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Images for history; more images...

Images, Canterbury Museum

One silver medal awarded to SCIRT in October 2013 from the Institution of Civil Engineers in the United Kingdom in recognition of the excellent in civil engineering. Includes storage case and explanation sheet.

Images, Canterbury Museum

One green and yellow soft sculpture kakapo with wire feet, stuffed body and black plastic eyes. Has an attached card naming the bird Little Ra and explaining it is part of the 'Journey - The Kakapo of Christchurch' project by artist Sayraphim Lothian.

Images, Canterbury Museum

One model of the Temple for Christchurch with a rectangular base of Jarrah and solid silver conical shapes and wave like walls representing the movement of the 22 February 2011 earthquake. Based on the Temple for Christchurch sculpture that was designed by Hippathy Valentine.

Videos, UC QuakeStudies

A video of a tour of the historic Canterbury Club building on Cambridge Terrace. The club will reopen on 9 June 2012, after an intensive rebuild and restoration process which has fixed the damage from the 22 February 2011 earthquake. The video also includes an interview with Dr Brent Stanley, the Canterbury Club President. Stanley talks about the strengthening work that was done in 2009, as well as the history of the club.

Research papers, University of Canterbury Library

The UC CEISMIC Canterbury Earthquakes Digital Archive contains tens of thousands of high value cultural heritage items related to a long series of earthquakes that hit Canterbury, New Zealand, from 2010 - 2012. The archive was built by a Digital Humanities team located at the center of the disaster in New Zealand's second largest city, Christchurch. The project quickly became complex, not only in its technical aspects but in its governance and general management. This talk will provide insight into the national and international management and governance frameworks used to successfully build and deliver the archive into operation. Issues that needed to be managed included human ethics, research ethics, stakeholder management, communications, risk management, curation and ingestion policy, copyright and content licensing, and project governance. The team drew heavily on industry-standard project management methods for the basic approach, but built their ecosystem and stakeholder trust on principles derived directly form the global digital humanities community.

Images, Canterbury Museum

One trophy made from a can attached to a wooden base issued to SCIRT as a thank you for participating in Canstruction Christchurch. Features a custom printed label which celebrates teamwork in place of the usual nutritional information.

Images, Alexander Turnbull Library

Finance Minister Bill English takes a chain saw to a huge tome that represents the 'NZ Government BUDGET May 2011'. Context - the Government says cutting budget spending is necessary because it is going to have to pay back money borrowed to rebuild Christchurch. The Government will face the biggest budget deficit in New Zealand's history at the end of the current financial year, Finance Minister Bill English says. (NZ Herald 31 March 2011) Quantity: 1 digital cartoon(s).

Audio, Radio New Zealand

From the time it opened in the 1920s, the Winter Garden ballroom was the place to go for debutante balls and big-band concerts in Christchurch. Queen Elizabeth II even dined there during her visit in 1954. But this special part of Christchurch's history is over and the Armagh Street building has been placed on the urgent demolition list because of earthquake damage. Tiny Kirk is the chairman of the Trade Union Centre which has owned the building since 1984.

Images, Alexander Turnbull Library

A man sits at his desk with an enormous sheet of blank paper headed 'New Christchurch' before him; peering over his shoulder is a huge figure who appears to be a man from an earlier era of the history of Christchurch. Context - Christchurch earthquake of 22 February 2011 and the start of debate about how city should be rebuilt. The historic man suggests a strong pull to preserve historic Christchurch. Colour and black and white versions available Quantity: 2 digital cartoon(s).

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.

Audio, Radio New Zealand

Highlights from Radio New Zealand National's programmes for the week ending Friday 7th of September. This week......two years after the BIG Earthquake in Christchurch, and the Pike River Mine Disaster, how did the media respond to those events ... Mummies, Cannibals and Vampires; The History of Corpse medicine from the Renaissance to The Victorians ... a primary school project gets back to growing fruit and vegetables ... a Maori carving from A german prisoner of War camp comes back home ... the human side of Google ... and an affectionate look back at Broadcasts To Schools.

Audio, Radio New Zealand

In the hours after the February 2011 Canterbury earthquake, Chessie Henry's father Chris Henry, a Kaikoura-based doctor, crawled into makeshift tunnels in the collapsed CTV building to rescue the living and look for the dead. Six years later, Chessie interviewed Chris in an attempt to understand the trauma that lead her father to burnout. In her book just published, We Can Make A Life: A memoir of family, earthquakes and courage, Chessie Henry considers the psychological cost of heroism and unravels stories and memories from her family history.

Audio, Radio New Zealand

Almost half the ACC applications made for mental injuries caused by the Christchurch mosque attacks have been turned down. By the end of April, 85 people had made claims for mental injuries and thirty-five of them had been declined. Decisions are pending on another 25 claims. A woman who suffered post-traumatic stress disorder after the 2011 Christchurch earthquake, and didn't qualify for ACC, says that's tragic. Kirsty Cullen says leaving people who have psychological problems without support from ACC is history repeating. Veronica Schmidt reports.

Research papers, Victoria University of Wellington

<b>Construction and Demolition (C&D) waste contributes to over 50% of New Zealand’s overall waste. Materials such as timber, plasterboard, and concrete make up 81% of the C&D waste that goes into landfills each year. Alongside this, more than 235 heritage-listed buildings have been demolished in Christchurch since the 2011 earthquakes. This research portfolio aims to find a solution to decrease C&D waste produced by demolishing heritage buildings.</b> With the recent announcement of The Cathedral of the Blessed Sacrament’s demolition, this will be another building added to the list of lost heritage in Christchurch. This research portfolio aims to bridge the relationship between heritage and waste through the recycling and reuse of the demolished materials, exploring the idea that history and heritage are preserved through building material reuse. This research portfolio mainly focuses on reducing construction and demolition waste in New Zealand, using the design of a new Catholic Cathedral as a vessel. This thesis will challenge how the construction and design industry deals with the demolition of heritage buildings and their contribution to New Zealand’s waste. It aims to explore the idea of building material reuse not only to reduce waste but also to retain the history and heritage of the demolished building within the materials.

Research papers, University of Canterbury Library

We’ll never know why the thirteen people whose corpses were discovered in Pompeii’s Garden of the Fugitives hadn’t fled the city with the majority of the population when Vesuvius turned deadly in AD79. But surely, thanks to 21st century technology, we know just about everything there is to know about the experiences of the people who went through the Canterbury Earthquakes. Or has the ubiquity of digital technology, combined with seemingly massive online information flows and archives, created a false sense that Canterbury’s earthquake stories, images and media are being secured for posterity? In this paper Paul Millar makes reference to issues experienced while creating the CEISMIC Canterbury Earthquakes Digital Archive (www.ceismic.org.nz) to argue that rather than having preserved all the information needed to fully inform recovery, the record of the Canterbury earthquakes’ impacts, and the subsequent response, is incomplete and unrepresentative. While CEISMIC has collected and curated over a quarter of a million earthquake-related items, Millar is deeply concerned about the material being lost. Like Pompeii, this disaster has its nameless, faceless, silenced victims; people whose stories must be heard, and whose issues must be addressed, if recovery is to be meaningful.

Research papers, University of Canterbury Library

The last few years have seen the emergence of a range of Digital Humanities projects concerned with archiving material related to traumatic events and disasters. The 9/11 Digital Archive, The Hurricane Memory Bank and the CEISMIC Canterbury Earthquakes Digital Archive are a few such projects committed to collecting, curating and making available disaster-related images, stories and media for the purposes of commemoration, teaching and research. In this paper Paul Millar 1. examines the value of such projects in preserving post-disaster memories, 2. explores some differences between passive and active digital memory projects, and 3. asks whether even the most determinedly open and inclusive digital memory project can preserve its values when issues of race, class, gender, politics and economics impact upon its activities.

Research papers, Victoria University of Wellington

The whare whakairo or traditional Māori meeting house plays an important part in Māori society and identity. These whare tell the tale of their origin, and in so doing, the origins of their people. The analysis of the meeting house, the histories expressed in its decorative carvings and structural elements are inextricably linked with and dependent upon the structure of the world created by myth and the Māori worldview. However, due to the deleterious effects of colonisation, the art of wood carving and associated architectural practices - central to Māori identity, suffered decline in many parts of the country, leading to the decline of Māori culture and identity. Sir Apirana Ngata instigated the National Institute of Māori Arts and Crafts to resurrect the dying art of Māori carving and carved houses would be a catalyst for the restoration of Māori culture throughout the country. Ngata saw these whare whakairo as being the heart of Māori communities by establishing a renewed sense of belonging and identification with space for Māori, through the telling of tribal histories and emphasising key geographical features. New threats in the form of global hegemony and urbanisation have further impacted on Māori notions of identity, creating a generation of displaced urban Māori youth. This research proposes to establish an architectural response to capture displaced Māori youth through the resurrection of the Māori carving school and return to them the lost stories of their cultural history and identity. This program will be developed within the complex challenges that exist within post-earthquake Ōtautahi/Christchurch, where many have lost homes and livelihoods, especially Māori youth in the Eastern Suburbs. The building elements of the proposed Māori carving school give reference to the historio-cultural features of the original Ōtautahi/Christchurch landscape that are situated in tribal song and myth. It is envisioned that the development of a Māori carving school will help restore Māori identity and a renewed sense of belonging, and allow for the telling of this generations stories through traditional narratives.

Research papers, University of Canterbury Library

Local independent radio stations in Christchurch, New Zealand, had their operations severely disrupted by major earthquakes in September 2010 and February 2011. This article examines the experiences of three radio stations that were shut out of their central city premises by the cordon drawn around the city after the 22 February quake. One of the stations continued broadcasting automatically, while the others were unable to fully get back on air for several weeks afterwards. All of the stations had to manage access to workspaces, the emotional needs of staff and volunteers, the technical ability to broadcast, and the need to adapt content appropriately when back on air. For the locally based radio managers decisions had to be made about the future of the stations in a time of significant emotional, physical, and geological upheaval. The article explores how these radio stations were disrupted by the earthquake, and how they returned to air through new combinations and interconnections of people, workspace, technology, content and transmission.

Research papers, University of Canterbury Library

A Transitional Imaginary: Space, Network and Memory in Christchurch is the outcome and the record of a particular event: the coming together of eight artists and writers in Ōtautahi Christchurch in November 2015, with the ambitious aim to write a book collaboratively over five days. The collaborative process followed the generative ‘book sprint’ method founded by our facilitator for the event, Adam Hyde, who has long been immersed in digital practices in Aotearoa. A book sprint prioritises the collective voice of the participants and reflects the ideas and understandings that are produced at the time in which the book was written, in a plurality of perspectives. Over one hundred books have been completed using the sprint methodology, covering subjects from software documentation to reflections on collaboration and fiction. We chose to approach writing about Ōtautahi Christchurch through this collaborative process in order to reflect the complexity of the post-quake city and the multiple paths to understanding it. The city has itself been a space of intensive collaboration in the post-disaster period. A Transitional Imaginary is a raw and immediate record, as much felt expression as argued thesis. In many ways the process of writing had the character of endurance performance art. The process worked by honouring the different backgrounds of the participants, allowing that dialogue and intensity could be generative of different forms of text, creating a knowledge that eschews a position of authority, working instead to activate whatever anecdotes, opinions, resources and experiences are brought into discussion. This method enables a dynamic of voices that merge here, separate there and interrupt elsewhere again. As in the contested process of rebuilding and reimagining Christchurch itself, the dissonance and counterpoint of writing reflects the form of conversation itself. This book incorporates conflict, agreement and the activation of new ideas through cross-fertilisation to produce a new reading of the city and its transition. The transitional has been given a specific meaning in Christchurch. It is a product of local theorising that encompasses the need for new modes of action in a city that has been substantially demolished (Bennett & Parker, 2012). Transitional projects, such as those created by Gap Filler, take advantage of the physical and social spaces created by the earthquake through activating these as propositions for new ways of being in the city. The transitional is in motion, looking towards the future. A Transitional Imaginary explores the transitional as a way of thinking and how we understand the city through art practices, including the digital and in writing.

Research papers, University of Canterbury Library

Despite their good performance in terms of their design objectives, many modern code-prescriptive buildings built in Christchurch, New Zealand had to be razed after the 2010-2011 Canterbury earthquakes because repairs were deemed too costly due to widespread sacrificial damage. Clearly a more effective design paradigm is needed to create more resilient structures. Rocking, post-tensioned connections with supplemental energy dissipation can contribute to a damage avoidance designs (DAD). However, few have achieved all three key design objectives of damage-resistant rocking, inherent recentering ability, and repeatable, damage-free energy dissipation for all cycles, which together offer a response which is independent of loading history. Results of experimental tests are presented for a near full-scale rocking beam-column sub-assemblage. A matrix of test results is presented for the system under varying levels of posttensioning, with and without supplemental dampers. Importantly, this parametric study delineates each contribution to response. Practical limitations on posttensioning are identified: a minimum to ensure static structural re-centering, and a maximum to ensure deformability without threadbar yielding. Good agreement between a mechanistic model and experimental results over all parameters and inputs indicates the model is robust and accurate for design. The overall results indicate that it is possible to create a DAD connection where the non-linear force-deformation response is loading history independent and repeatable over numerous loading cycles, without damage, creating the opportunity for the design and implementation of highly resilient structures.

Audio, Radio New Zealand

Highlights from Radio New Zealand National's programmes for the week ending Friday 6th April. This week... we look at the commercial deals some media personalities are making these days, a documentary on the history of New Zealand's psychiatric hospitals, a new social phenomenon - the increasing number of people who choose to live alone, a new book and interesting findings about our national icon the kiwi, With the aid of advanced functional MRI scanners, scientists are getting closer to being able to read your mind, the opening of a public art project by the Christchurch Art Gallery to try and ensure art continues to have a presence in the earthquake hit city.

Research papers, University of Canterbury Library

This paper provides a comparison between the strong ground motions observed in the Christchurch central business district in the 4 September 2010 Mw7.1 Darfield, and 22 February 2011 Mw6.3 Christchurch earthquakes with those observed in Tokyo during the 11 March 2011 Mw9.0 Tohoku earthquake. Despite Tokyo being located approximately 110km from the nearest part of the causative rupture, the ground motions observed from the Tohoku earthquake were strong enough to cause structural damage in Tokyo and also significant liquefaction to loose reclaimed soils in Tokyo bay. Comparisons include the strong motion time histories, response spectra, significant durations and arias intensity. The implications for large earthquakes in New Zealand are also briefly discussed.

Research papers, University of Canterbury Library

SeisFinder is an open-source web service developed by QuakeCoRE and the University of Canterbury, focused on enabling the extraction of output data from computationally intensive earthquake resilience calculations. Currently, SeisFinder allows users to select historical or future events and retrieve ground motion simulation outputs for requested geographical locations. This data can be used as input for other resilience calculations, such as dynamic response history analysis. SeisFinder was developed using Django, a high-level python web framework, and uses a postgreSQL database. Because our large-scale computationally-intensive numerical ground motion simulations produce big data, the actual data is stored in file systems, while the metadata is stored in the database.

Research papers, University of Canterbury Library

There has been little discussion of what archival accounting evidence can contribute to an understanding of a society’s response to a natural disaster. This article focuses on two severe earthquakes which struck New Zealand in 1929 and 1931 and makes two main contributions to accounting history. First, by discussing evidence from archival sources, it contributes to the literature on accounting in a disaster. This provides a basis for future theory building and for future comparative research related to the response to more recent natural disasters such as the 2010–11 Canterbury earthquakes. Secondly, it questions the conclusions of recently published research concerning the role of central and local government in this and recent earthquakes.

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.