The magnitude Mw 6.2 earthquake of February 22nd 2011 that struck beneath the city of Christchurch, New Zealand, caused widespread damage and was particularly destructive to the Central Business District (CBD). The shaking caused major damage, including collapses of structures, and initiated ground failure in the form of soil liquefaction and consequent effects such as sand boils, surface flooding, large differential settlements of buildings and lateral spreading of ground towards rivers were observed. A research project underway at the University of Canterbury to characterise the engineering behaviour of the soils in the region was influenced by this event to focus on the performance of the highly variable ground conditions in the CBD. This paper outlines the methodology of this research to characterise the key soil horizons that underlie the CBD that influenced the performance of important structures during the recent earthquakes, and will influence the performance of the rebuilt city centre under future events. The methodology follows post-earthquake reconnaissance in the central city, a desk study on ground conditions, site selection, mobilisation of a post-earthquake ground investigation incorporating the cone penetration test (CPT), borehole drilling, shear wave velocity profiling and Gel-push sampling followed by a programme of laboratory testing including monotonic and cyclic testing of the soils obtained in the investigation. The research is timely and aims to inform the impending rebuild, with appropriate information on the soils response to dynamic loading, and the influence this has on the performance of structures with various foundation forms.
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.
