A PDF copy of the September 2011 Social Justice Enablers report written by Jolyon White, Director of Anglican Advocacy.
A PDF copy of the October 2011 Social Justice Enablers report written by Jolyon White, Director of Anglican Advocacy.
A PDF copy of the April 2011 Social Justice Enablers report written by Jolyon White, Director of Anglican Advocacy.
A photograph of Jayne White working to attach one of the flower mosaics to Crack'd for Christchurch's armchair artwork.
A photograph of architecture students standing among large inflated white balls that are part of the In Your Face installation at LUXCITY.
A photograph of two architecture students standing among large inflated white balls that are part of the In Your Face installation at LUXCITY.
A filing cabinet which is part of the Words of Hope project. It has been painted white and is resting on its side.
A black and white historic photograph of the interior of the 1866 Bank of New Zealand Building, photographed in 1911 by Steffano Webb.
Photograph captioned by BeckerFraserPhotos, "Remains of houses in Kinsey Terrace, Sumner".
A document containing examples of the technical update newsletter which detailed SCIRT innovations. The newsletters in the document were produced between 1 July 2013 and 1 May 2014.
A black and white historic photograph of the corner of Lichfield and High Streets, ca. 1910-19, with the Fisher's Building visible on the left.
A black and white historic photograph looking along Manchester Street, showing the building of the NZ Express Company, customs, shipping and forwarding agents (ca. 1910-1929).
A black and white historic photograph of the public viewing the 1931 election results posted on The Press building, taken ca. 1931 by The Press (Christchurch).
A photograph of members of Crack'd for Christchurch attaching one of the flower mosaics to their armchair artwork.Crack'd for Christchurch comments, "Jennie Cooper and Jayne White."
A photograph of street art by the DTR crew at Waltham Park and Pool. The artwork depicts white and green tag writing, and the DTR Crew's signature below it.
The aisle of 'The Night Club', Gap Filler's temporary cinema, painted onto the gravel of the vacant space. Currently it is white, but it will be painted red before opening time.
A black and white historic photograph of buildings in Cathedral Square, Christchurch, circa 1920s. From left to right: The Weekly Press, H M Customs, Christchurch Tramway Board/Lyttelton Harbour Board.
A photograph of street art on Dyers Pass Road at the Silvan Salvage wood and demolition yard. The artwork shows tag writing which says "The Silvan Salvage" in white letters and signed by Mesr.
The furniture for the Words of Hope project, recycled or found by CPIT students. The furniture has been painted white and will serve as a canvas for words of hope written by the Christchurch public.
The furniture for the Words of Hope project, recycled or found by CPIT students. The furniture has been painted white and will serve as a canvas for words of hope written by the Christchurch public.
A photograph of members of Crack'd for Christchurch working to attach the flower mosaics to their armchair artwork.Crack'd for Christchurch comments, "From left: Jennie Cooper, Helen Campbell, Jayne White, and Marie Hudson."
1. INTRODUCTION. Earthquakes and geohazards, such as liquefaction, landslides and rock falls, constitute a major risk for New Zealand communities and can have devastating impacts as the Canterbury 2010/2011 experience shows. Development patterns expose communities to an array of natural hazards, including tsunamis, floods, droughts, and sea level rise amongst others. Fostering community resilience is therefore vitally important. As the rhetoric of resilience is mainstreamed into the statutory framework, a major challenge emerges: how can New Zealand operationalize this complex and sometimes contested concept and build ‘community capitals’? This research seeks to provide insights to this question by critically evaluating how community capitals are conceptualized and how they can contribute to community resilience in the context of the Waimakariri District earthquake recovery and regeneration process.
A photograph of performers dressed in white hazmat suits. Together they were The Bouffante Cart for the Canterbury Tales procession. Canterbury Tales was created by Free Theatre Christchurch, and was the main event of FESTA 2013.
A photograph of Jayne White removing excess adhesive from between the tiles of a flower mosaic. The flower mosaic is part of Crack'd for Christchurch's armchair artwork.Crack'd for Christchurch comments, "A tedious process."
A photograph of performers dressed in white hazmat suits. Together they were The Bouffante Cart for the Canterbury Tales procession. Canterbury Tales was created by Free Theatre Christchurch, and was the main event of FESTA 2013.
Photograph captioned by BeckerFraserPhotos, "Kilmore Street on the left. The red-sided building is 818 Colombo Street. The white-sided building with the four rows of square windows is 115-119 Kilmore Street across Colombo Street".
A photograph of three performers dressed in white hazmat suits. Together they were The Bouffante Cart for FESTA's Canterbury Tales event. Canterbury Tales was created by Free Theatre Christchurch, and was the main event of FESTA 2013.
A photograph of three performers dressed in white hazmat suits. Together they were The Bouffante Cart for FESTA's Canterbury Tales event. Canterbury Tales was created by Free Theatre Christchurch, and was the main event of FESTA 2013.
A black and white historic photograph of the Clarendon Hotel on the corner of Oxford Terrace and Worcester Street. In the foreground is the Scott Memorial statue made by Scott's wife Kathleen Scott and unveiled in 1917.
A photograph of three performers dressed in white hazmat suits. Together they were The Bouffante Cart for FESTA's Canterbury Tales event. Canterbury Tales was created by Free Theatre Christchurch, and was the main event of FESTA 2013.