Search

found 840 results

Images for history; more images...

Images, Canterbury Museum

One section of power cable with cut ends, covered in rubber and black electrical tape; two smaller cables branching off the main section; damaged and twisted in the 22 February 2011 earthquake. One of the most noticeable effects of the earthquakes in Canterbury was the loss of basic infrastructure such as power, water and sewerage. The earthqu...

Images, Canterbury Museum

One section of new power cable with black rubber casing and one end cut; manufacturer's mark reads 'General Cable NZ X-90 Electrical Cable 600/1000V'. Example of new power cables that needed to be laid following the 22 February earthquake. High voltage power cables in Christchurch are located underground, meaning that the areas which experience...

Images, Canterbury Museum

One felted black and red chequered 'Heart for Christchurch' in a woven design. Red stitching on one side reads 'Thinking of Canterbury 2011'; black stitching on the other side reads 'Audrey Littlewood, Auckland'. Made for the people of Christchurch following the 22 February earthquake. Audrey Littlewood from Auckland, New Zealand sent this felt...

Images, Canterbury Museum

One orange and blue official uniform worn by members of the Japanese Disaster Relief Team that provided assistance after 22 February 2011 earthquake; 'Rescuer' badge on left chest with Japanese text underneath; Japanese flag badges on right of chest and right sleeve as part of 'Japanese / Disaster Relief Team / JDR' shield shaped badge. Blue and...

Images, Canterbury Museum

One red knitted woollen 'Heart for Christchurch' with a piece of yellow paper attached at top right reading 'Handcrafted especially for you by Sue Hornick, Moulden, NT, Australia'. Made for the people of Christchurch following the 22 February earthquake. Sue Moulden from Australia’s Northern Territories sent this red knitted heart as a gift to ...

Images, Canterbury Museum

Eight white corflute boxes of sediment samples from the borehole drilled adjacent to the Canterbury Museum Rolleston Avenue facade following the 22 February 2011 earthquake. Project number 52160, Bore hole BH02 These sediment samples are from machine drilled borings taken from the land near the Rolleston Avenue facade of Canterbury Museum. The ...

Audio, Radio New Zealand

From the time it opened in the 1920s, the Winter Garden ballroom was the place to go for debutante balls and big-band concerts in Christchurch. Queen Elizabeth II even dined there during her visit in 1954. But this special part of Christchurch's history is over and the Armagh Street building has been placed on the urgent demolition list because of earthquake damage. Tiny Kirk is the chairman of the Trade Union Centre which has owned the building since 1984.

Images, Alexander Turnbull Library

A man sits at his desk with an enormous sheet of blank paper headed 'New Christchurch' before him; peering over his shoulder is a huge figure who appears to be a man from an earlier era of the history of Christchurch. Context - Christchurch earthquake of 22 February 2011 and the start of debate about how city should be rebuilt. The historic man suggests a strong pull to preserve historic Christchurch. Colour and black and white versions available Quantity: 2 digital cartoon(s).

Research papers, Victoria University of Wellington

Architecture and music have a long intertwining history.These respective creative forces many times have collaborated into monumental place, harboured rich occasion, been catalyst for cultural movement and defined generations. Together they transcend their respective identities. From dinky local church to monstrous national stadia, together they are an intense concentration, a powerfully addictive dosage where architecture is the place, music is the faith, and people are the reason.  Music is a programme that architecture often celebrates in poetic and grand fashion; a superficial excuse to symbolise their creative parallels. But their relationship is much richer and holds more value than just the opportunity to attempt architectural metaphor.While music will always overshadow the architecture in the sense of a singular event, architecture is like the soundman behind the mixing desk. It’s not the star front and centre grabbing your attention, but is responsible for framing the star. It is the foundational backdrop, a critical pillar. Great architecture can help make great music. In this sense music is a communication of architecture, it is the ultimate creative function.  Christchurch, New Zealand, is a city whose story changed in an instant. The seismic events of 2010 and 2011 have become the overriding subject of its historical narrative, as it will be for years to come. Disaster redefines place (the town of Napier, struck by an earthquake in 1931, exemplifies this). There is no quantifiable justification for an exploration of architecture and music within the context of Christchurch. The Town Hall, one of New Zealand’s most architecturally significant buildings, is under repair. The Christ Church Cathedral will more than likely be rebuilt to some degree of its former self. But these are echoes of the city that Christchurch was.They are saved because they are artefact. Evidence of history.This thesis makes the argument for the new, the better than before, and for the making of opportunity from disaster, by proposing a ‘new’ town hall, conceived from the sound of old.

Articles, UC QuakeStudies

An edited copy of the pdf transcript of Michelle's second earthquake story, captured by the UC QuakeBox Take 2 project. At the participant's request, parts of this transcript have been redacted. Interviewer: Jennifer Middendorf. Transcriber: Josie Hepburn.

Images, Canterbury Museum

One expandable oblong brown fabric bag produced by Christchurch church group Rechurch; black and green writing on the front and back. Used to deliver lunch to Student Volunteer Army clean up parties after the 4 September 2010 earthquake. This reusable fabric bag from the church group Rechurch, Christchurch was used to deliver lunches to the stu...

Images, Canterbury Museum

One white dust mask with elastic strap to secure around the head. Black printing on the front reads: '3M 8000 / P1 / AS/NZS 1716'. Used by Student Volunteer Army in the clean up after 4 September 2010 earthquake. Face masks were recommended by Christchurch Public Health staff as a safety precaution for those handling liquefaction. Liquefaction ...

Images, Canterbury Museum

One black plastic barrelled wheelbarrow with a blue metal frame, black rubber handles and a pneumatic tyre; manufacturer's name in white on long sides and torn promotional label on short side near handles. Barrel is well used and contains remnants of liquefaction. Used by Student Volunteer Army in the clean up after 4 September 2010 earthquake. ...

Images, Canterbury Museum

One white over-painted hand-made electric guitar made primarily from ash and maple timbers, also incorporating wood from a variety of historic buildings in Canterbury damaged or destroyed in the 2010 - 2011 earthquakes including the Arts Centre, Kutwell’s Warehouse, Lyttleton main street pub, Timeball Station, Carlton Hotel, Merivale shops, bui...

Images, Canterbury Museum

One steel, brick and concrete brooch created from debris collected after the 22 February 2011 earthquake; steel from a gas heater has been woven to create three enclosures for the piece of brick and two pieces of concrete; a stainless steel pin has been woven on the reverse for attachment. Worn by numerous people as part of the Host A Brooch pro...

Images, Canterbury Museum

One cream cotton 'Heart for Christchurch' decorated with a bird in blue stitching; a blue loop with a bead is at the top centre so the item can be displayed. Inscription on reverse reads 'With / love / from / Denice Ostman / Finland / 2011' Made for the people of Christchurch following the 22 February earthquake. Denice Ostman from Finland sent...

Images, Canterbury Museum

One cream and brown fabric 'Heart for Christchurch' decorated with lace and seven embellishments with a velvet cord loop at the top centre so the item can be displayed. Maker's name - Evie Harris / Napier - on reverse. Made for the people of Christchurch following the 22 February earthquake. This ‘Heart for Christchurch’ was made by Evie Harris...

Images, Canterbury Museum

One felted purple 'Heart for Christchurch' decorated with a pink rose with green leaves and an orange loop at the top centre so the item can be displayed. Faint stitched inscription 'we are / with you' on reverse. Made for the people of Christchurch following the 22 February earthquake. Jill Gunn contributed this ‘Heart for Christchurch’ as a g...

Images, Canterbury Museum

One cream, white and red fabric 'Heart for Christchurch' with white polka dots on red background on reverse; the front is decorated with the word 'Hope' and a bird in red stitching along with two red ribbon bows and a 'made with love' metal embellishment at the centre bottom; a red ribbon loop with a wooden button at the top centre is attached s...

Research papers, Victoria University of Wellington

This project looks at how destroyed architecture, although physically lost, fundamentally continues to exist within human memories as a non-physical entity. The site chosen is Avonside Girls’ High School in Christchurch, New Zealand, a school heavily damaged during the February 22nd earthquake in 2011. The project focuses on the Main Block, a 1930s masonry building which had always been a symbol for the school and its alumni.  The key theories relevant to this are studies on non-material architecture and memory as these subjects investigate the relationship between conceptual idea and the triggering of it. This research aims to study how to fortify a thought-based architecture against neglect, similar to the retrofitting of physical structures.  In doing so, the importance of the emotive realm of architecture and the idea behind a building (as opposed to the built component itself) is further validated, promoting more broadminded stances regarding the significance of the idea over the object. A new method for disaster recovery and addressing trauma from lost architecture is also acquired. Factors regarding advanced structural systems and programmes are not covered within the scope of this research because the project instead explores issues regarding the boundaries between the immaterial and material.  The project methodology involves communicating a narrative derived from the memories alumni and staff members have of the old school block. The approach for portraying the narrative is based on a list of strategies obtained from case studies.  The final product of the research is a new design for the high school, conveyed through a set of atmospheric drawings that cross-examines the boundaries between the physical and non-physical realms by representing the version of the school that exists solely within memories.

Articles, UC QuakeStudies

An edited copy of the pdf transcript of Laura's second earthquake story, captured by the UC QuakeBox Take 2 project. At the participant's request, parts of this transcript have been redacted. Interviewer: Jennifer Middendorf. Transcriber: Laura Moir.