On 15 August 1868, a great earthquake struck off the coast of the Chile-Peru border generating a tsunami that travelled across the Pacific. Wharekauri-Rekohu-Chatham Islands, located 800 km east of Christchurch, Aotearoa-New Zealand (A-NZ) was one of the worst affected locations in A-NZ. Tsunami waves, including three over 6 metres high, injured and killed people, destroyed buildings and infrastructure, and impacted the environment, economy and communities. While experience of disasters, and advancements in disaster risk reduction systems and technology have all significantly advanced A-NZ’s capacity to be ready for and respond to future earthquakes and tsunami, social memory of this event and other tsunamis during our history has diminished. In 2018, a team of scientists, emergency managers and communication specialists collaborated to organise a memorial event on the Chatham Islands and co-ordinate a multi-agency media campaign to commemorate the 150th anniversary of the 1868 Arica tsunami. The purpose was to raise awareness of the disaster and to encourage preparedness for future tsunami. Press releases and science stories were distributed widely by different media outlets and many attended the memorial event indicating public interest for commemorating historical disasters. We highlight the importance of commemorating disaster anniversaries through memorial events, to raise awareness of historical disasters and increase community preparedness for future events – “lest we forget and let us learn.”
Memorial design in the West has been explored in depth (Stevens and Franck, 2016; Williams, 2007), and for landscape architects it presents opportunities and challenges. However, there is little in the English language literature about memorial design in China. How have Chinese designers responded to the commemorative settings of war and disaster? This study will adopt the method of case study to analyse two of the most representative memorials in China: Nanjing Massacre Memorial Hall (war) and Tangshan Earthquake Memorial Hall (disaster). Both landscapes have undergone three or four renovations and extensions in the last four decades, demonstrating the practical effects of the Chinese landscape theory. These examples of responses to trauma through memorial landscape interventions are testimonies to the witnesses, victims, abusers, ordinary people, youth and the place where the tragedy took place. This study will explore the reconstruction and expansion of the two memorials under the background of China's policies on memorial landscapes in different periods, as well as their functions of each stage. The research will examine how existing Chinese memorial theories exhibit unique responses at different times in response to the sadness and needs experienced by different users.
Key Words：memorial landscape; memorial language; victims; descriptive; architecture; experence; disaster; memorial hall; landscape development; Chinese memorial; war.
Disasters are a critical topic for practitioners of landscape architecture. A
fundamental role of the profession is disaster prevention or mitigation
through practitioners having a thorough understanding of known threats. Once we reach the ‘other side’ of a disaster – the aftermath – landscape architecture plays a central response in dealing with its consequences, rebuilding of settlements and infrastructure and gaining an enhanced understanding of the causes of any failures. Landscape architecture must respond not only to the physical dimensions of disaster landscapes but also to the social, psychological and spiritual aspects. Landscape’s experiential potency is heightened in disasters in ways that may challenge and extend the spectrum of emotions. Identity is rooted in landscape, and massive transformation through the impact of a disaster can lead to ongoing psychological devastation. Memory and landscape are tightly
intertwined as part of individual and collective identities, as connections to place and time. The ruptures caused by disasters present a challenge to remembering the lives lost and the prior condition of the landscape, the intimate attachments to places now gone and even the event itself.
