Numerous rockfalls released during the 2010–2011 Canterbury earthquake sequence affected vital road sections for local commuters. We quantified rockfall fatality risk on two main routes by adapting a risk approach for roads originally developed for snow avalanche risk. We present results of the collective and individual fatality risks for traffic flow and waiting traffic. Waiting traffic scenarios particularly address the critical spatial-temporal dynamics of risk, which should be acknowledged in operational risk management. Comparing our results with other risks commonly experienced in New Zealand indicates that local rockfall risk is close to tolerability thresholds and likely exceeds acceptable risk.
The quality of public space is vital to livable cities. Yet livable cities also require empowered communities. This thesis asks: how is the landscape architect’s design expertise expressed as part of the public participation process, what are the key features of design expertise that lead to an effective design-based participation process and how does quality in the participation process relate to the quality of design outcomes? A theoretical framework is developed from which to clarify the relationship between decision-making processes in design and public participation. Insights from design theory are combined with the findings of key informant interviews with New Zealand and Northern Europe design experts, and with landscape architects, community and Council staff working in post-earthquake Ōtautahi/Christchurch, Aotearoa/New Zealand. Results of a case study of Albion Square in Ōhinehou/Lyttelton reveal that the designer’s interactions with the public play a critical role in shaping elegant design outcomes in public space design. Four key insights reveal that participatory design processes in New Zealand need to be reconsidered in order to enable landscape architects to work more closely with communities in mutual learning, rather than the currently limiting technical problem solving process. Institutional, professional and theoretical implications are drawn from the findings.
On 4 September 2010, a 7.1 magnitude earthquake struck near Darfield, 40 kilometres west of Christchurch, New Zealand. The quake caused significant damage to land and buildings nearby, with damage extending to Christchurch city. On 22 February 2011, a 6.3 magnitude earthquake struck Christchurch, causing extensive and significant damage across the city and with the loss of 185 lives. Years on from these events, occasional large aftershocks continue to shake the region.
Two main entomological collections were situated within close proximity to the 2010/11 Canterbury earthquakes. The Lincoln University Entomology Research Collection, which is housed on the 5th floor of a 7 storey building, was 27.5 km from the 2010 Darfield earthquake epicentre. The Canterbury Museum Entomology Collection, which is housed in the basement of a multi-storeyed heritage building, was 10 km from the 2011 Christchurch earthquake epicentre. We discuss the impacts of the earthquakes on these collections, the causes of the damage to the specimens and facilities, and subsequent efforts that were made to prevent further damage in the event of future seismic events. We also discuss the wider need for preparedness against the risks posed by natural disasters and other catastrophic events.
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.
Numerous studies have shown that urban soils can contain elevated concentrations of heavy metals (HMs). Christchurch, New Zealand, is a relatively young city (150 years old) with a population of 390,000. Most soils in Christchurch are sub-urban, with food production in residential gardens a popular activity. Earthquakes in 2010 and 2011 have resulted in the re-zoning of 630 ha of Christchurch, with suggestions that some of this land could be used for community gardens. We aimed to determine the HM concentrations in a selection of suburban gardens in Christchurch as well as in soils identified as being at risk of HM contamination due to hazardous former land uses or nearby activities. Heavy metal concentrations in suburban Christchurch garden soils were higher than normal background soil concentrations. Some 46% of the urban garden samples had Pb concentrations higher than the residential land use national standard of 210 mg kg⁻¹, with the most contaminated soil containing 2615 mg kg⁻¹ Pb. Concentrations of As and Zn exceeded the residential land use national standards (20 mg kg⁻¹ As and 400 mg kg⁻¹ Zn) in 20% of the soils. Older neighbourhoods had significantly higher soil HM concentrations than younger neighbourhoods. Neighbourhoods developed pre-1950s had a mean Pb concentration of 282 mg kg⁻¹ in their garden soils. Soil HM concentrations should be key criteria when determining the future land use of former residential areas that have been demolished because of the earthquakes in 2010 and 2011. Redeveloping these areas as parklands or forests would result in less human HM exposure than agriculture or community gardens where food is produced and bare soil is exposed.
