The organ at the Christchurch Town Hall made a welcome return yesterday in front of a capacity crowd of 2,500. The instrument was badly damaged in the 2011 earthquake. Conan Young was there as another important part of the city came back to life.
Photograph captioned by Fairfax, "Richmond and Upper Moutere Volunteer Fire Fighters, from left, Craig Clayworth, Allan Rankin, Craig Piner and Blair Hall about to leave for Christchurch to help out exhausted colleagues at the New Brighton Station".
Photograph captioned by Fairfax, "Huriaa Martin plays on Singstar at the Linwood Welfare Centre set up in the Linwood College Hall. Her extended family of 31 spread across four houses have all been accommodated at the centre after their houses were condemned".
Photograph captioned by Fairfax, "Huriaa Martin plays on Singstar at the Linwood Welfare Centre set up in the Linwood College Hall. Her extended family of 31 spread across four houses have all been accommodated at the centre after their houses were condemned".
Photograph captioned by Fairfax, "Give Enterprise a Life Line business meeting in the Christchurch Town Hall re: the aftermath of the 4 September earthquake. Judi Tardi speaking. Those listening are (from left): Garth Snell, Mark Lee, Tom Fuller, Mathew Carpenter and Brendon Burns".
Photograph captioned by Fairfax, "Huriaa Martin plays on SingStar at the Linwood Welfare Centre set up in the Linwood College Hall. Her extended family of 31 spread across four houses have all been accommodated at the centre after all their houses were condemned".
Photograph captioned by Fairfax, "Huriaa Martin plays on SingStar at the Linwood Welfare Centre set up in the Linwood College Hall. Her extended family of 31 spread across four houses have all been accommodated at the centre after all their houses were condemned".
Photograph captioned by Fairfax, "Huriaa Martin plays on Singstar at the Linwood Welfare Centre set up in the Linwood College Hall. Her extended family of 31 spread across four houses have all been accommodated at the centre after their houses were condemned".
Photograph captioned by Fairfax, "Pritrica Martin helps out with sorting donated clothing and bedding at the Linwood Welfare Centre set up in the Linwood College Hall. Her extended family of 31 spread across four houses have all been accommodated at the centre after all their houses were condemned".
Photograph captioned by Fairfax, "Pritrica Martin helps out with sorting donated clothing and bedding at the Linwood Welfare Centre set up in the Linwood College Hall. Her extended family of 31 spread across four houses have all been accommodated at the centre after all their houses were condemned".
Photograph captioned by Fairfax, "Crowd shot of firemen from all over Canterbury who were awarded by the New Zealand Fire Commission and New Zealand Government for their service during the Canterbury earthquake crisis. The event was held at the Hall of Flame at Ferrymead Heritage Park".
A scanned copy of a black and white photograph of the DramaSoc production, 'Peer Gynt'. The play was performed at James Hay Theatre in the Christchurch Town Hall in 1973. The photograph was sourced from the DramaSoc archives held at Macmillan Brown Library.
A scanned copy of a black and white photograph of the DramaSoc production, 'Peer Gynt'. The play was performed at James Hay Theatre in the Christchurch Town Hall in 1973. The photograph was sourced from the DramaSoc archives held at Macmillan Brown Library.
A scanned copy of a black and white photograph of the DramaSoc production, 'Peer Gynt'. The play was performed at James Hay Theatre in the Christchurch Town Hall in 1973. The photograph was sourced from the DramaSoc archives held at Macmillan Brown Library.
A scanned copy of a black and white photograph of the DramaSoc production, 'Peer Gynt'. The play was performed at James Hay Theatre in the Christchurch Town Hall in 1973. The photograph was sourced from the DramaSoc archives held at Macmillan Brown Library.
A scanned copy of a black and white photograph of the DramaSoc production, 'Peer Gynt'. The play was performed at James Hay Theatre in the Christchurch Town Hall in 1973. The photograph was sourced from the DramaSoc archives held at Macmillan Brown Library.
A scanned copy of a black and white photograph of the DramaSoc production, 'Peer Gynt'. The play was performed at James Hay Theatre in the Christchurch Town Hall in 1973. The photograph was sourced from the DramaSoc archives held at Macmillan Brown Library.
A scanned copy of a black and white photograph of the DramaSoc production, 'Peer Gynt'. The play was performed at James Hay Theatre in the Christchurch Town Hall in 1973. The photograph was sourced from the DramaSoc archives held at Macmillan Brown Library.
A scanned copy of a black and white photograph of the DramaSoc production, 'Peer Gynt'. The play was performed at James Hay Theatre in the Christchurch Town Hall in 1973. The photograph was sourced from the DramaSoc archives held at Macmillan Brown Library.
A scanned copy of a black and white photograph of the DramaSoc production, 'Peer Gynt'. The play was performed at James Hay Theatre in the Christchurch Town Hall in 1973. The photograph was sourced from the DramaSoc archives held at Macmillan Brown Library.
A scanned copy of a black and white photograph of the DramaSoc production, 'Peer Gynt'. The play was performed at James Hay Theatre in the Christchurch Town Hall in 1973. The photograph was sourced from the DramaSoc archives held at Macmillan Brown Library.
A billboard on the side of the Christchurch Town Hall advertises a performance by Santana on Tuesday 22 March 2011. The photographer comments, "Due to the earthquake the previous month Carlos Santana cancelled the concert. He did return though for a concert on 17 March 2013".
A scanned copy of a poster produced by the University of Canterbury Drama Society in 1973. The poster is advertising a play titled 'Peer Gynt', performed at James Hay Theatre in the Christchurch Town Hall. The poster was sourced from DramaSoc archives held at Macmillan Brown Library.
Sir Miles Warren and Maurice Mahoney were architectural revolutionaries who built a legendary partnership spanning 37 years. A new film currently in production aims to celebrate their incredible legacy and document the bitter fight to save their most iconic building - the Christchurch Town Hall - from demolition after the 2011 earthquake. Co-director and Maurice's daughter Jane Mahoney talks to Mark Leisham about the pairs legacy and the process of making the film.
"Open Theatre" - The Odeon Built in 1883 and known as the Tuam Street Hall or Theatre and was New Zealand's oldest masonry, purpose built theatre. In 1930, it became the St. James Theatre, It became The Odeon Movie Theatre in 1960. Demolition started in September 2012 after the Christchurch earthquakes of 2010/2011 but seems to have stopped!?
Aerial footage of the Christchurch central city. The video includes footage of the Hotel Grand Chancellor, the Cathedral of the Blessed Sacrament, Manchester Street, the former Press Building, Worcester Street, Cathedral Square, St Elmo Courts, Cashel Mall, St John the Baptist Church hall, the Regent Theatre, the Arts Centre, Woolsack Lane, and the Farmers car park.
Christchurch's historic Theatre Royal will reopen for business in November, with bookings about to open for the first show, the Royal New Zealand Ballet season of "A Christmas Carol" The 106-year old theatre has been closed for almost four years because of earthquake damage in the 2010 and 2011 earthquakes. The $40million rebuild and restoration project will be completed over the next five months and on 17 November 2014, the 'Grand Old Lady' of New Zealand theatre will reopen her doors for performances. With so few venues for performance left in the city, including the Town Hall out of commission indefinitely, the rebuild of the Theatre Royal is very good news for Christchurch audiences Chief executive Neil Cox explains the process of getting oldest Edwardian theatre in the country back in use and mounting the large scale theatrical productions it has been famous for.
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.
Planning in New Zealand in 2014 has largely been dominated by housing and urban development, potential local government and legislative reforms, and water issues. This volume’s peer reviewed research, which combines Issues 1 and 2, focuses on these issues, but with perspectives and issues that are outside the mainstream. In our lead research article, John Ryks and his co-authors review the opportunities from Treaty settlements and legislative provisions and challenges for Māori participation in urban development, such as the balancing of matawaka and mana whenua perspectives. Water issues are picked up by Ronlyn Duncan and Phil Holland who each take constructively critical views toward some currently well-regarded approaches to resolutions. We have reflective and somewhat contrasting contributions from two highly respected semi-retired planners, Malcolm Douglass (FNZPI) and Derek Hall, that challenge aspects of New Zealand’s current approach to planning. In our outreach part of this Volume we include the response of some political parties to questions put to them about planning by LPR team member Nicole Read. Finally, Lincoln University appears to have turned a corner after the earthquakes, at least in the planning programmes.
Research in the governance of urban tourist spaces is characterized by a lack of argumentative inquiry and scant use of critical theory. This is evident, particularly, in the study of tourism and post-disaster urban recovery, with very few contributions assessing the phenomenon from a social theory perspective. This thesis examines the complex phenomenon of planning and governance for urban tourism spaces in contexts facing physical recovery from natural disasters. It does so by looking at the governance dynamics and the mechanism of decision- making put in place before and after triggering events like earthquakes and tsunamis. This thesis provides evidence from Christchurch, New Zealand, by focusing on the policies and strategies for the regeneration of the city centre put in place before and after the disruptive earthquakes of 2010 and 2011. The thesis looks at power relations, structures and ideologies through a Lukesian appraisal of pre-and-post disaster governance from two relevant urban tourist spaces located in the Christchurch central city area: the Arts Centre of Christchurch and the Town Hall and Performing Arts Precinct. The research strategy adopted for the study combined archival research, interviews with key stakeholders and fieldwork notes over a period of two years. The research deployed a comparative case study methodology that focuses on projects taking place within a spatially defined area of the city centre where special legislation was enacted as result of the earthquakes. The findings from the interviews and their triangulation with documents retrieved from national and local authorities suggest that the earthquakes affected the engagement among stakeholders and the mechanisms of decision-making. Also, the findings show patterns of disaster capitalism in post-earthquake governance for urban tourist spaces in the Christchurch CBD, with episodes of exclusion, lobbying and amendment of rules and legislation that directly benefited the interests of a narrow group of privileged stakeholders. Overall, the study shows that the earthquakes of 2010 and 2011 accelerated neoliberal practices of site development in Christchurch, with the seismic events used as a pretext to implement market-oriented site projects in the CBD area.