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Images for town hall; more images...

Images, UC QuakeStudies

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.

Audio, Radio New Zealand

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.

Images, UC QuakeStudies

A photograph of Celia Wade-Brown, Mayor of Wellington, speaking at a graduation ceremony for more than 40 new civil defence volunteers in the Wellington Town Hall. Members of the Wellington Emergency Management Office team were presented certificates of appreciation during this event. The certificates were presented to the members to honour their involvement in the emergency response to the 22 February 2011 earthquakes in Christchurch.

Videos, NZ On Screen

TVNZ journalist (and future Communicado founder) Neil Roberts does an ethnomusicologist turn in this edition of "established media tries to explain what the young people are doing". His subject is NZ's fledgling punk scene which is already on its way to extinction. Much of the focus is on Auckland but Doomed lead singer (and future TV presenter/producer) Johnny Abort (aka Dick Driver) flies the flag for the south. The Stimulators, Suburban Reptiles and Scavengers play live and punk fans pogo and talk about violence directed at them (from "beeries").   

Videos, NZ On Screen

In this episode of the influential New Zealand architecture series, dapper tour guide David Mitchell looks at the 'Christchurch Style'. He begins with the humble baches on Taylor's Mistake's cliffs, before focusing on the Euro-influenced brutalism of Miles Warren and the "flamboyant" practice of Peter Beaven (earthquake victims SBS House, and Lyttelton Tunnel's "fifth ship" are featured); and the cottage's modern descendent: Don Donnithorne's post-war home. Warren intriguingly compares his process designing Christchurch Town Hall with Jørn Utzon's Sydney Opera House.

Audio, Radio New Zealand

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.

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.

Research papers, Victoria University of Wellington

This dissertation explores the advocacy for the Christchurch Town Hall that occurred in 2012-2015 after the Canterbury Earthquakes. It frames this advocacy as an instance of collective-action community participation in a heritage decision, and explores the types of heritage values it expressed, particularly social values. The analysis contextualises the advocacy in post-quake Christchurch, and considers its relationship with other developments in local politics, heritage advocacy, and urban activism. In doing so, this dissertation considers how collective action operates as a form of public participation, and the practical implications for understanding and recognising social value.  This research draws on studies of practices that underpin social value recognition in formal heritage management. Social value is held by communities outside institutions. Engaging with communities enables institutions to explore the values of specific places, and to realise the potential of activating local connections with heritage places. Such projects can be seen as participatory practices. However, these processes require skills and resources, and may not be appropriate for all places, communities and institutions. However, literature has understudied collective action as a form of community participation in heritage management. All participation processes have nuances of communities, processes, and context, and this dissertation analyses these in one case. The research specifically asked what heritage values (especially social values) were expressed through collective action, what the relationship was with the participation processes, communities, and wider situation that produced them, and the impact on institutional rhetoric and decisions. The research analysed values expressed in representations made to council in support of the Town Hall. It also used documentary sources and interviews with key informants to analyse the advocacy and decision-making processes and their relationships with the wider context and other grassroots activities. The analysis concluded that the values expressed intertwined social and professional values. They were related to the communities and circumstance that produced them, as an advocacy campaign for a civic heritage building from a Western architectural tradition. The advocacy value arguments were one of several factors that impacted the decision. They have had a lasting impact on rhetoric around the Town Hall, as was a heritage-making practice in its own right. This dissertation makes a number of contributions to the discussion of social value and community in heritage. It suggests connections between advocacy and participation perspectives in heritage. It recommends consideration of nuances of communities, context, and place meanings when using heritage advocacy campaigns as evidence of social value. It adds to the literature on heritage advocacy, and offers a focused analysis of one of many heritage debates that occurred in post-quake Christchurch. Ultimately, it encourages practice to actively integrate social and community values and to develop self-reflexive engagement and valuation processes. Despite inherent challenges, participatory processes offer opportunities to diversify understandings of value, co-produce heritage meanings with communities, and empower citizens in democratic processes around the places they live with and love.

Videos, NZ On Screen

Phillip Schofield introduces The Mockers at this benefit concert at the Christchurch Town Hall, which was later broadcast on Schofield's youth music show Shazam!. Their first album has just gone straight into the Top 10 and the band are well on their way to becoming pop stars, with Andrew Fagan, resplendent in red frock coat and bare chest, very much out front as one of Kiwi music's great showmen. Six songs are featured — including the hits 'Woke Up Today', 'My Girl Thinks She's Cleopatra', 'Alvison Park' and the title track of the band's 1984 album Swear It's True.

Images, UC QuakeStudies

An aerial photograph of the Christchurch central city. The photograph has been captioned by BeckerFraserPhotos, "This photograph shows nearly all of the CBD. The two streets which are prominent in this photograph are Manchester Street on the left and Colombo Street on the right of the photograph. This photograph is from the north, looking towards the southern part of the city. Cathedral Square is about half way up, towards the right. It shows the extent of demolition that has happened already close to the river and near the Manchester/Gloucester Street intersection where there is a lot of bare land surrounding Radio Network House".

Research papers, University of Canterbury Library

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.