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Images for exhibition; more images...

Images, UC QuakeStudies

A photograph tied to the security fence around Riccarton House. The photographer comments, "There were photographs all along the line of the fence - I assume it was some sort of art exhibition, but I couldn't see any signs, or information on the artist(s)".

Images, UC QuakeStudies

A photograph tied to the security fence around Riccarton House. The photographer comments, "There were photographs all along the line of the fence - I assume it was some sort of art exhibition, but I couldn't see any signs, or information on the artist(s)".

Images, UC QuakeStudies

A photograph tied to the security fence around Riccarton House. The photographer comments, "There were photographs all along the line of the fence - I assume it was some sort of art exhibition, but I couldn't see any signs, or information on the artist(s)".

Videos, UC QuakeStudies

A video about the 2012 Ellerslie Flower Show in Hagley Park. The video includes an interview with Paul Roper-Gee, Exhibition Garden Gold Medal winner. It also includes an interview with Rachael Matthews, Emerging Designs Gold winner and Student Designer of the Year.

Images, UC QuakeStudies

A photograph of the As Far As Eye Can See exhibition. On the left is a crocheted image of an eye, created by a group of women from Adelaide, and on the right are woven fabric artworks created by Christchurch craft artists in response.

Audio, Radio New Zealand

Earthquakes are one of the few natural disasters Australia seldom experiences. We find out from curator Felicity Milburn how our neighbours have responded to an exhibition of earthquake related art direct from Christchurch. Tomorrow will be the same (but not as this is), on show in Mandurah in Western Australia.

Audio, Radio New Zealand

Lyttelton was hit harder than most by the Christchurch earthquakes - particularly the Lyttelton Museum. But now it's back - triumphantly, we may say! - with a little help from its friends, past and present. Key historical figures in Lyttelton's history are brought back to life in a new exhibition by Julia Holden - Lyttelton Redux - which has just opened at Canterbury Museum.

Videos, UC QuakeStudies

A video of an interview with Sean Duxfield, the exhibitions and collections team leader at the Christchurch Art Gallery, about installing Michael Parekowhai's bull sculpture, 'On First Looking into Chapman's Homer', in the Christchurch Arts Centre market square. The sculpture was installed in secret on a patch of grass.

Images, UC QuakeStudies

Copy of a file photograph captioned by Fairfax, "The New Zealand Express Company's new building, corner of Hereford Street and Manchester Street. Electric lighting, pumping, elevators, May & Otway's fire alarms, bells and telephones, supplied by Messrs Turnbull & Jones Ltd. Manchester courts MLC building from The Weekly Press 'New Zealand Exhibition Year Special Industrial & Commercial Number' December 1906".

Images, eqnz.chch.2010

Another city walk around, this time with my brother-in-law from Auckland. Also went to the Quake City exhibition in the city organised by the Canterbury Museum. First fine day for a while. This bus is used as a chocolate restaurant, and is parked next to the Pallet Pavilion on the site of the old Park Royal Hotel.

Images, UC QuakeStudies

A view across Montreal Street to the Christchurch Art Gallery. The building was used as the headquarters for Civil Defence in the aftermath of the 22 February 2011 earthquake, and large white marquees have been set up in its forecourt to accommodate extra personnel. The site is surrounded by a safety fence. On the left is a sign advertising the "Van der Velden: Otira" exhibition, which was cut short by the earthquake.

Audio, Radio New Zealand

Highlights from Radio New Zealand National's programmes for the week ending Friday 16 December. This week .... This week...another housing boom as property prices increase, the current state of Maori journalism, two stories from Canterbury's earthquake - a victim's recovery and a musician's return, a look back at the life of an albatross genius, the DNA of food, performing Shakespeare in te reo Maori and 200 years of wedding fashion on exhibition at Te Papa.

Articles, UC QuakeStudies

A PDF copy of an invite to a lunchtime conversation held by Healthy Christchurch and Te Putahi. The conversation was a continuation of the recent visit by acclaimed international author Charles Montgomery, who spoke on the topic of sustainable and happy cities. The invitation includes information about the event, which was also the finale of the People Building Better Cities exhibition held by Te Putahi.

Images, eqnz.chch.2010

Another city walk around, this time with my brother-in-law from Auckland. Also went to the Quake City exhibition in the city organised by the Canterbury Museum. First fine day for a while. For 36 years I worked in a now gone building where that red car is parked (on the left). and would have walked this route thousands of times, yet now it is...

Images, UC QuakeStudies

A man reads a sign posted on the door of the Christchurch Art Gallery, which reads "The gallery is currently closed to the public". The photographer comments, "Red Carded - A red-coloured card shown by a referee to a player, especially in soccer, to indicate that the player is being ejected from the pitch. The Christchurch Art Gallery has left the building. All the current and future exhibitions of the Art Gallery are being mainly held out of doors".

Audio, Radio New Zealand

The Logie Collection of Canterbury University is one of the small miracles of this country - treasures of the Ancient World from classical Greece and Rome, right back to the Bronze Age - 7000 BC. And when the first big earthquake struck Christchurch in September 2010, there were fears that the priceless collection - described as "one of Australasia's finest collections of classical art" would be utterly destroyed. Well it was and it wasn't. The Logie Collection has a brand-new home - the Teece Museum of Classical Antiquities - and last week it was proudly displayed in an exhibition called We Could Be Heroes. But it certainly didn't look like it at the time. Simon Morris is joined by Terri Elder and Penny Minchin-Garvin, the co-curators of the museum.

Research papers, Victoria University of Wellington

On the 22nd of February, 2011 the city of Christchurch, New Zealand was crippled by a colossal earthquake. 185 people were killed, thousands injured and what remained was a city left in destruction and ruin. Thousands of Christchurch properties and buildings were left damaged beyond repair and the rich historical architecture of the Canterbury region had suffered irreparably.  This research will conduct an investigation into whether the use of mixed reality can aid in liberating Christchurch’s rich architectural heritage when applied to the context of destructed buildings within Christchurch.  The aim of this thesis is to formulate a narrative around the embodiment of mixed reality when subjected to the fragmentary historical architecture of Christchurch. Mixed reality will aspire to act as the defining ligature that holds the past, present and future of Christchurch’s architectural heritage intact as if it is all part of the same continuum.  This thesis will focus on the design of a memorial museum within a heavily damaged historical trust registered building due to the Christchurch earthquake. It is important and relevant to conceive the idea of such a design as history is what makes everything we know. The memories of the past, the being of the now and the projection of the future is the basis and fundamental imperative in honouring the city and people of Christchurch. Using the technologies of Mixed Reality and the realm of its counter parts the memorial museum will be a definitive proposition of desire in providing a psychological and physical understanding towards a better Christchurch, for the people of Christchurch.  This thesis serves to explore the renovation possibilities of the Canterbury provincial council building in its destructed state to produce a memorial museum for the Christchurch earthquake. The design seeks to mummify the building in its raw state that sets and develops the narrative through the spaces. The design intervention is kept at a required minimum and in doing so manifests a concentrated eloquence to the derelict space. The interior architecture unlocks the expression of history and time encompassed within a destructive and industrialised architectural dialogue. History is the inhabitant of the building, and using the physical and virtual worlds it can be set free.  This thesis informs a design for a museum in central Christchurch that celebrates and informs the public on past, present and future heritage aspects of Christchurch city. Using mixed reality technologies the spatial layout inside will be a direct effect of the mixed reality used and the exploration of the physical and digital heritage aspects of Christchurch. The use of technology in today’s world is so prevalent that incorporating it into a memorial museum for Christchurch would not only be interesting and exploratory but also offer a sense of pushing forward and striving beyond for a newer, fresher Christchurch. The memorial museum will showcase a range of different exhibitions that formulate around the devastating Christchurch earthquake. Using mixed reality technologies these exhibitions will dictate the spaces inside dependant on their various applications of mixed reality as a technology for architecture. Research will include; what the people of Canterbury are most dear to in regards to Christchurch’s historical environment; the use of mixed reality to visualise digital heritage, and the combination of the physical and digital to serve as an architectural mediation between what was, what is and what there could be.

Research papers, University of Canterbury Library

This thesis considers the presence and potential readings of graffiti and street art as part of the wider creative public landscape of Christchurch in the wake of the series of earthquakes that significantly disrupted the city physically and socially. While documenting a specific and unprecedented period of time in the city’s history, the prominence of graffiti and street art throughout the constantly changing landscape has also highlighted their popularity as increasingly entrenched additions to urban and suburban settings across the globe. In post-quake Christchurch, graffiti and street art have often displayed established tactics, techniques and styles while exploring and exposing the unique issues confronting this disrupted environment, illustrating both a transposable nature and the entwined relationship with the surrounding landscape evident in the conception of these art forms. The post-quake city has afforded graffiti and street art the opportunity to engage with a range of concepts: from the re-activation and re-population of the empty and abandoned spaces of the city, to commentaries on specific social and political issues, both angry and humorous, and notably the reconsideration of entrenched and evolving traditions, including the distinction between guerrilla and sanctioned work. The examples of graffiti and street art within this work range from the more immediate post-quake appearance of art in a group of affected suburbs, including the increasingly empty residential red-zone, to the use of the undefined spaces sweeping the central city, and even inside the Canterbury Museum, which housed the significant street art exhibition Rise in 2013-2014. These settings expose a number of themes, both distinctive and shared, that relate to both the post-disaster landscape and the concerns of graffiti and street art as art movements unavoidably entangled with public space.