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Images, eqnz.chch.2010

For Best View Press"L" All 23 Arts Centre heritage buildings received significant damage in the earthquake and its subsequent aftershocks, and all have been issued with a red “Unsafe” placard. As a result of the magnitude of this damage, the Arts Centre Trust Board— the body charged with ensuring this iconic precinct is preserved and pr...

Images, Alexander Turnbull Library

The cartoon shows a monstrous machine with an enormous crushing ball attached to a giant crane. It moves past a signpost that points towards Christchurch. A man watches and tells his friend 'Gerry Brownlee borrowed it from Auckland! Context - Brownlee has caused a stir by suggesting that if he had his way some of Christchurch's older buildings would be "down tomorrow". He also said the price of saving some historic buildings badly damaged in the February 22 earthquake was too high. People had died in the quake because of attempts to save historic buildings badly damaged in the September 4 quake. Brownlee said he had no regrets despite the stir his comments caused - but he was annoyed by suggestions the Cathedral and Riccarton House were among buildings he thought should be bowled. He believed those buildings should be saved, and they would be. "I'm not a philistine; I was chairman of the trust that actually saved Riccarton House from the bulldozers in 1990. "I understand conservation architecture very well and I do have an appreciation of heritage buildings." Colour and black and white versions available Quantity: 2 digital cartoon(s).

Images, UC QuakeStudies

A digitally manipulated image of damaged Music Centre. The photographer comments, "The destruction caused by the demolition of the heritage buildings damaged in the Christchurch earthquakes looks similar to the scenes in London during the second world war. The building was the Catholic Cathedral College, Christchurch. It was an integrated Catholic co-educational secondary school. It was founded in 1987, but its origins go back more than a 100 years earlier. The college was an amalgamation of two schools: Sacred Heart College for girls, and Xavier College for boys".

Research papers, The University of Auckland Library

As a result of the 4 September 2010 Darfield earthquake and the more damaging 22 February 2011 Christchurch earthquake, considerable damage occurred to a significant number of buildings in Christchurch. The damage that occurred to the Christchurch Roman Catholic Cathedral of the Blessed Sacrament (commonly known as the Christchurch Basilica) as a result of the Canterbury earthquakes is reported, and the observed failure modes are identified. A previous strengthening intervention is outlined and the estimated capacity of the building is discussed. This strengthening was completed in 2004, and addressed the worst aspects of the building's seismic vulnerability. Urgent work was undertaken post-earthquake to secure parts of the building in order to limit damage and prevent collapse of unstable parts of the building. The approach taken for this securing is outlined, and the performance of the building and the previously installed earthquake strengthening intervention is evaluated.A key consideration throughout the project was the interaction between the structural securing requirements that were driven by the requirement to limit damage and mitigate hazards, and the heritage considerations. Lessons learnt from the strengthening that was carried out, the securing work undertaken, and the approach taken in making the building "safe" are discussed. Some conclusions are drawn with respect to the effectiveness of strengthening similar building types, and the approach taken to secure the building under active seismic conditions. AM - Accepted Manuscript

Research papers, The University of Auckland Library

The Catholic Cathedral is classified as a category 1 listed heritage building constructed largely of unreinforced stone masonry, and was significantly damaged in the recent Canterbury earthquakes of 2010 and 2011. In the 2010 event the building presented slight to moderta damage, meanwhile in the 2011 one experienced ground shaking in excess of its capacity leading to block failures and partial collapse of parts of the building, which left the building standing but still posing a significant hazard. In this paper we discuss the approach to develop the earthquake analysis of the building by 3D numerical simulations, and the results are compared/calibrated with the observed damage of the 2010 earthquake. Very accurate records were obtained during both earthquakes due to a record station located least than 80 m of distance from the building and used in the simulations. Moreover it is included in the model the soil structure interaction because it was observed that the ground and foundation played an important role on the seismic behavior of the structure. A very good agreement was found between the real observed damage and the nonlinear dynamic simulations described trough inelastic deformation (cracking) and building´s performance.

Images, UC QuakeStudies

The clock tower of the former Railway Station, encased in plywood to prevent further damage. A banner sponsored by The Press hangs below the clock, covered with words which symbolise the September earthquake. The photographer comments, "After the September earthquake the clocked stopped at 04:35 and everyone campaigned to have this clock left as it was. At that time the building was believed to be OK. Two more earthquakes later and the possible memorial will probably end up like a lot of Christchurch's heritage buildings on a huge pile of stone and bricks in Bottle Lake Forest".

Research papers, Victoria University of Wellington

In 2010 Neil Challenger, Head of the School of Landscape Architecture at Lincoln University, stated that the malls surrounding Christchurch drove the life out of the inner city of Christchurch. His economic and sociological concerns were expressed even before the earthquake occurred, and this forms the current hesitation on the rebuilding of Christchurch’s inner city.  The position of this research proposal is to establish whether an urban architectural intervention can address these economic and sociological concerns and the potentially devastating effects the suburban mall has had on urban life within Christchurch.  The thesis specifically asks whether establishing a mall typology as a landmark building within the inner city can strategically engage the damaged historic buildings of post-earthquake Christchurch in ways that actively preserve these historic remnants.  The main intention of this research is to engage the damaged historic buildings of post-earthquake Christchurch in ways that actively preserve these remnants and are also economically viable. By preserving the remnants as active, working elements of the urban fabric, they act as historic reminders or memorials of the event and associated loss, while also actively participating in the regrowth of the city. The thesis argues that contemporary architecture can play a strategic role in these imperatives.  Overall this research argues that there exists a distinct requirement for large-scale retail in the inner city urban environment that recognises and responds to the damaged cultural and historic architecture of inner city Christchurch. The objective of the thesis is to propose means to rejuvenate not only the economic vitality of central Christchurch,but also its historic character.

Research papers, The University of Auckland Library

Unreinforced masonry (URM) is a construction type that was commonly adopted in New Zealand between the 1880s and 1930s. URM construction is evidently vulnerable to high magnitude earthquakes, with the most recent New Zealand example being the 22 February 2011 Mw6.3 Christchurch earthquake. This earthquake caused significant damage to a majority of URM buildings in the Canterbury area and resulted in 185 fatalities. Many URM buildings still exist in various parts of New Zealand today, and due to their likely poor seismic performance, earthquake assessment and retrofit of the remaining URM building stock is necessary as these buildings have significant architectural heritage and occupy a significant proportion of the nation’s building stock. A collaborative research programme between the University of Auckland and Reid Construction Systems was conducted to investigate an economical yet effective solution for retrofitting New Zealand’s existing URM building stock. This solution adopts the shotcrete technique using an Engineered Cementitious Composite (ECC), which is a polyvinyl alcohol fibre reinforced mortar that exhibits strain hardening characteristics. Collaborations have been formed with a number of consulting structural engineers throughout New Zealand to develop innovative and cost effective retrofit solutions for a number of buildings. Two such case studies are presented in this paper. http://www.concrete2013.com.au/technical-program/

Audio, Radio New Zealand

An architect and art historian is setting up an action group to oppose the demolition of one of the most well-known churches in Christchurch, the Cathedral of the Blessed Sacrament. The church, registered as a Category 1 building with Heritage New Zealand, was damaged in the 2011 earthquakes and has sat in a state of disrepair ever since. Dr Anna Crighton is from Historic Places Aotearoa. She talks to Susie Ferguson.

Research papers, University of Canterbury Library

This paper explores the scope of small-scale radio to create an auditory geography of place. It focuses on the short term art radio project The Stadium Broadcast, which was staged in November 2014 in an earthquake-damaged sports stadium in Christchurch, New Zealand. Thousands of buildings and homes in Christchurch have been demolished since the Februrary 22, 2011 earthquake, and while Lancaster Park sports stadium is still standing, it has been unused since that date and its future remains uncertain. The Stadium Broadcast constructed a radio memorial to the Park’s 130 year history through archival recordings, the memories of local people, observation of its current state, and a performed site-specificity. The Stadium Broadcast reflected on the spatiality of radio sounds and transmissions, memory, post-disaster transitionality, and the im-permanence of place.

Videos, UC QuakeStudies

A video of a press conference with Anglican Bishop Victoria Matthews and Dean Peter Beck, about the interim plans for the earthquake-damaged ChristChurch Cathedral. In the press conference Matthews announces that the Cathedral will be deconsecrated, that parts of it will be demolished, and that the rest will be made safe. These measures will allow the recovery of artefacts and heritage items from the building.

Images, Alexander Turnbull Library

The cartoon suggests that the Kiwi character has too much of a 'She'll be right' attitude. Refers to a 1996 documentary called 'Earthquake!' which outlined the effects of a major earthquake on Christchurch's eastern suburbs and heritage buildings. The director Grant Dixon says lives could have been saved if officials had heeded the film's warnings. (Stuff: 11 March 2011) Quantity: 1 digital cartoon(s).

Videos, UC QuakeStudies

A video of a tour of the Christchurch central city Red Zone. The video includes footage of the Design and Arts College Building, the Heritage Hotel, Cathedral Junction, the Octagon Live restaurant, Manchester Street, Hereford Street, Bedford Row, High Street, Lichfield Street, the Majestic Theatre, Colombo Street, Cashel Street, Just Jeans and Starbucks on Cashel Street, and Kilmore Street. It also includes footage of residents on a Red Zone bus tour.

Research papers, University of Canterbury Library

This is an ethnographic case study, tracking the course of arguments about the future of a city’s central iconic building, damaged following a major earthquake sequence. The thesis plots this as a social drama and examines the central discourses of the controversy. The focus of the drama is the Anglican neo-Gothic Christ Church Cathedral, which stands in the central square of Christchurch, New Zealand. A series of major earthquakes in 2010/2011 devastated much of the inner city, destroying many heritage-listed buildings. The Cathedral was severely damaged and was declared by Government officials in 2011 to be a dangerous building, which needed to be demolished. The owners are the Church Property Trustees, chaired by Bishop Victoria Matthews, a Canadian appointed in 2008. In March 2012 Matthews announced that the Cathedral, because of safety and economic factors, would be deconstructed. Important artefacts were to be salvaged and a new Cathedral built, incorporating the old and new. This decision provoked a major controversy, led by those who claimed that the building could and should be restored. Discourses of history and heritage, memory, place and identity, ownership, economics and power are all identified, along with the various actors, because of their significance. However, the thesis is primarily concerned with the differing meanings given to the Cathedral. The major argument centres on the symbolic interaction between material objects and human subjects and the various ways these are interpreted. At the end of the research period, December 2015, the Christ Church Cathedral stands as a deteriorating wreck, inhabited by pigeons and rats and shielded by protective, colourfully decorated wooden fences. The decision about its future remains unresolved at the time of writing.

Audio, Radio New Zealand

A review of the week's news, including: environmental protests against oil exploration off the East cape, changes to Legal Aid, plans to sell the Pike River coal mine, a Labour MP says his party's list is drawn up by"a gaggle of gays", confidence in the economy grows, extraordinary powers given to the Canterbury Earthquake Recovery Authority, the number of heritage buildings to be demolished after the quake grows, results from faultline mapping in Christchurch to be known within weeks, Mt Ruapehu to be monitored around the clock and Victoria Cross winners are awarded with stamps.

Research Papers, Lincoln University

The city of Christchurch, New Zealand, was until very recently a “Junior England”—a small city that still bore the strong imprint of nineteenth-century British colonization, alongside a growing interest in the underlying biophysical setting and the indigenous pre-European landscape. All of this has changed as the city has been subjected to a devastating series of earthquakes, beginning in September 2010, and still continuing, with over 12,000 aftershocks recorded. One of these aftershocks, on February 22, 2011, was very close to the city center and very shallow with disastrous consequences, including a death toll of 185. Many buildings collapsed, and many more need to be demolished for safety purposes, meaning that over 80 percent of the central city will have gone. Tied up with this is the city’s precious heritage—its buildings and parks, rivers, and trees. The threats to heritage throw debates over economics and emotion into sharp relief. A number of nostalgic positions emerge from the dust and rubble, and in one form is a reverse-amnesia—an insistence of the past in the present. Individuals can respond to nostalgia in very different ways, at one extreme become mired in it and unable to move on, and at the other, dismissive of nostalgia as a luxury in the face of more pressing crises. The range of positions on nostalgia represent the complexity of heritage debates, attachment, and identity—and the ways in which disasters amplify the ongoing discourse on approaches to conservation and the value of historic landscapes.

Research papers, Victoria University of Wellington

Museums around the world are often affected by major catastrophes, and yet planning for these disasters is an often neglected aspect of museum practice. New Zealand is not immune from these events, as can be seen in the recent series of serious earthquakes in Christchurch in 2010 and 2011. This dissertation considers how prepared the New Zealand museum sector is to handle unexpected events that negatively affect its buildings, staff, operations and treasured collections. The central research question was: What is the overall state of emergency planning in the New Zealand museum sector? There was a significant gap in the literature, especially in the local context, as there has been only one other comparable study conducted in Britain, and nothing locally. This dissertation makes a valuable contribution to the field of museum studies by drawing on theory from relevant areas such as crises management literature and by conducting original empirical research on a topic which has received little attention hitherto. The research employed a number of methods, including a review of background secondary sources, a survey and interviews. After contextualising the study with a number of local examples, Ian online survey was then developed an which enabled precise understanding of the nature of current museum practices and policies around emergency planning. Following this I conducted several interviews with museum professionals from a variety of institutional backgrounds which explored their thoughts and feelings behind the existing practices within the industry. The findings of the research were significant and somewhat alarming: almost 40% of the museum and galleries in New Zealand do not have any emergency plan at all, and only 11% have what they considered ‘complete’ plans. The research revealed a clear picture of the current width and depth of planning, as well as practices around updating the plans and training related to them. Within the industry there is awareness that planning for emergencies is important, but museum staff typically lack the knowledge and guidance needed to conduct effective emergency planning. As a result of the analysis, several practical suggestions are presented aimed at improving emergency planning practices in New Zealand museums. However this study has implications for museum studies and for current museum practice everywhere, as many of the recommendations for resolving the current obstacles and problems are applicable anywhere in the world, suggesting that New Zealand museums could become leaders in this important area.

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.

Images, Alexander Turnbull Library

Text reads 'Could the wrecking ball be used on structures outside Christchurch?' The cartoon shows Minister for the Reconstruction of Christchurch Gerry Brownlee as the wrecking ball on a crane; he says 'let the fun begin'. To one side is a large house crowded with people which represents 'the welfare state' and is surrounded by a barrier on which are printed the words 'Fiscal emergency'. Context - Gerry Brownlee is seen by many as rather too quick to demolish heritage buildings in his rush to rebuild Christchurch. The wrecking ball idea also suggests that the National government is likely to wreck the welfare state in its efforts to sort out economic problems. Quantity: 1 digital cartoon(s).

Images, Alexander Turnbull Library

Text at top left reads 'Christchurch display portaloos' Four different styles of portaloo are shown; the "Merivale", the 'Sumner", the "Heritage" and the "Eastsider"; someone inside the 'Eastsider says 'At least I'm open plan AND mobile!' Context - After the tow Christchurch earthquakes and hundreds of aftershocks that have hit Christchurch one of the problems is lack of toilets because of damage to buildings and also damage to sewage systems so many portaloos and chemical toilets have been sent to Christchurch. However many people have resorted to the good old kiwi way and dug long-drops in the backyard. A website 'showusyourlongdrop.co.nz' has been developed by Christchurch man Jason Moore, who was inspired by photographs of Christchurch dunnies uploaded to Facebook. There has been a competition. Quantity: 1 digital cartoon(s).

Images, Alexander Turnbull Library

Text at the top reads 'Bob's next speech?... The cartoon shows Christchurch Mayor Bob Parker making a speech - 'We shall fight on the beaches... We shall fight in the liquefaction... We shall fight in the cracks... We shall fight on the falling rocks and in the sinkholes... We shall fight in the portaloos... We shall fight in the sewage pipes... We shall fight in the polluted waters and subsided streets... We shall fight in the heritage buildings including the Dux de Lux... We shall NEVER surrender! A man leans over a fence and yells 'Hey Bob... How about a rewrite..."We shall raise the white flag and shall get the hell out!"' Context - The continuing earthquakes and aftershocks are causing serious problems in Christchurch, both practical and emotional. Many people are considering leaving the city. Quantity: 1 digital cartoon(s).

Audio, Radio New Zealand

Questions to Ministers 1. AMY ADAMS to the Minister of Finance: How many claims does the Earthquake Commission expect to receive as a result of the earthquakes in Canterbury since 4 September 2010? 2. Hon PHIL GOFF to the Prime Minister: Does he stand by his statement that "rebuilding Christchurch is a key priority for the Government this year"; if so, what rebuilding plans are currently in place? 3. METIRIA TUREI to the Minister for Social Development and Employment: Does she stand by her statement that state support is for "people to fall back on when they really need it"? 4. Hon ANNETTE KING to the Prime Minister: Does he stand by his statement that New Zealanders were "more than compensated" for last year's increase in GST? 5. NICKY WAGNER to the Minister for Social Development and Employment: How is her Ministry responding to support the Christchurch recovery following last month's earthquake? 6. JACINDA ARDERN to the Prime Minister: Does he stand by his answers to Oral Question number one on 8 March 2011; if not, why not? 7. AARON GILMORE to the Minister of Corrections: What support has the Department of Corrections provided to the people of Christchurch following last month's earthquake? 8. Dr KENNEDY GRAHAM to the Minister of Finance: How much has he budgeted to raise from the Christchurch Earthquake Appeal and has this figure been revised in light of the Japanese earthquake? 9. JO GOODHEW to the Minister of Internal Affairs: What work will the New Zealand Urban Search and Rescue team be carrying out in Japan? 10. Hon SHANE JONES to the Minister of Transport: Does he stand by his statement that the $300 million bill for restoring the Christchurch road network won't be causing any "dramatic issues" and what is his timeframe for the completion of this work? 11. COLIN KING to the Minister of Transport: What work has been done to repair and reopen Christchurch's roads and highways following the 22 February earthquake? 12. Hon STEVE CHADWICK to the Minister for Arts, Culture and Heritage: Has he had any discussions with the Minister for Canterbury Earthquake Recovery about heritage buildings or recovering cultural artefacts from buildings damaged by the earthquake on 22 February; if so, what did he say to the Minister?

Research papers, Victoria University of Wellington

Urban Ensembles explores the way in which landscape and architecture can be employed together within the design of a steep, urban site. Lyttelton is a small port town on the border of Christchurch, settled in the foothills of a harbour formed by a major volcanic eruption. This rugged setting, with steeply sloping urban terrain, presents an interesting challenge when designing an urban development. The site was badly damaged in a series of earthquakes in 2010-2011, and many of the town’s oldest buildings, heritage structures dating back to the colonial settlement era, were destroyed. This has left a void in the heart of Lyttelton, and caused the loss of much of the tourism business that the town relies upon for its income. This thesis takes a methodological approach to the design of landscape architecture on such a challenging site. A range of techniques are explored, drawing from both landscape and architecture to explore the roles that each discipline plays in the design of urban spaces. The frequent imbalance between disciplines is addressed both through the literature review and design method, as this landscape architecture thesis draws on architectural design as a tool for generating spaces which fall somewhere in between the two ideals of interior and exterior. The final design proposal is an alternative rebuild plan for the central business area to the south of London St, and also addresses the relationships between that site and the surrounding context, both urban and environmental. The aim of this design is to create a series of interconnected spaces which have a strong relationship to the surrounding harbour setting, and also to facilitate development of the pedestrian spaces throughout the block and encouraging the development of activity at the street level, through the interface between buildings and landscape.