Seismic retrofitting of unreinforced masonry buildings using posttensioning has been the topic of many recent experimental research projects. However, the performance of such retrofit designs in actual design level earthquakes has previously been poorly documented. In 1984 two stone masonry buildings within The Arts Centre of Christchurch received posttensioned seismic retrofits, which were subsequently subjected to design level seismic loads during the 2010/2011 Canterbury earthquake sequence. These 26 year old retrofits were part of a global scheme to strengthen and secure the historic building complex and were subject to considerable budgetary constraints. Given the limited resources available at the time of construction and the current degraded state of the steel posttension tendons, the posttensioned retrofits performed well in preventing major damage to the overall structure of the two buildings in the Canterbury earthquakes. When compared to other similar unretrofitted structures within The Arts Centre, it is demonstrated that the posttensioning significantly improved the in-plane and out-of-plane wall strength and the ability to limit residual wall displacements. The history of The Arts Centre buildings and the details of the Canterbury earthquakes is discussed, followed by examination of the performance of the posttension retrofits and the suitability of this technique for future retrofitting of other historic unreinforced masonry buildings. http://www.aees.org.au/downloads/conference-papers/
INTRODUCTION: There is little research on the role of creative arts and craft in disaster recovery. This article reports findings about the emergent role of crafting from research conducted after the 2010–2011 series of earthquakes in Christchurch and surrounding districts in Aotearoa New Zealand. In particular, the article focuses on the significance and differing interpretations of the notion of place expressed by participants through their craftwork, in this case led by women and mediated by the post-earthquake geographic and temporal context. METHOD: This qualitative research included nine individual interviews and five focus group interviews with crafters from Christchurch and surrounding districts. There were 35 participants in total, 33 were women. Applied thematic analysis was used to code the data and identify themes. These themes included connection to place, the symbolism of craft, the healing experience of craft groups and places for women. The notion of place was evident across all three themes. FINDINGS: The findings from the research demonstrate differing ways in which the significance of place was reflected in the craftwork. Participants interpreted the concept of place in descriptive, symbolic, and therapeutic ways. IMPLICATIONS: More understanding about the way creative endeavours like crafting can be used to help ameliorate the impact of natural disasters is needed. Social work practitioners are encouraged to explore place-based wellbeing during their work with service users and to include aspects of artistry, craft and creativity.
Seismic retrofitting of unreinforced masonry buildings using posttensioning has been the topic of many recent experimental research projects. However, the performance of such retrofit designs in actual design level earthquakes has previously been poorly documented. In 1984 two stone masonry buildings within The Arts Centre of Christchurch received posttensioned seismic retrofits, which were subsequently subjected to design level seismic loads during the 2010/2011 Canterbury earthquake sequence. These 26 year old retrofits were part of a global scheme to strengthen and secure the historic building complex and were subject to considerable budgetary constraints. Given the limited resources available at the time of construction and the current degraded state of the steel posttension tendons, the posttensioned retrofits performed well in preventing major damage to the overall structure of the two buildings in the Canterbury earthquakes. When compared to other similar unretrofitted structures within The Arts Centre, it is demonstrated that the posttensioning significantly improved the in-plane and out-of-plane wall strength and the ability to limit residual wall displacements. The history of The Arts Centre buildings and the details of the Canterbury earthquakes is discussed, followed by examination of the performance of the posttension retrofits and the suitability of this technique for future retrofitting of other historic unreinforced masonry buildings. http://www.aees.org.au/downloads/conference-papers/2013-2/
