This thesis considers the presence and potential readings of graffiti and street art as part of the wider creative public landscape of Christchurch in the wake of the series of earthquakes that significantly disrupted the city physically and socially. While documenting a specific and unprecedented period of time in the city’s history, the prominence of graffiti and street art throughout the constantly changing landscape has also highlighted their popularity as increasingly entrenched additions to urban and suburban settings across the globe. In post-quake Christchurch, graffiti and street art have often displayed established tactics, techniques and styles while exploring and exposing the unique issues confronting this disrupted environment, illustrating both a transposable nature and the entwined relationship with the surrounding landscape evident in the conception of these art forms. The post-quake city has afforded graffiti and street art the opportunity to engage with a range of concepts: from the re-activation and re-population of the empty and abandoned spaces of the city, to commentaries on specific social and political issues, both angry and humorous, and notably the reconsideration of entrenched and evolving traditions, including the distinction between guerrilla and sanctioned work. The examples of graffiti and street art within this work range from the more immediate post-quake appearance of art in a group of affected suburbs, including the increasingly empty residential red-zone, to the use of the undefined spaces sweeping the central city, and even inside the Canterbury Museum, which housed the significant street art exhibition Rise in 2013-2014. These settings expose a number of themes, both distinctive and shared, that relate to both the post-disaster landscape and the concerns of graffiti and street art as art movements unavoidably entangled with public space.
In the aftermath of the 2010 and 2011 earthquakes, Christchurch, New Zealand is framed as a ‘transi- tional’ city, moving from its demolished past to a speculative future. The ADA Mesh Cities project asks what role media art and networks may play in the transitional city, and the practices of remembering, and reimagining space.
Following the devastating 1931 Hawke's Bay earthquake, buildings in Napier and surrounding areas in the Hawke's Bay region were rebuilt in a comparatively homogenous structural and architectural style comprising the region's famous Art Deco stock. These interwar buildings are most often composed of reinforced concrete two-way space frames, and although they have comparatively ductile detailing for their date of construction, are often expected to be brittle, earthquake-prone buildings in preliminary seismic assessments. Furthermore, the likelihood of global collapse of an RC building during a design-level earthquake became an issue warranting particular attention following the collapse of multiple RC buildings in the February 22, 2011 Christchurch earthquake. Those who value the architectural heritage and future use of these iconic Art Deco buildings - including building owners, tenants, and city officials, among others - must consider how they can be best preserved and utilized functionally given the especially pressing implications of relevant safety, regulatory, and economic factors. This study was intended to provide information on the seismic hazard, geometric weaknesses, collapse hazards, material properties, structural detailing, empirically based vulnerability, and recommended analysis approaches particular to Art Deco buildings in Hawke's Bay as a resource for professional structural engineers tasked with seismic assessments and retrofit designs for these buildings. The observed satisfactory performance of similar low-rise, ostensibly brittle RC buildings in other earthquakes and the examination of the structural redundancy and expected column drift capacities in these buildings, led to the conclusion that the seismic capacity of these buildings is generally underrated in simple, force-based assessments.
This paper explores the responses by a group of children to an art project that was undertaken by a small school in New Zealand after the September 2010 and February 2011 Christchurch earthquakes. Undertaken over a period of two years, the project aimed to find a suitable form of memorialising this significant event in a way that was appropriate and meaningful to the community. Alongside images that related directly to the event of the earthquakes, the art form of a mosaic was chosen, and consisted of images and symbols that clearly drew on the hopes and dreams of a school community who were refusing to be defined by the disaster. The paper 'writes' the mosaic by placing fragments of speech spoken by the children involved in relation to ideas about memory, affect, and the 'sublime', through the work of Jean-Francois Lyotard. The paper explores the mosaic as constituted by the literal and metaphorical 'broken pieces' of the city of Christchurch in ways that confer pedagogic value inscribed through the creation of a public art space by children. AM - Accepted Manuscript
This exhibition, eight years in the planning, had the misfortune to open one week before the 22 February 2011 Christchurch earthquake; the exhibition was immediately taken down and never went up again – the Christchurch Art Gallery has still not reopened. Although in my book Fantastica: The World of Leo Bensemann (NRO1) I covered the whole of Bensemann’s career, in the exhibition I took responsibility for the paintings (portraits and landscapes) , while Dr. Noel Waite (University of Otago) looked after Bensemann’s graphic work, book design and printing. This was the most extensive exhibition of Bensemann’s work ever mounted and together with Fantastica will compel a major reassessment of his place in New Zealand culture. Art New Zealand wrote of it: ‘The exhibition (including more than 100 items) is significant in bringing together what has in the past appeared disparate and unrelated; here Bensemann's entire oeuvre - the output of a painter, illustrator, calligrapher, typographer, designer and publisher is given equal billing. Although this exhibition is an important re-assessment and valuable for a new generation unfamiliar with his work, a national touring show would have precipitated an even greater awareness’.
This article explores the scope of small-scale radio to create an auditory geography of place. It focuses on the short-term art radio project The Stadium Broadcast, which was staged in November 2014 in an earthquake-damaged sports stadium in Christchurch, New Zealand. Thousands of buildings and homes in Christchurch have been demolished since the February 22, 2011, earthquake, and by the time of the broadcast the stadium at Lancaster Park had been unused for three years and nine months, and its future was uncertain. The Stadium Broadcast constructed a radio memorial to the Park’s 130-year history through archival recordings, the memories of local people, observation of its current state, and a performed site-specificity. The Stadium Broadcast reflected on the spatiality of radio sounds and transmissions, memory, postdisaster transitionality, and the impermanence of place.
This thesis looks at the protocols museums and galleries adopt for the safeguarding of art, artefacts and cultural heritage. In particular, it analyses these procedures in relation to the 2010 and 2011 earthquakes in Christchurch, and considers how these events shaped the preventative conservation measures in place in museum and gallery institutions. Through gathering, assessing, and comparing this information about Christchurch’s institutions to disaster management best practices in national and international organisations, this thesis gauges the extent to which disaster management was changed in response to the events in Christchurch. This thesis first considers the growth in disaster management as a field, before examining what are considered best practices within this sector. Finally, it looks at specific institutions in Christchurch, including the Christchurch Art Gallery Te Puna o Waiwhetu, Canterbury Museum, and the Air Force Museum of New Zealand.
In 2016, the Building (Earthquake-prone Buildings) Amendment Act 2016 was introduced to address the issue of seismic vulnerability amongst existing buildings in Aotearoa New Zealand. This Act introduced a mandatory scheme to remediate buildings deemed particularly vulnerable to seismic hazard, as recommended by the 2012 Royal Commission into the Canterbury earthquake sequence of 2010–2011. This Earthquake-prone Building (EPB) framework is unusual internationally for the mandatory obligations that it introduces. This article explores and critiques the operation of the scheme in practice through an examination of its implementation provisions and the experiences of more recent seismic events (confirmed by engineering research). This analysis leads to the conclusion that the operation of the current scheme and particularly the application of the concept of EPB vulnerability excludes large numbers of (primarily urban) buildings which pose a significant risk in the event of a significant (but expected) seismic event. As a result, the EPB scheme fails to achieve its goals and instead may create a false impression that it does so
Validating dynamic responses of engineered systems subjected to simulated ground motions is essential in scrutinising the applicability of simulated ground motions for engineering demand analyses. This paper compares the responses of two 3D building models subjected to recorded and simulated ground motions scaled to the NZS1170.5 design response spectrum, in order to evaluate the applicability of simulated ground motions for use in conventional engineering practice in New Zealand. The buildings were designed according to the NZS1170.5 and physically constructed in Christchurch prior to the 2010-2011 Canterbury earthquakes. 40 recorded ground motions from the 22 February 2011 Christchurch earthquake, along with the simulated ground motions for this event from Razafindrakoto et al. (2018) are considered. The seismic responses of the structures are principally quantified via the peak floor acceleration and maximum inter-storey drift ratio. Overall, the results indicate a general agreement in seismic demands obtained using the recorded and simulated ensembles of ground motions and provide further evidence that simulated ground motions using state-of-the-art methods can be used in code-based structural performance assessments inplace of, or in combination with, ensembles of recorded ground motions.
Context of the project: On 4 September 2010, 22 February 2011, 13 June 2011 and 23 December 2011 Christchurch suffered major earthquakes and aftershocks (well over 10,000) that have left the central city in ruins and many of the eastern suburbs barely habitable even now. The earthquakes on 22 February caused catastrophic loss of life with 185 people killed. The toll this has taken on the residents of Christchurch has been considerable, not least of all for the significant psychological impact and disruption it has had on the children. As the process of rebuilding the city commenced, it became clear that the arts would play a key role in maintaining our quality of life during difficult times. For me, this started with the children and the most expressive of all the art forms – music.
Seismic isolation is an effective technology for significantly reducing damage to buildings and building contents. However, its application to light-frame wood buildings has so far been unable to overcome cost and technical barriers such as susceptibility of light-weight buildings to movement under high-wind loading. The 1994 Northridge Earthquake (6.7 MW) in the United States, 1995 Kobe Earthquake (6.9 MW) in Japan and 2011 Christchurch Earthquake (6.7 Mw) all highlighted significant loss to light-frame wood buildings with over half of earthquake recovery costs allocated to their repair and reconstruction. This poster presents a value case to highlight the benefits of seismically isolated residential buildings compared to the standard fixed-base dwellings for the Wellington region. Loss data generated by insurance claim information from the 2011 Christchurch Earthquake has been used to determine vulnerability functions for the current light-frame wood building stock. By using a simplified single degree of freedom (SDOF) building model, methods for determining vulnerability functions for seismic isolated buildings are developed. Vulnerability functions are then applied directly in a loss assessment to determine the Expected Annual Loss. Vulnerability was shown to dramatically reduce for isolated buildings compared to an equivalent fixed-base building resulting in significant monetary savings, justifying the value case. A state-of-the-art timber modelling software, Timber3D, is then used to model a typical residential building with and without seismic isolation to assess the performance of a proposed seismic isolation system which addresses the technical and cost issues.
This article reports on research conducted in Christchurch, New Zealand, after the 22 February 2011 earthquake. This quake and thousands of subsequent aftershocks have left the city of Christchurch with serious infrastructure damage to roads, sewage supply, housing and commercial buildings. The emergence of a vibrant art and craft movement in the Christchurch region post earthquake has been an unexpected aspect of the recovery process. The article begins with a review of the literature on traditional responses to disaster recovery illustrating how more contemporary approaches are community-focused. We review the links between crafting and well-being, and report on qualitative research conducted with five focus groups and nine individuals who have contributed to this movement in Christchurch. The findings illustrate the role crafting has played post earthquake, in terms of processing key elements of the disaster for healing and recovery, creating opportunities for social support; giving to others; generating learning and meaning making and developing a vision for the future. The data analysis is underpinned by theory related to post-traumatic growth and ecological concerns. The role of social work in promoting low-cost initiatives such as craft groups to foster social resilience and aid in the recovery from disaster trauma is explored. This discussion considers why such approaches are rare in social work.
This dissertation explores the advocacy for the Christchurch Town Hall that occurred in 2012-2015 after the Canterbury Earthquakes. It frames this advocacy as an instance of collective-action community participation in a heritage decision, and explores the types of heritage values it expressed, particularly social values. The analysis contextualises the advocacy in post-quake Christchurch, and considers its relationship with other developments in local politics, heritage advocacy, and urban activism. In doing so, this dissertation considers how collective action operates as a form of public participation, and the practical implications for understanding and recognising social value. This research draws on studies of practices that underpin social value recognition in formal heritage management. Social value is held by communities outside institutions. Engaging with communities enables institutions to explore the values of specific places, and to realise the potential of activating local connections with heritage places. Such projects can be seen as participatory practices. However, these processes require skills and resources, and may not be appropriate for all places, communities and institutions. However, literature has understudied collective action as a form of community participation in heritage management. All participation processes have nuances of communities, processes, and context, and this dissertation analyses these in one case. The research specifically asked what heritage values (especially social values) were expressed through collective action, what the relationship was with the participation processes, communities, and wider situation that produced them, and the impact on institutional rhetoric and decisions. The research analysed values expressed in representations made to council in support of the Town Hall. It also used documentary sources and interviews with key informants to analyse the advocacy and decision-making processes and their relationships with the wider context and other grassroots activities. The analysis concluded that the values expressed intertwined social and professional values. They were related to the communities and circumstance that produced them, as an advocacy campaign for a civic heritage building from a Western architectural tradition. The advocacy value arguments were one of several factors that impacted the decision. They have had a lasting impact on rhetoric around the Town Hall, as was a heritage-making practice in its own right. This dissertation makes a number of contributions to the discussion of social value and community in heritage. It suggests connections between advocacy and participation perspectives in heritage. It recommends consideration of nuances of communities, context, and place meanings when using heritage advocacy campaigns as evidence of social value. It adds to the literature on heritage advocacy, and offers a focused analysis of one of many heritage debates that occurred in post-quake Christchurch. Ultimately, it encourages practice to actively integrate social and community values and to develop self-reflexive engagement and valuation processes. Despite inherent challenges, participatory processes offer opportunities to diversify understandings of value, co-produce heritage meanings with communities, and empower citizens in democratic processes around the places they live with and love.
Following the 2010/2011 Canterbury earthquakes, approximately 60% of multi-story buildings with reinforced concrete walls required demolition. Both practitioners and researchers have increasingly realized that low-damage structural systems could be an alternative to improve the seismic behaviour of concrete buildings and to reduce the economic and social impact of structural damage in future earthquakes. To verify the seismic response of a low-damage concrete wall building representing state-of-art design practice, a shake table test on a two-story concrete building was recently conducted as part of an ILEE-QuakeCoRE collaborative research program. The building utilized flexible wall-to-floor connections in the long span direction and isolating wall-to-floor devices in the short span direction to provide a comparison of their respective behaviour. Additionally, the wall-to-floor interaction such as effects of wall uplift on the link slab, and force transfer mechanism from floor to the wall will be discussed in this paper.
This paper explores the scope of small-scale radio to create an auditory geography of place. It focuses on the short term art radio project The Stadium Broadcast, which was staged in November 2014 in an earthquake-damaged sports stadium in Christchurch, New Zealand. Thousands of buildings and homes in Christchurch have been demolished since the Februrary 22, 2011 earthquake, and while Lancaster Park sports stadium is still standing, it has been unused since that date and its future remains uncertain. The Stadium Broadcast constructed a radio memorial to the Park’s 130 year history through archival recordings, the memories of local people, observation of its current state, and a performed site-specificity. The Stadium Broadcast reflected on the spatiality of radio sounds and transmissions, memory, post-disaster transitionality, and the im-permanence of place.
Base isolation is an incredibly effective technology used in seismic regions throughout the world to limit structural damage and maintain building function, even after severe earthquakes. However, it has so far been underutilised in light-frame wood construction due to perceived cost issues and technical problems, such as a susceptibility to movement under strong wind loads. Light-frame wood buildings make up the majority of residential construction in New Zealand and sustained significant damage during the 2010-2011 Canterbury earthquake sequence, yet the design philosophy has remained largely unchanged for years due to proven life-safety performance. Recently however, with the advent of performance based earthquake engineering, there has been a renewed focus on performance factors such as monetary loss that has driven a want for higher performing residential buildings. This research develops a low-cost approach for the base isolation of light-frame wood buildings using a flat-sliding friction base isolation system, which addresses the perceived cost and technical issues, and verifies the seismic performance through physical testing on the shake table at the University of Canterbury. Results demonstrate excellent seismic performance with no structural damage reported despite a large number of high-intensity earthquake simulations. Numerical models are subsequently developed and calibrated to New Zealand light-frame wood building construction approaches using state-of-the-art wood modelling software, Timber3D. The model is used to accurately predict both superstructure drift and acceleration demand parameters of fixed-base testing undertaken after the base isolation testing programme is completed. The model development allows detailed cost analyses to be undertaken within the performance based earthquake engineering framework that highlights the monetary benefits of using base isolation. Cost assessments indicate the base isolation system is only 6.4% more compared to the traditional fixed-base system. Finally, a design procedure is recommended for base isolated light-frame wood buildings that is founded on the displacement based design (DBD) approach used in the United States and New Zealand. Nonlinear analyses are used to verify the DBD method which indicate its suitability.
The assessment of damage and remaining capacity after an earthquake is an immediate measure to determine whether a reinforced concrete (RC) building is usable and safe for occupants. The recent Christchurch earthquake (22 February 2011) caused a uniquely severe level of structural damage to modern buildings, resulting in extensive damage to the building stock. About 60% of damaged multistorey concrete buildings (3 storeys and up) were demolished after the earthquake, and the cost of reconstruction amounted to 40 billion NZD. The aftermath disclosed issues of great complexities regarding the future of the RC buildings damaged by the earthquakes. This highlighted the importance of post-event decision-making, as the outcome will allow the appropriate course of action—demolition, repair or acceptance of the existing building—to be considered. To adopt the proper strategy, accurate assessment of the residual capacity and the level of damage is required. This doctoral dissertation aims to assess the damage and remaining capacity at constituent material and member level (i.e., concrete material and beams) through a systematic approach in an attempt to address part of an existing gap in the available literature. Since the residual capacity of RC members is not unique and depends on previously applied loading history, post-event residual capacity in this study was assessed in terms of fraction of fatigue life (i.e., the number of cycles required to failure). This research comprises three main parts: (1) residual capacity and damage assessment at material level (i.e., concrete), (2) post-yield bond deterioration and damage assessment at the interface of steel and concrete, and, finally, (3) residual capacity and damage assessment at member level (i.e., RC beam). The first part of this research focused on damage assessment and the remaining capacity of concrete from a material point of view. It aimed to employ appropriate and reliable durability-based testing and image-detection techniques to quantify deterioration in the mechanical properties of concrete on the basis that stress-induced damage occurred in the microstructural system of the concrete material. To this end, in the first phase, a feasibility study was conducted in which a combination of oxygen permeability, electrical resistivity and porosity tests were assessed to determine if they were robust and reliable enough to reveal damage which occurred in the microstructural system of concrete. The results, in terms of change in permeability, electrical resistivity and porosity features of disk samples taken from the middle third of damaged concrete cylinders (200 mm × 100 mm) monotonically pre-loaded to 50%, 70%, 90% and 95% of the ultimate strength (f′c), showed the permeability test is a reliable tool to identify the degree of damage, due to its high sensitivity to the load-induced microcracking. In parallel, to determine the residual capacity, the companion damaged concrete cylinders already loaded to the same level of compressive strength were reloaded up to failure. Comparing the stress–strain relationship of damaged concrete with intact material, it was also found that the strain capacity of the reloaded pre-damaged concrete cylinders decreases while strength remained virtually unchanged. In the second phase of the first part, a fluorescent microscopy technique was used to assess the damage and develop a correlation between material degradation, by virtue of the geometrical features, and damage to the concrete. To account for the effect of confinement and cyclic loading, in the third phase, the residual capacity and damage assessment of unconfined and GFRP confined concrete cylinders subjected to low-cycle fatigue loading, was investigated. Similar to the first phase, permeability testing technique was used to provide an indirect evaluation of fatigue damage. Finally, in the fourth phase of the first part, the suitability of permeability testing technique to assess damage was evaluated for cored concrete taken from three types of RC members: columns, beams and a beam-column joint. In view of the fact that the composite action of an RC member is highly dependent on the bond between reinforcement and surrounding concrete, understanding the deterioration of the bond in the post-yield range of strain in steel was crucial to assess damage at member level. Therefore, in the second phase of this research, a state-of-the- art distributed fibre optic strain sensor system (DFOSSS) system was used to evaluate bond deterioration in a cantilever RC beam subjected to monotonic lateral loading. The technology allowed the continuous capture of strain, every 2.6 mm along the length, in both reinforcing bars and cover concrete. The strain profile provided a basis by which the slip, axial stress and bond stress distributions were then established. In the third part, the study focused on the damage assessment and residual capacity of seven half-scale RC beams subjected to a constant-amplitude cyclic loading protocol. In the first stage, the structural performances of three specimens under constant-amplitude fatigue at 1%, 2% and 4% chord rotation (drift) were examined. In parallel, the number of cycles to failure, degradation in strength, stiffness and energy dissipation were characterized. In the second stage, four RC beams were subjected to loading up to 70% and 90% of their fatigue life, at 2% and 4% drift, and then monotonically pulled up to failure. To determine the residual flexural capacity, the lateral force–displacement results of pre-damaged specimens were compared with an undamaged specimen subjected to only monotonic loading. The study showed significant losses in strength, deformability, stiffness and energy dissipation capacity. A nonlinear finite element analysis (FEA) using concrete damage plasticity (CDP) model was also conducted in ABAQUS to numerically investigate the behaviour of the tested specimen. The results of the FE simulations indicated a reasonable response compared with the behaviour of the test specimen in terms of force–displacement and cracking pattern. During the Christchurch earthquake it was observed that the loading history has a significant influence on structural responses. While in conventional pseudo-static loading protocol, internal forces can be redistributed along the plastic length: there is little chance for structures undergoing high initial loading amplitude to redistribute pertinent stresses. As a result, in the third phase of this part, the effect of high rate of loading on the behaviour of seismically designed RC beams was investigated. Two half-scale cantilever RC beams were subjected to similar constant-amplitude cyclic loading at 2% and 4% drifts, but at a rate of 500 mm/s. Due to the incapability of conventional measuring techniques, a motion-tracking system was employed for data acquisition with the high-speed tests. The effect of rate of loading on the fatigue life of specimens (i.e., the number of cycles required to failure), secant stiffness, failure mode, cracking pattern, beam elongations and bar fracture surface were analysed. Integrating the results of all parts of this research has resulted in a better understanding of residual capacity and the development of damage at both the material and member level by using a low-cycle fatigue approach.
Research on responses to trauma has historically focused on the negative repercussions of a struggle with adversity. However, more recently, researchers have begun to examine posttraumatic growth: the positive psychological change that emerges from the struggle with a potentially traumatic event. Associations have been found between posttraumatic growth and greater peritraumatic distress, greater objective severity of trauma exposure, greater perceived stressfulness of events, social support, female gender, cognitive and behavioural responses to trauma, and personality measures. Posttraumatic growth has been measured typically in individuals with varying levels of posttraumatic stress disorder symptoms and other psychological difficulties, such as depression and anxiety. Although some theory and research posits that higher resilience would prohibit posttraumatic growth, no studies have examined posttraumatic growth in a resilient sample. The Canterbury earthquake sequence of 2010 and 2011 involved potentially traumatic events that saw the community struggle with a variety of challenges. However, in the midst of earthquake destruction, some positive initiatives emerged, driven by locals. The Gap Filler project (using city spaces left empty from fallen buildings for art and interactive community projects) and the Student Volunteer Army (groups of volunteers coordinated to help others in need) are examples of this. In this context, it seemed likely that posttraumatic growth was occurring and might be seen in individuals who were coping well with challenges. Culture is theorised to influence the posttraumatic growth process (Calhoun, Cann, & Tedeschi, 2010), and the nature of the trauma undergone is also likely to influence the process of growth. The current thesis measures posttraumatic growth quantitatively and qualitatively in a New Zealand sample. It measures and describes posttraumatic growth in a resilient population after the earthquake sequence of 2010 and 2011 in Canterbury, New Zealand. Findings are used to test current models of posttraumatic growth for individuals coping well after trauma and to elaborate on mechanisms proposed by models such as the comprehensive model of posttraumatic growth (Calhoun et al., 2010) and the organismic valuing theory of growth through adversity (Joseph & Linley, 2005). Correlates of posttraumatic growth are examined and likely supporting factors of posttraumatic growth are identified for this population. Study 1 used quantitative analysis to explore correlates of posttraumatic growth and found that greater posttraumatic growth related to greater peritraumatic distress, greater perceived stressfulness of earthquake events, greater objective stressfulness of earthquake events, greater difficulty with stressful life events, less satisfaction with social support, and female gender. Findings from Study 1 give important detail about the nature of distress included in the comprehensive model of posttraumatic growth (Calhoun et al., 2010) for this population. Levels of posttraumatic growth were lower than those in North American studies but similar to those in a Chinese study. The current sample, however, showed lower endorsement of Relating to Others than the Chinese study, perhaps because of cultural differences. Study 2 used qualitative analysis to examine the experience of posttraumatic growth in the sample. The theme of ‘a greater sense of community’ was found and adds to the comprehensive model of posttraumatic growth, in that an expression of posttraumatic growth (a greater connection with others) can inform ongoing social processing in the posttraumatic growth process. Having a formal or informal role in earthquake recovery appeared to influence self-concept and reflection; this elaborates on the influence of role on reflection in Calhoun et al.’s model. Findings illustrate possible mechanisms of the organismic valuing process theorised by Joseph and Linley (2005). Implications include the importance of providing opportunities for individuals to take on a role after a crisis, encouraging them to act to respond to difficulties, and encouraging them to meet personal needs for relatedness, competence, and autonomy. Finding positive aspects to a difficult situation, as well as acknowledging adversity, can be supported in future to help individuals process their traumas. As a society, we can help individuals cope with adversity by providing ways they can meet their needs for relatedness, competence, and autonomy. Community groups likely provide opportunities for members to act in ways that meet such needs. This will allow them to effectively act to meet their needs in times of crisis.
To address the provocation provided by the editors I wish to reflect upon the ongoing civic and artistic responses to the earthquakes in Christchurch, New Zealand, 2010-11, in which 185 people lost their lives (largely due to poor engineering and construction practices). Whilst the example is very different in character from that of efforts to memorialize July 22, 2011, I wish to use the case to briefly respond to the issue of temporality as raised by Jacques Rancière in his critique of the ‘endless work of mourning’ produced by testimonial art. The orientation of this mourning, he argues, is always backward-looking, characterized by, ‘a reversal of the flow of time: the time turned towards an end to be accomplished – progress, emancipation or the Other – is replaced by that turned towards the catastrophe behind us.’ How might memorial practices divide their gaze between remembered pasts and possible futures? AM - Accepted Manuscript
The full scale, in-situ investigations of instrumented buildings present an excellent opportunity to observe their dynamic response in as-built environment, which includes all the real physical properties of a structure under study and its surroundings. The recorded responses can be used for better understanding of behavior of structures by extracting their dynamic characteristics. It is significantly valuable to examine the behavior of buildings under different excitation scenarios. The trends in dynamic characteristics, such as modal frequencies and damping ratios, thus developed can provide quantitative data for the variations in the behavior of buildings. Moreover, such studies provide invaluable information for the development and calibration of realistic models for the prediction of seismic response of structures in model updating and structural health monitoring studies. This thesis comprises two parts. The first part presents an evaluation of seismic responses of two instrumented three storey RC buildings under a selection of 50 earthquakes and behavioral changes after Ms=7.1 Darfield (2010) and Ms=6.3 Christchurch (2011) earthquakes for an instrumented eight story RC building. The dynamic characteristics of the instrumented buildings were identified using state-of-the-art N4SID system identification technique. Seismic response trends were developed for the three storey instrumented buildings in light of the identified frequencies and the peak response accelerations (PRA). Frequencies were observed to decrease with excitation level while no trends are discernible for the damping ratios. Soil-structure interaction (SSI) effects were also determined to ascertain their contribution in the seismic response. For the eight storey building, it was found through system identification that strong nonlinearities in the structural response occurred and manifested themselves in all identified natural frequencies of the building that exhibited a marked decrease during the strong motion duration compared to the pre-Darfield earthquakes. Evidence of foundation rocking was also found that led to a slight decrease in the identified modal frequencies. Permanent stiffness loss was also observed after the strong motion events. The second part constitutes developing and calibrating finite element model (FEM) of the instrumented three storey RC building with a shear core. A three dimensional FEM of the building is developed in stages to analyze the effect of structural, non-structural components (NSCs) and SSI on the building dynamics. Further to accurately replicate the response of the building following the response trends developed in the first part of the thesis, sensitivity based model updating technique was applied. The FEMs were calibrated by tuning the updating parameters which are stiffnesses of concrete, NSCs and soil. The updating parameters were found to generally follow decreasing trends with the excitation level. Finally, the updated FEM was used in time history analyses to assess the building seismic performance at the serviceability limit state shaking. Overall, this research will contribute towards better understanding and prediction of the behavior of structures subjected to ground motion.
For some people, religion, spirituality and faith (RSF) serves an important function, helping them deal with difficult everyday life challenges. This qualitative ethnographic study examines how and in what ways a group of Cantabrians engaged with RSF in dealing with diverse forms of significant trauma – from moments of crisis through to more extended processes of recovery. The research is located within the context of post-earthquake Christchurch, and is based on fieldwork undertaken in 2012–2013. It explores the experiences of respondents representing traditional Christian and non-orthodox, non-Christian faith paths. The thesis draws on data from participant stories to emphasise the subjective experience of RSF and trauma. It argues that in times of crisis, some people draw on RSF to help them address difficult life challenges. The study demonstrates the breadth, diversity and significance of such resourcing, as well as the sometimes surprising, unanticipated forms that this engagement with RSF may take. Contrary to theories that emphasise the marginalisation of religion during times of intense distress, the thesis shows that in varying moments of crisis, people for whom RSF is important, may draw on diverse forms of RSF as a matter of priority to help them.
The whare whakairo or traditional Māori meeting house plays an important part in Māori society and identity. These whare tell the tale of their origin, and in so doing, the origins of their people. The analysis of the meeting house, the histories expressed in its decorative carvings and structural elements are inextricably linked with and dependent upon the structure of the world created by myth and the Māori worldview. However, due to the deleterious effects of colonisation, the art of wood carving and associated architectural practices - central to Māori identity, suffered decline in many parts of the country, leading to the decline of Māori culture and identity. Sir Apirana Ngata instigated the National Institute of Māori Arts and Crafts to resurrect the dying art of Māori carving and carved houses would be a catalyst for the restoration of Māori culture throughout the country. Ngata saw these whare whakairo as being the heart of Māori communities by establishing a renewed sense of belonging and identification with space for Māori, through the telling of tribal histories and emphasising key geographical features. New threats in the form of global hegemony and urbanisation have further impacted on Māori notions of identity, creating a generation of displaced urban Māori youth. This research proposes to establish an architectural response to capture displaced Māori youth through the resurrection of the Māori carving school and return to them the lost stories of their cultural history and identity. This program will be developed within the complex challenges that exist within post-earthquake Ōtautahi/Christchurch, where many have lost homes and livelihoods, especially Māori youth in the Eastern Suburbs. The building elements of the proposed Māori carving school give reference to the historio-cultural features of the original Ōtautahi/Christchurch landscape that are situated in tribal song and myth. It is envisioned that the development of a Māori carving school will help restore Māori identity and a renewed sense of belonging, and allow for the telling of this generations stories through traditional narratives.
A Transitional Imaginary: Space, Network and Memory in Christchurch is the outcome and the record of a particular event: the coming together of eight artists and writers in Ōtautahi Christchurch in November 2015, with the ambitious aim to write a book collaboratively over five days. The collaborative process followed the generative ‘book sprint’ method founded by our facilitator for the event, Adam Hyde, who has long been immersed in digital practices in Aotearoa. A book sprint prioritises the collective voice of the participants and reflects the ideas and understandings that are produced at the time in which the book was written, in a plurality of perspectives. Over one hundred books have been completed using the sprint methodology, covering subjects from software documentation to reflections on collaboration and fiction. We chose to approach writing about Ōtautahi Christchurch through this collaborative process in order to reflect the complexity of the post-quake city and the multiple paths to understanding it. The city has itself been a space of intensive collaboration in the post-disaster period. A Transitional Imaginary is a raw and immediate record, as much felt expression as argued thesis. In many ways the process of writing had the character of endurance performance art. The process worked by honouring the different backgrounds of the participants, allowing that dialogue and intensity could be generative of different forms of text, creating a knowledge that eschews a position of authority, working instead to activate whatever anecdotes, opinions, resources and experiences are brought into discussion. This method enables a dynamic of voices that merge here, separate there and interrupt elsewhere again. As in the contested process of rebuilding and reimagining Christchurch itself, the dissonance and counterpoint of writing reflects the form of conversation itself. This book incorporates conflict, agreement and the activation of new ideas through cross-fertilisation to produce a new reading of the city and its transition. The transitional has been given a specific meaning in Christchurch. It is a product of local theorising that encompasses the need for new modes of action in a city that has been substantially demolished (Bennett & Parker, 2012). Transitional projects, such as those created by Gap Filler, take advantage of the physical and social spaces created by the earthquake through activating these as propositions for new ways of being in the city. The transitional is in motion, looking towards the future. A Transitional Imaginary explores the transitional as a way of thinking and how we understand the city through art practices, including the digital and in writing.
Museums around the world are often affected by major catastrophes, and yet planning for these disasters is an often neglected aspect of museum practice. New Zealand is not immune from these events, as can be seen in the recent series of serious earthquakes in Christchurch in 2010 and 2011. This dissertation considers how prepared the New Zealand museum sector is to handle unexpected events that negatively affect its buildings, staff, operations and treasured collections. The central research question was: What is the overall state of emergency planning in the New Zealand museum sector? There was a significant gap in the literature, especially in the local context, as there has been only one other comparable study conducted in Britain, and nothing locally. This dissertation makes a valuable contribution to the field of museum studies by drawing on theory from relevant areas such as crises management literature and by conducting original empirical research on a topic which has received little attention hitherto. The research employed a number of methods, including a review of background secondary sources, a survey and interviews. After contextualising the study with a number of local examples, Ian online survey was then developed an which enabled precise understanding of the nature of current museum practices and policies around emergency planning. Following this I conducted several interviews with museum professionals from a variety of institutional backgrounds which explored their thoughts and feelings behind the existing practices within the industry. The findings of the research were significant and somewhat alarming: almost 40% of the museum and galleries in New Zealand do not have any emergency plan at all, and only 11% have what they considered ‘complete’ plans. The research revealed a clear picture of the current width and depth of planning, as well as practices around updating the plans and training related to them. Within the industry there is awareness that planning for emergencies is important, but museum staff typically lack the knowledge and guidance needed to conduct effective emergency planning. As a result of the analysis, several practical suggestions are presented aimed at improving emergency planning practices in New Zealand museums. However this study has implications for museum studies and for current museum practice everywhere, as many of the recommendations for resolving the current obstacles and problems are applicable anywhere in the world, suggesting that New Zealand museums could become leaders in this important area.
