This project looks at how destroyed architecture, although physically lost, fundamentally continues to exist within human memories as a non-physical entity. The site chosen is Avonside Girls’ High School in Christchurch, New Zealand, a school heavily damaged during the February 22nd earthquake in 2011. The project focuses on the Main Block, a 1930s masonry building which had always been a symbol for the school and its alumni. The key theories relevant to this are studies on non-material architecture and memory as these subjects investigate the relationship between conceptual idea and the triggering of it. This research aims to study how to fortify a thought-based architecture against neglect, similar to the retrofitting of physical structures. In doing so, the importance of the emotive realm of architecture and the idea behind a building (as opposed to the built component itself) is further validated, promoting more broadminded stances regarding the significance of the idea over the object. A new method for disaster recovery and addressing trauma from lost architecture is also acquired. Factors regarding advanced structural systems and programmes are not covered within the scope of this research because the project instead explores issues regarding the boundaries between the immaterial and material. The project methodology involves communicating a narrative derived from the memories alumni and staff members have of the old school block. The approach for portraying the narrative is based on a list of strategies obtained from case studies. The final product of the research is a new design for the high school, conveyed through a set of atmospheric drawings that cross-examines the boundaries between the physical and non-physical realms by representing the version of the school that exists solely within memories.
A photograph of four UCSA Exec members hosting a barbecue on Ilam Fields in September 2016.
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.
Billy Kristian of The Invaders shares his memories of Ray Columbus who has died at the age of 74. Islay Marsden of the University of Canterbury discusses what clearing rocks and silt from quake-induced landslides will do to the coastal environment. Kevin Furlong of Penn State University discusses the connection between the earthquakes and various faultline systems.
The combination of music and disaster has been the subject of much study, especially starstudded telethons and songs that commemorate tragedy. However, there are many other ways that music can be used after disaster that provide benefits far greater than money or memorials but are not necessarily as prominent in the worldwide media landscape. Beginning in September 2010, the city of Christchurch, New Zealand, has been struck by several major earthquakes and over 11,000 aftershocks, the most destructive of which caused 185 deaths. As with many other disasters, music has been used as a method of fundraising and commemoration, but personal experience suggests many other ways that music can be used as a coping mechanism and aid to personal and community recovery. Therefore, in order to uncover the connections, context, and strategies behind its use, this thesis addresses the question: Since the earthquakes began, how has popular music been beneficial for the city and people of Christchurch? As well as documenting a wide variety of musical ‘earthquake relief’ events and charitable releases, this research also explores some of the more intangible aspects of the music-aid relationship. Two central themes are presented – fundraising and psychosocial uses – utilising individual voices and case studies to illustrate the benefits of music use after disaster at a community or city-wide level. Together the disparate threads and story fragments weave a detailed picture of the ways in which music as shared experience, as text, as commodity, and as a tool for memory and movement has been incorporated into the fabric of the city during the recovery phase.
