Architects Appraise Christchurch Scene

Press, Volume CVIII, Issue 31655, 16 April 1968, Page 10

Architects Appraise Christchurch Scene

fBY A GROUP OF CHRISTCHURCH ARCHITECTS) Christchurch is recognised as being architecturally unique in this country. “Architects from other centres consider that Christchurch sets a standard of architectural design that is outstanding in New Zealand”. (“Home and Building”, 1963.)

It has established this distinct character in little over 100 years. The early settlers exhibited great energy and singleness of purpose in attempting Edward Gibbon Wakefield’s conception of a “piece of England transplanted.”

The resulting vigorous, picturesque Gothic and Georgian architecture was extraordinarily ambitious in relation to the population and resources of embryonic Christchurch. These such as the Christchurch Cathedral, the Provincial Council Chambers and Christ’s College are landmarks to the pioneers and provide the very roots of Christchurch tradition. Within 50 years the bold influence of architects, among whom were B. W. Mountfort and Hurst Seager, consolidated the characteristic appearance of Christchurch, using traditional English • orientated building techniques together with a new and’ sturdy’ colonial expression. First Examples - After 1930 there was little activity for architects in Christchurch because of the restrictions imposed by the economic depression and the Second World War. Nevertheless, the legacy of craftsmanship and integrity was continued by men like Cecil Wood, W. H. Trengrove and Paul Pascoe. It was at this stage that the first examples of modern architecture began to appear in Christchurch. The preoccupation with national recovery immediately continued by men like Cecil after the war concentrated architectural attention mainly in the sphere of housing and it was not until the early fifties that an upsurge of activity in commercial building provided a wider field of design. In this period also a new group of young architects emerged, stimulated by the increasingly available overseas publications or trips to Europe, alert to the modern idiom and eager to practise it. Given impetus and con tinued motivation by the prominent work of Miles Warren, a standard of architectural design has evolved which is particularly identifiable with Christchurch. English Influence The work of the present period, like that of early Christchurch, has been strongly influenced by consreiwufist England was undergoing the enterprising and interesting developments which are so characteristic of it today. Christchurch is now involved in a renewal of architectural orientation towards England roughly paralleling what had happened over half a century ago. This has- replaced a period in which the austere international style had struggled with an unprepossessing middle-of-the road traditional vernacular. Simultaneously with this rebirth of English interest, New Zealand’s growing awareness of her position in the Pacific Basin has made a not inconsiderable contribution to local architecture, probably this Influence has come more strongly from Japan than from any other ethnic group, the Japanese being noted for their dextrous use of concrete in an earthquake-prone situation. Nothing Unresolved Since Christchurch is relatively compact and, in a sense confined, in comparison with larger. centres, Christchurch architects are extremely aware of each other’s design and continually evaluate the work being done. The appearance of the work of this group is

singular—the confidence of composition and the assured handling of form is as much in the broader aspects of design as it is in the smallest carefully, considered detail. Each aspect of a building is encouraged to play its proper part in contributing to the total and nothing is left unresolved. Concrete Hallmark Architecture In Christchurch is further characterised by a fortright expression of materials, applied not only to structure and cladding, but used in their own aesthetic right The alluvial composition of the Canterbury plains has endowed the building industry with a plentiful supply of cheap, easily available, bard greywacke aggregate. Consequently, concrete —cast in situ, precast, ordinarily reinforced, prestressed, posttensioned or aggregate faced —in fact the whole gamut of this multifarious medium, to-

gether with concrete blocks, are the hallmarks of the Christchurch architectural vernacular. Much To Offer These materials readily adapt to comply with earthquake precautions, necessitated by New Zealand's position on the Circum-Pacific Mobile Belt. In addition, this construction is fire resistant. A dichotomy exists between the harsh concrete materials and finely wrought timbers, metalwork and kinesthetic surfaces which, when juxtaposed, result in an agreeable idiom. With the benefit of the experience gained, the technical knowledge accumulated, and the increasing confidence with which this form of building is being handled, it can be expected that architecture in Christchurch has much yet to offer. This speculation may be substantiated by consideration of but one aspect; that of the infinite possibilities involved in the casting of concrete—a plastic material entirely dependant on the imagination of its formwork for its final shape.