The Canterbury region of New Zealand was shaken by major earthquakes on the 4th September 2010 and 22nd February 2011. The quakes caused 185 fatalities and extensive land, infrastructure and building damage, particularly in the Eastern suburbs of Christchurch city. Almost 450 ha of residential and public land was designated as a ‘Red Zone’ unsuitable for residential redevelopment because land damage was so significant, engineering solutions were uncertain, and repairs would be protracted. Subsequent demolition of all housing and infrastructure in the area has left a blank canvas of land stretching along the Avon River corridor from the CBD to the sea.
Initially the Government’s official – but enormously controversial – position was that this land would be cleared and lie fallow until engineering solutions could be found that enabled residential redevelopment. This paper presents an application of a choice experiment (CE) that identified and assessed Christchurch residents’ preferences for different land use options of this Red Zone. Results demonstrated strong public support for the development of a recreational reserve comprising a unique natural environment with native fauna and flora, healthy wetlands and rivers, and recreational opportunities that align with this vision. By highlighting the value of a range of alternatives, the CE provided a platform for public participation and expanded the conversational terrain upon which redevelopment policy took place. We conclude the method has value for land use decision-making beyond the disaster recovery context.
The 2013 Seddon earthquake (Mw 6.5), the 2013 Lake Grassmere earthquake (Mw 6.6), and the 2016 Kaikōura earthquake (Mw 7.8) provided an opportunity to assemble the most extensive damage database to wine storage tanks ever compiled worldwide. An overview of this damage database is presented herein based on the in-field post-earthquake damage data collected for 2058 wine storage tanks (1512 legged tanks and 546 flat-based tanks) following the 2013 earthquakes and 1401 wine storage tanks (599 legged tanks and 802 flat-based tanks) following the 2016 earthquake. Critique of the earthquake damage database revealed that in 2013, 39% and 47% of the flat-based wine tanks sustained damage to their base shells and anchors respectively, while due to resilience measures implemented following the 2013 earthquakes, in the 2016 earthquake the damage to tank base shells and tank anchors of flat-based wine tanks was reduced to 32% and 23% respectively and instead damage to tank barrels (54%) and tank cones (43%) was identified as the two most frequently occurring damage modes for this type of tank. Analysis of damage data for legged wine tanks revealed that the frame-legs of legged wine tanks sustained the greatest damage percentage among different parts of legged tanks in both the 2013 earthquakes (40%) and in the 2016 earthquake (44%). Analysis of damage data and socio-economic findings highlight the need for industry-wide standards, which may have socio-economic implications for wineries.
Creativity that is driven by a need for physical or economic survival, which disasters are likely to inspire, raises the question of whether such creativity fits with conventional theories and perspectives of creativity. In this paper we use the opportunity afforded by the 2010-2013 Christchurch, New Zealand earthquakes to follow and assess the creative practices and responses of a number of groups and individuals. We use in-depth interviews to tease out motivations and read these against a range of theoretical propositions about creativity. In particular, we focus on the construct of “elite panic” and the degree to which this appeared to be evident in the Christchurch earthquakes context. Bureaucratic attempts to control or limit creativity were present but they did not produce a completely blanket dampening effect. Certain individuals and groups seemed to be pre-equipped to navigate or ignore potential blocks to creativity. We argue, using Geir Kaufmann’s novelty-creativity matrix and aspects of Teresa Amabile’s and Michael G. Pratt’s revised componential theory of creativity that a special form of disaster creativity does exist.
