Niho taniwha: Communicating tsunami risk - A site-specific case study for Tūranganui-a-Kiwa - Jo Bailey
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Niho taniwha: Communicating tsunami risk A site-specific case study for Tūranganui-a-Kiwa An exegesis presented in partial fulfilment of the requirements for the degree of Masters of Design at Massey University, Wellington, New Zealand. Harmony Repia 2018
Niho taniwha: Communicating tsunami risk A site-specific case study for Tūranganui-a-Kiwa
To my daughter, thank you for your love and patience.
Whakapapa
Ko wai au
I te taha o toku papa
Ko Titirangi te Maunga
Ko Uawanui-a-Ruamatua te Awa
Ko Horouta te Waka
Ko Te Aitanga-a-Hauiti te Marae
Ko Ruakapanga te Whare
Ko Ngati Porou te Iwi
Ko Harmony Repia toku ingoa.
Figure. 1
Uawa
0607
08
Acknowledgements
Acknowledgements
Specials thanks to my supervisors Jo Bailey
and Tristam Sparks for your guidance and
immense support. I will value the knowledge
you have shared with me for the rest of
my design practise. I would also like to
acknowledge my whanau and friends who
encouraged me every step along the way.
And lastly thank you to all of the participants
who shared your knowledge and expertise
with me, aroha nui.
Terms that are italicised are explained in
the Glossary section of this exegesis on
page 89.
0910
Contents
13 Abstract 83 Conclusion
Introduction 87 Speculation
17 A joint venture
89 Glossary
17 Cultural context
18 Research aims 91 References
95 Appendix
Risk communications
21 What is risk communication?
22 Risk communications in Aotearoa
Human-Centred Design
27 What is Human-Centred Design?
27 Methodology
Kaupapa Māori Theory
31 Indigenous knowledge
33 Mātauranga Māori
Design Process
37 Section one: Discover
41 Section two: Define
54 Section three: Develop
71 Section four: Deliver
00 Deliver
1112
Abstract
Abstract
For some people living in Tūranganui-a- Disaster Research (JCDR) have identified
Kiwa, tsunami are recognised as a natural that the population needs to respond
hazard that could threaten the entire East with urgency to natural warning signs (one
Cape region at any time. However for most, being an earthquake) rather than assuming
an ethnographic study of local residents an official warning will come through
reveals high levels of complacency within formal Civil Defence channels. There is
the Gisborne urban community when it also a need to raise tsunami awareness by
comes to being aware and prepared for understanding what influences tsunami
tsunami risk. preparedness in communities.
A recent study by Dhellemmes, Leonard The tangata whenua of Tūranganui-a-Kiwa
& Johnston (2016) was conducted along hold various bodies of knowledge that
the East Coast of the North Island of can contribute to our society and future
Aotearoa to explore the changes of risk management . Māori oral traditions
tsunami awareness and preparedness are often mapped to the whenua and
between 2003–2015. Results from this anchored in our genealogies, which as
study revealed coastal communities King, Goff & Skipper (2007) explain
including Tūranga had low levels of enables the transfer of knowledge
tsunami awareness and high expectations down through the generations. The
of receiving a formal warning before method of acknowledging the contextual
evacuation (Dhellemmes, et al. 2016). location of Tūranga is crucial in
understanding the community’s need to
As a result Geological and Nuclear raise tsunami awareness for their own iwi,
Sciences (GNS) with the Joint Centre for hapū and whanau.
13Abstract
This process proposes that by allowing the
community to share responsibility for their
response to an unfolding crisis, it opens up
new opportunities to raise awareness. This
design-led research explores how Human-
Centred-Design (HCD) methodology
underpinned by Mātauranga Māori
principles can contribute new ways of
designing novel tsunami communications
for Tūranganui-a-Kiwa. This project intends
to create a site-specific work based on
an extensive community-based design
process.
Figure. 2
Tūranga
14Abstract
15Introduction Figure. 3 (Top) Figure. 4 (Bottom) Tūranga Waikane beach Tūranganui river 16
Introduction
Introduction
A joint venture
In 2017, scholars from the Joint Centre for that have been triggered by local and
Disaster Research (JCDR) and Geological distant earthquakes. An example of this
and Nuclear Sciences (GNS) identified was the Kaikoura 2016 earthquake that
that the public do not sufficiently triggered a tsunami warning for the East
understand tsunami risk. In particular, Cape. While the community of Tūranga
there is little awareness regarding the live with the awareness of our vulnerability
three different types of tsunami; local, to tsunami, often we expect the warnings
regional and distant and that each type sent by Civil Defence and the media will
requires a differing response and warning provide us with enough information and
communication method. For example the notice to protect our whanau, hapū and iwi.
shake is the warning for a local tsunami Therefore I have a huge appreciation for
and immediate action should be taken to systems that communicate warnings across
get to higher ground. In response to these Aotearoa. I was selected as the Master of
findings, JCDR and GNS set up a research Design candidate to carry out this research
project where a Master of Design student and embraced the opportunity to focus on
and a Master of Communication student my own community, Tūranga, which is a
could both explore new communications part of the wider region Tūranganui-a-Kiwa,
of tsunami risk and warning systems for a place I consider my tūrangawaewae.
Aotearoa. This is the Masters of Design
response to that project.
I was drawn to this research because of my
own experiences with tsunami warnings.
Over the years Turanganui-a-Kiwa has
experienced multiple tsunami warnings
17Introduction Cultural context Tūranganui-a-Kiwa is the original place own iwi, hapū and whanau. Research into name for the Gisborne area, otherwise the nature of our whenua, particularly known as Poverty Bay. There are different the Hikurangi Subduction Zone, strongly explanations of how Tūranganui-a-Kiwa indicates the severity in which a tsunami derived its name, but according to Tūpara may affect Tūranga, and the importance (2005) one account refers to Kiwa, an of understanding and preparing for this ancestor from the Tākitimu waka, who potential event. waited for the arrival of the Horouta. The arrival took so long that Kiwa named the final landing place the “long waiting place Research aims of Kiwa” or “the standing place of Kiwa”. The four main iwi that occupy this area King, Goff & Skipper (2007) suggest are Te Aitanga-a-Māhaki, Rongowhakaata, that by allowing the community to Ngai Tāmanuhiri and my own iwi Te share responsibility for their response Aitanga-a-Hauiti. It is important to to an unfolding crisis, it opens up new understand the specificness of this whenua opportunities to raise awareness. I because the tangata whenua who live here see huge potential to bring together hold various bodies of knowledge that government entities, JCDR and GNS could inform a risk management strategy with the community of Tūranga into a and design response pertinent to the local meaningful and collectively-oriented context, thereby contributing to our society project. My research aims to uncover a solution more likely to resonate with the this potential, and perhaps also offer community. The method of acknowledging approaches and working methods for other the contextual location of Tūranga is researchers in the future. I am interested crucial in understanding the community’s in exploring traditional Mātauranga Māori needs to raise tsunami awareness for their 18
Introduction
and Māori values to improve natural hazard Section 3.0 A Māori cultural base that
communications for Tūranga. This project underpins the project’s key values, and
aims to respond to the research question: principles that have informed the decisions
made through the design process.
How can Mātauranga Māori produce a
meaningful and relevant narrative to Section 4.0 The design process and the
enhance community conversations that final design outcome.
raise awareness of tsunami risk and
inform new tsunami communications for
Tūranganui-a-Kiwa?
In order to unpack this question, this thesis
has been broken down into four key
components that informed the project's
scope, methods and context. The design-
led research will explore:
Section 1.0 Risk communications in
Aotearoa to develop an understanding of
current communication methods.
Section 2.0 Human-Centred Design
methodology and the process of co-design
that was used to build empathy with my
community and reveal the underlying
problems affecting tsunami awareness and
preparedness in Tūranga.
19Risk communication Figure. 5 Wallace, L,. (2014). Tectonic setting of the Hikurangi Subduction Zone 20
Risk communication
Risk communication
What is risk communication?
Risk communication is the intersecting using scientific methods of analysis and
point where practical management, then communicate the risk directly to the
policy making and social communication public (Boholm, 2008). But the problem
meet (Boholm, 2008). The aim of risk with this approach is the disconnect
communication is: between how the public interpret and
analyse risk information which forms their
“To inform and educate the public about own perceptions about any identified risks
risk and risk management” (Boholm, around them. This in turn contributes to
2008). their decision making and behaviour. Slovic
(p. 5-8, 1986) describes four key problems
Such communication is used to build that affect public risk perceptions:
knowledge and awareness around specific
risks in order to influence attitudes 1. People’s perceptions of risk are often
and behaviours of the public that inaccurate
inform decision making required within
2. Risk information may frighten and
emergency situations.
frustrate the public
Traditionally risk communication was 3. Strong views are hard to modify
perceived to be a distinction between
the expert and the public, scientific data 4. Naive views are easily manipulated
versus social values and people who make through presentation
decisions as opposed to those affected
by them (Boholm, 2008). Experts in this Together these risk perceptions highlight
scenario are the regulators, and scientific the need to shift away from a technocratic
experts who assess the risk of disaster approach to a collaborative learning
21Risk communication
approach by interacting with the public • Reduction: The first stage aims to
(Boholm, 2008). Ortwin Renn (2006) as reduce the likelihood and potential
cited by Kellens, Terpstra, & De Maeyer impact of a disaster occurring.
(2013) discusses that risk communication
has evolved to focus on enhancing • Readiness: The second stage
conversations between experts and the encourages people to undertake
public to develop a shared understanding activities to prepare for a disaster e.g.
and response toward risk. This strategic having a survival kit or emergency
shift can be applied to a diverse range plan.
of risk management activities during • Response: The third stage refers to
large scale natural events that may affect actions taken immediately before,
human settlements. Therefore, this unified during or after an emergency event
approach has become a crucial lens to to work with people who have been
explore how risk communication can inform affected.
risk management in Aotearoa.
• Recover: The final stage refers
to a coordinated effort between
Risk communication in Aotearoa government, emergency organisations
and communities to rebuild and work
together from the immediate event.
The Ministry for Civil Defence and
Emergency Management (MCDEM) has a
risk management framework for dealing Risk communication plays an essential
with natural hazards in New Zealand. This role across all four stages within risk
approach is described as the ‘4Rs’ (New management . The stage of the crisis event
Zealand & Department of Internal Affairs, is relative to the response and should
2008) see Figure 6: influence which choice of communication
should be used.
22Risk communication
In
CDEMAotearoa,
Act 2002 there are multiple information
sources
the strategy
the act:
and channels
for realising being
the vision of Resilient used
New Zealand tofrom the act.
derives
communicate
• promotes sustainable risk for the
management public. For
of hazards;
example tsunami education can
• encourages communities to achieve acceptable levels consist
of risk;
• provides for planning and preparation for (civil defence) emergencies, and 3
of evacuation maps, tsunami ‘safer for
for response and recovery;
schools’
• requires programmes,
local authorities to co-ordinate annual
reduction,exercises,
readiness, response and
recovery activities through regional groups;
brochures,
• provides a basis information
for the integration ofboards and
national and local CDEM; national
and
advertising. Brenkert-Smith, Dickinson, that
• encourages coordination across a wide range of agencies, recognising
(civil defence) emergencies are multi-agency events. 4
Champ,
the act requires& thatFlores, (2013)
a risk management explain
approach be taken whenthat it with
dealing is
hazards. the new Zealand integrated approach to cdem can be described by the
important
four areas of activity,to known integrate expert
as the ‘4rs’, as shown in figureknowledge
3 opposite.
sources with
the strategy’s vision informal
is based on four goalssocial interactions,
reflecting the 4rs and the provisions of
the act outlined above. the goals are outlined in figure 5 and detailed on pages
which
10-14. can be seen through communicating
emergency updates from MCDEM or local
the strategy provides the vision and strategic direction. the Plan, the guide and
cdem group plans support the strategy.
authorities via mass media and informal
communications such as hearing about
3
For the purposes of the Strategy:
a neighbour’s actions through social
Civil defence emergency refers to the civil defence aspects of any emergency managed under the CDEM Act.
Under the CDEM Act, emergency means a situation that:
media. A great example of this is how Te
a. is the result of any happening, whether natural or otherwise, including, without limitation, any explosion, earthquake,
eruption, tsunami, land movement, flood, storm, tornado, cyclone, serious fire, leakage or spillage of any dangerous gas or
substance, technological failure, infestation, plague, epidemic, failure of or disruption to an emergency service or a lifeline
Tairāwhiti Civil Defence uses social media
utility, or actual or imminent attack or warlike act; and
b. causes or may cause loss of life or injury or illness or distress or in any way endangers the safety of the public or property in
New Zealand or any part of New Zealand; and
to post updates about natural hazards
c. cannot be dealt with by emergency services, or otherwise requires a significant and co-ordinated response under the Act.
[CDEM Act 2002 s4]
that in turn provide a platform for the
CDEM Act 2002 s3 (a-f)
4
national civil defence emergency management strategy 5
community to share, discuss and engage
with crisis information. The importance of Figure. 6
doing this recognises that local sources of (New Zealand & Department of Internal Affairs,
information like one-to-one interactions 2008). The ‘4Rs’ — New Zealand’s integrated
are valued more because they offer a approach to CDEM.
personalised experience as opposed to
23Risk communication
mass media sources (Brenkert-Smith et al.,
2012). Each communication channel employs
different levels of information and messages
which are determined by factors including
understanding audiences, availability of
power, time and resources (Sheehan, 2015).
In this project, I propose to test the process of
integrating risk communication focussed on
the exchange of information between experts
and the public that responds to the ‘4Rs’
risk management approach. Because each
communication channel employs different
levels of risk information relating back to
the ‘4Rs’ management approach there are
multiple factors that determine what those
communication should consist of. This project
aims to unpack these understandings by
using a Human-Centred Design methodology
underlined with principles of Mātauranga
Māori.
Figure. 7
Quake Core conference
2017
Wairakei, New Zealand
24Risk communication
Conference connecting experts across the natural hazards fields
with an emphasis on earthquakes. By attending this conference
I built a larger appreciation for the science involved in natural
hazards research especially in relation to tsunami.
25Human-Centred Design
Figure. 8
Nga Aho wānanga The Nga aho wānanga brought together a range of different
2017 Māori artists to co-design with whanau for whanau at Omaka
Omaka Marae Marae. This was the moment I realised I wanted to co-design
with my community Tūranga.
26Human-Centred Design
Human-Centred Design
What is Human-Centred Design?
Human-Centred Design is a unique Each project brings different perspectives,
approach to problem solving and is context and knowledge that in turn
grounded in understanding the needs and navigates its own contours and character.
insights of the people that the designer IDEO call this process ‘diverging and
is designing for. Empathising with people converging’ which is a very similar concept
can help to reveal the underlying problems to Design Council’s (n.d.) ‘Double Diamond’
affecting their communities or the situation design process model.
that an individual may inhabit. This
provides the opportunity for designers
exercising a Human-Centred approach to Methodology
drive creative thinking and offer innovative
proposals relative to the situation being The ‘Double Diamond’ model is the
considered. The core value of Human- method I used to inform my design
Centred Design recognises that; process (see Figure 9). However as
mentioned above the process was not
“The people who face those problems straightforward and at times challenged my
everyday are the ones who hold the key decision making (see Figure 10). In Figure
to the answer” — (IDEO, 2015) 10 I mapped my own process alongside the
‘Double Diamond’ method and highlighted
IDEO (2015) recommend that by focussing areas of reflection where my design
on what a designer may learn from process changed its course. My decisions
individuals and asking them the right were influenced by the need to better
questions will enable them, to more likely understand my audience by taking the
arrive at a suitable proposal together. time to build relationships and connections
Human-Centred Design is not a one size with them.
fits all process, nor is it perfectly linear
27Human-Centred Design
Discover Define Develop Deliver
Reflect Future
community
work
Discover Define Develop Deliver Develop
Figure. 9 (Top) Figure. 10 (Bottom)
Design Council Harmony’s design process
‘Double diamond’
28Human-Centred Design
This methodology has kept me grounded converges, synthesising all of the
in believing that what I have heard and possible opportunities and design
observed from my own people will guide ideas generated in the discovery phase.
me to arrive at solutions that meet my The aim is to filter through the mass of
community’s needs. ideas by analysing them into a reduced
set of problem statements, personas
The model has four phases, Discover, and pain-points that frames the design
Define, Develop and Deliver. The model challenge.
shows how the design process diverges
• Develop: One of the qualities that sets
where thinking and possibilities are broad
Human-Centred Designers apart is the
to converging and focussing on distinct
belief that there will always be more
objects (Design Council’s, n.d.). Below is a
ideas. Develop is the phase where
breakdown of these four phases.
designers have the opportunity to think
big, prototype and test. This is often
• Discover: The first part of the model is
a generative process of discarding
a period of discovery that encourages
bad ideas and nurturing the gems to
designers to look at the world from
refine a solution for the people you are
a new perspective, seek information
designing for.
and gather insights. The exploration
involves empathising with people • Deliver: In this phase the design
and can utilise both qualitative concept is finalised and sent out into
and quantitative research methods. the world. This is an important time
Gathering data and insights builds a to consider capturing feedback. This
rich bank of knowledge that will inform is also an important time to feed back
the rest of the design process. lessons learnt with the people you are
designing for.
• Define: During this phase the model
29Māori Kaupapa approach Figure. 11 Quake Core In this moment I felt a huge appreciation for the power of conference: Huka Falls water. The weight of this moment can be understood through a 2017 indigenous lens. Wairakei, New Zealand 30
Māori Kaupapa approach
Māori kaupapa approach
Indigenous knowledge
This research embraces a shift from as science, art and religion. Within these
Western traditional knowledge frameworks bodies, disciplines are disconnected again
towards an Indigenous knowledge from each other and privileged for this
approach, as it became clear to me that specificity, individualised authorship and
Māori values, customs and indigenous stratified within distinctly western values.
perspectives must inform the basis of
research that involves indigenous peoples. Indigenous knowledge springs out of the
Indigenous peoples share a long standing integration of those areas and maintains
connection to their lands, community and inter-relationships that reflect a holistic
natural environment that is maintained understanding of the world. Pihama,
through an understanding of practices of Southey, & Tiakiwai (2015, pp.6-16) give
belonging, knowledge and responsibility an example from their own cultural
(Wilson, 2008). ‘Indigenous’ describes a knowledge base that indicates science
collective who share an understanding and culture are not separated. Pihama
of the underlying natural knowledge et al, (2015, pp.6-16) describes that the
structures that inform fundamental values navigational expertise of tupuna Māori
and practices, and, who share recent who travelled across the Pacific Ocean
histories of subjection to imperial and highlights a strong understanding of
colonial enterprises and their ongoing water related sciences like ocean swells,
impacts including marginalisation of tides and sea movements. Māori have
indigenous knowledge systems (Puke, K. generated different names for these
personal communication, March 6, 2018). phenomena that tells people about the
The work of Cordero (as cited in Wilson, myriad characteristics, shapes and nature
2008) explains that Western knowledge of an energy that can uphold life but also
is separated into distinct categories such bring destruction (Royal, 2006).
31Māori Kaupapa approach
This energy with all of its forms, moods interconnections, and interrelationships,
and expressions is known as Tangaroa. and that binds the group... But it’s more
Through narrativised knowledge Tangaroa, than human relationships. And maybe
the kaitiaki of the ocean is considered an the basis of that relationship among
atua. Atua have personality, a spiritual self, indigenous people is the land. It’s our
and a genealogical network, where aspects relationship to the land. There’s a spiritual
are employed for describing relationships, connection to the land. So it’s all of those
situations and events in order to transmit things”. — (Wilson, 2008, p. 80)
knowledge in memorable ways. These
stories assist in passing on information to Thinking through research as relational
tasks at hand, such as fishing, navigation entails understanding not only some of
and seasonal planning. Within a wider these interrelationships, but how research
underlying understanding, these are questions are formed, planned and carried
narratives that bind, link, inter-relate to out. This requires protocols that ensure
both the land (the underlying sea beds, the research meets the requirements
continental shelves), all marine life, bird relevant to indigenous peoples. This is
life, to the environment and wider again not an extensive review of an Indigenous
into the cosmos. Therefore an indigenous knowledge approach but it has set
paradigm comes from the fundamental some principles to explore how Māori
belief that knowledge is relational (Wilson, Indigenous knowledge can inform a
2008). cultural base when conducting Indigenous
research.
“It’s collective, it’s a group, it’s a
community. And I think that’s the basis
for rationality. That is, it’s built upon the
32Māori Kaupapa approach
Mātauranga Māori
The notion of being connected through rangatiratanga where the people are able
wairua and mauri to the land is crucial to exercise their ongoing responsibilities to
to this research. As I described in my their people and environment. In terms of
Cultural Context section, the method of people having meaningful participation,
acknowledging the contextual location ownership and control of their own disaster
of my tūrangawaewae affirms my identity management, how does the community
and whakapapa to Tūranga. Therefore gain that involvement to a culturally and
whakapapa is one of the core principles socially relevant level? They gain it through
that underpins the cultural base of this education and understanding through
research. Wilson (2008) writes about the knowledge sharing within the relevant
importance of relationships and why it is forms and modes.
fundamental to an understanding of an
indigenous framework. In Mātauranga My research that began on the premise
Māori this is referred to as whakapapa; of relationality, revealed that this would
occur most effectively through their
“Identity is also inextricably bound to own local narratives, the use of Te Reo
whanau and whenua relationships, to the and acknowledging the diversity of
marae and the value system and language perspectives within whanau, iwi and
which holds these things together”. hapū. This method considers ethical
— Pihama et al, (2015, p. 49) considerations such as the process of
forming clear relationships with people.
In this research whakapapa extends Pihama et al, (2015, pp.47-53) makes the
to the responsibility of communities, point that simply being Māori does not
kaitiakitanga, manaakitanga, grant you access to be an insider in terms
whanaungatanga and wairuatanga to tino of a researcher. In my community, my
33Māori Kaupapa approach
engagement was very much dependant on
my relationships and connections through
my Ngāti Porou whakapapa. Even this
kinship requires strengthening, ongoing
engagement in the forming of healthy
and strong relationships with Māori in
my community beyond the scope of this
project.
Figure. 12
Nga Aho wānanga
2017
Omaka Marae
34Māori Kaupapa approach
Whakawhanuangatanga, Manaakitanga — Connecting through
sharing stories and showing respect and support for each other
as a group which became an integral part of this design process.
35Design process Figure. 13 Semi_structured interviews Interview analysis 2017 Tūranga 36
Design Process
Design process
Discover
Regardless of my previous experience the East Cape with a group of scientists,
within different design processes in the emergency managers and experts from
past, from the start I realised I had much to Niwa, GNS, JCDR and East Coast Lab.
discover. I needed to discover and collect The group delivered a presentation that
as much information and data about described a range of initiatives to better
tsunami risk as possible. This sparked an understand hazards posed by the Hikurangi
investigation of how tsunami risk affects Subduction Zone. Some activities include
my community in Tūranganui-a-Kiwa. My seafloor pressure monitoring, offshore
Discover phase can be broken down into drilling, seismic surveys and others. At
three main parts: this point I had a low understanding of
the risk posed by the subduction fault,
• Understanding the Hikurangi Plate so this was an excellent opportunity for
Boundary me to learn through listening, observing
and participating in the activities and
• Mātauranga Māori perspectives:
conversations demonstrated in the
Understanding tsunami risk
presentations. This was where I learnt
• Examination of data collected in the that Tūranganui-a-Kiwa is home to the
2015 Preparedness survey shallowest slow earthquakes in the world.
This makes the East Coast of the North
Island highly susceptible to tsunami risk.
Understanding the Hikurangi Plate “Slow slip” events are also known as ‘silent
Boundary earthquakes’ — fault movements that are
not felt as they occur over a long period of
My research began with an invitation to time e.g. days, weeks, months see Figure 5
attend a hui with coastal communities on (L, Wallace, personal communication, June
22, 2017).
37Design process
Mātauranga Māori perspectives:
The Hikurangi Subduction Zone is the As I discussed in my Indigenous
name for the active condition of the Pacific Knowledge section, narratives are used
Plate, as it is thrust beneath the North to explain the interconnections and
Island of New Zealand by the Australian interrelationships indigenous peoples
Plate’). Currently these two plates are have with the land. For Māori, ancient
locked, leading to the building up of elastic narratives in the form of pūrakau can be
energy which will eventually be released in used to examine tsunami. King, & Goff
future large subduction earthquakes (2010) talk about written records that tell of
(Wallace, L. personal communication, June destructive waves caused by taniwha that
22, 2017). These subduction earthquakes endanger the lives of people in coastal
are similar to the ones that caused the communities. Although taniwha in these
Indian Ocean tsunami in the in 2004 and stories appear to be hostile, McFadgen
the 2011 tsunami in Japan. (2007) considers them to be neutral and
only aggressive when described in pūrakau
Because of the close proximity of Tūranga involving events that kill people or cause
to the Hikurangi trench, the risk of a major damage. King & Goff (2010) talk about
earthquake could result in a “Local source” taniwha being governed to the laws of
tsunami which could hit the shores of the tapu. Taniwha were usually associated with
East Coast within minutes (Dhellemmes, et areas of risk and were recorded to give an
al. 2016). Research into the nature of our explanation to natural hazards like a rapid
whenua indicates that Tūranga is highly in a river. These pūrakau function as a
exposed to tsunami. It is crucial to this warning or place to avoid.
research that my community understand
this hazard and that it is communicated in The experiences contained within these
ways that are relevant and meaningful. stories fascinated me so much, that I
38Design Process
began to look into the history of my own understand the process of collecting
iwi in search of pūrakau that communicated indigenous narratives. As a result I decided
tsunami risk. In my search I came across to stay open to the idea of pūrakau but
the well known narrative ‘Te tai o Ruatapu’. steered towards understanding new
This pūrakau talks about how Ruatapu sent narratives that could be developed by a
great waves to destroy his half brother community to understand tsunami risk.
Paikea after being shamed by his father
Uenuku (Taumaunu, 2001). However, as
much as I enjoyed researching this pūrakau 2015 Preparedness survey
in academic texts, I felt the need to talk
to local people to acknowledge their It was important in the Discover phase to
specific perspectives relevant to their iwi’s understand how my community perceives
understanding of the narrative. I sought tsunami risk and risk management in
to connect with local experts about ‘Te Tūranga. In the Tsunami Awareness and
Tai o Ruatapu’ using my own whakapapa Preparedness report 2015 (Dhellemmes,
connections but found that, because I was Leonard & Johnston, 2016) the survey
still in the discovery stage of my research, I revealed coastal communities on the East
hadn’t laid a strong enough foundation to Coast of Aotearoa, including Tūranga,
start building relationships with locals. had low levels of tsunami awareness and
high expectations of receiving a formal
This may highlight the notion that just warning before evacuation. Quantitative
because I am Māori and whakapapa and qualitative data from the Tsunami
back to Tūranga does not mean I will Awareness and Preparedness Report
be immediately accepted to research (2015) survey highlighted that even
iwi pūrakau, nor at the right level to
39Design process Figure. 14 Tsunami Awareness and Preparedness Survey report (2015) (Dhellemmes, et al. 2016). 40
Design Process
Define
though residents understood they lived From the information and data collected
in a coastal community prone to tsunami in the previous section, the Define phase
risk, they were not necessarily prepared aims to synthesise those learnings to
for a tsunami situation (Dhellemmes, et al. define how tsunami risk is understood
2016). in my community, Tūranga. I decided to
use kanohi ki te kanohi semi-structured
I decided to look at the survey results, in interviews as my method of approach
particular the data collected from Wainui, a to collect qualitative data that might be
suburb in Tūranga. In table 18 (see Figure compared and contrasted against the
14) it is clear that a good number of quantitative data found in the Tsunami
residents expect an earthquake to warn Awareness and Preparedness report
them of a local tsunami, however there is (2015) (Dhellemmes, et al. 2016). Gray
still a large proportion of residents who rely (2014) explains interviewing to be a skill of
on a mixture of communication methods building rapport with interviewees while
like radio and TV announcements, word of being objective by observing and listening
mouth and warning sirens. I found this part in order to keep control of the interviews.
of the survey interesting as it echoes back Building rapport with my interview
to risk communication and the different participants reflects back on the principle
methods and messages used to alert of whakapapa that underpins this research.
people of an impending danger. The next Whakapapa connections were used to find
step of my design process should engage potential interview participants. Ethical
with community residents to uncover considerations were made to ensure my
their needs and gain insights to address participants felt respected and trusted
the problem whilst understanding what through the choice of interview location,
communication method works best for the types of questions asked, the recording
them.
41Design process
and collecting of information and consent areas are heavily reliant on help to come
of using information in my research. from emergency services rather than
preparing for an event on their own. This
can be heard in the information collected
Target audience in the interviews where one participant
described:
The target audience for this research
originally included all of Te Tairāwhiti
, “When we had the power cut, it was
but through conversations with Te three days without power and it was
TairāwhitiCivil Defence, I found that crazy in town. The line up for Pak’N’Save
smaller communities along the East Coast was ridiculous, everyone was trying to
were seen as exemplars for self policing get money out from the ATM because
themselves in relation to preparing for they weren’t prepared — The petrol
tsunami (Stuart, P. personal stations were all full coming into town, it
communication, 2017). Rural communities was just crazy, you could see just how ill-
are exposed to natural disasters more prepared Gisborne was.”
often than the urban communities because — Rāwiri Participant 2017
of their distance from central amenities.
This means rural communities need to be For this reason I chose to narrow the
prepared for events like road closures, scope of my research to those people
flooding or being cut off from power due living in the urban community so that I
to severe storms, that had required them could emphasise learning about the
to take extra steps for being prepared for different levels of awareness and
such events. As opposed to the urban preparedness. In order to do this I sent out
Tūranga community, people living in urban a survey through my own whakapapa
channels, social media, email and with the
42Design Process
help of Te Tairāwhiti Civil Defence. The • How prepared are you if a Natural
survey was titled ‘Local Hazards in your Hazard in your local area was to occur?
Local Area’ as to not prompt tsunami as
the initial discussion. The survey was used From the survey results see Figures (15, 16
to collect an overarching view of my & 17) a clear trend suggested that people
community’s perspectives on natural felt a varied amount of knowledge and
hazards and was used to compile a list of preparedness regarding natural hazards
participants for my semi-structured in their local area with need or interest to
interviews. By using this method of know more. From these results I selected
selection I ensured a range of different 12 participants to interview with me in
variables like levels of awareness and Tūranga.
preparedness, demographics, geographic
locations and ethnicity was included in my
interview range.
Survey questions;
The survey consisted of three natural
hazard questions;
• How much do you know about Natural
Hazards that might occur in your local
area?
• How important is it for you to know
about Natural Hazards in your local
area?
43Design process Figure. 15 (Top) Figure. 16 (Bottom) Questions one: Natural Hazards Questions: two: Natural Hazards in in your local area survey your local area survey 2017 2017 Tūranga Tūranga 44
Design Process
Figure. 17 (Top)
Questions three: Natural Hazards in
your local area survey
2017
Tūranga
45Design process
Semi-structured interviews
I planned my semi-structured interviews to
be 60-90 minutes long and I held them at
an outdoor café close to one of Tūranga’s
well known beaches see Figure 19. I felt
the location of my interviews was important
when it came to providing a space that
was comfortable and familiar for my
interviewees but also had relevant meaning
to my interview questions. The common
themes that came out of the interviews
were things like:
• Low understanding between the three
different types of tsunami
• Confusion between how strong
a earthquake needs to be before
evacuating for tsunami
• Strong emphasis on waiting for a
formal warning before evacuating —
mostly from Ngati Porou Radio station,
Te Tairāwhiti CDEM, or the ‘siren’. Figure. 18
Semi_structured nterviews:
• National messaging like the ‘Long, 2017
Tūranga
46Design Process
47Design process Figure. 19 (Top) Figure. 20 (Bottom) Semi-structured nterviews: Semi-structured nterviews: Interview Interview location drawing map with whiteboard marker 2017 2017 Tūranga Tūranga 48
Design Process
strong, get gone’ campaign did not These key themes marry up with the data
resonate with respondents because collected in the Tsunami Awareness and
it lacked context to Tūranga. When Preparedness report 2015 (Dhellemmes,
presented with images of the et al. 2016). A strong emphasis on the
campaign, participants wanted to know contextual location of Tūranga and the
more about the effects tsunami could relationship people build with the whenua
have on their own region and what they became evident in the following statements
needed to do to prepare. They were from these interviews:
more interested in local knowledge as
opposed to general messages on the “In their oral histories tsunami has hit
TV. Local narratives could provide them here and they have done something
with their own way of understanding about it to save their people. The
tsunami risk that felt more meaningful community used to live on the coast but
to them. they moved inland because of a tsunami.
These are the stories that the old people
• Local narratives provide a great way of
tell. So we’ve got history within memory
understanding natural hazards to this
and when you’ve got that you have to
specific community, land and place.
listen to those stories and think about
• There is lack of complacency to react what do we need to do?” — Ashleigh,
to tsunami warnings because of Interview participant, 2017
past warnings that have issued false
reports. “We live in a coastal community.
Obviously the possibility of tsunami feels
more real” — Gina, Interview participant,
2017
49Design process Figure. 21 (Top) Figure. 22 (Bottom) Semi-structured nterviews: Semi-structured nterviews: Interview analysis Interview analysis 2017 2017 Tūranga Tūranga 50
Design Process
Figure. 23 (Top)
Semi-structured nterviews: Post it notes capture the thoughts of my community in Tūranga
Interview analysis about Natural Hazards in their local area.
2017
Tūranga
51Design process
Personas and problem statements
One way of analysing the information
collected during my interviews was to
create ‘personas’. Personas are used to
identify user types and acknowledges
that every person has different needs,
experiences and behaviours (Open Design
kit, n.d). I used personas to present an
overview of the different people living in
Tūranga and what their needs and insights Gina
are toward tsunami risk in their community.
Gina needs a way to feel empowered that
By understanding these differences the
she is making the right decisions for her
personas helped me to identify with
family. But surprisingly, the connections
the people I am designing for, and also
that she keeps with her friends does not
revealed key problem statements for each.
expose her the information that she needs.
From the 12 interviews conducted, three
personas were created to represent the
Needs and insights:
Tūranga community overall.
• Equip me with practical tools to share/
Reflecting on the Define phase, I have discuss with my friends and family
identified my key target audience and • Build a relationship with me through
learnt about their needs and insights my work or hapū/iwi
for communicating tsunami risk in their
community. The personas provide a • Tell me what I need to do and where to
rich understanding of the people I go in a natural disaster
am designing for which informed the
process of developing ideas for tsunami
communications contextual to Tūranganui-
a-Kiwa.
52Design Process
Rāwiri Ashleigh
Rāwiri needs a way to feel enlightened Ashleigh needs a way to participate in
about preparing for a natural disaster but tsunami education that is fun for her and
unfortunately the exposure that he’s had her family as well as connecting her to
with tsunami awareness fails to relate to people alike. But what puzzles her is that
him personally which leaves him feeling no one in her community wants to share
disengaged. their experiences and she worries if people
know what to do.
Needs and insights
Needs and insights
• Visualise for me scenarios of how to
evacuate and where to go • Educate me and my children about
natural disaster information in a fun
• Interact with me in person through
interactive environment
community events or school
• Connect me with people in my
• Share with me new innovative ways
community who are interested in
of being prepared step by step via a
natural hazard preparedness
digital platform
• Explain/Involve me in how you are
going to help people in my community
prepare and plan.
53Design process Develop The Develop phase in my research looks to explore a range of ideas to suit my community’s needs identified in the Define phase. One way of doing this was to co-design with the community to come up with new ideas for tsunami communication for their own community. I decided to do this through a workshop where I encouraged people to share their stories and experiences by mapping them to their local environments. I printed a series of posters and story cards that encouraged participants to draw, write and talk about tsunami and earthquakes in their community. Exercise 1: Participatory asset mapping Participatory asset mapping is a combination of participatory mapping (community members identifying their own people, places and experiences based on their community onto a map) with asset mapping (identifying community assets Figure. 24 like behaviour, knowledge and skills that Participatory workshop support resources for individuals and 2017 collective groups in a community (Janice, Tūranga 54
Design Process
55Design process Figure. 25 (Top) Figure. 26 (Bottom) Participatory workshop :Assets maps Participatory workshop :Assets maps 2017 2017 Tūranga Tūranga 56
Design Process
Burns, Dagmar & Silvia, 2012). Together research. The dialogue consisted of their
these terms create participatory asset own personal experiences and how they
mapping which was an activity I used to planned to prepare for such an event. I
map a scenario of a tsunami risk situation then asked the participants to transfer
with members of my community in their own individual asset maps on to one
Tūranga. large map see Figures 27 and 28. This
created an immense amount of discussions
The centre circle see Figures 25 and 26 is between participants that visualised areas
where the participant places themselves of importance in their community but also
and as the circles radiate outwards they whanau structures in regards to how they
begin to place the most important things needed to plan for a tsunami emergency.
they consider in their lives to the less
likely experiences they have within the
community. I gave my participants the
task of completing their own individual
asset maps by identifying on the map their
important locations, people and places
that could inform their decision making
regarding a tsunami risk situation. From
those individual maps the participants
were asked to share their assets maps in
a group of four people to discuss how
they would respond to a tsunami event.
The conversations between the workshop
participants were enlightening to this
57Design process Figure. 27 (Top) Figure. 28 (Bottom) Participatory workshop: Coloured Participatory workshop: Placing coloured dots to dots signify different assets match the asset maps made in last exercise 2017 2017 Tūranga Tūranga 58
Design Process
Exercise 2: Sharing stories
In the second exercise I invited the I found this approach enriched the
community to share their experiences with experience as people moved through the
earthquakes and tsunami warnings using different maps to locate and generate
story cards see Figure 29. The story cards conversation about their suburb or local
were separated into four groups using a areas in their community.
colour coding system: Blue = Tsunami,
Green = Earthquakes, Red = Time, Yellow This provided the opportunity for the entire
= Response (see Figure 31). The colour workshop group to reflect on the main
system was used as a way to break down themes highlighted in their stories. One of
the information collected during the those themes underlined the behaviour of
sharing process but also in the analysis waiting for a formal warning in a tsunami
phase where I could step back and see the event before evacuating for safety. I used
coloured trends. this theme to transition into the final
exercise which involved building their own
The purpose of this exercise was to share forms of tsunami communications.
people’s responses to earthquakes and
tsunami and whether or not they were
aware of the idea that a local tsunami
could be triggered by an earthquake and
that the response time could be less than
20 -15 minutes for evacuation. Everyone
was encouraged to share their stories and
put their cards onto a map of Tūranga see
Figure 32.
The map acted as a canvas for
contextualising my participants stories.
59Design process
Figure. 29
Participatory workshop: Story cards
2017
Tūranga
60Design Process
61Design process Figure. 30 (Top) Figure. 31 (Bottom) Participatory workshop: Participant’s Participatory workshop: story about tsunami. Different types of story cards 2017 2017 Tūranga Tūranga 62
Design Process
Figure. 32 (Top)
Participatory workshop: Mapping story cards to
large maps of Tūranga on the walls
2017
Tūranga
63Design process Figure. 33 (Top) Figure. 34 (Bottom) Participatory workshop: Word Participatory workshop: Building narratives prompts 2017 2017 Tūranga Tūranga 64
Design Process
Exercise 3: Building narratives
The last exercise used boxes, words, the method of building structures out
papers and pens to build new tsunami of cardboard boxes and using tangible
communications for Tūranga. When I methods of making to form the basis of
conducted my interviews I learnt that this workshop.
having practical tools like the laminated
map and coloured pens enabled Participants were split into groups of
conversations to flow freely without the four and asked to build new tsunami
need for directing the conversation at communications for Tūranga. The process
me. This led me to think about new ways of making tsunami communication
of collecting information in preparation structures took 40 minutes and consisted
for my participatory workshop. I reflected of each group, using pre-made words
back on my research in the Discover phase to prompt conversations about design,
and utilised the idea of core drilling briefly science, tsunami and local knowledge
mentioned in my ‘Discover; Understanding combined with boxes to build levels.
the Hikurangi Plate boundary’ section. The It was fascinating to watch each group
scientific method of drilling into the earth discuss, negotiate and input ideas toward
to collect data about paleotsunami can building their own tsunami communication
also reflect my principle of whakapapa, structures. Each structure was unique and
I see the layers of the earth collected in specific to the group that made them.
drilling as the whakapapa of previous
tsunami in Tūranga. As the facilitator I encouraged the teams
to utilise the data collected in the previous
Therefore the idea of creating layers exercises to drive the rationale behind their
of information to build narratives of designs. At the end of the exercise each
place gave reasoning behind utilising
65Design process
team reflected back to the group their • Team Four: Educational structure
own ideas. These are the main concepts with science information. Use
that were captured in their tsunami light as a beacon and the idea of
communication structures. sound connected to the cracking of
Rūaumoko was discussed (See Figure
• Team One: Different stages of 38).
responding to a tsunami event
Collaborating with my community
representative in the different levels of
through the method of co-design enabled
the structure. Confusion > Organised >
this research to develop meaningful
Connected (see Figure 35 ).
new narratives that are relevant to my
• Team Two: Navigation by sounding community. More importantly the outcome
an alert and showing directions plus of this workshop enhanced community
community engagement through conversations about raising tsunami risk
schools and acknowledging local in Tūranga and generated new ideas for
knowledge (see Figure 36). tsunami communication in Tūranganui-a-
Kiwa.
• Team Three: Communicating
information by using the structures to
talk to one another. The use of colour is
important to identify which area of risk
you are in e.g. safe or danger zones
(see Figure 37).
66Design Process
Figure. 35 (Top) Figure. 36 (Bottom)
Participatory workshop: Participatory workshop:
Team one Team one
2017 2017
Tūranga Tūranga
67Design process Figure. 37 (Top) Figure. 38 (Bottom) Participatory workshop: Participatory workshop: Team three Team four 2017 2017 Tūranga Tūranga 68
Design Process
Figure. 39 (Top) Fig.40 (Bottom)
Participatory workshop: Placing where the Participatory workshop: Important principles to
structures should go on the map consider in the design
2017 2017
Tūranga Tūranga
69Design process Figure. 41 Pouwhenua: Light installation 2017 70
Design Process
Deliver
The final stage of the design process is
Delivery where the final design output
can emerge in response to everything I
have learned in my research. During the
Development phase I talked about the
idea of understanding the whakapapa
of the whenua. One way that this can be
understood is using the scientific method
of drilling for paleotsunami samples. The
core used to drill for these samples is an
elongated shape that made me think of
other forms within Mātauranga Māori that
could give meaning to this understanding.
This led me to explore pouwhenua.
Pouwhenua
Pouwhenua resonated with me because
it can reflect a boundary marker or land
post symbolising areas or territory in the
whenua. Automatically I thought of safe
and unsafe zones for tsunami risk and
reflected back on the materials created
71Design process
in the development workshop exercises. ocean. These atua are reflected in the
Participants in the workshop wanted to narrative of my pouwhenua that recognise
utilise local knowledge, beacons of light earthquakes are the warning for tsunami.
and atua in their structures to communicate
tsunami risk. The participants in my Papatūanuku is represented in the pressure
workshop continued to talk about the plate that turns the pouwhenua on (see
importance of the whenua in Tūranga and Figure 41. Papa’s relationship with the
they mentioned kaitiakitanga as a principle earth moving may refer to the Hikurangi
for investigating tsunami communication. Subduction Zone where the two plates
This can be seen in their ideas to illuminate are currently locked. When the energy
structures with light (beacons) that navigate and pressure is built up over time the
you to safety just like a kaitiaki would or an release of that energy may be seen in large
atua. I believe my participants connection subduction earthquakes that could trigger
to the land and their own whakapapa a local tsunami for Tūranga. Rūaumoko
and understanding of kaitiakitanga are is represented in the shelf that sits at the
embedded in the structures they created. bottom half of the pouwhenua and is
Therefore I used local knowledge, beacons adorned with the pattern ‘niho taniwha’
of light and atua as the conceptual drive to see Figure 42.
design my own pouwhenua prototype. As
a result the concept of this design heavily In my initial research I came across pūrakau
reflects back on my design process and that tell of taniwha being a metaphorical
acknowledges indigenous knowledge understanding of tsunami risk in coastal
perspectives. communities. This led me to decide to
use the notch pattern/’niho taniwha’ (see
Figure 42 ) as a way of embedding this
Mātauranga Māori Mātauranga into the pouwhenua. The
upper half of the pou is Tangaroa’s domain
The continental shelf is Papatūanuku, where I have used a wave pattern (see
Rūaumoko, atua of earthquakes is within Figure 45) to signify the water carving into
her and Tangaroa is the kaitiaki of the the land as a tsunami might do.
72Design Process
Figure. 42
Pouwhenua: Relationship between Rūaumoko and Tangaroa, see
niho taniwha pattern.
2017
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