asaph Street

+17.6m

Public Footpath

+17.4m

+17.1m +16.4m

Single-storey Retail/ Commercial Use St Asaph Street

+ LP 16.1m

+16.8m

+17.6m

Childcare Play Area/ Courtyard for Cafe

Two-storey Mixed Use

+17.6m

Sunken Public Courtyard

Single-storey Retail/ Commercial Use

Existing Commercial Building

Residents’ Parking

Two-storey Mixed Use

Public Footpath

+17.4m

+17.6m +17.1m +16.4m

Private Courtyards +18.1m

Single-storey Retail/ Commercial Three-storey UseMixed Use

+ LP 16.1m

+16.8m

Private Balconies

Four-storey residential

+17.6m

Childcare Play Area/ Courtyard for Cafe

Two-storey Mixed Use

Sunken Public Courtyard

Single-storey Retail/ Commercial Use

Two-storey Mixed Use

Existing Commercial Building

Residents’ Parking

+18.1m

+17.6m+17.6m Private Courtyards +18.1m

Three-storey

Mixed Use

Private Balconies

+17.1m

Underground Utility Area & Parking

Turf Four-storey residential

+18.1m

+17.6m

+17.6m

Residents’ Vehicle Access +17.6m

+17.1m

Residents’ Parking Stabilised Aggregate

+18.1m

Underground Utility Area & Parking

Turf

Residents’ +18.1m Vegetable Garden and Orchard

+17.6m

Residents’ Vehicle Access

Paths

+17.6m

Granite Setts

Residents’ Parking

+17.6m

Stabilised Aggregate

Paths

Residents’

+18.1m

12% Vegetable Garden and + HP 19.1m Orchard

+17.6m

Granite Setts

+18.1m

+ HP 19.1m

12%

BBQ Area

Existing Commercial Building

+16.6m

Existing Commercial Building

+17.4m

+16.8m

+17.6m

BBQ Area +16.8m

+16.6m

+17.4m

+17.6m

Volleyball Court Turf Surface

Volleyball Court Turf Surface

+17.6m

Plexipave Surface

Basketball Half-Court

This grate is designed to give access to pedestrians where pathways meet the rill conveying greywater from the buildings at the South end of the site to the community garden in the North-East.

+17.6m

Basketball Half-Court

Three-storey Residential

Playground Stabilised Aggregate

Three-storey Residential

Playground Private Courtyards

Plexipave Surface

Stabilised +17.6m Aggregate

Private Courtyards +17.6m

Two-storey Mixed Use

Private Courtyards +17.6m Four-storey residential

Private Courtyards +17.6m Three-storey Residential

The perforations in the grate repeat the motif of the Port Hills contours used in the public courtyard on Tuam Street.

Residents’ Parking

Two-storey Mixed Use Four-storey residential

Three-storey Residential

Residents’ Parking

+17.6m

Public Footpath

Existing Commercial Building

Existing Commercial Building

+17.6m

Tuam Street

+17.6m

Public Footpath

Tuam Street

+17.6m

Tuam Street Residential Development

+17.6m

Revised

28

14 Jan 2013

Tuam Street Residential Development

Drawn By

Datum (AMSL)

Existing Tree

Proposed Spot Height

Proposed Plant

Site Layout

Page 2 of 2

Charlotte Murphy

Scale

Datum (AMSL)

1:250 @ A2

Existing Tree

Perspective of Boardwalk surrounded by stone ‘Forum’ steps

CONSTRUCTION NOTES Raised Boardwalk around Mature Quercusa 1. Recycled Australian hardwood to be used for decking planks (140x32mm) set at 2mm spacings.

2. Decking planks to be attached to joists with 12x90mm Mild Steel 4.6 Cup Head Bolt & Nut Galvanised.

3. Cork floats to be used for protection around edge of tree cavities.

4.Concrete wall to be pre-cast with upper surfaces finished to F6, all other surfaces to F1.

5. Epoxy Coated Natural Cork tube (60mm dia) to be fitted to tree surround. Notch to be cut in side (24mm deep x 32mm wide).

29

DESIGN WORK: PLANTING PLANTING STRATEGY FOR CHRISTCHURCH’S EASTERN FRAME Planted Meadows These meadows will be predominately planted in Hierochloe redolens, to provide a mid-green base to the colour palette and the feeling of luxurious vast expanses. The sweet scent of the grass when it is crushed will also be a further dimension of possible experience. The monotony of the green will be interrupted by the delicate, spreading Anemanthele lessoniana, with its gossamer-like seed heads. Purple and yellow Echinaceas will offer bright seasonal colour in the Spring and Summer, before dying off for the Winter. The blood-red spikes of Imperata cylindrical ‘Red Baron’, planted in drifts will provide dramatic articulation in and around the meadow.

Enclosure (Totara Mix) A selection of native trees that will provide a dense, dramatic canopy, suited to the moist and deep Waimakariri soil type.

These groupings, with a predominance of Totara, will act as markers of an intimate and quiet journey through the landscape, offering spaces where light is reduced and noise is softened. Plants will be introduced as large juveniles to offer better possibility of withstanding colder winter conditions.

Group 1 will be planted immediately, while Group 2 will be planted from the second year onwards).

Meditation These areas will be populated by relocating volcanic stones from Banks Peninsula and allowing the debris and seed material to germinate and populate the immediate area. When the stones are ‘planted’, a 10L bucket of soil from its original site will also be added around the stone. A fence of wire netting will be placed around the stones to reduce interference by wildlife and humans for five years. The areas will be left to grow regardless of whether weeds at first predominate. It is hoped that in a similar pattern as at Hinewai Reserve, plants such as Coprosma crassifolia, Pseudowintera colorata (Horopito, Peppertree), Podocarpus totara (Totara), and Sophora microphylla (Kōwhai) will succeed the weed plants. If this does not occur, weeding and direct planting may need to take place.

30

Hierochloe redolens Anemanthele lessoniana Echinacea paradoxa Echinacea purpurea ‘Magnus Superior’ Imperata cylindrical ‘Red Baron’

Hoheria angustifolia (1) Pittosporum eugenioides (1) Plagianthus regius (1) Podocarpus totara (2) Pseudopanax crassifolius (2)

Stones – material from peninsula Likely to include: Coprosma crassifolia Pseudowintera colorata (Horopito, Peppertree) Podocarpus totara Moss Lichen

Gloucester Street 364-Imp cy

524-Cop cr

446-Imp cy 468-Cop cr

516-Imp cy

3-Pod to 4-Pla re 3-Pit eu

3-Pse cr

4-Pod to

Manchester Street

2-Pod to

4-Hoh au

Landscape Area-1996.123 sq m 60%-Hie re 20%-Ane le 10%-Ech pa 10%-Ech pu

190-Pod to

3-Pod to

3-Pse cr 2-Pod to

3-Pod to

632-Imp cy 3-Hoh au

3-Pse cr

2-Pod to

698-Imp cy 315-Imp cy

ID

Quantity

Common name

Scheduled size

Ane le

399

Wind Grass

PB 3

Cop cr

992

Coprosma crassifolia

NZ Coprosma

PB 2

Ech pa Ech pu

1,796

Echinacea paradoxa

Yellow Coneflower

PB 2

798

Echinacea purpurea ‘Magnus Superior’

Purple Coneflower

PB 2

Hie re

10,779

Hierochloe redolens

Karetu, Holy Grass

PB 3

Hoh au

13

Hoheria augustifolia

Narrow Leaved Lacebark

PB 6

Imp cy

2,971

Imperata cylindrica ‘Red Baron’

Japanese Blood Grass

1.3 L

Pit eu

3

Pittosporum eugenioides

Tarata, Lemonwood

PB 9

Pla re

4

Plagianthus regius

NZ Ribbonwood

PB 2

Pod to

241

Podocarpus totara

Totara

PB 2

Botanical name

lessoniana

Worcester Street

Planting Plan for meadow within Eastern Frame, Master’s Thesis Research 1:200 @ A1

31

EVENTS: EXHIBITIONS AND FIELD TRIPS Drew upon project- and event-management skills and experience to contribute to: •

creating diverse students’ learning experiences

•

overall vibrancy of the School of Landscape Architecture

•

international and inter-institutional academic relationships

Inner City Christchurch Drawing Excursion (2014 & 2015 Led group of thirty-five 100-level students on field trips in which they were tasked with on-site drawing tasks to develop a range of techniques.

Eden proposed site visit (2015) Assisted in leading 200- and 400-level students to the proposed site for the Eden project development.

Banks Peninsula site visit (2014) Assisted in leading a group of 300-level students on a local field trip.

Euroleague of LIfe Sciences (ELLS) summer school field trip (2014) Assisted in running a four day field trip to the Mackenzie Country region to study water resource management issues with a group of ten 400- and 600-level students.

Engagement with local officials, stakeholders and landowners.

International delegation from Tsinghua University (China) (2014) Hosted a two-week visit to to the School of Landscape Architecture by a delegation of twenty-two academics and officials from China’s top University. Began with a five-day workshop, held at Lincoln University. Planned, coordinated and guided a study tour around the South Island meeting with staff from the New Zealand Department of Conservation, and local tourism operators. Provided expert commentary and discussion on conservation lands in New Zealand.

Design for Conservation Conference, Lincoln University (2014) Assisted with planning, coordinating and running multiday conference held at the School of Landscape Architecture

Final Year (400-level) Student Exhibition of final project (2012 and 2015) Project managed event. Undertook event space design and installation.

32

Final Year Exhibition (top), Field tour and Site visits (bottom)

DRAWING

33