As part of the 'Project Masonry' Recovery Project funded by the New Zealand Natural Hazards Research Platform, commencing in March 2011, an international team of researchers was deployed to document and interpret the observed earthquake damage to masonry buildings and to churches as a result of the 22nd February 2011 Christchurch earthquake. The study focused on investigating commonly encountered failure patterns and collapse mechanisms. A brief summary of activities undertaken is presented, detailing the observations that were made on the performance of and the deficiencies that contributed to the damage to approximately 650 inspected unreinforced clay brick masonry (URM) buildings, to 90 unreinforced stone masonry buildings, to 342 reinforced concrete masonry (RCM) buildings, to 112 churches in the Canterbury region, and to just under 1100 residential dwellings having external masonry veneer cladding. In addition, details are provided of retrofit techniques that were implemented within relevant Christchurch URM buildings prior to the 22nd February earthquake and brief suggestions are provided regarding appropriate seismic retrofit and remediation techniques for stone masonry buildings. http://www.nzsee.org.nz/publications/nzsee-quarterly-bulletin/
Churches are an important part of New Zealand's historical and architectural heritage. Various earthquakes around the world have highlighted the significant seismic vulnerability of religious buildings, with the extensive damage that occurred to stone and clay-brick unreinforced masonry churches after the 2010-2011 Canterbury earthquakes emphasising the necessity to better understand this structural type. Consequently, a country-wide inventory of unreinforced masonry churches is here identified. After a bibliographic and archival investigation, and a 10 000 km field trip, it is estimated that currently 297 unreinforced masonry churches are present throughout New Zealand, excluding 12 churches demolished in Christchurch because of heavy damage sustained during the Canterbury earthquake sequence. The compiled database includes general information about the buildings, their architectural features and structural characteristics, and any architectural and structural transformations that have occurred in the past. Statistics about the occurrence of each feature are provided and preliminary interpretations of their role on seismic vulnerability are discussed. The list of identified churches is reported in annexes, supporting their identification and providing their address.
Unreinforced masonry churches in New Zealand, similarly to everywhere else in the word have proven to be highly vulnerable to earthquakes, because of their particular construction features. The Canterbury (New Zealand) earthquake sequence, 2010-2011 caused an invaluable loss of local architectural heritage and of churches, as regrettably, some of them were demolished instead of being repaired. It is critical for New Zealand to advance the data collection, research and understanding pertaining to the seismic performance and protection of church buildings, with the aim to:
The sequence of earthquakes that has affected Christchurch and Canterbury since September 2010 has caused damage to a great number of buildings of all construction types. Following post-event damage surveys performed between April 2011 and June 2011, an inventory of the stone masonry buildings in Christchurch and surrounding areas was carried out in order to assemble a database containing the characteristic features of the building stock, as a basis for studying the vulnerability factors that might have influenced the seismic performance of the stone masonry building stock during the Canterbury earthquake sequence. The damage suffered by unreinforced stone masonry buildings is reported and different types of observed failures are described using a specific survey procedure currently in use in Italy. The observed performance of seismic retrofit interventions applied to stone masonry buildings is also described, as an understanding of the seismic response of these interventions is of fundamental importance for assessing the utility of such strengthening techniques when applied to unreinforced stone masonry structures. AM - Accepted Manuscript
As part of the ‘Project Masonry’ Recovery Project funded by the New Zealand Natural Hazards Research Platform, commencing in March 2011, an international team of researchers was deployed to document and interpret the observed earthquake damage to masonry buildings and to churches as a result of the 22nd February 2011 Christchurch earthquake. The study focused on investigating commonly encountered failure patterns and collapse mechanisms. A brief summary of activities undertaken is presented, detailing the observations that were made on the performance of and the deficiencies that contributed to the damage to approximately 650 inspected unreinforced clay brick masonry (URM) buildings, to 90 unreinforced stone masonry buildings, to 342 reinforced concrete masonry (RCM) buildings, to 112 churches in the Canterbury region, and to just under 1100 residential dwellings having external masonry veneer cladding. Also, details are provided of retrofit techniques that were implemented within relevant Christchurch URM buildings prior to the 22nd February earthquake. In addition to presenting a summary of Project Masonry, the broader research activity at the University of Auckland pertaining to the seismic assessment and improvement of unreinforced masonry buildings is outlined. The purpose of this outline is to provide an overview and bibliography of published literature and to communicate on-going research activity that has not yet been reported in a complete form. http://sesoc.org.nz/conference/programme.pdf
This is an ethnographic case study, tracking the course of arguments about the future of a city’s central iconic building, damaged following a major earthquake sequence. The thesis plots this as a social drama and examines the central discourses of the controversy. The focus of the drama is the Anglican neo-Gothic Christ Church Cathedral, which stands in the central square of Christchurch, New Zealand. A series of major earthquakes in 2010/2011 devastated much of the inner city, destroying many heritage-listed buildings. The Cathedral was severely damaged and was declared by Government officials in 2011 to be a dangerous building, which needed to be demolished. The owners are the Church Property Trustees, chaired by Bishop Victoria Matthews, a Canadian appointed in 2008. In March 2012 Matthews announced that the Cathedral, because of safety and economic factors, would be deconstructed. Important artefacts were to be salvaged and a new Cathedral built, incorporating the old and new. This decision provoked a major controversy, led by those who claimed that the building could and should be restored. Discourses of history and heritage, memory, place and identity, ownership, economics and power are all identified, along with the various actors, because of their significance. However, the thesis is primarily concerned with the differing meanings given to the Cathedral. The major argument centres on the symbolic interaction between material objects and human subjects and the various ways these are interpreted. At the end of the research period, December 2015, the Christ Church Cathedral stands as a deteriorating wreck, inhabited by pigeons and rats and shielded by protective, colourfully decorated wooden fences. The decision about its future remains unresolved at the time of writing.
Following the magnitude 6.3 aftershock in Christchurch, New Zealand, on 22 February 2011, a number of researchers were sent to Christchurch as part of the New Zealand Natural Hazard Research Platform funded “Project Masonry” Recovery Project. Their goal was to document and interpret the damage to the masonry buildings and churches in the region. Approximately 650 unreinforced and retrofitted clay brick masonry buildings in the Christchurch area were surveyed for commonly occurring failure patterns and collapse mechanisms. The entire building stock of Christchurch, and in particular the unreinforced masonry building stock, is similar to that in the rest of New Zealand, Australia, and abroad, so the observations made here are relevant for the entire world.
Following the Christchurch earthquake of 22 February 2011 a number of researchers were sent to Christchurch, New Zealand to document the damage to masonry buildings as part of “Project Masonry”. Coordinated by the Universities of Auckland and Adelaide, researchers came from Australia, New Zealand, Canada, Italy, Portugal and the US. The types of masonry investigated were unreinforced clay brick masonry, unreinforced stone masonry, reinforced concrete masonry, residential masonry veneer and churches; masonry infill was not part of this study. This paper focuses on the progress of the unreinforced masonry (URM) component of Project Masonry. To date the research team has completed raw data collection on over 600 URM buildings in the Christchurch area. The results from this study will be extremely relevant to Australian cities since URM buildings in New Zealand are similar to those in Australia.
Architecture and music have a long intertwining history.These respective creative forces many times have collaborated into monumental place, harboured rich occasion, been catalyst for cultural movement and defined generations. Together they transcend their respective identities. From dinky local church to monstrous national stadia, together they are an intense concentration, a powerfully addictive dosage where architecture is the place, music is the faith, and people are the reason. Music is a programme that architecture often celebrates in poetic and grand fashion; a superficial excuse to symbolise their creative parallels. But their relationship is much richer and holds more value than just the opportunity to attempt architectural metaphor.While music will always overshadow the architecture in the sense of a singular event, architecture is like the soundman behind the mixing desk. It’s not the star front and centre grabbing your attention, but is responsible for framing the star. It is the foundational backdrop, a critical pillar. Great architecture can help make great music. In this sense music is a communication of architecture, it is the ultimate creative function. Christchurch, New Zealand, is a city whose story changed in an instant. The seismic events of 2010 and 2011 have become the overriding subject of its historical narrative, as it will be for years to come. Disaster redefines place (the town of Napier, struck by an earthquake in 1931, exemplifies this). There is no quantifiable justification for an exploration of architecture and music within the context of Christchurch. The Town Hall, one of New Zealand’s most architecturally significant buildings, is under repair. The Christ Church Cathedral will more than likely be rebuilt to some degree of its former self. But these are echoes of the city that Christchurch was.They are saved because they are artefact. Evidence of history.This thesis makes the argument for the new, the better than before, and for the making of opportunity from disaster, by proposing a ‘new’ town hall, conceived from the sound of old.
