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Canterbury Tales was a carnivalesque procession through the central city, led by Free Theatre Christchurch. Large puppets and masked performers moved from the Bridge of Remembrance along the river to the Worcester Street Bridge, before ending up at the heart of the city in Cathedral Square.

Along the way, the procession engaged with different tales of Canterbury urbanism. These were performed in interactive environments created by Christchurch performance groups and artists, in collaboration with architecture, design and scenography students and local hospitality businesses. Spectators were able to join the procession at any point as it moved through the different sites.

This collection contains photographs of the construction and procession of Canterbury Tales, and the different interactive projects that were incorporated into the procession.

dc.title: Photographs of Gap Filler project 23
dc.description: Photographs of Gap Filler's twenty-third project, the "Re-Entry" youth concert.

dc.title: Christchurch Boys' High Creative Writing Collection
dc.description: Stories written by Christchurch Boys High students as part of a creative writing exercise on the Canterbury earthquakes.

dc.title: Focus360 Panoramas: Colombo Street and Cashel Street
dc.description: Interactive 360-degree panoramic photographs taken at the intersection of Colombo Street and Cashel Street.

dc.title: 208 Hereford Street
dc.description: Images and a brief history about a building that was located at 208 Hereford Street. These were used to build the CityViewAR application, where people can walk around the city, and use their mobile devices to see pictures and written information about the buildings before they were demolished.

dc.title: Dean Kozanic's Photographs September 2010
dc.description: Photographs taken by Dean Kozanic from The Press in September 2010.

dc.title: Blue Building: Christchurch Billboard
dc.description: Photographs of Julia Holden's painting 'Blue Building' from the series 'Wish You Were Here 2014' displayed on a billboard in Christchurch.

dc.title: Fairfax Media Photographs September 2010
dc.description: Photographs taken by photographers from Fairfax Media in September 2010.

dc.title: Sam Butcher's LEGO Cathedral
dc.description: Photographs of a model of the ChristChurch Cathedral built from LEGO by University of Canterbury student Sam Butcher.

dc.title: Photographs of the former Woolston Post Office, 697 Ferry Road
dc.description: Photographs of the former Woolston Post Office, 697 Ferry Road, commisioned by the New Zealand Historic Places Trust.

dc.title: Community Newspaper Combined Editions 2011
dc.description: Combined holiday editions of community newspapers, published in 2011.

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Anglican Advocacy: Pokie Free Campaign

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Pokie Free was an initiative led by Anglican Advocacy (previously the Anglican Social Justice Unit) and the Problem Gambling Foundation of New Zealand.

Since 2009 the Christchurch City Council has had a policy preventing any new class four gambling licences (licences which allow gambling in pubs and clubs) from being approved. After the earthquakes, venues with pokies were relocating and there was pressure from the Government to relax the policy.

Anglican Advocacy ran a joint campaign with the Problem Gambling Foundation which celebrated and promoted hospitality venues that declared themselves 'Proudly Pokie Free'.

dc.title: Becker Fraser Earthquake Photographs
dc.description: Ross Becker and Moira Fraser are a husband and wife team who bring their professional experience in photography, engineering and librarianship to their work as documentary photographers and digital curators. This collection holds photographs from their most well-known project, their photographic documentation of the impacts of the Canterbury earthquakes of 2010 and 2011. This project received considerable support from the National Library who commissioned Ross Becker to photograph the impact of the earthquakes on Christchurch. Photograph of Ross and Moira outside ChristChurch Cathedral taken by Richard Linton of Linton Photography.

dc.title: Here are the People and There is the Steeple
dc.description: Material relating to a Transitional Cities project, titled 'Here are the People and There is the Steeple'. The project description reads, "Kay Rosen's 'Here are the people and there is the steeple' is a mural project for the Gallery's east rear wall, inspired by the shape of the wall, by the words 'people' and 'steeple', by the recent and past history of the city, and by the children's finger game. The architecture of the space and the words make it possible to erect a vertical heaven-bound 'steeple' on top of a horizontal earthbound 'people', enabling a verbal metaphor which culminates in a three-deep pinnacle made of Es. The work hopes to send a large-scale message about rebuilding a city by, and upon the foundation of, its people".

dc.title: Focus360 Panoramas: Colombo Street, Hereford Street and High Street
dc.description: Interactive 360-degree panoramic photographs taken at the intersection of Colombo Street, Hereford Street and High Street.

dc.title: Phoenix Wall Re-Painted...
dc.description: Material relating to a Transitional Cities project, titled 'Phoenix Wall Re-Painted...'. The project description reads, "The first mural we painted within a month or so of the February quake was a memorial mural down the train tracks, on Riccarton Rd beside the Shell station (Hagley Park end). At that stage our mood was very much a reflection of what had happened, and we wanted to pay tribute. Six months later when we decided to do the Phoenix wall, the mood had definitely changed and had transitioned to wanting to paint more uplifting images for the community. It felt like 'people' were entering a new phase of wanting to look forward. I was born and raised in Sydenham, and continue to live here today so I definitely like to give the area some love".

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Central City Infrastructure Rebuild Plans

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This suite of documents provided a comprehensive programme management tool for the definition, prioritisation, design and construction of interdependent projects within a central city environment. The documents were developed and used for an intensive post-disaster rebuild but had other applications with similar operating parameters.

At the outset of the rebuild programme in 2011, SCIRT identified nearly $140 million of infrastructure work to be completed in central Christchurch. While accounting for less than 10 per cent of total SCIRT work, the central city presented significant challenges.

SCIRT worked closely with other organisations, including CCDU (the Central City Development Unit, part of CERA, the Canterbury Earthquake Recovery Authority), and the Christchurch City Council to develop a series of plans to anticipate and manage specific issues.

Plans included delivery management (coordination of work), design parameters, engagement, communications, transport, and utilities coordination.

More than 70 per cent of central city buildings were to be demolished and there was extensive damage to pipes (particularly earthenware) and bridges.

There was an opportunity to largely complete the horizontal rebuild (infrastructure) before the vertical rebuild (buildings) gathered momentum. Wastewater and stormwater pipes, water supply, utilities, roads, and bridges all had to be repaired or rebuilt.

However, not all of the infrastructure design could be completed until the Central City Recovery Plan and blueprints were developed, in 2012. The blueprint also included a number of "anchor projects", such as a convention centre and a sports stadium. Although some of the anchor projects were delayed or revised in scale, SCIRT had to plan its work to accommodate them.

Army cordons controlled access to the central city from February 22, 2011 to June 30, 2013, which limited SCIRT's access to this area. After that date, SCIRT continued repair work in a much busier environment as people, cars, and buses returned to the city centre.

Maintaining the transport network was vital to support the city's economy; therefore the pace of reconstruction had to be matched to the capacity of the city to cope with the volume of work. Communicating with remaining businesses in the central city while intense activity went on around them was essential for their livelihoods.

Other issues were traffic disruption, parking, and site access. The number of crews rebuilding a variety of services in a relatively small space presented a logistical challenge.

The following material and reports provide an overview of the structure which enabled comprehensive programme management of the central city rebuild.

dc.title: Photographs of 83-85 Manchester Street
dc.description: Photographs of 83-85 Manchester Street, commissioned by the New Zealand Historic Places Trust.

dc.title: On First Looking Into Chapman's Homer
dc.description: Material relating to a Transitional Cities project, titled 'On First Looking Into Chapman's Homer'. The project description reads, "Michael Parekowhai's spectacular Venice Biennale installation came to Christchurch for its first post-Biennale showing in New Zealand. Original plans to site the work at Christchurch Art Gallery were revised following the earthquake and instead it was located at the Gallery's temporary off-site space in Madras Street. A richly carved red Steinway piano was played throughout the exhibition in a room overlooking the inner-city red zone, while on the vacant ground below two bronze grand pianos, each supporting a life-sized cast bull, took their place amongst the earthquake debris. A second black piano was used for duets on special occasions throughout the duration of the show, and acted as a plinth for five small bronze casts of olive trees when not in use".

dc.title: All Right? Research and Evaluation: Infographics
dc.description: Infographics illustrating research conducted for the All Right? campaign. These infographics were published on social media and in resources distributed by All Right?.

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