File reference: CCL-2012-02-22-IMG_1185 From the collection of Christchurch City Libraries.
An entry from Deborah Fitchett's blog for 22 February 2012, posted to Livejournal. The entry is titled, "In which we remember a year".The entry was downloaded on 13 April 2015.
An entry from Deborah Fitchett's blog for 22 February 2012, posted to Dreamwidth. The entry is titled, "In which we remember a year".The entry was downloaded on 16 April 2015.
Canterbury Public Library viewed from near the Bridge of Rememberance,
Photograph captioned by BeckerFraserPhotos, "Remembering Shane, who died in Cashel Mall, February 22 2011".
Damage to a church, with a plaque reading "Remember now thy creator in the days of thy youth".
Photograph captioned by BeckerFraserPhotos, "Now that the grass has been mown in Victoria Square, this view is almost the way we remember it".
A sign on the cordon fence around the CTV Building site shows the CTV logo and the faces of the staff who died, with the words "Always remembered".
A photograph captioned by BeckerFraserPhotos, "Peter Majendie, in the middle of his installation '185 Empty Chairs', which remembers the 185 who died as a result of the 22nd February earthquake. The chairs are different so that you can find a chair to remind you in some way of the people who died. Peter told me about the important paintings of chairs, such as Van Gogh and Gaugin's paintings of chairs and the drawing of Dickens's Chair published above his obituary that influenced his decision to remember the lost lives with chairs".
A photograph captioned by BeckerFraserPhotos, "Peter Majendie's installation '185 Empty Chairs', which remembers the 185 who died as a result of the 22nd February earthquake. The site is the demolition site of the Oxford Terrace Baptist Church".
A photograph captioned by BeckerFraserPhotos, "Peter Majendie's installation '185 Empty Chairs', which remembers the 185 who died as a result of the 22nd February earthquake. The site is the demolition site of the Oxford Terrace Baptist Church".
A photograph captioned by BeckerFraserPhotos, "Peter Majendie's installation '185 Empty Chairs', which remembers the 185 who died as a result of the 22nd February earthquake. The site is the demolition site of the Oxford Terrace Baptist Church".
A photograph captioned by BeckerFraserPhotos, "Peter Majendie's installation '185 Empty Chairs', which remembers the 185 who died as a result of the 22nd February earthquake. The site is the demolition site of the Oxford Terrace Baptist Church".
A photograph captioned by BeckerFraserPhotos, "Peter Majendie's installation '185 Empty Chairs', which remembers the 185 who died as a result of the 22nd February earthquake. The site is the demolition site of the Oxford Terrace Baptist Church".
A photograph captioned by BeckerFraserPhotos, "A poem at Peter Majendie's installation '185 Empty Chairs', which remembers the 185 who died as a result of the 22nd February earthquake. The site is the demolition site of the Oxford Terrace Baptist Church".
A photograph captioned by BeckerFraserPhotos, "The memorial table at Peter Majendie's installation '185 Empty Chairs', which remembers the 185 who died as a result of the 22nd February earthquake. The site is the demolition site of the Oxford Terrace Baptist Church".
A photograph captioned by BeckerFraserPhotos, "The memorial table at Peter Majendie's installation '185 Empty Chairs', which remembers the 185 who died as a result of the 22nd February earthquake. The site is the demolition site of the Oxford Terrace Baptist Church".
A notice on the fence outside the CTV site on Madras Street. The notice reads, "Please respect this site. In recognition of the special significance this site holds for the people of our city and all those affected by the earthquakes, the Christchurch City Council is working with Canterbury Museum to preserve aspects of our remembering. Tributes may be left at this site. Older tributes will be removed for archiving by the Canterbury Museum to become part of the city's memory of the Canterbury Earthquakes. Organic materials will be composted and used in the city's gardens. Canterbury Museum. Christchurch City Council".
A poster created by Empowered Christchurch to advertise their submission to the CERA Draft Transition Recovery Plan on social media.The poster reads, "Submission, CERA Draft Transition Recovery Plan. Prime Minister Assurance. Let us remember the much-quoted assurance from the Prime Minister in 2011: 'On behalf of the Government, let me be clear that no one will be left to walk this journey alone. New Zealand will walk this journey with you. We will be there every step of the way. Christchurch; this is not your test; this is New Zealand's test. I promise we will meet this test.' We call on the authorities to live up to this promise. We need a city that is driven by the people that live in it, and enabled by a bureaucracy that accepts and mitigates risks, rather than transferring them to the most vulnerable of its residents".
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.