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Images for Christchurch Star building; more images...

Images, Alexander Turnbull Library

Christ Church Cathedral, Christchurch, with spire being rebuilt after the 1901 earthquake. Photographer unidentified. The nave, tower and spire of Christchurch Cathedral was completed in 1881. Work on completeing the rest of the building began in 1900. In 1902 the transcepts were finished and work started on the chancel and apse. An earthquake in 1901 cracked the upper part of the spire in two places. In this photograph which dates from late 1902/1903 (see scaffolding beyond the transcept indicating work on chancel) the upper part of the spire has been removed by Messrs Graham and Greig in preparation for replacing this section with a copper covered wooden structure. The Cathedral was completed in 1904. (Information from "Vision and Reality; Christchurch Cathedral in the Square," Colin Brown, Christchurch, 2000 and "A Dream of Spires," Ian Lochhead, Canterbury University Press, 1999, page 153.) Preparation for erecting the scaffolding was reported in the Christchurch Star 15 January 1902. The cross was replaced on the top of the new copper covered wooden section of the spire on 29 June 1903. Source of descriptive information - Notes on file print. Source of title - Title supplied by Library Quantity: 1 b&w original negative(s). Physical Description: Glass negative

Images, Alexander Turnbull Library

The cartoon, which looks like a woodcut depicts a muscled workman wearing a black singlet; his arms are folded and the fingers of one hand are crossed. On his arms are tattoos of a helmet and pick, a '$' symbol, a petrol pump, and a high magnitude earthquake graph. Behind him are buildings, including the Christchurch Cathedral, damaged following the Christchurch earthquake of 22 February 2011. Below the cartoon are the words 'Apologies to Nigel Brown' - a black singlet is a recurring motif in the work of New Zealand artist Nigel Brown. Quantity: 1 digital cartoon(s).

Research papers, Victoria University of Wellington

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.