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.
This research investigates creativity in a post-disaster setting. The data explore creativity at the intersection of the affected community of Christchurch, New Zealand and the social processes that followed the earthquakes of 2010 - 2012. Personal and contextual influences on creative ideas implemented for community or commercial benefit are also examined.
Viewed as creative, unique approaches to post-disaster problem solving were celebrated locally, nationally and internationally (Bergman, 2014; Wesener, 2015; Cloke & Conradson, 2018). Much has been written about creativity, particularly creativity in organisations and in business. However, little is known with regards to who creates after a disaster, why individuals choose to do so and what impact the post-disaster context has on their creative activity. This exploratory study draws on the literature from the fields of creativity, disasters, psychology, sociology and entrepreneurship to interpret first-hand accounts of people who acted on creative ideas in a physically and socially altered environment.
A mixed method - albeit predominantly qualitative - approach to data gathering was adopted that included interviews (n=45) with participants who had been the primary drivers of creative ideas implemented in Christchurch after September 2010 – the first major (7.1 magnitude) earthquake in a prolonged sequence of thousands of aftershocks.
Key findings include that a specific type of creativity results from the ‘collision’ between individuals and social processes activated by a disaster situation. This type of creativity could be best categorised as ‘little c’ or socially adaptive and emerges through a prosocial filter. There is wide consensus amongst creativity researchers - principally social psychologists - that for output to be considered creative it must be both novel and useful (Runco & Jaegar, 2012). There is greater tolerance for the novelty component after a disaster as novelty itself has greater utility, either as a distraction or because alternatives are few. Existing creativity models show context as input – an additional component of the creative process – but after a disaster the event itself becomes the catalyst for social processes that result in the creativity seen. Most participants demonstrated characteristics commonly associated with creativity and could be categorised as either a ‘free thinker’ and/or an ‘opportunist’. Some appear preadapted to create and thrive in unstable circumstances.
Findings from participants’ completion of a Ten Item Personality Inventory (TIPI) showed an apparent reduced need for extraversion in relation to implementing creative ventures in society. This factor, along with higher levels of agreeableness may indicate a potentially detrimental effect on the success of creative ideas established after a disaster, despite earnest intentions.
Three new models are presented to illustrate the key findings of this study. The models imply that disasters enhance both the perceived value of creativity and the desire to act creatively for prosocial ends. The models also indicate that these disaster influenced changes are likely to be temporary.
