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.
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’.
A major lesson from the 2011 Christchurch earthquake was the apparent lack of ductility of some lightly reinforced concrete (RC) wall structures. In particular, the structural behaviour of the critical wall in the Gallery Apartments building demonstrated that the inelastic deformation capacity of a structure, as well as potentially brittle failure of the reinforcement, is dependent on the level of bond deterioration between reinforcement and surrounding concrete that occurs under seismic loading. This paper presents the findings of an experimental study on bond behaviour between deformed reinforcing bars and the surrounding concrete. Bond strength and relative bond slip was evaluated using 75 pull-out tests under monotonic and cyclic loading. Variations of the experiments include the loading rate, loading history, concrete strength (25 to 70 MPa), concrete age, cover thickness, bar diameter (16 and 20 mm), embedded length, and the position of the embedded bond region within the specimen (deep within or close to free surface). Select test results are presented with inferred implications for RC structures.
During the 2010/2011 Canterbury earthquakes, several reinforced concrete (RC) walls in multi-storey buildings formed a single crack in the plastic hinge region as opposed to distributed cracking. In several cases the crack width that was required to accommodate the inelastic displacement of the building resulted in fracture of the vertical reinforcing steel. This type of failure is characteristic of RC members with low reinforcement contents, where the area of reinforcing steel is insufficient to develop the tension force required to form secondary cracks in the surrounding concrete. The minimum vertical reinforcement in RC walls was increased in NZS 3101:2006 with the equation for the minimum vertical reinforcement in beams also adopted for walls, despite differences in reinforcement arrangement and loading. A series of moment-curvature analyses were conducted for an example RC wall based on the Gallery Apartments building in Christchurch. The analysis results indicated that even when the NZS 3101:2006 minimum vertical reinforcement limit was satisfied for a known concrete strength, the wall was still susceptible to sudden failure unless a significant axial load was applied. Additionally, current equations for minimum reinforcement based on a sectional analysis approach do not adequately address the issues related to crack control and distribution of inelastic deformations in ductile walls.
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.
