On November 14, 2016 an earthquake struck the rural districts of Kaikōura and Hurunui on New Zealand’s South Island. The region—characterized by small dispersed communities, a local economy based on tourism and agriculture, and limited transportation connections—was severely impacted. Following the quake, road and rail networks essential to maintaining steady flows of goods, visitors, and services were extensively damaged, leaving agrifood producers with significant logistical challenges, resulting in reduced productivity and problematic market access. Regional tourism destinations also suffered with changes to the number, characteristics, and travel patterns of visitors. As the region recovers, there is renewed interest in the development and promotion of agrifood tourism and trails as a pathway for enhancing rural resilience, and a growing awareness of the importance of local networks. Drawing on empirical evidence and insights from a range of affected stakeholders, including food producers, tourism operators, and local government, we explore the significance of emerging agrifood tourism initiatives for fostering diversity, enhancing connectivity, and building resilience in the context of rural recovery. We highlight the motivation to diversify distribution channels for agrifood producers, and strengthen the region’s tourism place identity. Enhancing product offerings and establishing better links between different destinations within the region are seen as essential. While such trends are common in rural regions globally, we suggest that stakeholders’ shared experience with the earthquake and its aftermath has opened up new opportunities for regeneration and reimagination, and has influenced current agrifood tourism trajectories. In particular, additional funding for tourism recovery marketing and product development after the earthquake, and an emphasis on greater connectivity between the residents and communities through strengthening rural networks and building social capital within and between regions, is enabling more resilient and sustainable futures.
A pdf transcript of Kaspar Middendorf's second earthquake story, captured by the UC QuakeBox Take 2 project. Interviewer: Samuel Hope. Transcriber: Maggie Blackwood.
A pdf transcript of John's second earthquake story, captured by the UC QuakeBox Take 2 project. Interviewer: Samuel Hope. Transcriber: Natalie Looyer.
A pdf transcript of Kate Lambert's second earthquake story, captured by the UC QuakeBox Take 2 project. Interviewer: Samuel Hope. Transcriber: Lauren Millar.
A pdf transcript of Alvin Wade's second earthquake story, captured by the UC QuakeBox Take 2 project. Interviewer: Joshua Black. Transcriber: Josie Hepburn.
A pdf transcript of Participant Number LY191's second earthquake story, captured by the UC QuakeBox Take 2 project. Interviewer: Joshua Black. Transcriber: Caleb Middendorf.
A pdf transcript of Rae Hughes's second earthquake story, captured by the UC QuakeBox Take 2 project. Interviewer: Samuel Hope. Transcriber: Lauren Millar.
A pdf transcript of Chris's second earthquake story, captured by the UC QuakeBox Take 2 project. Interviewer: Joshua Black. Transcriber: Caleb Middendorf.
A pdf transcript of Ian's second earthquake story, captured by the UC QuakeBox Take 2 project. Interviewer: Samuel Hope. Transcriber: Josie Hepburn.
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.
