Matthew McEachen should have had most of his life ahead of him when he died on February 22, 2011.
The 25-year-old was a talented artist and designer, putting his skills to good use at the Southern Ink tattoo shop on Colombo St.
But when the earthquake struck, Bruce, Jeanette and Sarah McEachen lost their much-loved son and older brother.
Ten years on, Matti's legacy lives on. Checkpoint reporter Nick Truebridge and cameraman Nate McKinnon with his story.
Te Pae, Christchurch's near $450 million convention centre, has been officially opened this afternoon with a pōwhiri and unveiling by Mayor Lianne Dalziel and Minister Megan Woods.
Billed as a legacy for the city, it replaces the old centre which was demolished following the Canterbury earthquakes.
Niva Chittock is at the ceremony and joins Lisa with the details.
The University of Canterbury’s RECOVER project (Reef Ecology and Coastal Values, Earthquake Recovery) is a research programme funded by the Ministry of Business, Innovation and Employment (MBIE), and supported by the Ministry of Primary Industries (MPI). It has been evaluating recovery from the 7.8 Mw Kaikōura earthquake in the coastal environment between Oaro in the south and Marfells Beach in the north. The project has documented a wide range of biological and physical impacts in the coastal environment over the past four years. These include the widespread mortality of habitat-forming species that support characteristic ecosystems and natural resources on the coast (Alestra et al. 2021; Schiel et al. 2019; Tait et al. 2021). Due to the popularity of the coast for recreational use, interactions between people and the recovering environment are an important influence on recovery processes. These interactions may include threats to the natural environment but also the potential for positive interventions that could help to restore natural ecosystems and resources – including those that have been degraded in the past. Physical effects of uplift at the coastline include the seaward movement of shorelines and creation of new land above the reach of the tide, leading to a widening of beaches (Orchard et al. 2020; Orchard et al. in press). This has also provided a greater opportunity for off-road vehicle access to sections of the coast previously protected by headlands that were impassable at high tide (Marlborough District Council 2019; Orchard 2020). MDC management responses have included the development of a proposed bylaw to reduce the impacts of motor vehicle use in the area (Marlborough District Council 2021). Changes in the position of the sea-level on the landscape also affect the location of characteristic ecosystems such as sand dunes and storm beaches as they recover to a new norm. Notable changes include the establishment of new dunes closer to the sea which could potentially lead to the degradation of old dune systems that may experience reduced sand supply as a result. Wildlife habitat has also been affected by these uplift and re-assembly effects although the specific impacts remain largely unknown. This report contributes to a collaborative project between the Marlborough District Council (MDC) and University of Canterbury (UC) which aims to help protect and promote the recovery of native dune systems on the Marlborough coast. It is centred around the mapping of dune vegetation and identification of dune protection zones for old-growth seed sources of the native sand-binders spinifex (Spinifex sericeus) and pīngao (Ficinia spiralis). Both are key habitat-formers associated with nationally threatened dune ecosystems (Holdaway et al. 2012), and pīngao is an important weaving resource and Ngāi Tahu taonga species. The primary goal is to protect existing seed sources that are vital for natural regeneration following major disturbances such as the earthquake event. Several additional protection zones are also identified for areas where new dunes are successfully regenerating, including areas being actively restored in the Beach Aid project that is assisting new native dunes to become established where there is available space.
The Aromaunga Baxters Flowers nursery in Heathcote, Christchurch sits right above the point where the earthquake struck on 22 February 2011. The greenhouses on the steep slopes of the Port Hills, as well as a big old villa and other brick buildings were badly damaged. Ten years on co-owner John Baxter says the earthquake damage is still being repaired, but sales have been boosted by a lack of imported flowers due to Covid-19 restrictions.
The David and Goliath battle over a heritage building sitting in the way of a planned $473 million dollar, multi-use arena for Christchurch has ended up in court. The 25,000-seated, roofed arena is the final anchor project for the Christchurch rebuild and will be designed to host everything from All Blacks tests to big concerts. But sitting on the edge of the site, at 212 Madras Street, is the NG Building, a 115-year old warehouse that's home to a number of creative businesses. It escaped the worst of the 2011 earthquake and was strengthened by its owners: Roland Logan and Sharon Ng. They say they were told in 2013 the building could be incorporated into the arena's design, and are at loggerheads over its compulsory acquisition. Last week they were at the High Court seeking an injunction that would allow them to temporarily maintain ownership of the building, and that decision was released yesterday - and upheld. Roland joins Kathryn to discuss why they hope the building can be saved.
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.
A Line of Best Fit explores weakness and disconnection in the city. Weakness: There are over 600 earthquake prone buildings in Wellington. The urgency to strengthen buildings risks compromising the aesthetic integrity of the city through abrasive strengthening techniques, or losing a large portion of our built environment to demolition. The need for extensive earthquake strengthening in Wellington, Christchurch and other New Zealand cities provides an exciting opportunity for architecture. Disconnection: In Wellington pedestrian activity is focused around three main routes: Cuba Street, Lambton Quay and Courtney Place. The adjacent areas are often disconnected and lack vibrancy due to large building footprints, no-exit laneways and lack of public spaces. The Design proposes a strategy for earthquake strengthening, preserving and upgrading the built environment, and expanding and connecting the pedestrian realm. The site is two earthquake prone buildings on the block between Marion Street and Taranaki Street in central Wellington. A cut through the centre of the Aspro and Cathie Buildings ties the buildings together to strengthen and create a new arcade as public space. The cut aligns with existing pedestrian routes connecting the block with the city. The Design is divided into three components: Void, Curve, and Pattern and Structure. Void investigates the implications of cutting a portion out the existing buildings and the opportunities this provides for connection, urban interaction, and light. Curve discusses the unusual form of The Design in terms of scale, the human response and the surrounding spaces. Pattern and Structure considers the structural requirements of the project and how a void enveloped in perforated screens can strengthen the earthquake prone buildings. The importance of connection, providing strength in the city, a dialogue between old and new, and engagement with the unexpected are evaluated. Opportunities for further development and research are discussed, with particular reference to how the principles of The Design could be implemented on a larger scale throughout our cities. A Line of Best Fit is an architectural proposal that creates strength and connection.
