Future Christchurch: An Economic Strategy To Recovery: Erica Austin

FUTURE CHRISTCHURCH:
AN ECONOMIC STRATEGY TO
RECOVERY
CREATING AN EXPERIENCE ECONOMY IN CHRISTCHURCH
ERICA AUSTIN
2 Creating an Experience Economy in Christchurch | Economic Research | Table of Contents
Table of Contents
A. THESIS STATEMENT..................................................................4
B. ECONOMIC RESEARCH
Introduction..........................................................................................................6
1. The Experience Economy

1.1 Experience ,Tourism and Symbolic Economies...................7
2. Global Situations
2.1 A City with Events VS The Eventful City..............................8
2.2 The Use of Architecture to Stimulate Citys Tourism
Economy....................................................................................................9
2.3 Event Architecture and Their Consequences on
Cities.........................................................................................................10
2.4 Beyond the Games............................................................................11
3. Tourism New Zealand
3.1 Tourism Share of GDP (NZ).........................................................12
3.2 Tourism Expenditures.....................................................................13
4. Tourism Christchurch
4.1 Tourism Share of GRP (Christchurch)..................................15
4.2 International VS Domestic Visitors.......................................16
4.3 Accommodation.................................................................................19
4.4 Earthquake Impacts.........................................................................20
4.5 Available Accommodations........................................................22
4.6 Eco-Tourism..........................................................................................22
4.7 NZ Tourism Policy............................................................................24
5. Events
5.1 Christchurch Events Strategy 2007-2017.............................28
5.2 Learning from Successful Event Preceden........................31
5.3 2012 Christchurch Events Calendar................36
5.4 Distribution of Available Event Venues..............................38
5.5 2012 Christchurch Events Calendar......................................40
5.6 Christchurch Event Venues........................................................43
5.7 Bilbao Eect or Pop-up Innovation......................................44
6. Christchurch Art Scene
6.1 Arts Voice Christchuch..............................................................46
6.2 River of Arts......................................................................................48
6.3 Gap Filler Initiative......................................................................50
6.4 The Arts Circus.....................51
7. Potential Opportunities........................................................52
8. Economic Research Bibliography..............................53
C. URBAN STRATEGY
1. Emerging Network
1.1 Vacant Sites..............................................56
1.2 Relation to Amenities........................................57
1.3 Urban Analysis..........................................58
2. Potential Regions
2.1 Breakdown of Potential Zones...............................62
2.2 Comparison Analysis.....................................63
2.3 Potential Regions Analysis...................................65
3. Temporary Architecture Festival Curation
3.1 Temporary Architecture Festival Overview.............70
3.2 Connection to River of Arts.........................71
3.3 Flow of the Arts......................................................................71
3.4 Scenario One..................................................................................72
3.5 Scenario Two..................................................................................74
3.6 Scenario Three..........................................................................76
4. Urban Strategy Bibliography..........................................78
3 Erica Austin
CREATING AN EXPERIENCE ECONOMY IN CHRISTCHURCH
-THESIS FRAMEWORK
GENERAL
RESEARCH
ANALYSIS/
INVESTIGATION
URBAN SCALE
ARCHITECTURAL
SCALE
DESIGN
NODE OF
INTEREST
SPECIFIED
REGION
CASE
STUDY
What is Experience Economy?
The Use of Architecture to
stimulate Citys Tourism
Economy
EVENT ARCHITECTURE->
IMAGE ENHANCEMENT->
TOURISM-> REGENERATION
(envisaged mechanism)
Historic timeline of event
architecture and their
consequences on cities
GLOBAL
LOCAL
How do cities shape events and how do
these events in turn shape cities
A City with Events VS The Eventful City
TOURISM NEW ZEALAND
TOURISM CHRISTCHURCH
Hospitality
Food Services
Events
Retail
Map vacant sites from demolished buildings listed on CERA and
identify trend.
Satellite Event Hubs and Event Corridors connecting the west to the
east and the north to the south.
The creation of visibility of attractions or events within the urban
fabric and level of permeability of creative enterprises for the
consumer
How the Experience Economy can develop outside tourism zones
and how less familiar areas can cater for demands of some
segments of the visitor population
Curation of the Festival of Temporary Architecture working in
conversation with the River of Arts.
Investment of temporary/pop-up businesses
Short-Term Fixes, Long-Term Cures
Gaps and Lack of Experience as Catalyst for Regeneration
identify potential sites as case studies.
A catalyst to stimulate the experience economy locally, making links
to other nodes to generate a potential network/strategy that could
be applied to any area of Christchurch to encourage regeneration
and reactivation of city as a whole.
Transitional City Architecture
Working with other sectors e.g. hospitality, food services,
available venues for events and retail elements to support
creative tourism
A
M
I
T
I
O
N
S
PAST
CURRENT
FUTURE
Christchurch Events Strategy
Tourism Policy
Available Accommdation
Event Venues/Events
Christchurch Council Draft Plan
Pop-up Innovations
Gap-Filler Initiative
How to re-activate vacant sites
during Restoration and
Reconstruction Phase.
THESIS FRAMEWORK
4 Creating an Experience Economy in Christchurch | Economic Research | Thesis Statement
The impact of collaborative investigation on
architectural practice is becoming gradually
more apparent and these have reconstructed
the process of design, establishing new
developments and methods of fabrication, and
inuencing how architects work today. This
thesis will especially focus on the collaboration
between architects and other creative
disciplines, and how the creative arts industries
can contribute in terms of the regeneration of
Christchurch through event making and its
required architectural demands to increase
the economic impacts on communities.
Seen as a primary driver for Christchurchs
rebuild, it can be a catalyst for creating an
Experience Economy and attracting capital
and private investments back into the city,
while also creating employment opportunities.
Secondary sectors such as hospitality, food
services and retail shops can then be brought
back to ultimately revitalize the city as a whole.
The aim of this thesis is to identify potentials
inherent in the existing economy framework
in Christchurch, and to develop an economic
strategy supporting Christchurchs proposed
urban plan to provide a long term economically
based design solution for the future of
Christchurch through event making and the
creation of an Experience Economy.
This thesis starts with a comprehensive
economic understanding of the Tourism
sector and event making in Christchurch, and
a strategic intervention will then be developed
including an urban scale design strategy as
well as a building scale design that exemplies
the urban scale framework.
The Experience Economy
Pine and Gilmore(1999) proposed the notion
of the Experience Economy suggesting that
the Tourism Economy will not satisfy the
consumers today. This implies that consumers
are now looking for experiences in additions to
the existing services provided by the Tourism
Economy. In order to create a better Experience
Economy, a combination of the the Tourism
Economy will not satisfy the consumers today.
This implies that consumers are now looking
for experiences in additions to the existing
services provided by the Tourism Economy. In
order to create a better Experience Economy,
a combination of the Tourism Economy and
what is referred to as the Symbolic Economy
must be applied. Richard and Palmer(2012)
denes the Symbolic Economy as the process
through which wealth is created from the
cultural activities including art, music, dance,
crafts, museums, exhibitions, sports and
creative design in various elds.
Tourism Economy
New Zealand
Concluding my economic research, there
seems to be a need to strengthen the tourism
share of GDP in New Zealand despite the
increase of other economic sectors. From
peak gures around 10% GDP contribution
in 2003, a steady decline of more than 1%
of is seen with reduced tourism spending
in recent years after the Global Financial
Crisis. A drop in Accommodation, Cafes and
Restaurant contributions from 2003 to 2007 is
notable, which concludes a better structure is
required to attract tourists and visitors to stay
in the country. This drop is also visible within
the Cultural and Recreational Services and
the Retail Trade components. This suggests
New Zealand was not focused on developing
the tourism aspect of its economy, and with
the impacts from the earthquakes, stronger
emphasis and work need to be put on tourism
in New Zealand to compensate the decline of
this economy.
Christchurch
As the South Island tourism gateway,
Christchurch originally had a busy events
calendar before the major earthquake in
September 2010, full of community-oriented
events and a smaller range of visitor-oriented
events.(Be-there, 2007) Many event venues
were aected by the earthquake and are
unable to be utilized because of restoration,
such as the Cathedral Square, Christchurch
Art Gallery and the City Hall. A further
inuence on tourist accommodations such
as hotels, backpackers and motels are
evident with the previous number of around
400 accommodation businesses including
228 guest facilities distributed throughout
Christchurch accommodated 1.8 million
guests annually. More than 50% of these were
wiped out or closed because of the earthquakes.
Although there is not a signicant drop in the
number of events, but 10% decrease in visitors
to the Canterbury region is dicult to ignore.
Christchurch Art Scene
The key idea is to enhance and build on the
basis of the proposal of the River of Arts by
the Arts Voice Christchurch, in search for an
opportunity for events to help rediscover the
city and oering the wider community the
chance to participate in the regeneration of
Christchurch. The idea of the River of Arts is
A. Thesis Statement
5 Erica Austin
based on a series of interconnected arts-based
initiatives and new spaces that integrate the
arts into the citys urban fabric where it relies
on a co-ordinated and collaborative approach
by the arts community and related industries
and businesses in Christchurch.(Arts Voice
Christchurch, 2011)
As these events and arts initiatives act as the
producer in the Symbolic Economy, tourists
and visitors will start to consume through
experiencing them. This is a great chance to
propose a series of connected initiatives, like
the Gap Filler, Arts Circus or projects like
the Art Box that would link with the river
concept and further encourage investments
on the relevant architectural demands that are
required, eventually building up communities
around these events and this notion of
Experience Shopping can start to develop
outside tourism zones and less familiar areas
can cater for the demands of some segments
of the visitor population.
The emergence of pop-up innovations can be
thought as a tool to suggest a second phase of
pop-up used to test ideas and to encourage
a fresh, uncompromised look in a place. By
working with local residents, and creative
arts industries, these projects can start to re-
activate vacant sites during Restoration and
Reconstruction Phase.
Urban Strategy
The ultimate urban strategy is heading
towards designing Satellite Event Hubs or
Corridors distributed around the various
neighbourhoods in Christchurch which leads
the city to create its own Experience Economy
as a whole. The idea is to tie in with the
proposed River of Arts and connect the east
to the west and the north to the south. It was
said that the River of Arts may extend to the
Airport and connecting the south to Lyttelton
and Sumner. A network system has emerged
from mapping vacant sites from demolished
buildings in Christchurch listed on CERA up
to date until 9th May 2012, and potential hubs
or corridors are evident.
6 Creating an Experience Economy in Christchurch | Economic Research | The Experience Economy
Introduction
Christchurch is seen as one of the leading
festival and events loction in New Zealand after
the well known Cultural Capital Wellington
and the countrys largest city, Auckland. As the
South Island tourism gateway, Christchurch
originally had a busy events calendar before
the major earthquake in September 2010, full
of community-oriented events and a smaller
range of visitor-oriented events.(Be-there,
2007) Many event venues were eected by
the earthquake and are unable to be utilized
because of restoration, such as the Cathedral
Square, Christchurch Art Gallery and the City
Hall. Although there is not a signicant drop
in the number of events, but 10% decrease in
visitors to the Canterbury region is dicult to
ignore.
The aim of this chapter is to analyse the ways
in which events could help the regeneration
of Christchurch, and identify the potential
opportunities in which an urban strategy
could evolve. The structure of this chapter
follows the process of past, current and future
amitions of Christchurch in search for a better
understanding of how events could act as a
catalyst for reconstructing the citys external
image, making it attractive to potential
investors and visitors, and ultimately enhance
the economic status of Christchurch.
This chapter begins with examining the
notion of what Pine and Gilmore(1999)
described as the Experience Economy, and
its relationship with Tourism Economy and
what is known as the Symbolic Economy.
(Richard &Palmer, 2010) This will essentially
allow us to see the connection made between
the three components, and how Christchurch
can use this relationship to strengthen its own
Experience Economy.
Critical reections are then drawn from global
examples in Section 2. In order to illustrate
this, rst the comparison between a city with
events and an eventful city is made, then it
draws on global experiences of cities as hosts
to major events and how architecture are
used in these examples to stimulate the citys
economy. The Guggenheim Museum Bilbao
by Frank O. Gehry is surely an example which
helped to increase other citys realisation of
event architecture as an urban revitalisation
tool, such as Olympic Stadiums. This brings
forward the question of what Christchurch
sees as an opportunity for rebuild, whether
the use of events and its relevant architectural
demands will help reactivate the city.
After setting the stage within the global
context, Sections 3 and 4 move to the New
Zealand and Christchurch Context, which
will give an overview of what the current
situation is with respect to the tourism sector
of the country and the Canterbury region.
Referring to statistic gures, a signicant
drop in the Tourism Share of Gross Domestic
Product(GDP) may suggest a reason why
Christchurch may need constructive events
to help strengthen its Experience Economy.
The National Partys Tourism Policy is closely
examined with the comparison with the policies
from the Labour and Green parties. The idea of
Eco-Tourism is brought forward, where it can
be seen as a supplement to the Experience
Economy in Christchurch. The analysis of the
city after the earthquakes intends to provide
an understanding of the current conditions
such as available accommodation and the
impacts on the Tourism economy. In Section
5, it will focus on the events aspect and explore
dierent options of event creation related to
the 2007 Christchurch Events Strategy and
the Arts Voice Submission to the Christchurch
City Council. Local precedents of successful
eventful cities are also examined. The
ultimate aim at looking at these sources is to
understand the Experience Economy and how
it could provide a backbone for generating
an economic strategy for the recovery of
Christchurch.
B. Economic Research
7 Erica Austin
1.1 Experience ,Tourism and Symbolic
Economies
Tourism is seen as one of the fast growing
economic sectors in the world as tourists
contribute to sales, prots, jobs, tax revenues
and income in an area. (Stynes, 2000) It creates
a Multiplier Eect on secondary sectors in
a community such as the development of
hospitality, food services and retail shops.
What Pine and Gilmore(1999) proposed
as the Experience Economy suggests that
the Tourism Economy will not satisfy the
consumers today alone. Essentially what this
implies is that consumers are now looking
for experiences in additions to the existing
services provided by the Tourism Economy. In
order to create a better Experience Economy,
a combination of the Tourism Economy and
what is referred to as the Symbolic Economy
must be applied. Figure 1.1 illustrates the
relationship between these economies, where
Richard and Palmer(2012) states the denition
of Symbolic Economy as the process through
which wealth is created from the cultural
activities including art, music, dance, crafts,
museums, exhibitions, sports and creative
design in various elds.

EXPERIENCE
ECONOMY
CONSUMER
TOURISM ECONOMY
(Tourist and Visitors)
PRODUCER
SYMBOLIC ECONOMY
(Cultural Activities/
Events)
E
x
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Figure 1.1

1. The Experience Economy

8
2.1 A City with Events VS The Eventful
City
The awareness of cultural expressions through
event making oers an opportunity to create
its own world of unique meanings in the
consumer age.(Landry, 1996) A mere staging
of single events is insucient for a city to
becoming an eventful city. The distinction
between a city with events and an eventful city
depend upon government involvement and
audience engagement to develop a distinctive
programme of quality events and festivals to
build the citys image, which in turn stimulate
community participation and encourage
tourism with the aid of marketing events to the
public and ensuring sustainability. (Richard
and Palmer, 2010)
The critical question then falls to how do cities
shape events and how do these events in turn
shape cities? Demonstrated in Figure 2.1, a
city has to begin thinking holistically about
events and organising its events programme
eectively in order to become an evenful city.
(Richard and Palmer, 2010)
In New Zealand, Almost any event can be,
and has been called an arts festival. However,
Creative New Zealand has tried to restrict
the denition of an arts festival to events
which have a primary focus on the arts,
with an overall artistic vision that inuences
the programming and which is limited to a
specic area and dened time period.(Richard
and Palmer, 2010)
A good example of an eventful city is
Manchester. The aims of promoting
Manchesters event programme were:
Creating an Experience Economy in Christchurch | Economic Research | Global Situations
- to coordinate the marketing of the citys
cultural opportunities to key markets -
residents, students, leisure and business
visitors and inward investors to ensure
communication is consistent.
- to engage a greater and more diverse
audience.
- to develop a distinctive programme of quality
events and festivals to build the citys image,
encourage community participation and
stimulate tourism.
- To support initiatives from grass-roots:
community celebrations, sporting and
exhibitions, which bring life to the citys streets
and communities.
The Commonwealth Games provided
Manchester with a unique chance of being
host to a world event. With links to national
partnerships and investments on sports
facilities, Manchester connected these with
sports developments in schools and local areas
as well as theatres, concert halls, art galleries
and museums creating events that were known
internationally. (Richard and Palmer, 2010)
Manchester had the basis for a future events
strategy to raise the prole of the city where
communities across the city produce a year-
round events strategy, attracting visitors and
oering new opportunities for residents.
Increasing nance is being invested not only
in specic events, but also in the structures
required to attract and running them. Events
begin to dene a city, where they become
catalysts for the process of place-making.
Figure 2.1
2. Global Situations
9 Erica Austin
2.2 The Use of Architecture to
Stimulate Citys Tourism Economy
Cities are constantly using high-image
architecture to regenerate its urban fabric
and give sense of economic stability.(Egan &
Nakazawa, 2003) The famous Guggenheim
Museum Bilbao by Frank O. Gehry has
generated a ripple eect on its city. The Bilbao
estimated that its economic impact on the
local economy was worth approximately $147
million in 2006 and up from $130 million in
2000--and it also brought in a further $23
million to the Basque treasury in taxes. This
represents the equivalent of 4,415 jobs. A
visitor survey revealed that 82% came to the
city of Bilbao exclusively to see the museum
or had extended their stay in the city to visit it.
(MPRA Paper, 2007)
In addition to $7.8 million spent inside the
museum, visitors spent much larger sums in
the city on accommodations ($43 million),
catering ($35 million), shopping ($13 million),
transport ($9.5 million) and leisure ($6.6
million).

Figure 2.2 shows the number of visitors to the
Guggenheim Museum from 1997 to 2006.
Figure 2.2

10
2.3 Event Architecture and Their Consequences on Cities
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Visitors (one-o)
Visitors (continuous)
Secondary Sector Impact
Impact City Regeneration
Post-event impact
E
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9
MUSEUMS
CONVENTION CENTRES
GENERAL SPORTS STADIUMS
OLYMPIC STADIUMS
GENERAL TREND
Figure 2.3
Creating an Experience Economy in Christchurch | Economic Research | Global Situations
11
2.4 Beyond the Games
Despite attempts to imitate the Bilbao
eect elsewhere in the world, very few new
museums or galleries outside capital cities
have succeeded in getting so many visitors.
The projects, all additions to major cultural
institutions, fell short of creating Bilbao-
like images that would make their mark at a
distance outside of the city.
The increase in realisation of events as an
urban revitalisation tool is clearly shown
in Figure 2.3. This popular trend has driven
cities to think beyond its short-term tourism
benets but as an opportunity to develop
long-term solutions for the citys better future.
A good example here is the 2012 London
Olympics, with the poposal of the post-game
urban regeneration scheme, the city will most
surely benet from the event from this 450m
investment.
Although Olympic events are temporary,
this time round, London included a long-
term urban regeneration legacy as a catalyst
for over 100,000 new residents in the Lower
Lea Valley.(Fawcett & Jones, 2011) Seen as
an Opportunistic Act, it was a chance to re-
address the environmental decay and social
deprivation from within the Valley for the past
two centuries.(Fawcett & Jones, 2011) New
parklands and open spaces provide a vibrant
life for the former industrial lands which is said
to become Europes largest new urban park
for more than 150 years, enabling a lasting
transformation of the Lea Valley generating
a better place for work and living.(Fawcett
& Jones, 2011) Together with the new homes
in the Athletes Village, there will be further
housing built within the Olympic Park site
after the Games. Riverside housing, shops,
restaurants and cafes with a range of transport
improvements will provide new amenities
for the local community. Open spaces can
be accessed via a network of canal towpaths,
footpaths and cycleways. Benets for the
wider community can be seen with cross-
city transport improvements as well as more
training and job opportunities and a chance
for a vast array of businesses to be involved.
(London 2012, 2012)
This clearly concludes the need to plan beyond
the general events programme. By identifying
the citys unique urban issues, appropriate
design solutions can be applied through the
use of major or visitor-orientated events.
Source:
Erica Austin
12
Figure 3.1
Figure 3.2
3.1 Tourism Share of Gross Domestic
Product(GDP)
In the New Zealand Institute of Economic
Research(NZIER) report (2011), it clearly
stated that tourism is an important part of
New Zealand economy. Accounting for 8.7%
of national GDP and 9.6% of employment.
Revenue from international tourism was $9.5
billion in the year to March 2010, even larger
than the most important commodity export,
dairy ($8.9b). It also contributes signicantly to
many of the sub-industries, such as transport,
accommodation, cafs, restaurants, and retail.
Shown in Figure 3.1 tourism sector in New
Zealand was at peak around 2001 to 2003. Since
then, the GDP of tourism gradually decreased
and coming to 8.7% in 2010. This is a reection
on the stronger growth in other sectors of the
New Zealand Economy and reduced tourism
spending in recent years after the Global
Financial Crisis.(Statistics NZ, NZIER, 2011)
Below this, Statistic New Zealand(2011)
produced a Tourism Satellite Account for 2011.
Figure 3.2 shows the Gross Operating Surplus
as a percentage of total tourism output for
tourism industries and for all non-tourism-
related industries. It is one measure of tourism
protability, but reects economic rather than
accounting concepts. As illustrated, the other
transport, storage, and transport services
industry and the machinery and equipment
hiring and leasing industry each recorded
higher protability ratios than other tourism
industries. Typically, these industries require
less labour than capital for the provision of
goods and services. (Statistics NZ, NZIER,
2011)
Creating an Experience Economy in Christchurch | Economic Research | Tourism New Zealand
3. Tourism New Zealand
13
There seem to be a need to strengthen
the tourism share of GDP despite the
increase of other economic sectors. A drop
in Accommodation, Cafes and Restaurant
contributions from 2003 to 2007 is notable,
which concludes a better structure is required
to attract tourists and visitors to stay in the
country. This drop is also visible within the
Cultural and Recreational Services and the
Retail Trade components.(Statistics NZ,
NZIER, 2011)This suggests New Zealand was
not focused on developing the tourism aspect
of its economy, and with the impacts from
the earthquakes, stronger emphasis and work
need to be put on tourism in New Zealand
to compensate the downfall of this economy.
Tourism policies from various parties will
be examined in a later section, with tourism
enhancement suggestions.
3.2 Tourism Expenditures
Continuing with report of Stastics New
Zealand(2011), Figure 3.3 reveals the trace
of the ows of tourism expenditure through
the New Zealand economy for the year ended
March 2011. It shows the value tourism adds to
the New Zealand economy, both directly and
indirectly, the GST received by government,
the imports of goods and services, and direct
and indirect employment.
Total tourism expenditure in New Zealand
was $22,951 million in the year ending March
2011. Accommodation services demand has
increased from $1969M in 2008 to $2047M
in 2011. Food and Beverage serving services
has also increased from $2529M to $2674M in
2008 and 2011 respectively. Retail sales from
$6548M in 2008 to $7166M in 2011P. (Statistics
NZ, NZIER, 2011)

Due to the summary of tourism expenditure
Figure 3.3

Erica Austin
14
Figure 3.4

Figure 3.5

Figure 3.6

Seen in Figure 3.4 the biggest share of domestic
demand was retail, at 43 percent, while
international tourisms demand on retail was
only 21 percent of total international spending.
International tourists spent most of their
budget on passenger transport (35 percent)
and accommodation, food, and beverages (30
percent). (Statistics NZ, NZIER, 2011)
Direct and indirect tourism value added, when
combined, accounted for 68 cents for every
dollar spent by tourists, while GST accounted
for 7 cents for every dollar spent by tourists.
The remainder represents imports.(Figure 3.5)
Tourism expenditure is mainly focused on
Retail Sales with 21% apart from transport fees,
Food and Beverage serving services seem to
be the next highest at 12% of total expenditure.
Accommodation services only account for
9%.(Figure 3.6)
Tourism Expenditure grew from the year
2009 -2011, despite the previous decrease
of tourism sector in New Zealand GDP.
Total International Visitors have decreased
between 2008-2010, with the greatest fall from
UK and USA visitors.
Creating an Experience Economy in Christchurch | Economic Research | Tourism Christchurch
components, tourism expenditure generated
$6.9 billion of direct value added, representing
15
4.1 Tourism Share of GRP
After studying New Zealands tourism sector,
the Gross Region Product(GRP) of Canterbury
is looked at. For the year to June 2009, the
estimated GRP for Christchurch City was
$10.9 billion. The GRP for Canterbury was
$15.3 billion. It is evident that Christchurch
contributes around 71% towards the Canterbury
regions GRP, and around 8% towards New
Zealands GDP.(Infometrics New Zealand,
2010)
From 1998 to 2008, GRP increased annually.
Ination adjusted GRP for Christchurch
increased from $8 billion in 1998 to $11.3 billion
in 2008. The Canterbury and New Zealand
economies grew by 41% and 38% respectively
over the same period. 2009 was the rst year
in the above time series when there was a
decrease in annual GRP. The Christchurch
GRP decreased by 3.2% while the Canterbury
regions GRP decreased by 2.3%. (Infometrics
New Zealand, 2010)
For the year to June 2009, the estimated Gross
Regional Product (GRP) for Christchurch City
was $10.9 billion. This was a 26% increase from
2000, when the GRP was $8.6 billion.(Figure
4.1)
Retail Trade - $800M 7.3%
Accommodation, Restaurant and
Caf - $200M 1.8%
Cultural and Recreational Services -
$180M 1.6%
Looking at the above gures, it is conclusive
that these components in Canterbury are
increasing with the most seen in Retail Trade
Figure 4.1

from the years 2000 to 2009, despite the
previous decrease in the overall countrys
performance. This increase is a good sign, but
much emphasis need to be focused to promote
these aspects. With the destruction of the
majority of historic buildings in Christchurch,
after the earthquakes, the Cultural and
Recreational Services are signicantly aected,
which means a great deal of work is required to
ll this gap in order for redevelopment of the
sector. (Infometrics New Zealand, 2010.
Erica Austin
4. Tourism Christchurch
16
4.2 International VS Domestic
Visitors
The study of international and domestic
visitors to Canterbury is crucial in this research.
The aim is to identify potential visitors and
their intentions of their visits in turn to search
for a way of attracting them back and staying
in the region.(The Ministry of Tourism, 2009)
A gradual increase in the total number of
visitors is seen from the years 2004 to 2008.
Increase is also seen in domestic travel
expenditures from 2004 to 2008, with the total
number of domestic visits to Canterbury being
3813,000 in 2008.(Figure 4.2)
The Ministry of Tourism (2009) found that in
1999, 1.61 million international visitors came to
New Zealand. By the end of 2008 this number
has increased by 52% to 2.45 million visitors,
TOTAL
Holiday
VFR
Business
Other
266,000
136,000
75,000
35,000
21,000
270,000
136,000
77,000
36,000
21,000
275,000
136,000
79,000
37,000
21,000
280,000
138,000
81,000
38,000
23,000
279,000
135,000
85,000
36,000
24,000
2004 2005 2006 2007 2008
0 100,000 200,000 300,000 400,000
AUSTRALIA
UK
US
JAPAN
GERMANY
SOUTH KOREA
CANADA
CHINA
INDIA
Holiday VFR Business Other
AUSTRALIA
Total Expenditure ($Millions)
Average Per Person
Average/Person/Night
UK
Average Per Person($)
Average/Person/Night($)
US
JAPAN
GERMANY
SOUTH KOREA
CANADA
CHINA
INDIA
TOTAL
212,000
125
2347
191
98,000
59.6
3772
154
72,000
53.3
3422
239
43,000
44.5
4290
486
31,000
17.6
3973
118
28,000
15.7
2524
253
16,000
9.3
3116
174
7,000
6.2
2326
594
6,000
3.5
2967
119
653,000
385
3027
188
87,000
62
1191
101
28,000
31.4
2977
96
7,000
6.0
19.1
112
2.3
2017
138
1.4
2502
132
6.25
3075
94
1.4
1443
54
1,000
157,000
128.4
1788
87
38,000
49
1769
259
3,000
5,000
8.5
3686
201
2.8
3056
212
1.7
2448
264
60,000
86.5
2376
179
7,000
6,000
6,000
4,000
3,000
341,000
245
1800
152
133,000
104.9
3521
114
90,000
79
3338
178
50,000
60.8
4365
209
37,000
24.6
4045
101
34,000
27.2
2962
133
20,000
14
2946
126
10,000
10.6
2618
177
7,000
8.2
32.9
79
906,000
678
2682
131
HOLIDAY VFR BUSINESS TOTAL
1565,000 1139,000 805,000 3813,000
Main RTO Destination-Canterbury
Domestic Travel Expenditures (2004-2008)
2004 2005 2006 2007 2008
TOTAL ($M) 778.4 738 806.5 819.4 870.3
Figure 4.2
an average annual growth rate of 4.8%. Visitor
arrival gures increased rapidly between 1999
and 2004, out performing the global average,
but the rate of growth has eased recently. Since
2005 visitor arrival numbers have increased by
just three per cent.
Holiday visitors, which now make up 48% of all
arrivals, have increased from 820,000 in 1999
to 1,184,000 in 2008, up 44% (Figure 4.3). As a
proportion of total arrivals, holiday travellers
have declined by two percentage points since
1999.
The second largest visitor group are those
Visiting Friends and Relatives (VFR). Over
the last decade VFR numbers have shown
the fastest increase, from 412,000 in 1999 to
743,000 in 2008 (up 80%). The number of VFR
visitors as a proportion of total arrivals has
increased from 26% to 30% over the period.
(The Ministry of Tourism, 2009)
Business travellers, mainly from Australia, the
USA and the UK have increased from 227,000
in 1999 to 312,000 in 2008, an increase of 37%.
Business arrivals as a proportion of the total
have remained stable over the period at around
13%.(The Ministry of Tourism, 2009)
From the gures shown on Figure 4.3 and
Figure 4.4 on the next page, it is evident that
New Zealand is Australias largest single
outbound destination. More than 200,000
Australians come to New Zealand for holiday
trips alone. It is apparent that eighty percent of
17
TOTAL
Holiday
VFR
Business
Other
266,000
136,000
75,000
35,000
21,000
270,000
136,000
77,000
36,000
21,000
275,000
136,000
79,000
37,000
21,000
280,000
138,000
81,000
38,000
23,000
279,000
135,000
85,000
36,000
24,000
2004 2005 2006 2007 2008
0 100,000 200,000 300,000 400,000
AUSTRALIA
UK
US
JAPAN
GERMANY
SOUTH KOREA
CANADA
CHINA
INDIA
Holiday VFR Business Other
Figure 4.3

Australians live in the eastern states within a
short ight to New Zealand. The large number
of 400,000 expatriate New Zealanders living
in Australia provides a strong base for Visiting
Friends and Relatives (VFR) travel while
extensive trade and government relations
generate a high volume of business travel.
The Ministry of Tourism (2009) concluded that
Australia is New Zealands largest international
market, providing 976,000 visitors or 17%
share of the Australian outbound market, and
it also generates the largest number of VFR
and business visitors for New Zealand. Over
the last decade VFR numbers increased from
184,000 to 360,000 in 2008 while the number
of business travellers rose from 130,000 to
189,000 per year. The proportion of total
arrivals for these two categories remained
relatively constant over the last 10 years, with
VFR at 35% and business travel at around 20%.
In conclusion, from the data given, Canterbury
needs to develop a strategy to attract more
asian crowds into the region, especially when
a lack of Chinese visitor numbers are obvious
from Figure 4.3 compared to the large export
values to China made from Canterbury. Also,
people who are visiting friends and relatives
account for the second largest proportion of
the total tourist to Canterbury, and this can
be overlooked when the holiday numbers are
so desirable. This suggests an opportunity to
target these people who are regular visitors
as they can access information not available
to other visitors which may aect their usual
activities and plans to visit. It was said that
they like the broader qualities of places, as
they are already quite familiar with the city
environment through the local residents that
they visit.(Smith, 2007) By retaining these
regular visitors and attracting them back to
the city, the Experience Economy can start
to develop outside tourism zones and less
familiar areas can cater for the demands of
some segments of the visitor population.

Erica Austin
18
AUSTRALIA
Average Per Person
Average/Person/Night
UK
US
JAPAN
GERMANY
SOUTH KOREA
CANADA
CHINA
INDIA
TOTAL
212,000
125
2347
191
98,000
59.6
3772
154
72,000
53.3
3422
239
43,000
44.5
4290
486
31,000
17.6
3973
118
28,000
15.7
2524
253
16,000
9.3
3116
174
7,000
6.2
2326
594
6,000
3.5
2967
119
653,000
385
3027
188
HOLIDAY VFR BUSINESS OTHER TOTAL
87,000
62
1191
101
28,000
31.4
2977
96
7,000
6.0
19.1
112
2.3
2017
138
1.4
2502
132
6.25
3075
94
1.4
1443
54
1,000
157,000
128.4
1788
87
38,000
49
1769
259
3,000
5,000
8.5
3686
201
2.8
3056
212
1.7
2448
264
60,000
86.5
2376
179
7,000
6,000
6,000
4,000
3,000
341,000
245
1800
152
133,000
104.9
3521
114
90,000
79
3338
178
50,000
60.8
4365
209
37,000
24.6
4045
101
34,000
27.2
2962
133
20,000
14
2946
126
10,000
10.6
2618
177
7,000
8.2
32.9
79
906,000
678
2682
131
COUNTRIES
Figure 4.4
19
4.3 Accommodation
Accommodation is an important sector
in terms of its contribution to the tourism
economy. The Ministry of Tourism (2010) found
that in 2009, there were 3,348 accommodation
businesses in New Zealand, an increase of 265
(or 9%) from 3,083 in 2004. The total capacity
(available units) in the accommodation sector
has increased steadily from 125,000 in 2004 to
141,000 in 2009. This was an increase of 15,000
units (or 12%) over this period.
The accommodation sector employed 28,000
people in 2009. A large number of businesses
(37%) were small with 1-5 employees and
31%were run by self-employed operators
without employees. International visitors who
stayed in hotels spent the most per night at
$209, followed by motels ($150), holiday parks
($112) and backpackers ($91).(The Ministry of
Tourism, 2010)
Twenty-four percent of international visitors
who stayed in commercial accommodation
were aged between 25-34 years, followed by
45-54 years (19%), 35-44 years (18%) and 55-64
(17%) years. Domestic visitors had an older
age prole, with 24% aged between 45-54 years
and 22% aged 35-44 years.(The Ministry of
Tourism, 2010)
In Figure 4.5, a total of 498 accommodation
businesses were operating in Christchurch in
2009, with motels being the largest sector over
55% of the total number. On average, 2 nights
were spent in Christchurch by visitors in these
accommodation with Holiday parks being the
lowest in occupancy rate of 15.9%. Occupancy
rates are around half except for holiday parks
with average daily capacities well above 4000
people for each type of accommodation.
It was mentioned in the previous section that
the Accommodation contributions to the
countrys economy has decreased, despite the
obvious increase in total capacity numbers.
It is important to compare these numbers
to the available accommodations after the
earthquakes in Christchurch, discussed
later in Section 4.5, to identify what the loss
was and locate the accommodations still in
operation. This will give a general idea of
where new accommodations need to be built
in order to serve the Experience Economy in
Christchurch, and what numbers are needed
to keep the daily capacity numbers and
occupancy rates similar to what the gures are
shown on Figure 4.5.
BACKPAKER
HOLIDAY PARKS
HOTELS
MOTELS
76
56
91
275
61.6
113.6
56.3
14.8
4682
6364
5119
4068
785
874
1749
1590
40.7
15.9
55.7
49.0
1.9
1.8
1.8
1.8
Accomodation Units per Average Daily Guest Nights Occupancy Average Nights
Type Accomodation Capacity (000) Rate (%) Stayed
Figure 4.5

Erica Austin
20
4.4 Earthquake Impacts
The major earthquakes made signicant
impacts on Christchurch. NZIER estimated
75 square blocks of the CBD including the
tourism heart of the city were cordoned
and approximately 17 per cent of the citys
population (65,000 people) has left the city
following the devastating earthquakes in
Christchurch. Much of the CBDs guest
accommodation was damaged in the
earthquake, especially many of the citys high
rise hotels. As a result, Christchurch city is
without a third of its usual rooms.(Statistics
NZ, 2011)
As tourism is New Zealands top export and
a large employer, impact on workplaces
are evident to have been aected by the
earthquakes. In Figure 4.6, employers in the
hospitality sector experienced a relatively
small negative net impact (-1.6%) on workplace
employment levels and a relatively large
positive net impact on workplace revenue
levels (13.0 %).(Statistics NZ, NZIER, 2011)
While a similar proportion of hospitality
workplaces reported a decrease in
employment levels (19.6 %) compared with
the Manufacturing sector, this was countered
by a similar proportion of workplaces in the
hospitality sector reporting an increase in sta
(18.0%) due to the earthquakes. (Statistics NZ,
NZIER, 2011)
The signicance of this data helps to identify
which types of workforces were aected and
determine the need to restore these workforces
and employment numbers to assist in the
regeneration of Christchurchs economy.
Figure 4.6

21
HOTELS (14 OPEN)
LODGES AND APARTMENTS (7 OPEN)
HOLIDAY PARKS (13 OPEN) BACKPACKERS (17 OPEN) BED AND BREAKFASTS (75 OPEN)
MOTELS (107 OPEN)
Erica Austin
22
4.5 Available Accommodations
Comparing the numbers of available
accomodation after the earthquakes with the
2009 numbers shown on the previous page,
a signicant drop of numbers from 498 to 151
accomodation businesses excluding lodges
and apartments, bed and breakfast numbers
are evident on Figure 4.7.

Bed and Breakfast businesses seem the most
evenly distributed throughout the urban
fabric of Christchurch where as Backpacker
sectors concentrate themselves within the
CBD. Highrise Hotels as mentioned before are
damaged leaving the city with less luxurious
accomodation to serve the tourism economy.
(Be-There, 2007)
The immediate conclusion is that the majority
of accomodation businesses are still operating
with in the CBD area, concentrated mainly on
Papanui Road, Riccarton Road and Bealey Ave.
Towards New Brighton, an obvious gap is seen
where the eastern areas have been signicantly
aected by the earthquakes and businesses
are forced to close due to restoration and
demolition processes. Accommodation
numbers need to be restored in order to serve
the visitor demands.
4.6 Eco-Tourism
With the current conditions in Christchurch,
the notion of Eco-tourism can be promoted
along the lines of boosting the Experience
Economy factor.
As Eco-tourism is a form of tourism involving
visiting fragile and usually protected areas,
intended as a low-impact and often seen as a
small scale alternative to standard commercial
tourism, it is a responsible travel to natural
areas that conserves the environment and
a means to improve the well-being of local
Figure 4.7

23 Erica Austin
people.(TIES, 1990) Dened as the practice
of low-impact, educational, ecologically and
culturally sensitve travel that benets local
communities and host countries, Eco-tourism
has been said to be one of the fast-growing
sectors of the tourism industry. Its purpose
may be to educate the traveler, to provide
funds for ecological conservation, to directly
benet the economic development and
political empowerment of local communities,
or to foster respect for dierent cultures and
for human rights.(NZTG, 2012)
According to New Zealand Tourism Guide
(2012), a range of Eco-tourism activites
are available in Christchurch, such as bird
watching and sanctuaries, natural wildlife,
nature and eco cruises, scenic landscape,
farms and farm activities and last but not least,
whales, dolphins, seals and penguin watching.
As Christchurch is continuing with its current
restoration and reconstruction stage, it is seen
as an opportunity to re-introduce this concept,
encouraging people to re-visit the idea of green
and connect with the natural environment.
As discussed in a previous section, the
potential of retaining regular visitors is key
in the process of creating an Experience
Economy. Acting as a supplement to this, Eco-
tourism can play a role in the engagement of
regular visitors and the local residents they
visit to promote this new concept. In Section
1, the idea of Symbolic Economy is seen as
the producer in the equation of generating
the Experience Economy, here Eco-tourism
can be said to lie within that bubble of
thought where it can then coordinate with the
Tourism Economy of visitors and residents to
produce the ultimate Experience required in
Christchurch.
24
4.7 NZ Tourism Policy - The National
Party
On the right is a snapshot of the Tourism
Policy 2011 created by the National Party. It is
evident to see the National party have focused
on encouraging visitors from Austrialia , China
and other fast growing parts of Asia sustaining
overall visitor numbers to counter the decrease
of numbers from the US and Europe seen
previously.(New Zealand National Party, 2011)
National has already completed a large number
of their envisions, including the following:
- Increased investment in marketing New
Zealand as a destination o-shore, by injecting
an extra $67.5 million over the past three years.
- Refocused Tourism New Zealand on its
operations, focusing directly on potential
visitors who are actively considering New
Zealand as their next international destination.
- Ensured Tourism New Zealand operates in a
more ecient way with more dollars spent on
frontline marketingn and less on back oce
administration.
- Reformed the Governments tourism agencies
by integrating the Ministry of Tourism into
MED, to ensure that tourism was once again
at the heart of the Governments economic
growth agenda.
- Supported regional and Maori Tourism.
- Improved International Links by introducing
the highly successful SmartGate initiative
with Australia.
-Kept The Hobbit in New Zealand.
- Built the New Zealand Cycle Trial by
allocating $50 million to develop 18 cycle trails
around New Zealand.
25
The results from the policy included more
visitor spendings, more visitors from our
emerging markets, strong employment and
new international connections.Though the
Christchurch earthquakes played a role
in decreasing the number of visits to the
Canterbury region, the rest of the country
has stepped up to ll this gap. (New Zealand
National Party, 2011)
National has supported Canterbury by forming
a partnership with Christchurch City Council
and Christchurch International Airport to aid
Christchurch and Canterbury Tourism sector.
The partnership will provided an extra $1.6
million funding to support tourism recovery
activity, including $625,000 each from the
Government and Christchurch International
Airport and $350,000 from Christchurch City
Council . (New Zealand National Party, 2011)
The Government has planned to invest a $20
million, 17,000-seat temporary stadium for
Christchurch during the process of recovery.
The National party hope to further develop
on the tourism sector of New Zealand. Their
visions are as follows:
- Keep tourism at the heart of government,
keeping the Prime Minister as Minister of
Tourism.
- Develop tourism infrastructure by working
continuously with the Auckland Council and
the Cruise industry to develop an International
cruise termnal in Auckland.
- Improve internationald links and processing.
This can be done by continuing multi-agency
work to encourage air connections from new
and emerging markets.
- Continue to look for ways to expand the
successful SmartGate system and improve
visa processing, to encourage easier travel for
visitors.
- Build the value of international visitors with
continuing Tourism New Zealands increasing
focus on identifying and targeting high-value
travellers who are actively considering travel
to New Zealand.
- Further improve the tourism agencies with
moving Major Events back into the Tourism
portfolio and involve Tourism New Zealand
more heavily in its operation.
- Continue the work on the $4.5 million Maori
Tourism Action Plan to strengthen and
promote Maori tourism.
- Improve Tourism research by working with
the Tourism Industry Association to educate
and Communicate the expectations of visitors
from new markets.
The most signicant vision is to Rebuild
Christchurch and retain the Gateway status
to the South Island. This can be seen on the
previous page with detailed actions by the
National party. (New Zealand National Party,
2011)
Erica Austin
26
Tourism Policy Comparison- Labour
Party and Green Party
It is crucial to compare policies from dierence
parties to identify the key successful proposals
previous made, and what the National Party
has to learn from the others in order to help
construct an Experience Economy within
Christchurch. The Tourism Policy from the
Labour Party is looked at and the one from the
Green Party will also be examined later.
The Labour led government has:
- Established the Ministry of Tourism from
the Oce of Tourism and Sport, to enhance
the whole-of-government approach to tourism
policy.
- Developed the New Zealand Tourism Strategy
2010, in partnership with sector interests,
which provides a framework for sustainable
tourism development.
- Established and funded the Tourism Research
Council to produce research information
that will enable better quality forecasting for
tourism operators.
- Established post-graduate research
scholarships for applied research in Tourism.
- Provided signicant funding for a major
expansion of the Qualmark quality grading
system for tourism businesses.
- Provided specic project funding to support:
1. Chinese Market Development
2. Cultural Tourism
3. USA Campaign
4. Leverage funding for New Zealand
promotion associated with The Lord of the
Rings, Whale Rider and The Last Samurai
5. Development of the Visitor Information
Network.
- Funded tourism infrastructure projects
through the Tourism Facilities Development
Grant Programme and the $11million Tourism
Demand Subsidy Scheme.
Labour is committed to improving essential
infrastructure. There is a need to train and
educate the people who choose tourism
as a career option to be able to assess and
understand the need of the visitor in front of
them be it at a roadside caf, restaurant or an
adventure activity. The goal should be to for
every visitor experience to be a total quality
experience.
It was said that secondary schools, can play
a vital role in preparing students for careers
in the tourism industry, and links need to be
improved to further training.
The next Labour Government was said to
work closely with the Tourism sector establish
relationships and gain the trust of hapu and
iwi as their role in sharing their knowledge and
expertise is crucial in creating authentic Maori
visitor experiences.
A Labour-led government was said to continue
to support the tourism sector to target our
traditional and emerging markets, and use
research to seek innovative ways to attract the
high yield visitor to New Zealand.
Labours Tourism policy contains a pragmatic
and achievable mix of actions and ideas to
enhance and support the sector for both the
international and domestic markets, says
Tourism spokesperson Kelvin Davis.(Media
Statement, 2011)
Tourism has had a rough time over the last 18
months or so.
When it comes to tourism, government should
focus on the provision of:
- marketing and promotion via Tourism NZ,
and
- research where there are issues in the
provision of service(s) that are common to all.
According to Phil Go, the disestablishment of
a focused Ministry of Tourism and the removal
of a focused tourism research vehicle are
serious wind-backs of the tourism portfolio in
the past two years, therefore the next Labour-
led government was said to seriously look to
re-establish the Ministry of Tourism so that we
have an agency focussed exclusively on the
complex and varied needs of the sector.
Labour is committed to supporting tourism
and will demonstrate that
1. by ensuring that the next Minister of Tourism
will be a very high ranking Minister;
2. by giving serious consideration to the re-
establishment of a dedicated Ministry of
Tourism, focussed on the complex needs of the
industry;
3. by continuing to invest in policy and
research, infrastructure, marketing, Maori and
domestic tourism; by supporting Small and
Medium sized businesses;
4. by ensuring the Ministries of Immigration
and Education are working to support tourism
goals;
5. by ensuring our scal policies complement
tourism goals, and of course by cheering on
the All Blacks to an historic Rugby World Cup
victory.
27
VISION
The Green Party envisions an Aotearoa/ New
Zealand in which:
- People will choose holidays that enhance
their own lives and the lives of all of the other
species and communities with which we share
the planet.
- New Zealanders will develop a stronger
holiday close to home focus.
- Overseas visitors will choose to stay longer
and visit more parts of New Zealand.
- Visitors will be encouraged to show respect for
the natural beauty and heritage of Aotearoa/
New Zealand and to support our eorts to
preserve this.
KEY PRINCIPLES
- That we nd ways to ameliorate the impacts
of tourism on climate change and the
environment.
- That people coming to New Zealand for
holidays enjoy their experiences.
- That new Zealanders are encouraged to
holiday close to home.
SPECIFIC POLICY POINTS
Promoting Domestic tourism
- Direct Tourism New Zealand to encourage
domestic tourism.
- Develop a promotional campaign to
encourage people to get out into the great
outdoors.
- Support the ongoing development of distinct
reputations for particular regions.
- Support and promote schemes for domestic
tourists to learn organic farming skills.
- Ensure that tourism training includes strong
environmental and cultural components.
Managing the Pressure of Tourism
- Work with local authorities to resolve issues
with waste disposal.
- Establish a community development fund,
providing start up capital for ecologically
sustainable small businesses and community
enterprises.
- Develop domestic tourism and eco-tourism,
especially those based in less well known
locations.
Eco-tourism
- Support current initiatives by Department of
Conservation(DOC) to make available more
land for camping grounds.
- Require DOC to prioritise recreation over
tourism.
- Expand the nationwide network of cycle/
pedestrian trails.
- Promote rail as a great way to travel and seek
to make it more available and reliable.
- Take real action to reduce climate change and
its impacts on sensitive tourism destinations.
Maori Tourism
- Support a brandmark system to authenticate
tourism products and services based on
tikanga Maori.
- Include Maori tourism operators in all
initiatives relating to climate change and care
for the environment.
- Promote educational/cultural tourism.
Cultural tourism
- Support both local communities and the
tourism sector to protect at risk cultural and
historic landscapes and townscapes.
- Support a brandmark system to authenticate
tourism products and services based on NZ
cultural heritage, aligned with any similar
tangata whenua system.
Maintaining high standards
- Work with industry to develop a code of
practice and brandmark levels for eco-tourism.
- Develop workable and eective safety
standards and codes, particularly in relation to
adventure tourism.
- Ensure increased education on safety for
visiting tourists.
Green policies are designed to support a
transition to sustainability in all parts of our
economy. Eco-tourism needs support as part
of our commitment to ecologically sustainable
development. Tourism itself is putting strain
on some of our infrastructure and natural
areas, and needs to respond to this challenge.
Strategies for the tourism industry must
also recognise and address the risk to the
industry from diminishing nite resources and
accelerating climate change.
28
CONCLUSION
We need an integrated and strategic rethink
of our approach to tourism management. A
lot of Government activity is still focused
on getting more people into the country. We
need both a strategic overview and support for
communities, tourism operators and agencies
such as DOC and the Historic Places Trust to
assist and encourage them to maximise visitor
experiences.
Most fundamentally, tourism development
needs to be linked to the promotion of New
Zealand culture both here and overseas.
Tourism needs to be based on pride in our
identity and mutual respect between visitors
and hosts.
Lessons Learnt
The current Tourism Policy set up by the
National Party have considered Christchurch
as a case for detailed solutions. It is positive
to say that National has a policy which covers
alot of areas but in depth policies are needed
to build a stable tourism sector within the
country.
Ideas from the Labour Party and the Green
Party can be combined into National Partys
proposal for the construction of a seperate
policy aimed for the future of Christchurch.
Labour has made a proposal of working with
the education institutions and especially
secondary schools to promote career paths
towards the Tourism industry. In order to
train and educate these youngster to choose
hospitality or tourism as their career option.
This will surely generate alot of employment
opportunities within Christchurch while the
Tourism industry grows along side this.(Scoop,
2005)
It is also important to re-establish the Ministry
of Tourism and enhance the tourism research
vehicle for a better understanding of the
current situations of Christchurch.
The Green Partys promotion of holidays close
to home focus is desirable for Christchurch.
In order to retain regular visitor numbers.
Christchurch should start focusing on
increasing domestic travels to the city, and
promote longer stays in less well known
locations.(Green Party of Aotearoa New
Zealand, 2012)
The most signicant concept within their
policy is the idea of encouraging Eco-tourism.
Already dened in an earlier section, Eco-
tourism will work well in the current situation
of Christchurch where people could start to
realise the natural environment that surrounds
them and take their mind o the devastations
of post-disaster reconstruction.(Green Party of
Aotearoa New Zealand, 2012)
The integration of these policies are sure to
enhance the existing tourism structure of
Christchurch, Experience Economy will evolve
from these important points concluded on this
page by working with the educational and the
cultural industries.
5. Events
5.1 Christchurch Events Strategy
2007-2017
In order to enhance the Christchurch tourism
economy and keep up with the National
partys vision for the future of Christchurch,
it is crucial to examine the city council Events
Strategy created in 2007 and work parallel with
the Tourism Policy proposed for the current
Christchurch.(Christchurch city council, 2011)
Creating an Experience Economy in Christchurch | Economic Research | Events
To create what is suggested by Richard
and Palmer(2010) as the Eventful City,
Christchurch City Council has set up an
Events Strategy in 2007. There is strong
support from the Council to retain its current
role and responsibility for events. In general,
Christchurch has a range of existing events
that could, with careful management, grow
to an Icon scale. Currently, there are very
few events that attract a signicant number
of visitors to the city, this is one of the key
challenges that the Events Strategy sets out to
overcome. (Christchurch city council, 2011)
Christchurch City Council is one of the biggest
Council spenders on events in New Zealand.
The CCC is by far the biggest single source
of funding for events and festivals in the City,
spending in the order of $2.5M to $3M per
annum. (Christchurch city council, 2011)
This compares favourably with Auckland
($3Mto $3.5M) and Wellington ($2M to $2.5M).
Other key players include the Canterbury
Community Trust ($350,000 for 2005/06)
and a wide range of other organisations and
private sponsors such as Montana, Coca Cola,
Speights etc.(Christchurch city council, 2011)
The City is making a serious investment in
sports event seeding/bidding, the support
and development of established events and
research into event impact and t with expected
outcomes. (Christchurch city council, 2011)
Figure 5.1 demonstrates the visions of the
Long-Term Council Community Plan.
Key strategic issues need to be addressed by
the events strategy:
- Christchurch has a very good calendar of
community and arts-oriented events
29 Erica Austin
events are needed for Christchurch
- At least 1 or 2 new Icon events are needed for
autumn, winter and spring. One of these could
focus on Christchurchs garden theme and
image
- It is timely to develop event categories or an
events framework that cluster events with clear
performance criteria, against which planning
and funding decisions can be made. Councils
Icon/Community/Niche framework forms the
basis of this but needs to be extended across
the whole events sector.
- The proposed Four Seasons marketing
framework oers an ideal platform for
marketing and promoting the event calendar
- Summer is full of festivals and events. The
visitor industry is reluctant to support any
major event in this season but indicate strong
willingness to support new visitor-oriented
events in autumns, winter and spring.
- The recent amalgamation of Banks Peninsula
with Christchurch City is perceived to have
opened the door for the development or new
of the growth of existing events and festivals-
especially those that encourage active
participation. Existing roads and infrastructure
may naturally limit the scale of events that
could be staged in this area.
- Christchurch has one of the best mix of
venues for events/festivals in the country.
Better use could be made of these by growth
existing and attracting new events.
- Most Core Funded and In-House events in
the City has slowed over the last 3-5 years.
Figure 5.1

30
A Vision for Events in Christchurch
- Appropriate support for Christchurch to
achieve a leading position in events
- Using the proposed Four Seasons framework
as the central platform on which events should
take place
- Having a number of big events or festivals,
one for each season that would benet local
communities and draw visitors to Christchurch
- At least one of these events should be closely
linked to Christchurchs branding of New
Zealands Garden City
- Other big events should be based on
Christchurchs distinctive features (noted
as a bountiful countryside-harvest produce/
food and wine, Avon River, heritage buildings,
eccentric characters and individualism, Banks
Peninsula- a fantastic scenic playground
enabled through council amalgamation,
boutique city. (Christchurch city council, 2011)
Council Role
- More eective leadership, strategy and vision
- Greater funding assistance (bidding,
investment in growing existing events, being
responsive to new ideas and opportunities)
- More eective facilitation and support (within
Council group divisions and between Council
and other key agencies or organisations
airport, roads, CCM, national sports and event
bodies)
Above is a table of the Events Support
Framework set up by the Christchurch City
Council. This shows the current decision
making processes and event budget structures
within Council demonstrating the need for
important changes to achieve the vision,
goals and objectives of the Events Strategy.
(Christchurch city council, 2011)
The funding and support provided by the
council is base upon the assessed benets of
the events on the city as a whole. This events
support framework is needed so that the entire
sector can see what type of events can and
do take place in Christchurch and the type of
support Council can provide. This framework
can apply to all events including sports, culture
and arts. (Christchurch city council, 2011)
31
Source:
5.2 Learning from Successful Event
Precedents
After looking at successful global events, New
Zealand also has a variety of events that could
be learnt from in terms of creating economic
benets for the local economy. Auckland and
Wellington have the best examples.

Auckland
Auckland Night Market is New Zealands rst
genuine, permanent night market and the only
event open at night time for all ages to enjoy.
Located in the carpark, under The Warehouse,
at Westeld Pakuranga Plaza and the Gleneld
Westeld Shopping Center in Northshore.
(Auckland Night Market, 2011)
Both markets oer around 200 stalls with 70 to
80 amazing food stalls, arts and crafts, jewellery,
clothing, fashion accessories, mobile phones,
fresh produce and more, attracting over 10,000
visitors per night. Other features include free
live entertainment, cultural performers, clowns
and kids rides, fortune tellers, foot massage
and airbrush tattoos. (Auckland Night Market,
2011)
The night market was initially set up to target
the growing Chinese community in Auckland,
but turned out to be a successful weekly event
enjoyed by the wider community throughout
the city. Populating the existing carpark space
at night time became an advantage for the
stall owners meaning renting a stall space is
relatively cheap compared to renting an empty
shop. Small businesses are able to benet from
this as well as serving the entire community as
a whole. (Auckland Night Market, 2011)
Erica Austin
32
Wellington
Seen as the Cultural Capital is also the main
reason for a least one-third of international
tourists coming to Wellington. In 2009 it
injected up to $292 million into the city and
up to $583m of ow-on eects are accounted
for. The same year it also employed up to 5300
- a similar size to the transport and storage
industry.(Stu, 2011)
Wellington City Council spends more than $22
million a year on the arts, of which $6 million
is on tourism and marketing. It includes Te
Papa, other Wellington museums and public
galleries, the World of Wearable Art Awards,
the international and fringe festivals, Circa,
Downstage and Bats theatres.(World of
Wearable Art Ltd, 2011)
World of Wearable Art Awards is a two
hour show held annually in September in
Wellington, New Zealand. To an audience of
50,000 over a twelve show season. Each year
the Brancott Estate WOW Awards judges
select over 150 Garments created by designers
from all over New Zealand and around The
World to compete for close to $150,000 in prize
money.(World of Wearable Art Ltd, 2011)
The garment is transformed the showcased
on stage with stunning sets, dance, music,
lighting and world class choreography with
a cast and crew of more than 400. This major
event has generated massive economic
impact on the city. A new economic impact
assessment shows the event injected more
than $15.1 million of new spending into the
capitals economy. Thirty-two percent of that
went straight into the citys shops.(World of
Wearable Art Ltd, 2011)
Source:
33 Erica Austin
Another good example is the recent event of
the New Zealand International Arts Festival
held in Wellington. The New Zealand
International Arts Festival is New Zealands
premier cultural event and a leading multi-
arts festival in Australasia. The Festival has
an esteemed reputation among artists and
audiences for bringing the very best from
around the globe to Aotearoa, New Zealand
transforming Wellington into one of the
worlds great festival cities.(New Zealand
International Arts Festival, 2011)
The festival attracts an approximately 290,000
Attendances over 300 events. 930 artists
from 30 countries all over the world come
together for 24 days every 2 years to deliver
performances throughout the range of theatre,
dance and music, literature, lm and visual
arts. (New Zealand International Arts Festival,
2011)
Demonstrated on the next page is the Festival
Facts from the year 2010. Over 103,000 tickets
were issued with an estimated 185,000 people
attended one or more of the 65 free events,
predominately female. It is very interesting to
see 54% of audiences are aged between 40-59
years of age where only 5% of people aged 15
to 24 years attend the festival. (New Zealand
International Arts Festival, 2011)
In terms of economic impact, the 2010
International Arts Festival generated
almost $23.1 million in new spending in the
Wellington region and 324 full-time equivalent
positions in Wellington City were seen. It is
fair to conclude that a vibrant arts and culture
sector has the potential to make a signicant
economic contribution through a range of
mechanisms, including through tourism,
direct employment, and the liveability and
attractiveness of the city as a place to live. Source:
34 Creating an Experience Economy in Christchurch | Economic Research | Events
Source:
35 Erica Austin
Source:
36
PERFORMANCE CONFERENCE RESTAURANT/BAR
MUSEUM/GALLERY PARK AUDITORIUM
Figure 5.2

.
5.3 Distribution of Available Event
Venues
Evident on this page and the next, Figure 5.2
shows the eastern region of Christchurch had
to force a number of event venues to close
due to restoration and demolition processes,
including the badly aected Rawhiti Domain
in New Brighton.
Most events are held in Hagley Park, Riccarton
Racehouse and Addington Raceway. Available
outdoor park spaces are evenly distributed
across the city as sectors such as performance,
conference, theatre and function based event
purposes are more concentrated towards the
CBD region.(Be-There, 2007)
It is good to see that most recreational facilities
and community halls are not signicantly
damaged from the earthquakes.
37
THEATRE FUNCTION MEETING ROOM
RECREATION FACILITY COMMUNITY HALL HOTEL
Erica Austin
38 Creating an Experience Economy in Christchurch | Economic Research | Events
10.8% Capacity less than 100
65.2% Capacity between
100-500
23.9% Capacity more than 500
5.4 Event Venue Capacity and
Programmes
Figure 5.3 demonstrates the relationship
between all the available event venues and the
number of people they can accommodate as
well as the programmes they oer.
In the centre, all the event venues are listed
according to each neighbourhood ward.
Towards the left, the gradual increase in shade
of grey indicates an increased capacity. It is
evident that there is a large number of small
sized event venues with capacities less than
500 people.
On the right, the diagram continues with
various programmes listed along the outer
curve. It shows that Christchurch is current
lacking numbers of galleries and museums but
has a large number of outdoor event venues
as well as Function Rooms and Performance
Venues. Recreation Facilities and Auditorium
spaces also need great attention.
39 Erica Austin
3
28
8
2
13
21
20
29
22
6
24
23
Figure 5.3

40
2012 CHRISTCHURCH EVENTS CALENDAR
BY MONTH
41
5.5 2012 Christchurch Events
Calendar
Christchurch originally had a busy events
calendar before the major earthquake. The
city is trying its best to retain most of the
usual events and relocate them to sucient
venues. The 2012 events calendar clearly
shows all the events ranging from arts and
culture, community based markets, food and
wine festivals, major events to music and
performance, sports and kids activities.
The majority of events take place in late
summer and autumn. The calendar shows
events are mostly concentrated in March and
April with the well known Festival of Flowers, Le
Race and the National Concerto Competition.
Large events that last longer periods tend to
be art and music based events. Christchurch
is seen to be still full of community-oriented
events with weekly markets and quiz nights
spreading throughout the year and and a
smaller range of visitor-oriented events.
Music and performance based events are
evenly distributed throughout the year and a
lack of food related events in Christchurch is
concluded.
Currently, there are very few events that attract
a signicant number of visitors or tourists to
the city. A broader variety of events in the city
would invite dierent user and age groups
with dierent interests as a supplement to the
existing event structure. As the same issue
existed before the earthquake, Gehl suggested
having more events spread throughout the
whole year would be benecial.(2009) This is
an opportunity to review the Events Stratgey
visions made by the Christchurch City Council
and apply it to the current situation.
Figure 5.4

Erica Austin
42
KIDS SPORT
FOOD & WINE COMMUNITY WEEKLY
MUSIC & MAJOR EVENTS
COMMUNITY ARTS & CULTURE
43
Figure 5.5

Figure 5.4 demonstrates the event admission
price range and it is clear to see that most events
are free of charge with $20-$40 admission cost
being the second largest sector. Most events
are aordable which is an encouragement for
participation from the general public.
5.6 Christchurch Event Venues
Comparing Figure 5.5 illustrating the 2012
event locations in Christchurch with the
previous Figure 5.2, it is evident that most of
the major events, music and performance and
art events are taking place at these available
event venues. Community based markets
seem to be operating freely in outdoor spaces
and populating the streets.
The general trend of the eastern gap is still
apparent in Figure 5.5 which is consistent with
the amount of available venues in the eastern
region of Christchurch.
Major events are all held within the CBD area,
where other sectors tend to be more out spread
across the city.
Erica Austin
44
Source:

Source:

5.7 Bilbao Effect or Pop-up
Innovation
Pop-up Retail and Events
The notion of the pop-up trend is increasing
popular throughout the globe. Pop-up events
are seen to have better value for money than
running an advertising campaign. One of the
attractions of pop-ups for businesses is that
they can act as an informal, unacknowledged
market research project.(the Guardian, 2012)
Pop-up businesses give retailers other benets
which might not be immediately obvious to
the consumer. Its a chance to try out a new
store location, to see if the kind of people they
want to attract will start ocking there before
they invest in a permanent site. Manufacturers
can try out new products, new services, deliver
them direct to the customer, promote a new
brand, or try and re-invigorate an older brand.
Compared to opening a permanent site, pop-
ups are fairly inexpensive. For landlords
whose properties have been empty for a
while, these events are a great way to promote
their building, bring people ooding back in,
and perhaps get some free maintenance and
decorating work done too..(the Guardian, 2012)
In 2006, Nike opened a shop in New York for
four days, selling a special edition basketball
shoe at $250 a pair. There have been pop-up
projects that have opened for an hour, like Mary
Portas vintage clothes sale in 2008, and others
so successful that theyve eventually become a
permanent xture, such asTom Dixons Dock
Kitchen Restaurant in Portobello Dock in
west London. But what unites these disparate
projects is essentially a strong fascination with
the temporary, with the here-today-and-gone-
tomorrow, the idea of excitement, urgency
and a dynamic interaction with urban (and it
is usually urban) spaces. These are projects
that stand in opposition to clone towns, to the
idea of uniformity and unending drabness.(the
Guardian, 2012)
45
Source:

Folly for a Flyover
The London Olympics was mentioned in a
previous section with a long-term vision of
regenerating the Lea Valley. Here is a dierent
approach tackling the notion of event making
in London.
Creative Festival in East London created a
temporary cinema and event space from a
disused service station beneath a oyover in
Hackney. Crafted from recycled materials, this
pop-up idea acted as a viability test of the site to
suggest a future use of it.(Bush-king, 2011)This
project transformed the cavernous undercoft
where the motorway crosses th Lea Navifation
Canal, hosted a six week programme of
waterside cinema, performance and play. It
drew inuence from the surrounding red-
brick buildings of Hackney Wick, posing as
an imaginary piece of the areas past.(Folly
for a Flyover & Assemble CIC, 2011)With the
Olympics legacy projects in operation, MUF
Architecture identied various places with
potential for redevelopment, and this was a
way to see whether what the designers saw
as a possibility was matched in enthusiasm
by people living in the area. The results were
positive with locals and families enjoying the
activities.(Bush-king, 2011)
These examples are precedents where
Christchurch could learn from. Instead of
populating the available venues with over
crowded events, allowing pop-up events and
retailing innovatives to spread their business
throughout vacant sites of the city and bring
life back to the otherwise dead parts, re-
activating the city during Restoration and
Reconstruction phase. It is projects like
these that suggest a second phase of pop-
up, in their natural advantages, which can
be used to test ideas and to encourage a
fresh, uncompromised look in a place.(Bush-
king, 2011) What Christchurch need is not
another Bilbao Eect failure, but use this
opportunity to work with local residents,
and creative arts industries can contribute in
terms of regeneration of Christchurch and
increase the social impacts on communities.
Seen as a primary driver for the citys rebuild,
it can be a catalyst for attracting capital and
private investments back into the city, while
also creating employment opportunities.
Secondary sectors such as hospitality, food
services and retail shops can then be brought
back to ultimately revitalize the city as a whole.
A great idea is in operation at the moment, the
Gap Filler Initiative supported by Creative
New Zealand will be discussed later in this
section.
Erica Austin
46
Source:

6.1 Arts Voice Christchurch
The proposal of the draft plan by the
Christchurch City Council are seen to be
underway with projects slowly in construction.
The Arts Voice Christchurch organisation
made their submission to the Council
suggesting the adoption of the River of Arts
concept as their overarching framework to
foster arts as a primary driver for the rebuild
of Christchurch. Arts Voice Christchurch is an
organisation which represents and serves the
arts community and the purpose is to ensure
that the arts become an essential part of the
new city.(2011)
The projects underway are shown on the left
and the next page, where these are said to
be funded under the councils transitional
city budget of $14.1 million. (Arts Voice
Christchurch, 2011)
Issac Theatre Royal is being restored and hopes
to be open in late 2012, where performances
and music events could start populating the
venue.(Arts Voice Christchurch, 2011)
A new Music Performance Facility is
underway, sited in CPIT. As many homeless
arts organisations have found refuge at CPITs
Faculty of Creative Industries, Creative New
Zealand has decided to establish a vibrant new
creative hub on the edge of the cordoned CBD,
and this new performance facility is the start of
this establishment.(Christchurch Earthquake
Journal, 2011)
Creating an Experience Economy in Christchurch | Economic Research | Christchurch Art Scene
6. Christchurch Art Scene
47
Source
:

Erica Austin
48
Figure 6.1.

6.2 River of Arts
Along with what is proposed, the River of Arts
concept is at the heart of the submission by
Arts Voice Christchurch. The idea of the River
of Arts is based on a series of interconnected
arts-based initiatives and new spaces that
integrate the arts into the citys urban
fabric, one that relies on a co-ordinated and
collaborative approach by the arts community
and related industries and businesses in
Christchurch. (Arts Voice Christchurch, 2011)
Arts Voice sees the River of Arts concept as
a catalyst for attracting capital and private
investments back into the central city. A
chance for the city centre to be underpinned by
the availability of a vibrant range of activities
oered by the River of Arts will help draw
business investments back into the city. (Arts
Voice Christchurch, 2011)
The River of Art intends to ow through the
life and fabric of the city like a river. It is
targeted to work in juxtaposition to the inner
city grid system and in conversation with the
diagonal of High Street and all the associated
arts neighbourhood. (Arts Voice Christchurch,
2011)
Figure 6.1 illustrates the key themes which
underpin the basis of the River of Arts concept,
showing the relationships between Integration,
Co-location, Collaboration, Diversity and
Innovation, Engagement and Sustainability.
This is used to help maximise the potential
for artists to contribute to the social, cultural
and economic revitalisation of Christchurch
in the short and medium term and the citys
long-term potentials as a nationally and
internationally recognised city of arts.
The River of Arts oers the possibility for
associated retail, residential, hospitality and
industry to develop around it. Arts Voice
suggested the incorporation of this into
the transport policy, which includes mobile
galleries, interactive elements in trams and
bus interiors bring the river into life, owing
through the city, running northwest connecting
Hagley Park, Deans Bush, University of
Canterbury and the airport. Also moving
soutth east from Lancaster Park, Woolston and
through to Sumner. (Arts Voice, 2011)
Figure 6.2 on the next page is a River of
Arts map, showing it running though a
performance space in the Botanic Gardens,
through the Cultural Precinct, to the cultural
centre proposed by Ngai Tahu on the old King
Edwards Barracks site, intersecting with the
Avon by the Cambridge Terrace cycle-way
beside the Bridge of Remembrance, curving
round through to the Kathmandu site, through
that block to Tuam Street car park, where the
Art Circus project is about to set up. Keep
moving towards the South West hi-tech
campus through and beyond Christchurch
Polytechnic Institute of Technology(CPIT).
(Arts Voice Christchurch, 2011)
Several arts initiatives have already emerged
and are being supported by Creative New
Zealand, this includes the Gap Filler and
small pop-up music and visual arts venues
and events. An Events Village has been set
up in Hagley Park by the Christchurch City
Council to accommodate various arts festivals.
There is an unprecedented opportunity for
the arts to be at the frontline of rediscovering
the city and oering the wider community the
chance to participate in the regeneration of
Christchurch. This is a chance to propose a
series of connected initiatives for the southern
city area that would link with the river concept.
(Arts Voice Christchurch, 2011)
49 Erica Austin
Figure 6.2.

50
Source:

6.3 Gap Filler Initiative
One of the best projects set up after the
earthquakes is undoubtedly the Gap Filler
Initiative. This project is a creative urban
regeneration initiative started in response to
the September 4, 2010 Canterbury earthquake,
and revised and expanded in light of the more
destructive February 22, 2011 quake.(Gap
Filler, 2011)
Gap Filler aims to temporarily activate vacant
sites within Christchurch with creative projects
for community benet, to make for a more
interesting, dynamic and vibrant city. Gap
Filler see vacant sites awaiting redevelopment
as a result of the many earthquakes or otherwise
utilised for temporary, creative, people-centred
purposes.(Gap Filler, 2011)
Working with local community groups, artists,
architects, landowners, librarians, designers,
students, engineers, dancers.Gap Filler is
temporary in nature, seeking to activate vacant
sites for relatively short periods, to demonstrate
that the city can grow in important ways
without large capital expenditure or major
construction. Gap Filler projects can pop up
as spaces become available around the city. All
projects will be able to occupy or vacate a site
quickly.(Gap Filler, 2011)
An unfortunate issue is that the projects are
being restricted by the number of property
owners who have decided to turn empty lots
into car parks.(Christchurch Transport Blog,
2012) Projects are struggling to nd suitable
sites as what is described as the economic
realities of the current situation. What this
concludes is people should be more aware
of the long-term revitalisation vision in
Christchurch. (Gap Filler, 2011)
51
6.4 The Arts Circus
The Arts Circus is seen as one of the main
projects listed on the Councils proposal. As
an arts and entertainment-based project, it
is part of the Transitional City concept to
bring immediate life to Christchurch through
unique performances, retail and entertainment
development and said to be operational by late
2012 setting up on Tuam St. (Parker, 2011)
Arranged around various scaled marquees
and transformable structures, the Arts Circus
will house a range of art forms and diverse
entertainment.(Parker, 2011) Before the
earthquakes, there were many artists and art
related businesses around this chosen site
which were severely aected and many of
these artists were displaced from their original
studios and workspaces. The Art Circus
intends to provide these people with venues
and work opportunities.
Currently, the Events Village in Hagley Park
has given a boost to the city, providing a
gathering space and events venue for people
of Christchurch. But given its location, tourist
found it dicult to orientate themselves.
The Arts Circus will move beyond this
Events Village and engage with the actual
city environment as the rebuild process is
underway. (Parker, 2011)
Dr George Parker from University of
Canterbury wrote that instead of just acting
as an events hub, it would also intregrate
new and innovative events in relation with
other initiatives arising during the rebuild
process of Christchurch.(Parker, 2011) The
location of the Arts Circus sits within walking
distance from EPIC (Enterprise Precinct
The aim should be to lose the divisions
and prejudice of the past, maintain the
collaborative ethos that emerged in the
immediate aftermath of the earthquakes
and embrace the transitional for the
extraordinary opportunity it provides.
----Dr George Parker, 2012.
and Innovation Campus) where there will be
potential cross-overs between the arts and the
hi-tech industries.
Mentioned in the previous section, the River of
Arts concept is based within the City Centre,
but as a starting point, the Arts Circus could
trigger a need for the arts to develop outside
the City Centre, which will have potential to
extend and connect to the Airport and also
towards Sumner and Lyttelton.
Though the Arts Circus is said to be a agship
temporary project, it has potential to turn into
a permanent heart of arts and entertainment
and form a distinctive neighbourhood which
will work in conversation with the Cultural
Precinct.(Parker, 2011)
Source:

Erica Austin
52
Cities around the world develop and utilise
cultural events to achieve a range of objectives:
economic, social, political and cultural.
Christchurch is at its crucial point at realising
the importance of creating an Experience
Economy which involve these aspects. The
following potential opportunities are obtained
from this research to full the integration of
events into the citys urban fabric which act as
a catalyst to generate an economic strategy to
support the recovery of Christchurch based on
its dreams of becoming an Experience City
and whether the use of events and its relevant
architectural demands will help reactivate the
city.
1. Learning from successful eventful cities
around the world, Christchurch have an
opportunity to create its own eventfulness
through combining the its existing Tourism
Economy and Symbolic Economy to construct
an Experience Economy within the city.
2. Christchurch need to start planning beyond
the general events programme, and target
regular visitors and attracting them back to
the city, the Experience Economy can start
to develop outside tourism zones and less
familiar areas can cater for the demands of
some segments of the visitor population.
3. The slight decrease of New Zealands
tourism share of GDP is a clear indication of
the need to strengthen this economic sector.
Through the examination of tourism policies
from dierent parties, it concludes the country
needs to have a strong emphasis on bringing
tourists and visitors back into the country,
especially the asian crowds and retaining the
numbers. Christchurch can take this chance
to bring forward the idea of Eco-tourism into
the picture which acts as a supplement to the
experience aspect.
4. There are very few events that attract a
signicant number of visitors or tourists to
the city. A broader variety of events in the city
would invite dierent user and age groups
with dierent interests as a supplement to the
existing event structure. This suggests the
development of 2 or 3 major visitor-oriented
events that focus on the distinctive features of
Christchurch.
5. Winter, autumn and spring events are
needed to ll gaps in the event calendar and be
supported by the visitor industry. The creation
of visibility of attractions or events within
the urban fabric and level of permeability of
creative enterprises for the consumer is crucial.
6. Accommodation numbers in Christchurch
need to be restored in order to serve the visitor
demands. Working with other sectors e.g. food
services, available venues for events and retail
elements to support the experience tourism.
7. Pop-up projects can suggest a second phase
of pop-up, it can be used to test ideas and to
encourage a fresh, uncompromised look in
a place. By working with local residents, and
creative arts industries, these projects can start
to re-activate vacant sites during Restoration
and Reconstruction Phase.
8. Enhance and build on the basis of the River
of Arts concept, There is an opportunity for
the arts to help rediscover the city and oering
the wider community the chance to participate
in the regeneration of Christchurch. This
is a chance to propose a series of connected
initiatives, like the Gap Filler project, that
would link with the river concept.
7. Potential Opportunities
Creating an Experience Economy in Christchurch | Economic Research | Potential Opportunities
53
Books
1. Carta,M. (2007). Creative city : Dynamics, Innovations, Actions. Barcelona: LISt Laboratorio Internazionale Editoriale.
2. Smith, M. K. (Ed.). (2007). Tourism, Culture, and Regeneration. Wallingford, Oxfordshire, U ; Cambridge, MA : CABI Pub.
3. Richard, G. & Palmer, R. (2010). Eventful Cities: Cultural Management and Urban Revitalisation. Oxford: Butterworth-Heinemann.
4. Pine, B. J. & Gilmore, J.H. (1999). The Experience Economy: Work is Theatre & Every Business a Stage. Boston: Harvard Business School
Press.
5. Klingmann, A. (2007). Brandscapes: Architecture in the Experience Economy. Cambridge, Mass.: MIT Press.
6. Inverarity, J. L. (1993). The Eco-Tourism Industry. Research study (BPlan)--University of Auckland.
7. Kemp, R.L. (Ed.). (2004). Cities and the Arts : a Handbook for Renewal. Jeerson, N.C: McFarland & Co.
8. Radich, A.J. & Schwoch, S.(Eds.). (1987). Economic Impact of the Arts: a Sourcebook. Denver, Colo : National Conference of State Legislatures.
9. Rowe, P. G. (2006). Building Barcelona: a Second Renaixenca. Barcelona: Barcelona Regional: ACTAR.
10. Guasch, A. M. & Zulaika, J. (Eds.). (2005). Learning from the Bilbao Guggenheim. Reno, Nev.: Center for Basque Studies, University of
Nevada, Reno.
11. Landry, C. (1996). The Art of Regeneration: Urban Renewal Through Cultural Activity. Stroud: Comedia.
12. Williams, D. (1995). Creating Social Capital: a Study of the Long-term Benets from Community Based Arts Funding. Adelaide, S. Aust. :
Community Arts Network of South Australia.
13. Penne. R. L., Jordan, F., & Balfe, K. (1986). Arts Spaces and Economic Development: Experience in Six cities. Washington, D.C.: Partners for
Livable Places.
14. Smith, C. (1998). Creative Britain. London: Faber.
15. Snapshot: Aucklands Creative Industries: Understanding Our City. (2005). Auckland, N.Z.: Auckland City.
16. Dobbins, M. (2009). Urban Design and People. Hoboken, N.J.: Wiley.
17. Gehl, J. (2010). Christchurch 2009 : Public space, Public life. Christchurch, N.Z.: Christchurch City Council.
18. Gehl, J. (2010). Cities for People. Washington, DC: Island Press.
Articles
1. Nowak, J. (2007). Maximizing the Creative Sector in Cities. Urban Land, 66(4),136-139.
2. Greco, J. (2007). Banking on the Arts. Planning, 73(2), 12-17.
3. Parr, L. (2009). Regeneration: Feeling the Strain in Europe. Urban Land, 68(10), 73-77.
4. Bush-King, S. (2011). Assemble a Folly in a Floyover. Mark: Another Architecture, (35), 34-35.
5. Bullivant, L. (2011). A Message to Transform urban Futures: Everything Fits Here but Not Everything Goes. Architectural Review, 229(1368),
23-24.
6. Long,K. (2002). Its Ocial: Star Architects can Revive Flagging Cities. World Architecture, (106), 12.
7. Egan, N. & Nakazawa, P. (2003). Starchitecture. Urban Land, 62, 11-12.
8. Houstoun, L. (2009). Unexpected Parks in Public Spaces. Urban Land, 68(10), 100-103.
9. Waite, D. (2009). Short-Term Fixes, Long-Term Cures. Urban Land, 68(10), 61-67.
10. Fawceet, E. & Jones, N. (2011). Topos, (75), 72-77.
8. Economic Research Bibliography
Erica Austin
54
Websites
Stats:
1. Statistics New Zealand.(2011) Retrieved from http://www.stats.govt.nz/
2. Ministry of Economic Development. (2011). Tourism Data Domain Plan. Retrieved from http://www.med.govt.nz/sectors-industries/
tourism/tourism-research-data/tourism-domain-plan
3. Local Government New Zealand.(2010) Tourism Symposium: The Earthquake and Beyond. Retrieved from www.lgnz.co.nz
4. Ministry of Economic Development. (2011). Tourism Research and Data. Retrieved from http://www.med.govt.nz/sectors-industries/
tourism/tourism-research-data
5. New Zealand National Party.(2011) Tourism Policy. Retrieved from www.national.org.nz
6. Christchurch city council.(2011) Events Strategy 2007-2017. Retrieved from http://www.ccc.govt.nz/
7. Canterbury Development Corporation.(2012) Christchurch Economic Development Strategy. Retrieved from www.cdc.org.nz
8. Tourism Industry Association New Zealand.(2012) Local government and the Visitor Industry. Retrieved from http://www.tianz.org.nz/
9. Folly for a Flyover & Assemble CIC.(2011) Retrieved from http://www.follyforayover.co.uk/about/
10. Green Party of Aotearoa New Zealand .(2012) Tourism Policy. Retrieved from http://www.greens.org.nz/policy/tourism-policy
11. Scoop.(2005) Labour Tourism Policy. Retrieved from http://www.scoop.co.nz/stories/PA0508/S00615.htm
Events:
1. Museum News.(2006) Bibao Eect. Retrieved from http://www.scholars-on-bilbao.info/chas/MUSEUM_NEWS_The_Bilbao_Eect.pdf
2. Renew Newcastle.(2012) Retrieved from renewcastle.org
3. Jamfactory. (2012) Retrieve from www.jamfactory.com.au
4. Be-there.(2007) Retrieved from www.bethere.co.nz
5. Gap Filler.(2010) Retrieve from http://www.gapller.org.nz/
6. Christchurch Transport Blog.(2012) A Sea of Car Parks Taking Shape. Retrieved from http://chchtransport.wordpress.com/2012/03/01/a-
sea-of-car-parks-taking-shape/
7. Stu.(2012) Gap Filler Struggles for Activity Sites. Retrieved from http://www.stu.co.nz/the-press/news/christchurch-
earthquake-2011/6502349/Gap-Filler-struggles-for-activity-sites
8. London 2012.(2012) Post Olympic park-Legacy after the Games. Retrieved from http://www.london2012.com/legacy-after-the-games
9. The New Zealand International Arts Festival.(2011) Retrieved from http://festival.co.nz
10. World of Wearable Arts.(2012) Retrieved from http://www.worldofwearableart.com/
11. Parker, G.(2011). Munich yields concept for Christchurch Arts Circus. Retrieved from http://www.stu.co.nz/the-press/opinion/
perspective/5804313/Munich-yields-concept-for-Christchurch-Arts-Circus
Creating an Experience Economy in Christchurch | Economic Research | References
55 Erica Austin
C. Urban Strategy
This chapter intends to draw together the
potentials suggested at the end of the Economic
Research chapter working with ideas drawn
from a visit to Christchurch and develop an
urban strategy which supports Christchurchs
proposed city plan through event making and
the creation of an Experience Economy.
The decision to focus primarily on the vacant
sites available is base on the opportunity to
utilise these and work in conversation with the
previously identied event venues and various
existing amenities distributed around the city
through initiatives such as the Gap Filler.
As widely reported, the Gap Filler initiative
has started to populate vacant sites within
Christchurch and this chapter is looking
for ways to populate other vacant sites with
similiar grass-root projects to stimulate areas
during the rebuild process.
In order to understand the current demolition
situation, just within the City Centre, more
than 1400 buildings are coming down.
(Rebuild Christchurch, 2012) This chapter
begins with a detailed map of all the vacant
sites from demolished buildings with the
Christchurch boundary according to its land
titles. This information was drawn from the
CERA(Canterbury Earthquake Recovery
Authority) website accurate to the date of 9th
May, 2012. (CERA, 2012)
A network or trend started to emerge. Nine
regions are chosen for comparison, excluding
the City Centre area. The reason for this
exclusion is that the City Centre will surely be
the rst to develop as it was already taken into
account in the Transitional City concept. In
consideration that the Experience Economy
should also develop outside the City Centre,
an urban analysis is made to compare these
various regions so less familiar areas can cater
for the demands of some segments of the
visitor population.
These nine regions are ranked by dierent
shades of blue, indicating how great a specic
region could become a potential Event Hub
or Corridor working with existing green
spaces, community focal points, available
accommodation, event venues and the vacant
site network that this chapter has originally
established. The darker the colour, the greater
the potential for development.
Additional analysis involves identifying
various factors, such as the percentage of
vacant site areas within a region compared to
the total vacant site area of Christchurch, the
amount of community focal points it relates
to, the number of available hospitality facilites
and guest accommodations within a specic
region, capacity of event venues and outdoor
green spaces, and also considering the number
of suburbs it aects. The conclusion does not
only provide us with the greatest potential
regions, it also enables a better understanding
of where further development or enhancement
is needed within a certian region.
After a visit to Christchurch, a general
understanding of the current art scene was
feed into the next stage of the urban strategy.
As part of this thesis on the generation of the
Experience Economy in Christchurch and how
events can attract people and business back
to the city, a Temporary Architecture Festival
will take place in late 2012 which requires a
very careful curation process. This will be
working in collaboration with a New Centre
for Architecture, which is currently forming
in Christchurch directed by an Architectural
Historian, Jessica Halliday. The initial
curation involves identifying potential vacant
sites that are usable within the City Centre
working in conversation with the proposed
River of Arts and Gap Filler locations to bring
life back to the city and involve the community
in the construction of a sense of place and
community.
Three possible scenarios of how this festival
could populate the City Centre demonstrate
the rst step of the curation. This festival will
act as a seed in the vital Transitional City
phase of the draft Christchurch City Plan to
test out ideas and involve the community in
the creation of the Experience Economy in
Christchurch and encourage Organic Growth
of the city. Keeping in mind that this urban
strategy is not aiming to provide an end
product but as a catalyst allowing the city to
grow on its own with innovative temporary
ways that will aid immediate re-occupation and
revitalisation and start to construct encounter
between people, creating a collective memory
and leaving a trace of an experience foorprint
on the city.
Dont consume space but contribute to it.
---- University of Sydney urban design lecturer
Lee Stickell, speaker at the Tools for the
Transitional City meeting
56
5
kilometres
0 2.5
Christchurch Airport
Vacant Sites from Demolished Buildings
LEGEND
Creating an Experience Economy in Christchurch | Urban Strategy | Emerging Network
1. Emerging Network
1.1 Vacant Sites
57
5
kilometres
0 2.5
Community Focal Points
Available Indoor Event Venues
Available Outdoor Event Venues
Vacant Sites from Demolished Buildings
Emerging Network of Vacant Sites
Emerging Network of Event Venues
LEGEND
Erica Austin
1.2 Relation to Amenities
58 Creating an Experience Economy in Christchurch | Urban Strategy | Emerging Network
1.3 Urban Analysis
Vacant Sites

Emerging Network

59 Erica Austin
Community Focal Points

Available Outdoor Event Venues

60 Creating an Experience Economy in Christchurch | Urban Strategy | Emerging Network
Vacant Site Density

Aected Suburbs

61 Erica Austin
2. Potential Regions
1
2
3
4
5
6
7
8
9
62 Creating an Experience Economy in Christchurch | Urban Strategy | Potential Regions
Riccarton - Wharenui
Avonside Aranui
Merivale Papanui
Woolston West Ferrymead
Rawhiti New Brighton
Sydenham Beckenham
Waltham Ensors
Mt Pleasant Sumner
Heathcote Valley Lyttelton
2.1 Breakdown of Potential Zones
63 Erica Austin
Riccarton - Wharenui Avonside Aranui Merivale Papanui
Woolston West Ferrymead Rawhiti New Brighton Sydenham Beckenham
Waltham Ensors Mt Pleasant Sumner Heathcote Valley Lyttelton
2.2 Comparison Analysis
64
VACANT SITE TOTAL AREA: 27052 sq m (4.3%)
BUILDING FOOTPRINT: 9.7%
EVENT VENUE TOTAL AREA: 2047919 sq m
EVENT VENUE TOTAL CAPACITY: 5180
AVAILABLE ACCOMMODATION: 58
COMMUNITY FOCAL POINTS: 2
AFFECTED SUBURBS: 19
AFFECTED SUBURBS : 19 : 19 : 11
VACANT SITE TOTAL AREA:19062 sq m (3.1%)
AFFECTED SUBURBS: 10
AFFECTED SUBURBS: 7
VACANT SITE TOTAL AREA: 18293 sq m (3%)
AFFECTED SUBURBS: 6
AFFECTED SUBURBS: 3
AFFECTED SUBURBS: 6
AFFECTED SUBURBS: 6
VACANT SITE TOTAL AREA: 24912 sq m (4%)
AFFECTED SUBURBS : 3 : 3 : 3
VACANT SITE TOTAL AREA
EVENT VENUE TOTAL AREA
EVENT VENUE TOTAL CAPACITY
AVAILABLE ACCOMMODATION
COMMUNITY FOCAL POINTS
0%
1%
2%
3%
4%
5%
5000
0
4000
3000
2000
1000
2000000
1000000
1500000
500000
0
0
10
20
30
40
50
2
1
0
RICCARTON- WHARENUI MERIVALE - PAPANUI AVONSIDE - ARANUI RAWHITI - NEWBRIGHTON MT PLEASANT - SUMNER HEATHCOTE VALLEY - LYTTELTON WOOLSTON WEST - FERRYMEAD WALTHAM - ENSORS SYDENHAM - BECKENHAM
Creating an Experience Economy in Christchurch | Urban Strategy | Potential Regions
65
1. Riccarton - Wharenui
2. Avonside Aranui
Erica Austin
19 Aected Suburbs
11 Aected Suburbs
2.3 Potential Regions Analysis
Building Footprint
Building Footprint
66
4. Woolston West Ferrymead
3. Merivale Papanui
10 Aected Suburbs
7 Aected Suburbs Building Footprint
Building Footprint
67
6. Sydenham Beckenham
5. Rawhiti New Brighton
Erica Austin
6 Aected Suburbs
6 Aected Suburbs
Building Footprint
Building Footprint
68
7. Waltham Ensors
8. Mt Pleasant Sumner
6 Aected Suburbs
3 Aected Suburbs
Building Footprint
Building Footprint
69
9. Heathcote Valley Lyttelton
Erica Austin
3 Aected Suburbs Building Footprint
70 Creating an Experience Economy in Christchurch | Urban Strategy | Temporary Architecture Festival Curation
3. Temporary Architecture Festival Curation
Connection to River of Arts
Emerging Network
Vacant Sites
Building Footprint
Land Titles
3.1 Temporary Architecture Festival
Overview
A Festival of Temporary Architecture is
planned for Christchurch with an opening
night on 20th October 2012.
As part of this thesis, a curation and
organisation process of this festival will be
included. The festival will mainly be one to
one student projects from various Tertiary
Inistitues across New Zealand and potential
participants from Univeristy of Sydney.
Disciplines include architecture, urban design,
spatial design, landscape and lm, etc.
The initial approach to this curation is to
identify usable vacant sites within the City
Centre, and making connections to the River
of Arts concept.
The key notion is to explore the idea of this
pop-up, temporary event and its eects on the
city as a whole. The accommodation sectors
will surely be boosting during the entire
planning and execution of this festival.
A long term strategy will be developed
simultaneously as to how the sites will be
utilised afterwards.
71 Erica Austin
3.2 Connection to River of Arts
3.3 Flow of the Arts
Signicant changes to how the River of Arts
should ow through the city is demontrated on
the right. By working with the existing grain
of Christchurch and Gap Filler sites, three
scenarios of how the festival could populate
the City Centre is proposed.
Figure 3.1
3.4 Scenario One
- Link to the Culture Precinct.
- Working in conversation with the Avon River.
- Close to Cathedral Square.
- Close to Issac Theatre Royal which is said to
be reopening late 2012.
73 Erica Austin
Figure 3.2

Figure 3.3

Figure 3.4
3.5 Scenario Two
- Focus along High Street.
- Connection to CPIT
- Working in relation to the Arts Circus Site.
- Near the ArtBox Project.
- Working collaboratively with the Gap Filler
Initiative.
75 Erica Austin
Figure 3.5

Figure 3.6

Figure 3.7
3.6 Scenario Three
- In Consideration that the Red Cordon Zone
will not be opened at the time of the Festival.
- Working around the Fringe of the Red Cordon
Zone.
- Connection to CPIT.
- Working collaboratively with the Gap Filler
Initiative.
77 Erica Austin
Figure 3.8

Figure 3.9

78
4. Urban Strategy Bibliography
Websites
1. Canterbury Earthquake Recovery Authority CERA. (2012). Demolitions. Retrieved from http://cera.govt.nz/demolitions/list.
2. Rebuild Christchurch. (2012). A Temporary Long-term Solution. Retrieved from http://www.rebuildchristchurch.co.nz/blog/2012/5/stu-co-nz-a-
temporary-long-term-solution.
Interviews
1. Coralie Winn, Gap Filler Initiative.
2. Ryan Reynolds, Life in Vacant Spaces.
3. Andrew Just, ArtBox (F3 Architect).
4. Dr. George Parker, the Arts Circus (University of Canterbury)
5. Jason Mill, the Arts Circus (Christchurch Architect)
6. Jessica Halliday (Architecture Historian)

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FUTURE CHRISTCHURCH:

1. The Experience Economy

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