A photograph of street art between Brighton Mall and Hawke Street. The artwork shows a face with many patterns drawn on it. There are different characters drawn on either side of the face. On the left side, there is the Japanese character for "mother" and the letters DNB. On the right side of the face is the English word "love".
A photograph of street art. The artwork is on the wall surrounding Waltham Pool and faces towards Waltham Park.
A photograph of street art. The artwork is on the wall surrounding Waltham Pool and faces towards Waltham Park.
A photograph of street art. The artwork is on the wall surrounding Waltham Pool and faces towards Waltham Park.
A photograph of street art. The artwork is on the wall surrounding Waltham Pool and faces towards Waltham Park.
A photograph of street art. The artwork is on the wall surrounding Waltham Pool and faces towards Waltham Park.
A photograph of street art. The artwork is on the wall surrounding Waltham Pool and faces towards Waltham Park.
A photograph of street art. The artwork is on the wall surrounding Waltham Pool and faces towards Wilsons Road.
A photograph of street art. The artwork is on the wall surrounding Waltham Pool and faces towards Waltham Park.
A detail photograph of street art. The artwork is on the wall surrounding Waltham Pool and faces towards Waltham Park.
A detail photograph of street art. The artwork is on the wall surrounding Waltham Pool and faces towards Waltham Park.
A detail photograph of street art. The artwork is on the wall surrounding Waltham Pool and faces towards Waltham Park.
A paper presented at the New Zealand Concrete Industry Conference 2015 about the design and construction challenges faced when strengthening the Memorial Arch.
A photograph of street art. The artwork is on the wall surrounding Waltham Pool and faces towards the children's playground at Waltham Park.
A photograph of street art on a corrugated-iron fence between Brighton Mall and Berefords Street. The artwork depicts the face of an elderly man.
A photograph of the BNZ on the corner of Charles Street and Williams Street in Kaiapoi. A sign on the building reads, "Kaiapoi, Up and Running", with a smiley face.
Early photographs are the best. They encompass everything from the utterly absurd to the momentous to the mundane. They provide us with a window into the past that is rare and wonderful (especially from an archaeological perspective), putting faces to … Continue reading →
We’ve talked about food in the 19th century before on the blog, but we’ve mostly focused on the weird and wonderful (because, let’s face it, therein lies the fun stuff). In reality, a lot of food in the 19th century … Continue reading →
A photograph of street art on a building between Brighton Mall and Beresford Street. The artwork depicts a woman's face. There is a wire cordon fence in front of the wall.
A photograph of street art on a building between Brighton Mall and Beresford Street. The artwork depicts a woman's face. There is a wire cordon fence in front of the wall.
A photograph of a piece of street art on the side of a building between Brighton Mall and Hawke Street. This section of the artwork depicts the face of a hei-tiki.
A photograph of a piece of street art on the side of a building between Brighton Mall and Hawke Street. This section of the artwork depicts the face of a hei-tiki.
Elric Hooper is a recognisable face in Christchurch theatre both on and off stage. He spent his early years with Dame Ngaio Marsh, the influential woman for whom the theatre at The University of Canterbury was named after. The theatre was damaged during the Christchurch earthquakes and is now under threat. But is it worth keeping it?
A photograph of street art. The artwork is on the wall surrounding Waltham Pool and faces towards Wilsons Road. Behind the pool gate is a pile of building material covered in a tarpaulin and weighted down with tyres.
A photograph of street art on a building between Brighton Mall and Beresford Street. The artwork depicts a stylised face, with the words, "Such a lovely place bro!". There is a wire cordon fence in front of the wall.
A photograph of street art on a building between Brighton Mall and Beresford Street. The artwork depicts a stylised face, with the words, "Such a lovely place bro!". There is a wire cordon fence in front of the wall.
A photograph of street art on a building between Brighton Mall and Beresford Street. The artwork depicts a woman's face, and the silhouette of a suffragette wearing a jester's cap. There is a wire cordon fence in front of the wall.
A photograph of street art. The artwork is on the wall surrounding Waltham Pool and faces towards Waltham Park. Written on the wall to the left of the artwork is, "Ironlak presents 'King of Kings' graffiti artwork competition, 24th Feb 2008. Thanks to the local community, Embassy Skate Store, Project Legit".
There is a now a rich literature on the connections between digital media, networked computing, and the shaping of urban material cultures. Much less has addressed the post-disaster context, like we face in Christchurch, where it is more a case of re-build rather than re-new. In what follows I suggest that Lev Manovich’s well-known distinction between narrative and database as distinct but related cultural forms is a useful framework for thinking about the Christchurch rebuild, and perhaps urbanism more generally.
Children are often overlooked in the aftermath of a natural disaster, and children’s use of coping strategies plays an important part in their post-disaster adaptation (Vernberg, La Greca, Silverman, & Prinstein, 1996). The aim of this qualitative study was to explore the coping strategies of children with adequate self-regulation skills and minimal behaviour problems, living in Christchurch following the major 2010 and 2011 earthquakes. This aim was achieved through the use of semi-structured interviews with five seven-year-old children, their parents, and their teachers. These interviews were analysed using Directed Content Analysis and results showed that children most often reported using active and adaptive coping strategies, followed by avoidant strategies. Results in the current literature regarding children’s coping suggest that children exposed to natural disasters are able to utilise strategies that involve some personal control over their environment and emotions, through the use of active and adaptive coping strategies. Findings from this study contribute to the current understanding of children’s use of coping strategies when faced with commonly occurring childhood upsets. Further research is required regarding the outcomes associated with the use of effective coping strategies following traumatic events.