Cathedral Square hosted one of New Zealand’s most significant historic events after the armistice was signed by the Western Allies and the Central Powers on 11th November 1918 in Paris, Franc…
A colourful account of Maori and early European life before the arrival of the first four ships. Jimmy Robinson, who lived as a ‘Pakeha Maori’ at Akaroa and helped raise the British fla…
“To tell you is a great task, for I can assure you it is a most awful country,” wrote James Boot from Christchurch, New Zealand in letter to his parents in Nottingham, England in June, …
The tide at New Brighton could go out a long way and the sand was hard, making motor and bicycle racing on New Brighton beach a popular past time that would draw the crowds. Many cycling and motor …
New Zealand’s largest and most iconic booksellers, publishers and printing company was Whitcombe & Tombs of Christchurch. It was established in 1882 by Mr. George Hawkes Whitcombe, a seem…
“The most historic bridge in Christchurch” The iconic stone arch which spans over Cashel Street bridge – linking Cambridge with Oxford Terrace is “a visible symbol” wh…
By Fabian Bell The Avon is a lovely river. Of course I know that many people will say that it is no better than a ditch, &c. I pity their want of taste. Of course the stream is narrow and does …
It is midday on the busy intersection of Manchester, High and Lichfield Streets when this photograph was taken from the corner of Bedford Row c. 1904. The street is full of activity as shoppers mak…
Our city is a repository for the social and historical narrative of our past Each street, wall, facade, interior is an integral part of the people who walked passed them, shopped in them, worked in…
Up until February 22nd, 2011, the city of Christchurch was a unique, historic and cultural living and breathing entity. Inherited from a long list of valuable contributors dating back to its incept…
At least five companies are busy working in and around Christchurch blasting rock on unstable slopes in the hope of reducing danger since the earthquakes. Spectrum's Deborah Nation joins backcountry construction company Solutions 2 Access, as the team blasts rock on the Port Hills above Lyttelton.
With half his life work destroyed by earthquakes, Christchurch conservator Graham Stewart is on a mission to save what is left of Canterbury's remarkable stained glass history.
Stonemason Mark Whyte puts sculpting commissions aside in order to respond to the Christchurch earthquakes and save classic street facades from the 1870s. Across the Red Zone and 3 generations of the Aires family- Bob, Rob and Suzie are at work on the Heritage Hotel which were the old government buildings.
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The whare whakairo or traditional Māori meeting house plays an important part in Māori society and identity. These whare tell the tale of their origin, and in so doing, the origins of their people. The analysis of the meeting house, the histories expressed in its decorative carvings and structural elements are inextricably linked with and dependent upon the structure of the world created by myth and the Māori worldview. However, due to the deleterious effects of colonisation, the art of wood carving and associated architectural practices - central to Māori identity, suffered decline in many parts of the country, leading to the decline of Māori culture and identity. Sir Apirana Ngata instigated the National Institute of Māori Arts and Crafts to resurrect the dying art of Māori carving and carved houses would be a catalyst for the restoration of Māori culture throughout the country. Ngata saw these whare whakairo as being the heart of Māori communities by establishing a renewed sense of belonging and identification with space for Māori, through the telling of tribal histories and emphasising key geographical features. New threats in the form of global hegemony and urbanisation have further impacted on Māori notions of identity, creating a generation of displaced urban Māori youth. This research proposes to establish an architectural response to capture displaced Māori youth through the resurrection of the Māori carving school and return to them the lost stories of their cultural history and identity. This program will be developed within the complex challenges that exist within post-earthquake Ōtautahi/Christchurch, where many have lost homes and livelihoods, especially Māori youth in the Eastern Suburbs. The building elements of the proposed Māori carving school give reference to the historio-cultural features of the original Ōtautahi/Christchurch landscape that are situated in tribal song and myth. It is envisioned that the development of a Māori carving school will help restore Māori identity and a renewed sense of belonging, and allow for the telling of this generations stories through traditional narratives.
The demand for a new approach to safeguarding New Zealand’s endangered historic buildings was identified as a result of the recent increase in building code and strengthening requirements following the Christchurch earthquakes of 2010-2011. The Wellington City Council identified 266 heritage buildings in the city that must be either strengthened or demolished to address these increased requirements. This thesis explores this threat as an opportunity for researching how contemporary design interventions can be challenged to both strengthen and become active participants in the ongoing history of New Zealand’s potentially endangered historic buildings. This thesis challenges the current approach of completely ‘restoring’ 19th-20th century historic buildings in New Zealand, to develop techniques that structurally reinforce historic buildings while inviting the progressive weathering of a building to remain as a testament to its history. This thesis proposes a structural intervention that is responsive to the progressive history of historic buildings, simultaneously introducing a contemporary structural intervention that both participates in and compliments the progressive historic transformations of the vehicle. This thesis argues that current historic buildings in semi-decayed states in fact enable visitors to witness multiple stages in the life of a building, while fully restored buildings only enable visitors to witness the original form of the building. This thesis proposes a model for contemporary intervention within historic buildings that draws a design intervention from seismic strengthening.The notion of layering is explored as a design approach to incorporate the contemporary with the historic as an additional layer of exposed on-going history, thereby further exposing the layers of history evident within New Zealand’s historic buildings. This thesis combines layering theories of architects Louis Kahn and Carlo Scarpa with related theories of installation artist Mary Miss. The theoretical imperatives of Scarpa and Kahn are explored as a tool of engagement for the junction between the contemporary and historic building materials, and the work of Marry Miss is explored as a design approach for developing a contemporary intervention that references the layered historic building while inviting new means of occupancy between layers. The selected vehicle for the design research investigation is the Albemarle Hotel on Ghuznee Street in Wellington. The techniques proposed in this thesis to strengthen the Albemarle Hotel suggest an approach that might be applied to New Zealand’s wider body of historic buildings that constitute New Zealand’s heritage fabric, ultimately protecting them from demolition while preserving additional layers of their historic narratives. Over all the design research experiments suggest that contemporary interventions derived from structural strengthening may be a viable and cost-effective method of re-inhabiting New Zealand’s endangered heritage buildings, avoiding demolition and securing New Zealand’s heritage for future generations. Research Questions: This thesis challenges the current economically unsustainable approach of laterally reinforcing and completely ‘restoring’ 19th-20th century historic buildings in New Zealand. This thesis argues that current historic buildings in semi-decayed states in fact enable visitors to witness multiple stages in the on-going life of a building. Can the weathered state of New Zealand's heritage buildings be proactively retained and celebrated as witnesses to their history? Can new lateral reinforcing requirements be conceived as active participants in revealing the on-going history of New Zealand's historic buildings?
It is the start of the second week of June 1919 and New Zealand’s Prime Minister, William Massey and the Minister of Finance, Sir Joseph Ward, are in Paris awaiting the signing of the Peace Treaty …
A Tale of Convicts, Ship Wrecks, Strange Family Relations, and a £500 Bequest. Before the Canterbury Settlement was inaugurated, a young Australian lad landed at Port Cooper in the company of his f…
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