Search

found 833 results

Images for history; more images...

Images, Canterbury Museum

One green glass 500ml bottle of Three Boys Brewery ‘Aftershock’ beer. The bottle has a dark green rectangular label with white writing and the brewery logo on front and back. The bottle is sealed by a brass cap with a piece of red brick on top; brick and cap are sealed in wax. Christchurch's artisan Three Boys Brewery sustained only minor damag...

Images, Canterbury Museum

One brown cardboard box which contained a dozen bottles of Three Boys Brewery ‘Aftershock’ beer. The Three Boys logo and name features in black printing on each side with 12x500ml printed on long sides. A dark green sticker with white writing, which also appears on the bottles, is attached to the top leaf. Christchurch's artisan Three Boys Brew...

Images, Canterbury Museum

One black metal spade with plastic handle; white band towards handle. Spade is well used and features remnants of liquefaction. Used by Student Volunteer Army in the clean up after 4 September 2010 earthquake. It is estimated that 1,750 spades similar to this one were used in the cleanup of Christchurch after both the 4 September 2010 and 22 Fe...

Images, Canterbury Museum

One green glass 500ml bottle of Three Boys Brewery ‘Aftershock’ beer. The bottle has a dark green rectangular label with white writing and the brewery logo on front and back. The bottle is sealed by a brass cap with a piece of red brick on top; brick and cap are sealed in wax. Christchurch's artisan Three Boys Brewery sustained only minor damag...

Images, Canterbury Museum

One green glass 500ml bottle of Three Boys Brewery ‘Aftershock’ beer. The bottle has a dark green rectangular label with white writing and the brewery logo on front and back. The bottle is sealed by a brass cap with a piece of red brick on top; brick and cap are sealed in wax. Christchurch's artisan Three Boys Brewery sustained only minor damag...

Images, Canterbury Museum

One green glass 500ml bottle of Three Boys Brewery ‘Aftershock’ beer. The bottle has a dark green rectangular label with white writing and the brewery logo on front and back. The bottle is sealed by a brass cap with a piece of red brick on top; brick and cap are sealed in wax. Christchurch's artisan Three Boys Brewery sustained only minor damag...

Images, Canterbury Museum

One green glass 500ml bottle of Three Boys Brewery ‘Aftershock’ beer. The bottle has a dark green rectangular label with white writing and the brewery logo on front and back. The bottle is sealed by a brass cap with a piece of red brick on top; brick and cap are sealed in wax. Christchurch's artisan Three Boys Brewery sustained only minor damag...

Images, Canterbury Museum

One green glass 500ml bottle of Three Boys Brewery ‘Aftershock’ beer. The bottle has a dark green rectangular label with white writing and the brewery logo on front and back. The bottle is sealed by a brass cap with a piece of red brick on top; brick and cap are sealed in wax. Christchurch's artisan Three Boys Brewery sustained only minor damag...

Images, Canterbury Museum

One green glass 500ml bottle of Three Boys Brewery ‘Aftershock’ beer. The bottle has a dark green rectangular label with white writing and the brewery logo on front and back. The bottle is sealed by a brass cap with a piece of red brick on top; brick and cap are sealed in wax. Christchurch's artisan Three Boys Brewery sustained only minor damag...

Images, Canterbury Museum

One green glass 500ml bottle of Three Boys Brewery ‘Aftershock’ beer. The bottle has a dark green rectangular label with white writing and the brewery logo on front and back. The bottle is sealed by a brass cap with a piece of red brick on top; brick and cap are sealed in wax. Christchurch's artisan Three Boys Brewery sustained only minor damag...

Images, Canterbury Museum

One green glass 500ml bottle of Three Boys Brewery ‘Aftershock’ beer. The bottle has a dark green rectangular label with white writing and the brewery logo on front and back. The bottle is sealed by a brass cap with a piece of red brick on top; brick and cap are sealed in wax. Christchurch's artisan Three Boys Brewery sustained only minor damag...

Images, Canterbury Museum

One red swirled fabric 'Heart for Christchurch' decorated with a tiki stitched in green on the front; green and red tartan fabric on reverse; red ribbon loop so the item can be displayed; an attached piece of green paper reads 'From Linda who lives in Scotland but who has a daughter, son-in-law & 3 small grandsons who live in Timaru'. Made for t...

Images, Canterbury Museum

One 750ml green wine bottle with red coloured metal screw cap containing Mud House 2010 Marlborough Sauvignon Blanc ‘The Day the Ground Moved Like Jelly’; the front label has a drawing of an earthquake damaged house on a white background by Bella Kingi, while the label on the reverse details the fundraising effort supported by the sale of the bo...

Research papers, University of Canterbury Library

We’ll never know why the thirteen people whose corpses were discovered in Pompeii’s Garden of the Fugitives hadn’t fled the city with the majority of the population when Vesuvius turned deadly in AD79. But surely, thanks to 21st century technology, we know just about everything there is to know about the experiences of the people who went through the Canterbury Earthquakes. Or has the ubiquity of digital technology, combined with seemingly massive online information flows and archives, created a false sense that Canterbury’s earthquake stories, images and media are being secured for posterity? In this paper Paul Millar makes reference to issues experienced while creating the CEISMIC Canterbury Earthquakes Digital Archive (www.ceismic.org.nz) to argue that rather than having preserved all the information needed to fully inform recovery, the record of the Canterbury earthquakes’ impacts, and the subsequent response, is incomplete and unrepresentative. While CEISMIC has collected and curated over a quarter of a million earthquake-related items, Millar is deeply concerned about the material being lost. Like Pompeii, this disaster has its nameless, faceless, silenced victims; people whose stories must be heard, and whose issues must be addressed, if recovery is to be meaningful.

Research papers, University of Canterbury Library

The last few years have seen the emergence of a range of Digital Humanities projects concerned with archiving material related to traumatic events and disasters. The 9/11 Digital Archive, The Hurricane Memory Bank and the CEISMIC Canterbury Earthquakes Digital Archive are a few such projects committed to collecting, curating and making available disaster-related images, stories and media for the purposes of commemoration, teaching and research. In this paper Paul Millar 1. examines the value of such projects in preserving post-disaster memories, 2. explores some differences between passive and active digital memory projects, and 3. asks whether even the most determinedly open and inclusive digital memory project can preserve its values when issues of race, class, gender, politics and economics impact upon its activities.

Audio, Radio New Zealand

Highlights from Radio New Zealand National's programmes for the week ending Friday 7th of September. This week......two years after the BIG Earthquake in Christchurch, and the Pike River Mine Disaster, how did the media respond to those events ... Mummies, Cannibals and Vampires; The History of Corpse medicine from the Renaissance to The Victorians ... a primary school project gets back to growing fruit and vegetables ... a Maori carving from A german prisoner of War camp comes back home ... the human side of Google ... and an affectionate look back at Broadcasts To Schools.

Images, UC QuakeStudies

A photograph submitted by Gaynor James to the QuakeStories website. The description reads, "DTZ building going, 20 July 2011. A small crowd watches the demolition …There is an eerie silence- no excited buzz – people watching yet another part of their history turning into rubble. The wrecking ball, delicately positioned, drops and is followed by the cracking and rending of floor after floor and the debris tumbles down … It starts to clear and an extraordinary sight greets us. Hundreds and hundreds of sheets of paper drift down like giant confetti.".

Audio, Radio New Zealand

In the hours after the February 2011 Canterbury earthquake, Chessie Henry's father Chris Henry, a Kaikoura-based doctor, crawled into makeshift tunnels in the collapsed CTV building to rescue the living and look for the dead. Six years later, Chessie interviewed Chris in an attempt to understand the trauma that lead her father to burnout. In her book just published, We Can Make A Life: A memoir of family, earthquakes and courage, Chessie Henry considers the psychological cost of heroism and unravels stories and memories from her family history.

Audio, Radio New Zealand

Almost half the ACC applications made for mental injuries caused by the Christchurch mosque attacks have been turned down. By the end of April, 85 people had made claims for mental injuries and thirty-five of them had been declined. Decisions are pending on another 25 claims. A woman who suffered post-traumatic stress disorder after the 2011 Christchurch earthquake, and didn't qualify for ACC, says that's tragic. Kirsty Cullen says leaving people who have psychological problems without support from ACC is history repeating. Veronica Schmidt reports.

Research papers, Victoria University of Wellington

<b>Construction and Demolition (C&D) waste contributes to over 50% of New Zealand’s overall waste. Materials such as timber, plasterboard, and concrete make up 81% of the C&D waste that goes into landfills each year. Alongside this, more than 235 heritage-listed buildings have been demolished in Christchurch since the 2011 earthquakes. This research portfolio aims to find a solution to decrease C&D waste produced by demolishing heritage buildings.</b> With the recent announcement of The Cathedral of the Blessed Sacrament’s demolition, this will be another building added to the list of lost heritage in Christchurch. This research portfolio aims to bridge the relationship between heritage and waste through the recycling and reuse of the demolished materials, exploring the idea that history and heritage are preserved through building material reuse. This research portfolio mainly focuses on reducing construction and demolition waste in New Zealand, using the design of a new Catholic Cathedral as a vessel. This thesis will challenge how the construction and design industry deals with the demolition of heritage buildings and their contribution to New Zealand’s waste. It aims to explore the idea of building material reuse not only to reduce waste but also to retain the history and heritage of the demolished building within the materials.

Research papers, Victoria University of Wellington

The whare whakairo or traditional Māori meeting house plays an important part in Māori society and identity. These whare tell the tale of their origin, and in so doing, the origins of their people. The analysis of the meeting house, the histories expressed in its decorative carvings and structural elements are inextricably linked with and dependent upon the structure of the world created by myth and the Māori worldview. However, due to the deleterious effects of colonisation, the art of wood carving and associated architectural practices - central to Māori identity, suffered decline in many parts of the country, leading to the decline of Māori culture and identity. Sir Apirana Ngata instigated the National Institute of Māori Arts and Crafts to resurrect the dying art of Māori carving and carved houses would be a catalyst for the restoration of Māori culture throughout the country. Ngata saw these whare whakairo as being the heart of Māori communities by establishing a renewed sense of belonging and identification with space for Māori, through the telling of tribal histories and emphasising key geographical features. New threats in the form of global hegemony and urbanisation have further impacted on Māori notions of identity, creating a generation of displaced urban Māori youth. This research proposes to establish an architectural response to capture displaced Māori youth through the resurrection of the Māori carving school and return to them the lost stories of their cultural history and identity. This program will be developed within the complex challenges that exist within post-earthquake Ōtautahi/Christchurch, where many have lost homes and livelihoods, especially Māori youth in the Eastern Suburbs. The building elements of the proposed Māori carving school give reference to the historio-cultural features of the original Ōtautahi/Christchurch landscape that are situated in tribal song and myth. It is envisioned that the development of a Māori carving school will help restore Māori identity and a renewed sense of belonging, and allow for the telling of this generations stories through traditional narratives.

Research papers, University of Canterbury Library

Local independent radio stations in Christchurch, New Zealand, had their operations severely disrupted by major earthquakes in September 2010 and February 2011. This article examines the experiences of three radio stations that were shut out of their central city premises by the cordon drawn around the city after the 22 February quake. One of the stations continued broadcasting automatically, while the others were unable to fully get back on air for several weeks afterwards. All of the stations had to manage access to workspaces, the emotional needs of staff and volunteers, the technical ability to broadcast, and the need to adapt content appropriately when back on air. For the locally based radio managers decisions had to be made about the future of the stations in a time of significant emotional, physical, and geological upheaval. The article explores how these radio stations were disrupted by the earthquake, and how they returned to air through new combinations and interconnections of people, workspace, technology, content and transmission.

Research papers, University of Canterbury Library

A Transitional Imaginary: Space, Network and Memory in Christchurch is the outcome and the record of a particular event: the coming together of eight artists and writers in Ōtautahi Christchurch in November 2015, with the ambitious aim to write a book collaboratively over five days. The collaborative process followed the generative ‘book sprint’ method founded by our facilitator for the event, Adam Hyde, who has long been immersed in digital practices in Aotearoa. A book sprint prioritises the collective voice of the participants and reflects the ideas and understandings that are produced at the time in which the book was written, in a plurality of perspectives. Over one hundred books have been completed using the sprint methodology, covering subjects from software documentation to reflections on collaboration and fiction. We chose to approach writing about Ōtautahi Christchurch through this collaborative process in order to reflect the complexity of the post-quake city and the multiple paths to understanding it. The city has itself been a space of intensive collaboration in the post-disaster period. A Transitional Imaginary is a raw and immediate record, as much felt expression as argued thesis. In many ways the process of writing had the character of endurance performance art. The process worked by honouring the different backgrounds of the participants, allowing that dialogue and intensity could be generative of different forms of text, creating a knowledge that eschews a position of authority, working instead to activate whatever anecdotes, opinions, resources and experiences are brought into discussion. This method enables a dynamic of voices that merge here, separate there and interrupt elsewhere again. As in the contested process of rebuilding and reimagining Christchurch itself, the dissonance and counterpoint of writing reflects the form of conversation itself. This book incorporates conflict, agreement and the activation of new ideas through cross-fertilisation to produce a new reading of the city and its transition. The transitional has been given a specific meaning in Christchurch. It is a product of local theorising that encompasses the need for new modes of action in a city that has been substantially demolished (Bennett & Parker, 2012). Transitional projects, such as those created by Gap Filler, take advantage of the physical and social spaces created by the earthquake through activating these as propositions for new ways of being in the city. The transitional is in motion, looking towards the future. A Transitional Imaginary explores the transitional as a way of thinking and how we understand the city through art practices, including the digital and in writing.

Research papers, University of Canterbury Library

For 150,000 Christchurch school students, the 12.51 pm earthquake of 22 February 2011 shattered their normal lunch time activities and thrust their teachers into the role of emergency first responders. Whether helping students (children) escape immediate danger, or identifying and managing the best strategies for keeping children safe, including provision of extended caregiving when parents were unable to return to school to retrieve their children, teachers had to manage their own fears and trauma reactions in order to appear calm and prevent further distress for the children in their care. Only then did teachers return to their families. Eighteen months later, twenty teachers from across Christchurch, were interviewed. At 12.51pm, the teachers were essentially first responders. Using their usual methods for presenting a calm and professional image, the teachers’ emotion regulation (ER) strategies for managing their immediate fears were similar to those of professional first responders, with similar potential for subsequent burnout and negative emotional effects. Teachers’ higher emotional exhaustion and burnout 18 months later, were associated with school relocation. Lower burnout was associated with more emotional awareness, ER and perceived support. Consistent with international research, teachers’ use of cognitive reappraisal (re-thinking a situation) was an effective ER strategy, but this may not prevent teachers’ emotional resources from eventually becoming depleted. Teachers fulfill an important role in supporting children’s psychosocial adjustment following a natural disaster. However, as also acknowledged in international research, we need to also focus on supporting the teachers themselves.

Research papers, Victoria University of Wellington

Museums around the world are often affected by major catastrophes, and yet planning for these disasters is an often neglected aspect of museum practice. New Zealand is not immune from these events, as can be seen in the recent series of serious earthquakes in Christchurch in 2010 and 2011. This dissertation considers how prepared the New Zealand museum sector is to handle unexpected events that negatively affect its buildings, staff, operations and treasured collections. The central research question was: What is the overall state of emergency planning in the New Zealand museum sector? There was a significant gap in the literature, especially in the local context, as there has been only one other comparable study conducted in Britain, and nothing locally. This dissertation makes a valuable contribution to the field of museum studies by drawing on theory from relevant areas such as crises management literature and by conducting original empirical research on a topic which has received little attention hitherto. The research employed a number of methods, including a review of background secondary sources, a survey and interviews. After contextualising the study with a number of local examples, Ian online survey was then developed an which enabled precise understanding of the nature of current museum practices and policies around emergency planning. Following this I conducted several interviews with museum professionals from a variety of institutional backgrounds which explored their thoughts and feelings behind the existing practices within the industry. The findings of the research were significant and somewhat alarming: almost 40% of the museum and galleries in New Zealand do not have any emergency plan at all, and only 11% have what they considered ‘complete’ plans. The research revealed a clear picture of the current width and depth of planning, as well as practices around updating the plans and training related to them. Within the industry there is awareness that planning for emergencies is important, but museum staff typically lack the knowledge and guidance needed to conduct effective emergency planning. As a result of the analysis, several practical suggestions are presented aimed at improving emergency planning practices in New Zealand museums. However this study has implications for museum studies and for current museum practice everywhere, as many of the recommendations for resolving the current obstacles and problems are applicable anywhere in the world, suggesting that New Zealand museums could become leaders in this important area.

Research papers, University of Canterbury Library

Despite their good performance in terms of their design objectives, many modern code-prescriptive buildings built in Christchurch, New Zealand had to be razed after the 2010-2011 Canterbury earthquakes because repairs were deemed too costly due to widespread sacrificial damage. Clearly a more effective design paradigm is needed to create more resilient structures. Rocking, post-tensioned connections with supplemental energy dissipation can contribute to a damage avoidance designs (DAD). However, few have achieved all three key design objectives of damage-resistant rocking, inherent recentering ability, and repeatable, damage-free energy dissipation for all cycles, which together offer a response which is independent of loading history. Results of experimental tests are presented for a near full-scale rocking beam-column sub-assemblage. A matrix of test results is presented for the system under varying levels of posttensioning, with and without supplemental dampers. Importantly, this parametric study delineates each contribution to response. Practical limitations on posttensioning are identified: a minimum to ensure static structural re-centering, and a maximum to ensure deformability without threadbar yielding. Good agreement between a mechanistic model and experimental results over all parameters and inputs indicates the model is robust and accurate for design. The overall results indicate that it is possible to create a DAD connection where the non-linear force-deformation response is loading history independent and repeatable over numerous loading cycles, without damage, creating the opportunity for the design and implementation of highly resilient structures.

Research Papers, Lincoln University

Brooklands Lagoon / Te Riu o Te Aika Kawa (‘Brooklands’) is an important wetland and estuarine ecosystem in Canterbury. It is a site of cultural significance to Ngāi Tūāhuriri, and is also valued by the wider community. Home to an array of life, it is connected to the Pūharakekenui/Styx and Waimakariri rivers, and is part of a wetland landscape complex that includes the Avon-Heathcote / Ihutai estuary to the south and the Ashley / Rakahuri estuary to the north. Notionally situated within the territorial boundary of Christchurch City Council and jurisdictionally encompassed by the regional council Environment Canterbury, it has been legally determined to be part of the coastal marine area. The complicated administrative arrangements for the lagoon mirror the biophysical and human challenges to this surprisingly young ecosystem since its formation in 1940. Here we present a synthesis of the historical events and environmental influences that have shaped Brooklands Lagoon. Before existing as an intertidal ecosystem, the Waimakariri river mouth was situated in what is now the southern end of the lagoon. A summary timeline of key events is set out in the table below. These included the diversion of the Waimakariri River mouth via the construction of Wrights Cut in the 1930s, which influenced the way that the lower reaches of the river interacted with the land and sea. A large flood in 1940 shifted the river mouth ~2 to 3 kilometres north, that created the landscape that we see today. However, this has not remained stable, as the earthquake sequence in 2010 and 2011 subsided the bed of the estuary. The changes are ongoing, as sea level rise and coastal inundation will place ongoing pressure on the aquatic ecosystem and surrounding land. How to provide accommodation space for Brooklands as an estuary will be a key planning and community challenge, as Environment Canterbury begins the engagement for the review of its Regional Coastal Plan. There is also a requirement to safeguard its ecological health under the 2020 National Policy Statement on Freshwater Management. This will necessitate an integrated mountains to sea (ki uta ki tai) management approach as the lagoon is affected by wider catchment activities. We hope that this report will contribute to, and inform these processes by providing a comprehensive historical synthesis, and by identifying considerations for the future collaborative management of Brooklands Lagoon, and protection of its values. In essence, we suggest that Te Riu o Te Aika Kawa deserves some sustained aroha.

Audio, Radio New Zealand

Highlights from Radio New Zealand National's programmes for the week ending Friday 6th April. This week... we look at the commercial deals some media personalities are making these days, a documentary on the history of New Zealand's psychiatric hospitals, a new social phenomenon - the increasing number of people who choose to live alone, a new book and interesting findings about our national icon the kiwi, With the aid of advanced functional MRI scanners, scientists are getting closer to being able to read your mind, the opening of a public art project by the Christchurch Art Gallery to try and ensure art continues to have a presence in the earthquake hit city.

Research papers, University of Canterbury Library

This paper provides a comparison between the strong ground motions observed in the Christchurch central business district in the 4 September 2010 Mw7.1 Darfield, and 22 February 2011 Mw6.3 Christchurch earthquakes with those observed in Tokyo during the 11 March 2011 Mw9.0 Tohoku earthquake. Despite Tokyo being located approximately 110km from the nearest part of the causative rupture, the ground motions observed from the Tohoku earthquake were strong enough to cause structural damage in Tokyo and also significant liquefaction to loose reclaimed soils in Tokyo bay. Comparisons include the strong motion time histories, response spectra, significant durations and arias intensity. The implications for large earthquakes in New Zealand are also briefly discussed.

Research papers, University of Canterbury Library

SeisFinder is an open-source web service developed by QuakeCoRE and the University of Canterbury, focused on enabling the extraction of output data from computationally intensive earthquake resilience calculations. Currently, SeisFinder allows users to select historical or future events and retrieve ground motion simulation outputs for requested geographical locations. This data can be used as input for other resilience calculations, such as dynamic response history analysis. SeisFinder was developed using Django, a high-level python web framework, and uses a postgreSQL database. Because our large-scale computationally-intensive numerical ground motion simulations produce big data, the actual data is stored in file systems, while the metadata is stored in the database.