The sounds of Bruce Springsteen will ring out around Christchurch tonight, ahead of the sixth anniversary of the deadly February 2011 earthquake in the region. Long time fans join us to discuss what they're expecting from tonight's gig.
The Canterbury region of New Zealand experienced a sequence of strong earthquakes during 2010-2011. Responses included government acquisition of many thousands of residential properties in the city of Christchurch in areas with severe earthquake effects. A large and contiguous tract of this ‘red zoned’ land lies in close proximity to the Ōtākaro / Avon River and is known as the Avon-Ōtākaro Red Zone (AORZ). The focus of this study was to provide an overview of the floodplain characteristics of the AORZ and review of international experience in ecological restoration of similar river margin and floodplain ecosystems to extract restoration principles and associated learnings. Compared to pre-earthquake ground levels, the dominant trend in the AORZ is subsidence, together with lateral movement especially in the vicinity of waterway. An important consequence of land subsidence in the lower Ōtākaro / Avon River is greater exposure to flooding and the effects of sea level rise. Scenario modelling for sea level rise indicates that much of the AORZ is exposed to inundation within a 100 year planning horizon based on a 1 m sea level rise. As with decisions on built infrastructure, investments in nature-based ‘green infrastructure’ also require a sound business case including attention to risks posed by climate change. Future-proofing of the expected benefits of ecological restoration must therefore be secured by design. Understanding and managing the hydrology and floodplain dynamics are vital to the future of the AORZ. However, these characteristics are shared by other floodplain and river restoration projects worldwide. Identifying successful approaches provides a useful a source of useful information for floodplain planning in the AORZ. This report presents results from a comparative case study of three international examples to identify relevant principles for large-scale floodplain management at coastal lowland sites.
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.