Speculation on a World Monument for Christchurch by Danielle Mileo

Speculation on a

World Monument for Christchurch

Speculation on a

World Monument for Christchurch

Danielle Rose Mileo Independent Thesis Semester 2, 2016 | Melbourne School of Design

for Christchurch

A C K N O W L E D G E M E N T S : This thesis project would not have been possible without the help and support of the Melbourne School of Design, Christchurch City Council, The New Zealand Institute of Architects, Te PĹŤtahi and the Festival of Transitional Architecture. Special thank you to Alan Pert, Gareth Wright, Jessica Halliday and Jos De Krieger, who have all contributed immesurably to the realisation of this project, and to my friends and family for their love and support. Finally, thank you to the people of Christchurch, whose insight, compassion and creativity will forever inform the way I think about architecture.

Contents Introduction A World Monument for Christchurch?

Research Archive: Lost Heritage

Exhibition Lost Christchurch Exhibition (FESTA) Exhibition Development Heritage Fabric Installation Exhibition Media

25 26 36 45 50 67

Speculation A World Monument for Christchurch Brief Development Concept: An Urban Repository Physical Expression Presentation

89 95 98 105 132

Bibliography

159

Above: ‘Lost Christchurch’, Installation View, NZIA Canterbury Branch Rooms Gallery, Christchurch, 2016. Photographer: Erica Austin

Introduction “Rebuilding can be as symbolic as the destruction that necessitates it. Construction can be used to cement a violent surrendering of the built environment or to weave the fabric of a former life back together... What were once unintentional monuments…by their rebuilding can become new, international monuments to the events that caused their destruction.” - Robert Bevan This thesis examines the erasure of key touchstones in the collective memory of Christchurch in the wake of the Canterbury earthquakes. Through parallel processes in research, exhibition and speculation, this project explores the potential value in lost and damaged heritage architecture in post-disaster landscapes.

A World Monument for Christchurch? The built environment is a collage of keepsakes: a carefully curated exhibition of select physical outcomes that represent collective histories and memories. The objects that make up our physical environment can be seen as a series of artefacts: manifestations of specific social, cultural, moral, economic, political and historical agenda that tell a filtered story of our collective past. Architecture’s perceived permanence makes a compelling case for the specific way in which we understand history. Our built environment, although we are perhaps not always entirely conscious of it, exists in a state of perpetual change. A complex process of filtration that involves a combination of

human activity and environmental circumstance ultimately decides the trajectory for our cities. Even in the wake of disaster (both natural and man-made) the decisions we come to regarding what is kept, altered or discarded, and what is built new, adds to this history. Our collective decision-making thus provides the physical basis for our descendants to understand and remember us by. As Robert Bevan articulates in his text, The Destruction of Memory: Architecture at War, “it is architecture’s very impression of fixity that makes its manipulation such a persuasive tool: selective retention and destruction can reconfigure this historical record and the façade of fixed meanings brought to architecture can be shifted.”1

Concept: The Japanese art of Kintsugi, literally â&#x20AC;&#x2DC;gold repairâ&#x20AC;&#x2122;, a process of value-adding repair Above: David Pike, Broken Ceramic Cha-Wan, Gold, Lacquer

Precedent: Highlighting with gold. Above: Nathan Coley ‘The square of the three powers (west)’, Installation View, Gold leaf on pigment print, 2011.

Current discourse on memory and architecture explores the tendency for monuments and memorials to focus on the commemoration of key historical events in an often singular and stagnant way. Bevan continues: “a monument becomes a full stop to remembering with actual memories fading after the erection of a fixed object.”2

physical experiences drive collective memory through their association with the authentic, whilst mass-media and globalisation are generally synonymous with collective amnesia4, provides a strong argument for the spatialisation of memory in the form of experiential rather than static outcomes.

Rather than facilitating memory, monuments often become static symbols of the events they seek to memorialise. Mark Crinson, in his book Urban Memory: History and Amnesia in the Modern City, considers the past as a “limitless archive” through which the physical is manifest in our cities and the ethereal via the internet.3 His assertion that

Fundamental flaws in the process of memorialisation are also well documented, and include both the tangible and intangible aspects of dealing with an historic site. Eric Sandweiss, in his essay Framing Urban Memory, posits that all historical sites are a “nexus of constant change, disorientation and forgetting”5, and that the act

of trying to represent history in relation to a site is simultaneously bound up in the forgetting or repressing of parallel histories or memories. Questions, such as those posed by Richard M. Sommer in his essay, What Becomes a Democracy’s Monuments Most? interrogate how we can best represent and spatialise the multiple, diverse and often competing histories within a given site.6 Further to this, Thomas Fisher’s question, “whose memory do we draw from when we design?”7, sets up a pertinent reflection on the financial and political influences in the creation of collective memory, but also calls into play the responsibility

of designers in creating inclusive spaces that facilitate collective remembering but also collective projecting – taking into consideration the potential for varied visitors to the site and their backgrounds.

Map Of Hiroshima With Memorials And Monuments Mapped In Gold. Gold pigment on inkjet print, 2016.

Christchurch is in a moment of prolonged filtration: through natural disaster and now community and government intervention, the fabric of the city is undergoing immense and rapid change.

• •

Drawing on the current discourse surrounding architecture and memory (or memorialisation), and the specific context of Christchurch, the conceptual drivers for this project are centred around the following design questions:

•

• • •

How can memory be spatialised? How do different community groups remember and connect to place? How does architecture facilitate or mitigate the creation of memories? How does materiality connect people to place and memory? How can we spatialise history in a way that allows viewers or occupants to create their own set of memories? What impact does the loss of culturally significant heritage buildings have on the collective memory of a city? How can damaged heritage architecture be used in a process of value-adding repair?

Robert Bevan, The Destruction of Memory: Architecture at War, (Reaktion Books Ltd: London, 2006), 12-13

Bevan, The Destruction of Memory: Architecture at War, 197

Mark Crinson (Ed.), Urban Memory: History and amnesia in the modern city, (Routledge: Oxon, 2005), xii

Crinson, Urban Memory: History and amnesia in the modern city, xii

Eric Sandweiss, “Framing Urban Memory: The Changing Role of History in Museums in the American City” in Memory and Architecture, (University of New Mexico Press: New Mexico, 1996), 29

Richard M. Sommer, “What Becomes a Democracy’s Monuments Most?” in: Roldolphe El-Khoury Ed., Liberty Bell Centre: Bohlin Cywinsky Jackson (ORO editions: Philadelphia, 2006), 20

Thomas Fisher, “What Memory? Whose Memory?” in Memory and Architecture, (University of New Mexico Press: Albuquerque, New Mexico, 1996), 286

“The past is everywhere and it is nowhere. We seem at times overwhelmed by the oceanic feeling of a limitless archive, of which the city is the most physical example and the ‘memory’ of our computers is the most ethereal yet the most trusted, and at others afflicted by a fear that the material traces of the past might be swept away, taking memory with them.” - Mark Crinson

Archive: Lost Heritage The vast erasure of heritage architecture in Christchurch has left an immeasurable impact on the built environment. Heritage listed buildings have been lost through a rapid demolition process with little to no regard for the input of relevant heritage authorities. This process has fundamentally altered the physical presence of the collective historical past and radically reshaped the identity of the city. Through a rigorous process of research and analysis, part one of this project explored the multiple layers of tangible and intangible loss that has occurred in Christchurch through the removal of heritage architecture.

Since the earthquakes, a total of 136 heritagelisted buildings have been erased from the central city of Christchurch. 70 of those were NZHPT (New Zealand Heritage Pouhere Taonga) registered buildings, and a further 66 that were listed by the CCC (Christchurch City Council) have been lost. Examination of the 70 NZHPT registered buildings that were lost in the wake of the earthquake has been collated into an archival volume and diagram that track construction dates, materiality, use, heritage significance/value, earthquake damage, damage assessment, documented demolition reason and demolition/loss date.

Just 93 NZHPT registered buildings now remain, with all of these currently under review by the CCC. NZHPT registration holds no weight in legal decisions, meaning that these buildings remain unprotected.

Above: Mapping Development for â&#x20AC;&#x2DC;Kintsugi Christchurchâ&#x20AC;&#x2122;.

Above: Photographs of the 70 NZHPT heritage-listed buildings that have been demolished since the Canterbury earthquakes. Photographer: Various

Above: Iteration of diagram showing various levels of loss related to each of the 70 lost buildings

16 1933

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1 91 4

1 91 3

1 91 2

1911

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18 7 6

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18 7 0

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1850

BRICK

C O N C R ET E

STO N E

T I M B ER

C O LLAP S ED

EM ER G EN CY D EM O LIT IO N

ST R U CT U R AL - C ER A AP P R OV ED

ST R U CT U R AL - N ZH T P AP P R OV ED

B LU E P R I N T D EM O LIT IO N

FIN AN C IAL D EM O LIT IO N

D EM O LIT IO N R EAS O N U N K N O W N

D ET ER IO R AT ED

1934

2016

2015

2014

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1943

1942

1941

1940

1939

1938

1937

19 3 6

19 3 5

A. W. FIELDER

A. H. MANSON

ART DECO

A.W SIMPSON

ARMSON, COLLINS + HARMAN

ARTS + CRAFTS

BAUHAUS

B.J. AGER

B. W. MOUNTFORT

BYZANTINE REVIVAL

C.J. MOUNTFORT

CHICAGO

C. WOOD

CLARKSON + BALLANTYNE

CLASSICAL

J. DAWSON

COLONIAL GEORGIAN

CROUCH + WILSON

EDWARDIAN

E. SAUNDERS

HIGH BAROQUE

TIMBER

ARTS

CIVIC

COMMERCIAL

COMMUNITY

HISTORICAL

TRADITIONAL

CULTURAL

ARCHEOLOGICAL

TECHNOLOGICAL

SEVERE

FURTHER ASSESSMENT REQUIRED

SUGGESTE

19 3 1

19 3 2

1 93 0

1 92 9

1 9 27

1 9 28

19 24

1925

1 92 6

19 2 1

19 2 3

1922

1919

19 2 0

19 1 7

19 1 8

1916

19 1 4

191 5

1911

19 1 3

191 2

19 1 0

1 9 07

19 08

1909

1904

1906

1903

19 0 5

190 1

19 0 2

1900

1897

1 89 8

18 9 9

1894

1895

18 9 6

18 9 1

18 9 3

1 8 92

18 9 0

18 87

18 88

1 88 9

1885

18 84

Above: Iteration of diagram showing various levels of loss related to each of the 70 lost buildings

1 88 6

1881

1 88 3

STRUCTURAL

1882

1879

18 8 0

1877

18 78

1876

1 87 4

1 87 5

1871

1873

1 87 2

18 7 0

1867

1 86 8

18 6 9

18 6 6

1864

18 6 3

1 86 5

18 6 1

1862

18 6 0

1 8 57

1 8 58

1 85 9

EMERGENCY

18 5 5

1 8 54

FIRST GE

ACCOMODATION - PUBLIC

1 85 6

1851

1 85 3

G. A. J. HART

ENGLISH GOTHIC REVIVAL

SOCIAL

DID NOT OPPOSE DEMOLITION

18 5 2

F. W. PETRE

ACCOMODATION - PRIVATE

N/A

1850

FARR + CUFF

ENGLISH DOMESTIC

BRICK

COLLAPSED

ENGLAND BROTHERS

EDWARDIAN TUDOR

1933

A. R. HARIS

J. C. MADDISON

L. E. WILLIAMS

ITALIAN PALAZZO

LUTTRELL BROTHERS

ITALIANATE REVIVAL

M. BURY

MOCK TUDOR

P. MCGUIRE

NEO CLASSICAL

SEGAR, WOOD + MUNNINGS

T. W. CANE

V. HEAN

QUEEN ANNE

NEO GEORGIAN

W. H. TENGROVE

W. S. A. MURRAY

SPANISH MISSION

RENNAISSANCE REVIVAL

STONE

W. B. ARMSON

EDUCATION

ENTERTAINMENT

HEALTH

MEMORIAL

AESTHETIC

ARCHITECTURAL

RARITY

LANDMARK

RELIGIOUS

SPIRITUAL

MINIMAL

MAKE SAFE / REPAIR WORKS

2 01 4

201 5

2 01 6

20 1 1

2 01 3

2 0 04

20 0 6

20 0 3

2 00 5

2 00 2

1999

2 00 1

2 0 00

19 9 7

199 8

1996

19 9 4

1995

1991

1 99 3

1 9 92

1990

1 9 87

1 9 88

DETERIORATED

19 8 9

1 9 84

198 6

19 8 3

1985

19 81

1982

19 8 0

1977

1 9 78

19 7 9

1974

1975

19 7 6

19 7 1

1973

1972

1 97 0

19 6 7

196 8

1969

19 6 4

1965

1966

1961

1 96 3

FINANCIAL

1962

1 95 9

1960

1 9 57

1 9 58

1 95 6

19 54

1955

19 5 1

19 5 3

1952

19 5 0

1 9 47

1948

19 4 9

19 4 6

1944

1943

19 4 5

19 4 1

19 4 2

1 94 0

1 93 7

19 38

1 93 9

1 93 4

UNABLE TO PROVIDE INPUT

BLUE PRINT

20 1 2

ED PARTIAL DEMOLITION

NKNOWN

19 3 5

VICTORIAN VILLA

CONCRETE

MODERATE

1 93 6

W. WIDDOWSON

VICTORIAN

VENETIAN GOTHIC

2010

HOLLIS + LEONARD

INTERNATIONAL STYLE

20 0 9

HENDERSON, ALSOP + MARTIN

20 07

H. F. WILLIS

GOTHIC REVIVAL

2 008

G. T. LUCAS

ENERATION VERNACULAR

A. R. HARIS

A. W. FIELDER

A. H. MANSON

ART DECO

A.W SIMPSON

ARMSON, COLLINS + HARMAN

ARTS + CRAFTS

BAUHAUS

B.J. AGER

B. W. MOUNTFORT

BYZANTINE REVIVAL

C.J. MOUNTFORT

CHICAGO

C. WOOD

CLARKSON + BALLANTYNE

CLASSICAL

J. DAWSON

COLONIAL GEORGIAN

CROUCH + WILSON

EDWARDIAN

E. SAUNDERS

HIGH BAROQUE

TIMBER

ARTS

CIVIC

COMMERCIAL

COMMUNITY

HISTORICAL

TRADITIONAL

CULTURAL

ARCHEOLOGICAL

TECHNOLOGICAL

SEVERE

FURTHER ASSESSMENT REQUIRED

SUGGEST

19 3 1

19 3 2

1 93 0

1 9 27

1 9 28

1 92 9

19 24

1925

1 92 6

19 2 1

192 3

1922

19 2 0

19 1 7

191 8

1919

19 1 4

191 5

1916

1911

19 1 3

191 2

19 1 0

1909

1 907

19 08

1 90 4

19 0 5

1906

19 0 1

1903

19 0 2

1 9 00

1897

1 89 8

18 9 9

18 9 6

18 9 3

1894

1895

18 9 1

1892

18 9 0

18 87

18 88

1 88 9

1885

18 84

Above: Iteration of diagram showing various levels of loss related to each of the 70 lost buildings

1 88 6

1881

1883

STRUCTURAL

1882

18 8 0

1877

18 78

1879

1 8 74

1 87 5

1876

1871

1873

1 87 2

18 7 0

18 6 9

1867

1 86 8

1864

1 8 65

18 6 6

18 6 1

18 6 3

1862

18 6 0

1 8 57

1 8 58

1 85 9

EMERGENCY

1 85 6

1 8 54

1 85 3

FIRST G

ACCOMODATION - PUBLIC

18 5 5

1851

G. A. J. HART

ENGLISH GOTHIC REVIVAL

SOCIAL

DID NOT OPPOSE DEMOLITION

18 5 2

F. W. PETRE

ACCOMODATION - PRIVATE

N/A

1850

FARR + CUFF

ENGLISH DOMESTIC

BRICK

COLLAPSED

ENGLAND BROTHERS

EDWARDIAN TUDOR

J. C. MADDISON

L. E. WILLIAMS

ITALIAN PALAZZO

LUTTRELL BROTHERS

ITALIANATE REVIVAL

M. BURY

MOCK TUDOR

SEGAR, WOOD + MUNNINGS

T. W. CANE

V. HEAN

QUEEN ANNE

NEO GEORGIAN

W. H. TENGROVE

W. S. A. MURRAY

SPANISH MISSION

RENNAISSANCE REVIVAL

STONE

W. B. ARMSON

EDUCATION

ENTERTAINMENT

HEALTH

MEMORIAL

AESTHETIC

ARCHITECTURAL

RARITY

LANDMARK

SPIRITUAL

MINIMAL

MAKE SAFE / REPAIR WORKS

UNABLE TO PROVIDE INPUT

2 01 014

2 01 6

2 011 3 20

201 20 1 5

20 1 1

2 0 04 20 04

20 0 6

2 00 5

2 00 1

20 0 3

2 00 2

2 0 00 00

19 9 7

199 8

1999

19 9 4

1995

1996

1991

1 99 3

199 2 92

19 8 9

1 9 90 90

1 9 87

DETERIORATED

1 9 88

1 9 84

1985

19 86 198

19 8 1

198 19 8 3

1982

19 8 0

1977

1 9 78

19 7 9

19 7 6

1974

1973

19 75 97

19 7 1

1 97 972

1970

19 67 67

196 8

1969

19 6 4

1 9 65 65

1966

1961

1 96 3

FINANCIAL

1962

1960

1 9 57

1 9 58

1 95 9

19 54

1955

1 95 6

19 5 511

19 5 3

1952

19 4 9

19 5 0

1 9 47

1948

1944

194 5

19 4 6

19 4 1

1943

19 4 2

1 94 0

1 93 7

19 38

1 93 9

1 93 6

BLUE PRINT

20 1 2

TED PARTIAL DEMOLITION

1 93 4

VICTORIAN VILLA

RELIGIOUS

MODERATE

19 3 5

W. WIDDOWSON

VICTORIAN

VENETIAN GOTHIC

CONCRETE

UNKNOWN

1933

P. MCGUIRE

NEO CLASSICAL

20 011 0

HOLLIS + LEONARD

INTERNATIONAL STYLE

20 07

HENDERSON, ALSOP + MARTIN

2 00 8 008

H. F. WILLIS

GOTHIC REVIVAL

20 0 9

G. T. LUCAS

GENERATION VERNACULAR

â&#x20AC;&#x153;There is both a horror and a fascination at something so apparently permanent as a building, something that one expects to outlast many a human span, meeting an untimely end.â&#x20AC;? - Robert Bevan

Above: ‘Lost Christchurch’, Installation View, NZIA Canterbury Branch Rooms Gallery, Christchurch, 2016. Photographer: Erica Austin

Caption

Lost Christchurch Exhibition (FESTA) In week 12 I traveled to Christchurch to exhibit the body of archival work as part of the Festival of Transitional Architecture (FESTA). The exhibition, titled ‘Lost Christchurch’ ran for three days. Situated at the intersection between what is lost and what remains, ‘Lost Christchurch’ stressed the value of remaining heritage architecture. In spatialising lost heritage the installation acts as a provocateur, asking viewers to reflect on the concept of ‘waste’ on multiple levels.

Exhibition Development The output of the archival research process was a map, a diagram and a booklet that highlighted the importance of remaning heritage architecture by exposing the extent of what had been lost. Situated within an expanded spatial practice of sculpture, conceptual art, architectural representation and curation, the exhibition development embodies both architectural and sculptural process and outcomes.

Above: Exhibition development and trials, as presented at mid-semester reviews

Right: 1:500 scale model of the Christchurch Cathedral site at Cathedral Square, Above: 1:2069 scale model of the lost buildings

Right: 3d-printed Mould of ‘Bishop’s Park’ By Cecil Wood, Bulding Demolished At 100 Park Terrace for casting trials Above: Wax Casting Trials - Model Of ‘Bishop’s Park’ By Cecil Wood, Bulding Demolished At 100 Park Terrace.

Left: Impression Of Diagram in String Right: Extension Of Diagram Onto Floor, Mapping Location Of Various Dumping Grounds For Heritage Material

Left: Extension Of Diagram Onto Floor: Mapping Location Of Various Dumping Grounds For Heritage Material with floor map Right: Extension Of Diagram Onto Floor with Heritage Fabric

Above: Proposal To Place Posters Of Demolished Buildings On Former Sites Throughout The City

1 8

9 10 2

64 63

32 - 40 ARMAGH STREET

52 ARMAGH STREET

91 - 107 ARMAGH STREET

140 BARBADOES STREET

181 BARBADOES STREET

80 BEALEY AVENUE

208 HEREFORD STREET

234 HEREFORD STREET

180 - 188 HIGH STREET

219 - 223 HIGH STREET

280 - 282 HIGH STREET

33 KILMORE STREET

118 BEALEY AVENUE

107 - 109 CAMBRIDGE TERRACE

267 CAMBRIDGE TERRACE

88 - 92 CASHEL STREET

93 - 95 CASHEL STREET

135 KILMORE STREET

146 KILMORE STREET

25 26

27 9

185 KILMORE STREET

2 LATIMER SQUARE

80 LICHFIELD STREET

141 LICHFIELD STREET

57 2

107 - 109 CAMBRIDGE TERRACE

267 CAMBRIDGE TERRACE

66 CCC (Christchurch 88 - 92 CASHEL STREET

56 22

93 - 95 CASHEL STREET

124 - 126 CASHEL STREET

80 LICHFIELD STREET 141 LICHFIELD STREET

264 - 270 MADRAS STREET

21 21

12 38

236 CASHEL STREET

32 CATHEDRAL SQUARE

33 - 39 CATHEDRAL SQUARE

50 - 52 CATHEDRAL SQUARE

51 - 53 CATHEDRAL SQUARE

56 CATHEDRAL SQUARE

264 - 270 MADRAS STREET

122 - 126 MANCHESTER STREET

158 - 160 MANCHESTER STREET

194 - 198 MANCHESTER STREET 39

218 MANCHESTER STREET 55 40 41

22 57

375 MOORHOUSE AVENUE

58 23

59 16 15

24 17

44 51

94 - 96 CHESTER STREET EAST

2 CHESTER STREET WEST

854 COLOMBO STREET

282 - 286 DURHAM STREET NORTH

309 DURHAM STREET NORTH

229 FITZGERALD AVENUE

94 - 96 GLOUCESTER STREET

128 OXFORD TERRACE

286 - 288 OXFORD TERRACE

62 PARK TERRACE

100 PARK TERRACE

126 - 128 PARK TERRACE

138 - 148 PARK TERRACE

93 NZHPT/CCC registered buildings remaining.

and accompanying attempts to 122 - 126diagram MANCHESTER STREET map out the tangible and 158 intangible loss of heritage 32 CATHEDRAL SQUARE - 160 MANCHESTER STREET architecture within the city of Christchurch between 33 - 39 CATHEDRAL SQUARE 194 - 198 MANCHESTER STREET 2010 and 2016. So far, nearly 60% of all heritage listed 50 - 52 CATHEDRAL 218 MANCHESTER STREET buildingsSQUARE within the central city have been demolished. 51 - 53 CATHEDRAL The fateSQUARE of many of the 375 93MOORHOUSE remainingAVENUE buildings is uncertain. 56 CATHEDRAL SQUARE 128 OXFORD TERRACE 55

90 - 92 CHESTER STREET EAST

94 - 96 CHESTER STREET EAST

2 CHESTER STREET WEST

90 - 92 CHESTER STREET EAST

185 KILMORE STREET

154 - 158 CASHEL STREET

ThisSTREET book 236 CASHEL

20 69

City Council) buildings 2 LATIMER registered SQUARE

154 - 158 CASHEL STREET

lost.

135 KILMORE STREET

70 NZHPT (New Zealand Heritage Pouhere Taonga) registered buildings lost. 146 KILMORE STREET

124 - 126 CASHEL STREET

107 - 109 CAMBRIDGE TERRACE

208 HEREFORD STREET

100 BEALEY AVENUE

14 60

buildings have been demolished in the central city of 180 - 188 HIGH STREET Christchurch. Analysis of the fate of these buildings, 219 - 223 HIGH STREET their earthquake damage, and reasons for demolition 118 BEALEY 280 - 282situation HIGH STREET tellAVENUE a pointed tale of the current and attitude heritage post-earthquake. 107 - 109towards CAMBRIDGEbuilt TERRACE 33 KILMORE STREET 80 BEALEY AVENUE

100 BEALEY AVENUE

140 BARBADOES STREET

Since STREET the earthquakes, 42a total of 136STREET heritage-listed 181 BARBADOES 234 HEREFORD

49 47

of architecture inGLOUCESTER the central city has 198 - 202 STREET impact47 on the built environment. HEREFORD STREET Heritage listed buildings have been lost through a rapid 84 - 86 HEREFORD STREET demolition process with little to no regard for the input 190 - 192 HEREFORD STREET authorities.

left STREET an immeasurable 52 ARMAGH 140 BARBADOES STREETheritage of relevant

7 1

the vast erasure 32 - 40 ARMAGH STREET 91 - 107 ARMAGH STREET

25 ARMAGH STREET

36 25 ARMAGH STREET 194 GLOUCESTER STREET In the wake of the 2010 and 2011 Canterbury earthquakes

286 - 288 OXFORD TERRACE

62 PARK TERRACE

100 PARK TERRACE

854 COLOMBO STREET

126 - 128 PARK TERRACE

282 - 286 DURHAM STREET NORTH

138 - 148 PARK TERRACE

309 DURHAM STREET NORTH

138 - 148 PARK TERRACE

229 FITZGERALD AVENUE

33 ROLLESTON AVENUE

94 - 96 GLOUCESTER STREET

163 - 173 TUAM STREET

134 - 140 GLOUCESTER STREET

236 TUAM STREET

144 GLOUCESTER STREET

78 WORCESTER BOULEVARD

148 - 154 GLOUCESTER STREET

86 - 88 WORCESTER BOULEVARD

134 - 140 GLOUCESTER STREET

144 GLOUCESTER STREET

INTRODUCTION: LOSTCHRISTCHURCH

148 - 154 GLOUCESTER STREET

194 GLOUCESTER STREET

198 - 202 GLOUCESTER STREET

47 HEREFORD STREET

84 - 86 HEREFORD STREET

190 - 192 HEREFORD STREET

138 - 148 PARK TERRACE

33 ROLLESTON AVENUE

LOSTCHRISTCHURCH INTRODUCTION: LOSTCHRISTCHURCH

163 - 173 TUAM STREET

236 TUAM STREET

78 WORCESTER BOULEVARD

86 - 88 WORCESTER BOULEVARD

Above: Idea To Use Mapping Of Lost Buildings As Walking Tour Through The City.

Heritage Fabric The heritage team at the Christchurch City Council (CCC) managed to salvage fabric from many buildings that are now housed in storage facilities near the central city. They currently lack the space to adequately store the precious heritage fabric, much of which is crammed into a shed at Ferrymead Heritage Park. In July 2017, the lease on this space will run out, and as a result the heritage fabric will need to be removed. It is possible that much of it will go into landfill or into the harbour with the rest of the earthquake â&#x20AC;&#x2DC;rubbleâ&#x20AC;&#x2122;. With the help of Gareth Wright. Heritage Advisor at the CCC, I was able to borrow some of the heritage fabric for display during the exhibition.

Above: Entry to the Storage Facility at Ferrymead Heritage Park

Above: Elements of Lost Heritage Buildings sit inside the Storage Facility at Ferrymead Heritage Park

Left: Gareth Write, Heritage Advisor at CCC, inspects stonework from the former library chambers building Right: The angel from inside Christchurch Cathedral sits among the salvaged heritage fabrc

Above: The Foundation Stone from The Press Building sits outside the storage facility. Imbedded in the top of the stone was a timecapsule. The building was errected in 1909 and demolished 2011.

Left: The twisted Medway Street Bridge, a symbol of the earthquake, sits outside the storage facility Right: Crates of stonework are kept outside

Above and over: The Provincial Council Chambers was the only building to have been properly catalogued, disassembled and stored with the view to re-build it. Much of the fabric sits outside with inadequate covering.

Above: Stonework from the fomer library chambers building in transit from Ferrymead heritage park to the gallery space.

Installation The installation of work took place between October 15th and 21st, and involved painting and preparing the space as well as the selection and collection of heritage fabric. Work from Australia needed to fit within airline luggage restrictions, setting parameters for what could and could not be displayed. Documented in a series of images and a timelapse video, the installation took approximately 50 hours to complete. The diagram, which was drawn by hand onto the wall, took nearly one fifth of the total instlation time. A special thank you to Alex Armstrong for his help with installing a large portion of the exhibition.

Above: The gallery at the NZIA Canterbury Branch Rooms during installation.

Above: The walls of the required patching and painting prior to instlaation.

Above: Film stills from diagram installation timelapse.

Exhibition The exhibition was launched on Friday, October 21st with invitations extended to members of the NZIA, Heritage New Zealand, Christchurch City Council Heritage Department and the public. Over the three days it was open, an estimated 100 people visited the show. The following pages include images of the exhibition, as well as descriptions of each of the works.

Above: Exhibition Launch Invite

Lost Christchurch, 2016 String, nails, paper, book, biodegradable 3D printed models at 1:2069 scale. Lost Christchurch is an archival research project that NZHPT (New Zealand Historic Places Trust) heritage-listed buildings that have been demolished since the Canterbury earthquakes. Each building has been analysed on the basis of construction date, materiality, use, heritage significance, earthquake damage, damage assessment, reason for demolition and date of demolition. The diagram is an overlay of information: an attempt to depict the loss of not just buildings but places significant to the collective memory and history of Christchurch. The accompanying Lost Christchurch book can be used to â&#x20AC;&#x2DC;readâ&#x20AC;&#x2122; the diagram of each building.

Speculation on a World Monument, 2016 Gold leaf, biodegradable 3D printed Cathedral ruin, sound. Speculation on a World Monument depicts the ruins of the Christchurch Cathedral in gold accompanied by a voice recording of a letter to the competitors of a fictional competition brief for a new World Monument for Christchurch. In the wake of the earthquakes, the Christchurch Cathedral has become an unintentional monument: a monument to the earthquake, a monument to the past, a monument to loss, but also a monument to hope. The Cathedral is also the most contested heritage site in Christchurch, with its fate currently being decided behind closed doors. In objectifying the Cathedral as an artefact, Speculation on a World Monument acts as a provocateur, asking viewers to reflect on the future of the building and the potential for a new World Monument in Christchurch. The work simultaneously acts as a critique on proposed earthquake memorial (currently under construction), which has been met with mixed reviews, and suggests a need for greater recognition of the event and its impact on the city.

All Is Not Lost, 2016 Borrowed heritage fabric from the former Library Chambers building. Not all was lost in the demolition of Christchurchâ&#x20AC;&#x2122;s heritage. The Christchurch City Council has managed to salvage fabric from many buildings that are now housed in storage facilities near the central city. In July next year, the fabric will need to be re-purposed or disposed of. Exhibited here is some of the stonework from the former Library Chambers at 107 Cambridge Terrace. You can read about the heritage significance of this building in two statements provided by the Christchurch City Council and the NZHPT prior to the buildingâ&#x20AC;&#x2122;s demolition.

Kintsugi Christchurch, 2016 Photographic print and gold leaf on canvas. Kintsugi Christchurch maps the lost and remaining heritage buildings listed by the NZHPT (New Zealand Historic Places Trust) and Christchurch City Council prior to the February 2011 earthquake. A photograph of Christchurch captured by NZ Aerial Mapping Ltd on February 24th, 2011 has been reproduced in black and white at 1:2069 scale – the number of days between this exhibition opening and the earthquake. Lost heritage buildings are blacked out, whist remaining buildings have been highlighted in gold leaf. Kintsugi (literally ‘gold repair’) is the Japanese art of fixing broken ceramics by gluing them back together with gold, a technique that increases the value of something that could have gone to waste. Drawing on this practice as a conceptual driver, Kintsugi Christchurch implies the latent potential in using damaged heritage buildings and heritage materials in a process of value-adding repair for the city.

There are holes in the documentation, 2016 Laser cut inkjet print on paper, gold leaf. The Christchurch Central Recovery Plan, or 100-Day Blue Print, outlines the future city of Christchurch. Whilst the document states that it â&#x20AC;&#x153;provides for heritage values by encouraging the retention of heritage buildings in the central cityâ&#x20AC;?, the unnecessary demolition of heritage architecture has been allowed to occur at an unprecedented rate. There are holes in the documentation is a literal map of the demolished heritage buildings cut into the Blue Print, obscuring the text and implying that something is missing.

Above: ‘Lost Christchurch’, Installation View, NZIA Canterbury Branch Rooms Gallery, Christchurch, 2016. Photographer: Erica Austin

Above: ‘Speculation on a World Monument’, Installation View, NZIA Canterbury Branch Rooms Gallery, Christchurch, 2016. Photographer: Erica Austin

Above (Left and Right): ‘Lost Christchurch’, Installation View, NZIA Canterbury Branch Rooms Gallery, Christchurch, 2016. Photographer: Erica Austin

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mileogram Feeling incredibly privileged and excited to have had the opportunity to do an interview with the Australian Design Review about my thesis project. I'm now on my way to Christchurch to install some of my work in the Festival of Transitional Architecture! Massive thank you to the @msdsocial for all their support! @festanz # # # # # #art #architecture #australiandesignreview #FESTA #Christchurch #heritagearchitecture #heritage vivek008 @mileogram congratulations :)

mileogram @vivek008 thanks!!

martijngeers

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Above: Screenshot of Australian Design Review feature article shared on Instagram

Media Media and social media response to the exhibiton in both Australia and New Zealand was wonderful. An article featured on the Australian Design Review website prior to the exhibition starting, and in New Zealand there was a feature article in The Press, and an interview on RDU raidio station once it close. Social media was prolific throughout the exhibition, generating further interest in the show. The following pages show some of the social media and media responses to the work.

× mileogram

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mileogram Pre-install testing for @festanz at the @nzia_canterbury rooms today. Such an inspiring space to work in!

# # # # # # # # #Christchurch #NewZealand #architecture #nzarchitecture #art #artinstallation #heritage #heritagearchitecture #melbourneschoolofdesign @msdsocial

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mileogram

mileogram Pre-install testing for @festanz at the @nzia_canterbury rooms today. Such an inspiring space to work in!

martijngeers

Above: Screenshots of social medira responses.

martijngeers

itzkohki

great capture!

mileogram @itzkohki thanks!!

mileogram @martijngeers

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mileogram

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mileogram Had the most incredible day today looking at what remains of the lost heritage fabric of Christchurch for my installation in FESTA. The heritage team at @christchurchcc are doing an amazing job of ensuring nothing more goes to waste. @festanz # # # # # # # # #Christchurch #NewZealand #architecture #nzarchitecture #art #artinstallation #heritage #heritagearchitecture #melbourneschoolofdesign @msdsocial martijngeers

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× mileogram

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# # # # # # #Christchurch #NewZealand #architecture #nzarchitecture #art #artinstallation #heritage #heritagearchitecture #melbourneschoolofdesign @msdsocial martijngeers

mondrianmilano Fabulous!

mileogram @mondrianmilano thanks!

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Above: Screenshots of social medira responses.

× mileogram

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mileogram Install for @festanz - these are actual pieces of stonework from the former public library, fabric saved from landfill after the Canterbury earthquakes. Thanks to the @christchurchcc for their work in keeping these precious pieces of heritage. # # # # # # #Christchurch #NewZealand #architecture #nzarchitecture #art #artinstallation #heritage #heritagearchitecture #melbourneschoolofdesign @msdsocial # #

festanz @mileogram this is incredible and heart breaking

martijngeers

nzkebabette I worked/work there and ✕ am feeling pretty overcome and moved. thank you. mileogram @nzkebabette ❤

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× festanz NZIA - Canterbur…

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Following

festanz What a treat it was to pop into our Festa space and see the progress of Danielle Rose Mileo @mileogram from @msdsocial who is preparing her #installation 'Lost Christchurch'. A truly #beautiful and #inspiring work using pieces of #christchurchnz #heritage. #festa2016 #festival #art #architecture #architectural #heritagechch #remembrance #loveyourcity #pocketsofawesome mileogram ❤❤❤

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Above: Screenshots of social medira responses.

festanz NZIA - Canterbur…

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Following

environment. Danielle is #transforming the @nzia_canterbury rooms #festa2016 #leanmeans #festival #architecture #architecturelover #architecturestudent #reuse #repurpose #recycle #christchurchnz #nz #transitional #wehavethemeans #gettingexcited #comingsoon #loveyourcity #pocketsofawesome #sustainable #sustainability #installation #art #design #creativenz #creative mission_fox Well done! Like Add a comment…

× mileogram

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mileogram

mileogram Install for @festanz - watch this space! # # # # # # # # #Christchurch #NewZealand #architecture #nzarchitecture #art #artinstallation #heritage #heritagearchitecture #melbourneschoolofdesign @msdsocial martijngeers

oleukenastudio Inspiring!

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Above: Screenshots of social medira responses.

35 likes

mileogram Install in progress for @festanz in the @nzia_canterbury branch rooms with the wonderful Alex. Opening tomorrow from 4pm! # # # # # # # # #Christchurch #NewZealand #architecture #nzarchitecture #art #artinstallation #heritage #heritagearchitecture #melbourneschoolofdesign @msdsocial

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× mileogram

mileogram

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mileogram Install in progress for @festanz in the @nzia_canterbury branch rooms almost there!! Opening tomorrow from 4pm! # # # # # # # # #Christchurch #exhibition #NewZealand #architecture #nzarchitecture #art #artinstallation #heritage #heritagearchitecture #melbourneschoolofdesign @msdsocial jamwag Always such immaculate work @mileogram ! mileogram @jamwag thanks

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❤

55 likes

mileogram Lost Christchurch is on at @nzia_canterbury branch rooms for @festanz come and check it out. Open 10-3 over the long weekend! # # # # # # # # #Christchurch #exhibition #NewZealand #architecture #nzarchitecture #art #artinstallation #heritage #heritagearchitecture #melbourneschoolofdesign @msdsocial

lizcaltabiano

mileogram @mileov @lizcaltabiano thanks ❤

mileov Looks amazing Dani! xx

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Danielle Rose Mileo Art. Architecture. Humanity. Shoes. www.daniellemileo.com 374 posts

375 followers

386 following

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Above: Screenshots of social medira responses.

Danielle Rose Mileo Art. Architecture. Humanity. Shoes. www.daniellemileo.com 374 posts

375 followers

386 following

mileogram

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Danielle Rose Mileo Art. Architecture. Humanity. Shoes. www.daniellemileo.com 374 posts

375 followers

386 following

Danielle Rose Mileo Art. Architecture. Humanity. Shoes. www.daniellemileo.com

374 posts

375 followers

386 following

mileogram

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mileogram Time lapse of the install! Lost Christchurch is on at @nzia_canterbury branch rooms for @festanz come and check it out. Open 10-3 over the long weekend! # # # # # # # # #Christchurch #exhibition #NewZealand #architecture #nzarchitecture #art #artinstallation #heritage #heritagearchitecture #melbourneschoolofdesign #timelapse #goprohero4 @msdsocial

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2d in A public gallery dedicated to positioning 62 thelikes fields of craft, applied arts & design NZ within a range of cultural, economic and social frameworks. objectspace Utilising a methodology of www.objectspace.org.nz kintsugi @mileogram maps the

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deconstruction and of heritage buildings in

676 following Christchurch. Installed in the beautiful

@nzia_canterbury branch rooms for @festanz @msdsocial #nzarchitecture thediamondshop Ohhh @shesaidyes

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Above: Screenshots of social medira responses.

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Melbourne School of Design The Melbourne School of Design is the graduate msdsocial Following school of the Faculty of Architecture, Building and Planning at the University of Melbourne. msd.unimelb.edu.au 347 posts

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msdsocial Congrats to MSD student Danielle Mileo - her exhibition Lost Christchurch featured at FestaNZ and uses art to document lost heritage #Repost @festanz @ericasjjs #heritage #architecture #documentation #exhibition #nzia #architecturestudent #msdsocial #design #creative #architecturalheritage soaringhealth Keep on the good work! Like Add a commentâ&#x20AC;Ś

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mileogram Deconstructing the diagram. @festanz is over for another year, and what an incredible festival it was. Massive thanks to everyone involved, and to the @nzia_canterbury brach for hosting my work. # # # # # # # # #Christchurch #exhibition #NewZealand #architecture #nzarchitecture #art #artinstallation #heritage #heritagearchitecture #melbourneschoolofdesign @msdsocial byronkinnaird That's real nice!

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Above: Screenshots of social medira responses.

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374 posts

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19h

mileogram Lovely to see this article in The Press today! # # # # # # # # #Christchurch #exhibition #NewZealand #architecture #nzarchitecture #art #artinstallation #heritage #heritagearchitecture #melbourneschoolofdesign @msdsocial cabernetjest

cdunnn Congrats dani!

mileogram Thanks everyone

misaki_hata So cool, you go girl!!✨

carole_compact So much awesome.

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Response Response from the public was overwhelming, and helped inform the remainder of the project. Many people highlighted to me the importance of the archival research, especially when exhibited in a public arena. A copy of the Lost Christchurch booklet that accompanied the diagram now exists in the archives at the CCC. Two architects who are currently working on the new Christchurch City Library bulding saw the exhibition, and I was able to put them in touch with the heritage team at CCC. It is now likely that the heritage fabric exhibited in Lost Christchurch will be used in the new building.

Further to this, there have been multiple requests to have the work published, as well as for the exhibition to return to Christchurch in a more permenant capacity.

Danielle Mileo <dmileo@student.unimelb.edu.au>

Lost Christchurch/Heritage Fabric

Former Library Chambers Heritage Fabric

4 messages

Danielle Mileo <dmileo@student.unimelb.edu.au> To: charlotte.hoare@architectus.co.nz

2 messages Sun, Oct 23, 2016 at 1:55 PM

Hi Charlotte, Thanks so much for dropping in and seeing my work. This is my university email, and my phone number is +61434485137 Let me know if I can help put you in touch with Gareth or anyone else.

Danielle Mileo <d.mileo@student.unimelb.edu.au> Wed, Oct 26, 2016 at 11:28 AM To: sasha.samardziska@architectus.co.nz, "Wright, Gareth" <Gareth.Wright@ccc.govt.nz>, charlotte.hoare@architectus.co.nz Dear Gareth, Sasha and Charlotte, I hope this email finds you all well. I just wanted to introduce you all via email Gareth Wright is on the heritage team at the CCC and is responsible for a lot of the remaining heritage fabric, including the pieces from the former library chambers in my exhibition at the weekend. Sasha and Charlotte are both working on the new Christchurch City Library and are keen to have the fabric used in a meaningful way in the new building.

Kind regards, Dani Charlotte Hoare <Charlotte.Hoare@architectus.co.nz> To: Danielle Mileo <dmileo@student.unimelb.edu.au> Cc: Sasha Samardziska <Sasha.Samardziska@architectus.co.nz>

Danielle Mileo <dmileo@student.unimelb.edu.au>

Please keep in touch about how this project works out. Wed, Oct 26, 2016 at 9:28 AM

Best, Dani

Hi Dani,

Thank you very much for your email. We really loved your exhibition it's a fantastic body of work which wonderfully captures the lost heritage of Christchurch.

Danielle Mileo

It would be great if you could send through Gareth's details and we can discuss with him options for integrating traces of the old library in the new one...so hopefully all does not remain lost!

Master of Architecture Student Melbourne School of Design University of Melbourne

Many thanks.

www.daniellemileo.com

Kind Regards, Charlotte Hoare Architect

Sasha Samardziska <Sasha.Samardziska@architectus.co.nz> Wed, Oct 26, 2016 at 11:34 AM To: Danielle Mileo <d.mileo@student.unimelb.edu.au>, "Wright, Gareth" <Gareth.Wright@ccc.govt.nz>, Charlotte Hoare <Charlotte.Hoare@architectus.co.nz> Cc: "Denis Vincent A. Olette" <Denis.Olette@architectus.co.nz>

For and on behalf of Architectus Bowes Clifford Thomson Ltd architectusT

Thanks Danielle for the opportunity to place a memorial into the new city library!

Architectus Christchurch 124 Peterborough Street, Christchurch 8013 PO Box 2647, Christchurch 8140 T +64 3 377 7086 DDI +64 3 928 2093 charlotte.hoare@architectus.co.nz www.architectus.co.nz

Wish you all the best and we will keep u up dated.

Architectus supports sustainable practices. Please consider the environment before printing this email. Disclaimer: This email message is only intended to be read by the named recipient. It may contain information which is confidential, proprietary or the subject of legal privilege. If you are not the intended recipient please notify the sender immediately and delete this email. You may not retransmit, use, copy or disseminate any information contained in it. Legal privilege and confidentiality is not waived because you have read this email. [Quoted text hidden]

Hi Gareth, It would be great to discuss further details about the saved pieces of the ‘old’ city library and to bring it back to live.

______________________________________________________________________________

Pls let us know when it would be best for you to catch up

This email has been filtered by SMX. For more information visit http://smxemail.com ______________________________________________________________________________

Looking forward

Above: Email correspondence between myself and two architects working on the new Christchurch City Library

Above: Messages from the exhibition guestbook

â&#x20AC;&#x153;â&#x20AC;ŚI would propose that any attempt to forecast the future is both a provocation to rethink the past, and an opportunity to better come to terms with the present.â&#x20AC;? - Hans Ulrich Obrist

Above: The Christchurch Cathedral, 2016

A World Monument for Christchurch The third and final element of this project is a speculation on the future of Christchurch. Drawing on the current global discourse surrounding architecture, memory and memorialisation, and the specific context of Christchurch that has been understood through parallel processes in research and exhibition, a brief for a competition for a new World Monument for Christchurch was developed. This brief forms the main critique and speculation, whilst accompanying diagrams, drawings and models should be read as a schematic response or first attempt to flesh out the ideas spatially.

Before Church Built 1400/1500S

Rotterdam: St Lawrence Church/Grote Of Sint-Laurenskerk Built: 1400/1500S | Damaged: 1940 | Restored: 1952 â&#x20AC;&#x201C; 1968

During Ruin Damaged 1940

After Church + Monument Restored: 1952 â&#x20AC;&#x201C; 1968

CHURCH

Before Church Built: 1891

RUIN

During Ruin Damaged: 1943

CHURCH + MONUMENT

After Church + Monument Retained + Added To: 1961 - 1963

Berlin: Kaiser Wilhelm Memorial Church + The Gedenkhalle Built: 1891 | Damaged: 1943 | Retained + Added To 1961 - 1963

Before Cathedral Built: 1915 Hiroshima: 原爆ドーム (Genbaku Domu) | Atomic Bomb Dome Built: 1915 | Damaged: 1945 | Restored: 1954

During Ruin Damaged: 1945

After World Monument Retained: 1966

Before Cathedral Built: 1915

Now Ruin Damaged 2010 - 2011

Future World Monument? TBC Christchurch: Christchurch Cathedral: Built: 1915 | Damaged: 2010-11 | Future: TBC

Speculation on a

World Monument for Christchurch

Competition Brief + Guidelines

Above: Cover for the Competition Brief

Brief Development The letter to competitors was exhibited in Christchurch, and through conversations and public response, the brief was expanded to articulate further the desires and needs of the city. Key to this document were discussions I had with people in Christchurch who had been part of the organisational processes behind the city's memorial competition and the draft plan/Blueprint for Christchurch. These conversations highlighted the need for an archival space in the city as well as a space that can facilitate learning about disasters and disaster mitigation, on top of the symbolic and psychological significance of the Cathedral site.

Speculation on a World Monument

Mission Statement, Guiding Prinicples + Program Elements

Dear Competitors, World Monument Mission Statement

On behalf of the people of Christchurch and the wider Canterbury region, we welcome your participation in the Speculation on a World Monument for Christchurch competition.

The World Monument is an urban repository that acts as a memorial, archive and civic space for the city of Christchurch.

The return of the Cathedral Site to the people of Christchurch has opened up a new opportunity for the city to pause and reflect. A landmark in its own right, the Christchurch Cathedral has now lain dormant for over five years. A ruin cordoned off from its people, the Cathedral has watched over us as we have tried to piece our lives back together.

As a monument it acts as a memorial to the collective historical past, the event of the earthquakes and to the future city unfolding around it. It becomes a vessel within which memories exist collectively, and a datum from which new memories can be created.

In our haste to rebuild, and in our desperation to recover, the Cathedral sat silently as elements of our city’s history were lost forever. The demolition process in which much of the city’s heritage was removed has been compounded by the closed-off nature in which it was completed. Behind barricades our history was erased, carried out past the Cathedral to new, cavernous voids that we tore into the landscape and sea.

As an archive it returns the lost heritage of Christchurch back to the city. It houses a collection of artefacts and records that can be referenced, celebrated and added to. It is a resource: a wealth of information for the city of Christchurch. As a civic space it returns the original civic center of Christchurch back to its people. It becomes a place of congregation, activation, contemplation and reflection. It uses tangible objects to facilitate intangible rituals.

Not since the February 22 earthquake began have we stopped. Not since the blue print have we made allowances for our city and ourselves. The gravity of what has happened here, not just during the earthquakes but in the wake of those events, is only now starting to be revealed. In erasing evidence of the destruction and trauma, we also erased evidence of our collective historical past. We are now in danger of losing the memory of that history.

The World Monument explores the potential for value-adding repair in the wake of events like the Canterbury Earthquakes through the repurposing of ruins and the celebration of the past. It makes a case for retention of building material that might otherwise go to waste. It is a receptacle for the collective memory and history of Christchurch.

The Cathedral has become an unintentional monument in its own right: a monument to the earthquake, a monument to the past, a monument to loss, but also a monument to hope. Once the most contested site in the city, the fate of the Cathedral is now secured – all is not lost. This competition calls for a moment of reflective nostalgia, space in the heart of the city to help us remember the past, celebrate the present and look towards the future collectively. We hope that this momentary pause provides the opportunity to contemplate all that has happened in Christchurch and to give adequate physical expression to these events in the form of a new World Monument.

Program Guiding Principles The World Monument is to: • Convey the multiple levels of loss suffered in Christchurch during and after the earthquakes; • Acknowledge those involved in the rescue and recovery efforts; • Respect the sensitivity of the Cathedral site and it’s connection to the wider city context; • Encourage contemplation and reflection; • Enhance the nature of the Cathedral as an unintentional monument; • Inspire people to learn about the city’s past, present and future; • Embody a sense of hope; • Change over time.

Enclosed herein are the competition guidelines and brief for the design of a new World Monument for Christchurch. By participating in this competition you pause with us, highlighting the importance of collective reflection, nostalgia and hope. Sincerely,

Program Elements

Hon. Lianne Dalziel Mayor of Christchurch

1. 2. 3. 4. 5. 6. 7.

Tā Mark Solomon Kaiwhakahaere Te Rūnanga o Ngāi Tahu

Above: Key pages from the competition brief document

Honour each individual who lost their life in the earthquake Remember the event of the earthquake Recognise those who aided in the recovery of the city Embody the loss of the city’s heritage buildings and people’s homes Provide space for contemplation and reflection Provide space for the storage and display of the city’s heritage and archival matter Provide space for large congregations, gatherings and civic activity of up to 20,000 people 12

An Urban Repository for Christchurch

Program and Function

The etymology of the word repository can be traced back to the Latin repositorium, from reposit-, meaning to be placed back. Conceptually, the idea of a repository for the city of Christchurch becomes dually a place in which information can be stored, and the returning of lost information to the city. On top of the memorial elements of the brief, the site will also be home to two world-class facilities that come together to act as an urban repository for the city: Abandon manuscripts inside the Cathedral. Image Credit: Urbex Central

Christchurch Heritage, History and Human Centre

Canterbury Disaster Reduction and Research Centre

The Christchurch Heritage, History and Human Centre will house the following:

The Canterbury Disaster Reduction and Research Centre will house the following:

1. CCC Heritage Department • Office space for up to 10 people • Digital and physical archival space for documents, articles and books • Physical archival space for artefacts

1. Quake Studies Seismic Department • Office space for up to 4 people • Digital and physical archival space for documents, articles and books

2. Christchurch City Library History and Heritage Department • Office space for up to 10 people • Digital and physical archival space for documents, articles and books 3. Quake Studies Human Department • Office space for up to 4 people • Digital and physical archival space for documents, articles and books 4. Conservation and Preservation Rooms • Office space for up to 4 people • Space for archivests and conservationists to work on preservation of artwork and artefacts • Archival grade storage for work undergoing conservation • Meeting/class room to facilitate learning

2. Technologicl advancement and learning centre: • Laboritory space for seismic studies • Auditorium for up to 200 people • Conference rooms for up to 20 people • Interractive public gallery and viewing space 3. Research Rooms • Study and research space for visiting students and researchers • Guest rooms and shared facilities for up to 20 people 4. Atelier Christchurch • Cross-disciplinary experimental research facility housing architects, engineers, geologists and seismic specilists • Office space for up to 20 people

5. Residency Space • Office space for up to 4 people • Studio Apartment/accomodation for up to 2 people

5. Public Reading and Media Room

6. Public Gallery

7. Back-of-house access

6. Public Seismic Gallery

7. Public Reading Room Other 8. Public Media Rooms 9. Back-of-house access to archival and conservation area and gallery space

Further to this, competitors should allow for the provision of general facilities required across the site including circulation, restrooms, parking, etc.

Concept: An Urban Repository The etymology of the word repository can be traced back to the Latin repositorium, from reposit-, meaning to be placed back. This project has engaged with the erasure of tangible and intangible collective history of Christchurch and the social implications of that loss. Conceptually, the idea of a repository for the city of Christchurch becomes dually a place in which information can be stored, and the returning of lost information to the city. The revelation that the Cathedral had no crypt became a catylist for re-instating such a space as an urban repository and archive for the city.

MONUMENT

PUBLIC SPACE

CRYPT

Above: Initial Concept/Program Studies

Burwood Resource Recovery Park (BRRP) Bottle Lake Forest

The Residential Redzone

Cathedral Square Central Christchurch

Lyttleton Port Land Reclaimation

Above: Material Displacement Map

100

BEFORE

AFTER

ALL AT ONCE

Above: Christchurch Cathedral concept study - Time Scales

101

Above: Christchurch Cathedral concept study - Positive/Negative

102

Above: Christchurch Cathedral concept study - Positive/Positive

103

Above: Christchurch Cathedral schematic study - Section A-A

104

Physical Expression The following diagrams, drawings and models should be read as a schematic response or first attempt to flesh out the ideas articulated in the brief document. Each design decision is based on findings and ideas discovered in the first two processes of research and exhibition. This initial attempt aims to imbed the research in the architecture.

105

Above: Christchurch Cathedral schematic study - Site Plan

106

Above: Christchurch Cathedral schematic study - Ground Floor and Basement Plans

107

108

Above: Christchurch Cathedral schematic study - Section C-C

109

Above: Christchurch Cathedral schematic study - Section B-B

110

111

Above: Christchurch Cathedral schematic study - Section D-D

112

Above: Christchurch Cathedral schematic study - Section H-H

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Above: Christchurch Cathedral schematic study - Section F-F

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Above: Christchurch Cathedral schematic study - Section G-G

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NO VOID

Above: Christchurch Cathedral schematic study - Potential Void Placement

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CENTRAL VOID

ALTER VOID

PEW VOID

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ALL AXIS UNDER, LONG PLATFORM

Above: Christchurch Cathedral schematic study - Potential Site Access

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THREE AXIS UNDER, RAMP, LONG PLATFORM

THREE AXIS AT GRADE, RAMP, LONG PLATFORM

ALL AXIS UNDER, SHORT PLATFORM

THREE AXIS UNDER, RAMP, SHORT PLATFORM

THREE AXIS AT GRADE, RAMP, SHORT PLATFORM

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Above: Christchurch Cathedral schematic study iteration - Rendered Ground Plan

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Above: Christchurch Cathedral schematic study iteration - Rendered Basement Plan

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Above: Christchurch Cathedral schematic study iteration - Rendered Basement Axo

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Above: Christchurch Cathedral schematic study iteration - Basement Axo

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Above: Christchurch Cathedral concept iteration - 'Repository'

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MONUMENT

PUBLIC SPACE

CRYPT

Above: Christchurch Cathedral concept iteration - Program Studies

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Cathedral Ruin Consolidated - Artefect as Monument

â&#x20AC;&#x2DC;Side Chapelsâ&#x20AC;&#x2122;: North - Christchurch Heritage, History + Human Centre South - Cabterbury Disaster Risk Reduction + Research Centre

Gold Leaf Memorial Wall

Above: Monument Elements

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186 Seismic Base Isolation Memorial Columns

Over 2200mÂ˛ Archival Storage Space

Material Repository

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Above: Rendered Site Plan

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Above: Rendered Ground Floor Plan

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Above: Rendered Basement 1 Plan

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Above: Rendered Basement 2 Plan

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Presentation The final presentation was held on Tuesday, November 8th, 2016 in the Dulux gallery. Divided into and included a series of works categorised as either 'artefact' or 'process', the presentation emboided the cross-disciplinary approach to display that had been explored throughout the semester. A special thank you to Ariani Anwar and Melany Hayes for taking photos during and after the presentation; to the guest critiques, Philip Goad and Rebecca McLaughlan for their feedback and input; and to my peers and supporters who came to watch the presentation.

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Above: Professor Philip Goad during presentation discussion

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Above: Installation View, Dulux Gallery

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Above: Installation View, Dulux Gallery

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Above: Installation View, Dulux Gallery

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Above: Installation View, Dulux Gallery

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Above: Installation View, Dulux Gallery

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Above: Presentation, Dulux Gallery

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Above: Presentation, Dulux Gallery

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Above: Presentation, Dulux Gallery

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Above: Final model, Dulux gallery

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Above: Final model, Dulux gallery

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Above: Final model, details

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Above: Final model, details

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Above: Final model, details

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"Restoration of intentional monuments makes a claim to immortality and eternal youth, not to the past; intentional commemoration is about victory over time itself. On the other hand, unintentional monuments or urban environments, porous courtyard ruins, transitional spaces, multilayered buildings with conflicting and disharmonious imprints of history are inimical to the idea of commemoration; they are about physical and human fragility, aging and the unpredictability of change. Obviously no invented tradition wishes to acknowledge that. Revelation of mortality is of no use for group identity â&#x20AC;&#x201C; it is precisely what has to be suspended. Unintentional memorials, places of historical improvisation and of unpredictable juxtaposition of different historical epochs threaten any attempt at selective and embellished reconstructions of history. They reveal something about those other dimensions of existence of another era, carry its physical imprints and its aura; they can become spaces for reflective nostalgia.â&#x20AC;? - Svetlana Boym, The Future of Nostalgia

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Bibliography Richard M. Sommer, ‘What Becomes a Democracy’s Monuments Most?’ in: Roldolphe El-Khoury Ed., Liberty Bell Centre: Bohlin Cywinsky Jackson, (ORO editions: Philadelphia, 2006) Charlotte Day, Brian Dillion, Juliana Engberg, Nathan Coley: APPEARANCES, (Australian Center for Contemporary Art: Melbourne, 2011) Carola Hein ‘Hiroshima: The Atomic Bomb and Kenzo Tange’s Hiroshima Peace Center’, in Ed. Joan Ockman, Out of ground zero: case studies in urban reinvention, (Prestel: New York, 2002) Robert Bevan, The Destruction of Memory: Architecture at War, (Reaktion Books Ltd: London, 2006) Eleni Bastéa (Ed.), Memory and Architecture, (University of New Mexico Press: Albuquerque, New Mexico, 1996) Mark Crinson (Ed.), Urban Memory: History and amnesia in the modern city, (Routledge: Oxon, 2005)

Hans Ulrich Obrist, Sharp Tongues, Loose Lips, Open Eyes, Ears to the Ground, (Sternberg Press: 2014)

Marc Treib (Ed.), Spatial Recall: Memory in architecture and landscape, (Routledge: New York, 2009)

Philip Ursprung Ed., Herzog & De Muron: Natural History, (Canadian Centre for Architecture and Lars Müller Publishers: Montréal, 2002)

Dolores Hayden, The Power of Place: Urban Landscapes as Public History, (MIT Press: Cambridge Massachusetts, 1995)

Robert Smithson, “Unpublished Writings: A Provisional Theory of Non-Sites” in Jack Flam Ed., Robert Smithson: The Collected Writings, (University of California Press: Berkley, 1996)

Jennifer A. Jordan, Structures of Memory: Understanding Urban Change in Berlin and Beyond, (Stanford University Press: California, 2006)

Svetlana Boym, The Future of Nostalgia, (Basic Books: New York, 2001)

Raymond W. Gastil, Zoë Ryan (Ed.), Information Exchange: How Cities Renew, Rebuild and Remember, (Van Allen Institute: New York, 2003)

Svetlana Boym, Architecture of the Off-Modern, (Princeton Architectural Press: New York, 2008)

Julie Ault (Ed.), Felix Gonzalez Torres, (Steidldangin Publishers: New York, 2006)

Shelley Hornstein, Losing Site: Architecture, Memory and Place, (Ashgate Publishing Limited: Surrey, 2011)

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Danielle Rose Mileo Independent Thesis Semester 2, 2016 | Melbourne School of Design