 Dua powhara yng Ngai. Pau ki n ang利 bai radaite. Rai pa mou ka mou? Pau tawar calitiai te tawar, maan pala koi tawar bai. Wada mou te tawar koi tawar, maina tawar pawai, maina tawar waha nagatiai tu. Mou tawar koi tawar, maina lertiai tu. Mara tawar kai tawar koi, kaipa i aturata i pa te i ngāi i is Dunesai, melepana i mabusti te kawai i kai i Christchurch. So, te mabusti te i te pili, te pata i gara. Apusnowa ka pili te ganu? Ako kai te kai mabusti te i ngāi i kai. Apusnowa i kai i mabusti te i ngāi i kai i mabusti, kauto te reya i mabusti te i mabusti te i mabusti te jaia. Ar eitmato te i te prinsa digital tunor, Otsagushi h City Ministry serit a Estoa Tira. Youppunen ap chi te i introduce pa o te renau te uratikai y bann hospital roku i!" Paisi ndексurum merura ekia, perw Ward Dилось a ka rangyi pause neu i knee cou ten poke perw Ward Universal pika rebu keroo fram tawaka sik below te出 mater kib POW Urangu, o te kita a Twitter project and very recently released Heritage Explorer education resource which is for intermediate students. So this is a unique project for the Historic Places Trust in that we approach digital projects with extreme caution. A lot of conversations went on around this project, particularly the social media aspect of it. We have limited resources so we focus on what we can do and what we can do well. We need to know that we can support them in the long term which also has been a major consideration of this project and we require partnerships. Partnerships have been talked about quite a lot in this forum and we think are key to our work and we really enjoy the partnerships that we have, the collaborations and they couldn't happen without those other partners. So and we consider all projects within the context of what we should be doing as part of our mission which is to protect, preserve and promote heritage, build heritage. So there's all images of High Street. We anticipate that 150 of our registered buildings within Christchurch is four avenues. 50% will be lost. So there are 500 registrations registered built heritage buildings within the whole of Christchurch City Council which includes Banks Peninsula and 150 of those are within the four avenues. Oh I've got this little pointer. I love using these. OK. I don't know if I can do it from this angle. So the area of study is sort of this area here. Doesn't quite work when you're shaking. So this is Edward Jolley's lovely grid designed for Christchurch City. I've been wondering what he felt about having this sort of unruly Otakaro River running through the centre of his gorgeous grid and also this angular street here which was known as Watley Road and Sumner Road and it ran from Papua Nui Bush to the sea for obvious reasons. You know, the bush for timber and the sea, the port for trade and then it became known. This end here is High Street and this is Ferry Road here and this became Papua Nui Road. It was for Ngai Tahu. It was an area of importance for these swamps and waterways as a mahenakai and there were two pa sites sort of quite close to the city, Puari and Tautahi's Pa. Really fast history of High Street. The first buildings, the timber buildings popped up in 1860 and by 1875 there was a huge variety of businesses in High Street. 1880 the tram came through. It went all the way out to the sea and by the turn of the century, the 20th century, these wonderful late 19th century Victorian early 20th century Edwardian buildings replaced the timber buildings and also ones like this, which are Venetian gothic and those buildings remained until or this area remained as the key commercial area in Christchurch for 100 years so until about 1960 when the trams were decommissioned and John Wilson the historian who I interviewed for this project said that because Christchurch was an early supporter of mawl culture, which we still have, this area became in the 17th known as the Red Light District and there was nothing there for about 20 years really of interest, antique shops, mostly brothels, massage palas, then brothels and it was because of that mawl culture. I mean heritage loves economic depression and suburban mawls because it means that these wonderful full streetscapes get retained. Oh look at that one. It gives you an idea of the complete streetscape though. So in the 1990s this building here was the old post office. It's the tallest building on High Street and Paul Stewart who owned Alice in Video Land. He took a lease on this and later purchased the building and he said that when he got there in 1990 it was like a war had happened and no one had come to clean up. I think and I love that quote and that's one of the stories that I've recorded. It gives you a really good idea of what it was like in that time and he said it was the lowest commercial rents in Christchurch at that time and a whole lot of really clever developers then came in and developed these laneways which were on either side of High Street. They were the warehousing district really that fed into the commercial buildings on High Street. So Dave Henderson developed Soul Square south of Litchfield. He's well known. He's a bit of a boom and bust property developer. He handpicked businesses, independent businesses in here and up the top there that's a champagne bar. I took that photo at 8.30 in the morning and at the time I remember thinking what a great city, a champagne bar at 8.30. And this is what it looked like. Sorry, they're about, well I didn't expect it to be projected so large. This is what it looked like at night. So this was developed from 1998 to about 2010. This was in development so really, really recent. So if you look at that cross up the top left-hand corner there, this is what it looks like now. So that whole area has come down. This is the laneways on the other side. This is where Scalarup Water Bottle Factory was in Pararuba. There's a great story about the hideous smells of the Water Bottle Factory and the Rubber Band Factory and the back alleys here and also the dodgy dealings that used to go on. So some really clever developers recognise that these heritage precincts were highly desirable. That feeling of discovery that you get with heritage areas. So this was kind of like what Britomart is doing now. So this is what it looks like now. So this is High Street here. And this is the laneways. Poplar Lane was in here and Sol Square was here. So I guess this project is really about grief and loss. There's been quite a lot of talk about that. So not only did we lose a huge amount of our built heritage, but people lost a huge community. Not just maybe their homes and the suburbs or friends, people that they knew, but also this community that people were in every day. There were all of the people that worked here. There were art galleries and art studios and band practice rooms and all sorts of interesting shops and bars and restaurants, mainly owned by independent business owners. So it's that just filled with creative people and all those sort of incidental meetings that people have as a part of living in a city or being in a certain part of the city were lost. And I think that was what I wanted to look at and I wanted to explore a little bit in this project. So how do we remember this historically socially important part of the city? The tangible and tangible, the historic, the contemporary and the people that made High Street what it was. So my background is in documentary, radio and film. And I'm really interested in recorded stories. Any opportunity I get to record some stories, I'm on it. So that's what I initially I wanted to make a sound map, a sort of walking experience of High Street. I looked at a whole lot of digital projects and did some audio tours. A lot of them, so I looked at HistoryPin and Soho stories by the National Trust, which is amazing and is sort of similar to this project. There's Caledonian Walk that the Guardian newspaper have done. And a lot of the projects and this one here is a community media project and I love this one. It's some members of New Orleans community just upload stories of whatever they want. So there's rap and there's a motalia talking really prosaically about his motel. They're a train recording. Someone's talking about their experience of having HIV. It's just incredibly broad and it's really rich and lovely but a lot of these projects were either too ephemeral, they were too arty. They just didn't have the kind of accessibility that I wanted for this project. And it's probably worth noting here that the project that I created is, it's really a curated project and that there's no ability for people to upload their own material, which is a real shame and I'd like to move on to that at some stage. But at the moment there's... So we've started off with just making a Facebook page to just get people interested and solicit some stories. And we post things like, we found this bats video, a block of wood which was shot from the ANZ building. So there's wonderful sweeping, I guess 16mm film of the streetscapes, which was funnily enough a music video. It was the best moving image footage that we had. So the film archive helped us with that. And this shop here at the White's Butchery turned out to be a skate shop. And when it fell down in the earthquake apparently you could smell the meat being shaken out of the walls. People that didn't even know it was a butchery. So Penny mentioned Seismic yesterday. So they came on, well I asked them if it could be a sub-project and they said yes, they supported me mainly with moral support. And into New Zealand they got some funding. HitLab came on board because they just made their city view augmented reality app and they liked the idea of making something that was quite contained. How's that tablet going? Anyone got it? Yeah. Okay. And Votify New Zealand and then NV Interactive who made Share an Idea, for those of you who know Christchurch, Share an Idea website. And I think they did the Seismic website as well and they've won awards for sort of humanitarian web development and post, quite Christchurch. So what is High Street Stories? It's 100 audio stories from about 40 interview subjects, under 9 themes, hundreds of images, cartoons, illustrations, film clips, music and notes on architecture and social history. And if you've got a tablet there or you want to have a look you should dial it up now because I'm going to just talk about it now. So the brief for NV was pretty broad but what I wanted really was the most accessible, easy, simple but beautiful website that they could make. So I wanted it really easily navigable and as you can imagine a heritage audience is primarily people over 50. So it needed to be something that they could access and the stories needed to be, well I wanted them to be as broad as possible. So contemporary culture, way back, historical Ngai Tahu history. And I wanted it to be a really immersive experience. So I'll just show this as you scroll down. A really immersive experience, that kind of, that Peter talked about yesterday, that you know you won't work all day. You know that's the ultimate, that's the ultimate, what's the word? Accolade, you're a compliment that somebody gets in there and somebody emailed me and said oh I just couldn't stop looking and listening and I just thought that's amazing, that's exactly what. And also barrier free, you know, disability, the aged, that you can go on, you can find something that you want and you can listen to and experience it. And as you can see from the headings of the stories, that's really broad, the stories are really broad and the little coloured box up there as you scan over the page that a colour appears which corresponds with the theme. And then you can, sorry I'll just go back, up in the top left-hand corner, high street stories, the themes come down, if you click on that, I was too scared to go online here. So that's why I've just done this. So there's the themes at the top. So you go to culture and that's what you get. And the stories are about, they're between one and the longest is 10 minutes long, but most are about two minutes. And they're not, they're not a quick fix, you know, you have to want to sit down and actually take the time commit to listening to something. And we haven't edited out all the little nuances of the way that people talk. I really like that. You know, I think those are really important, the pauses, especially with this kind of retrospective and trade. It's another one, it's my obliging four-year-old posing at the top there in his own Kachura children's duffle coat. So then I'll just go back there, trade. So on the top left-hand corner, there's cod as electrical. And this one, the photographs mainly came from personal collections, so cod as electrical, these all came from their family collection. So if you scroll down, I've included a little quote on each story, a little quote from the interview and a little piece of historical information. And that's really, again, so it's another way of accessing it. If you don't want to listen to it, you don't want to sit through two minutes, you just want to have a quick look. And then if you scroll down, I've just put these on one page, but these are full page images and you scroll up and you can, so they're up to 10 images with each one. And if anyone's, have a look now if you're able to, you know, it's a really, it's like what Peter was talking about with their museum, you know, that you want this completely immersive, you want to be able to get in and really look at the photographs and that's what I wanted, this kind of crossover between a documentary and an art project really. And then there's map view at the bottom, so it'll tell you where that story is and the colour again corresponding to the theme. And further down, does that say, we can't read it from here, at the bottom, well at the bottom there's some information about the note, I'm going to go back. So up the top there, there's some information about the building. So it says whether or not it's registered who the architect was as much of that basic kind of architectural information as we could give. And not just photographs, but a whole lot of other medium as well. So there's a tremaine photographs. He had this great collection that he'd done around the time of the Prostitution Reform Act. And again, you know, this is a piece of history that was Anna Reid who helped push this act through, she was working in High Street at the time and Tim Barnett who's the MP who helped to go through, he was Christchurch electorate and it was a world first, you know. So that's an important piece of New Zealand history that was based right there in High Street really. And video, so you can watch the video, you can hear a story about the filming of that video by Paul Keane who is the bass player. And I think the biggest thrill for me is when I Google it because I haven't had it on my bookmarks so I have to Google it every time. And then these other things come up and I think, oh, what's that? And so this one up here is a, that's a skateboard shop and they've found it somehow, you know. And so that butcher shop turned into Embassy in Stencel and he moved in there in the early 90s so he's one of the longest tenants, James Scott and he emailed me after this project came out and he said, because he's felt incredibly kind of dislocated from his community, he's now in a suburban mall and so that was his, you know, that was his life for a long time. 23 years in High Street and he started these two businesses up. I mean, you can't, you know, I think that's something that hasn't really been thought about hugely with the earthquakes, you know, that there's this disparate you know, feeling of dislocation and loss of sort of identity now people pushed out to the suburbs. And this here is a, that one's a Crane Brothers, a soup maker. So that's a story about the tailors on Litchfield Street. So challenges, we needed a .NET provider so that we could, if need be in the future, integrate it into our own website so the original provider we couldn't work with. So we went to Envy and they were amazing. Adding new content is something that I have to work out and the public can't add content which I would really like them to be able to do at some stage and marketing. So I feel like we've just sort of started really with the project now, you know, it now needs so much more work. So I just want to get on to the augmented reality app. I've got a video. It's just going to start playing. It takes a wee while to play. So the app works on your live camera. Oh, I'm so big. So it works with the camera on your device and the app has, and GPS so it locates you and then there are 3D models of the buildings and I look a little bit gormless in this video because it was the first time that I'd seen it and I was having a wee cry because it's pretty amazing to stand in a space that has nothing left and two years ago it was a vibrant place with these fabulous streetscapes and lots of people and wonderful businesses and yeah, I've never felt so overwhelmed by technology and its ability and I think if anywhere an augmented reality app is poignant or relevant, it's in this context. I can't imagine another context that it would work better. A certain level of energy in practice. Others came around. There was a wonderful precinct actually. It was incredibly rich and diverse. All within God's goodness gracious, all within a minute and a half. So walk from one another. Jonathan Smart got there in 1989 and he ended up way out in Wollstone with his gallery. I mean you can't imagine how sort of difficult that is. So then there are other ways of accessing this way down here if you've seen the tablet going around. There's ListView, you can also sort by names and MapView again which will locate you in the where you are on the street and each of the colours again correspond with the stories and the app gives you a tiny teaser as well a very short video. And they would pick off these juries as they called them and they smashed the pieces and people could never work out why this is happening because they couldn't hear the guns going off. And that's the ANZ building. There was a lovely story, well not a lovely story but a funny story that somebody posted about the massage parlor. There was a famous one up there and their spa pool had overflowed. The plumbers had to come and they were worried that they'd get AIDS which I just thought. We didn't record that story but there were lots of funny stories like that. So there's MapView. So I like that the app just gives you these little snippets of audio as well because I think standing in the middle of the street listening, you know you don't want to listen to two minutes of audio standing in the street and we don't know how that street will be developed. You know, it might be that there are seats and I'm hoping that there'll be tablets in various stores or shops there that people can hire, use and we've got some QR codes around that people can access the app that way. And at the moment we're running some workshops to teach people how to use it because I think it's a little bit scary for people at the moment and I actually approached a couple of young tourists recently. I think they were Korean. They had their phones out and I said, I said, do you want to see they were pretty much standing in the middle of High Street completely desolate, you know, nothing to see. I said, do you want to see what it used to look like before? And I think they understood me and they both went no. And then they walked off and I thought, oh maybe there is no interest in this, you know. So the challenge is Android only at the moment which is shame. That's how it is. User interest, we don't know. I've just produced a whole lot of postcards. I was hoping for them to arrive here but they haven't. So that we will just put around this part of the city and wherever we can to let people know that this is available. Marketing, so we've got a good relationship with Canterbury Tourism and the Christchurch City Council so we're hoping to get it out there as much as possible in that way and the workshops and as much publicity as possible because I think it's a bit daunting for people. And also you know I just want to say this project was really made for us for Christchurch people as a sort of I guess a cathartic experience. You know an immersive cathartic experience and that's what I think that our sort of community need and it's been really warming to see. I've seen at least three presenters get a little bit choked up with tears and I think it shows that our collections and our information that we hold is really important and has such emotional veracity and I think that's a beautiful thing to use it in this way and to share it with as many people as possible and to give people these kind of experiences. So that's all. We do have some time for a couple of questions. Yeah absolutely yep absolutely I mean there are such lovely stories and diverse and that if anybody wants to use them you know I'm really keen to to get it out there as much as possible and we're going to enter into a partnership with Christchurch City Libraries with regard to as being a collection of a project too so that will be good as well. Yeah I think that's the tricky thing right now so I'd love to hear from anyone who's got great avenues for yeah. Thanks I just wondered if you've shown this to anybody in Sarah has Jerry Brownlee seen it? I don't know. Any of the people who have taken decisions that may have had some influence on the you know the bulldozing effect later? Choose your words carefully. I mean maybe the buildings there were considered by those people as some of the old dangos quote unquote. Yeah I think they were and at the moment the side of the Excelsior one elevation still exists codders, the front of codders what was Victoria Black was an antique shop and the the post office building is still there and that's pretty much all and there are people there's a high street precinct group with there have been a bit quite lately but they've been fighting pretty hard for those laneways to the remaining buildings to stay there and that area is going to become the they call it the IT hubs anyone from Christchurch innovation the innovation precinct that's right that's what the so I don't know I think I started this project to knowing that this was going to happen that there wasn't a huge amount when Sarah came in that we could do about stemming the destruction of the streetscapes so I think that's why I started this project early on in the piece because I think that that was pretty evident and there were lots of groups fighting for the retention of those buildings at the same time too so but that's a good idea I will show it to them I'll make them all come down and meet me on the corner and I think that's it that's amazing I think so