To reduce seismic vulnerability and the economic impact of seismic structural damage, it is important to protect structures using supplemental energy dissipation devices. Several types of supplemental damping systems can limit loads transferred to structures and absorb significant response energy without sacrificial structural damage. Lead extrusion dampers are one type of supplemental energy dissipation devices. A smaller volumetric size with high force capacities, called high force to volume (HF2V) devices, have been employed in a large series of scaled and full-scaled experiments, as well as in three new structures in Christchurch and San Francisco. HF2V devices have previously been designed using very simple models with limited precision. They are then manufactured, and tested to ensure force capacities match design goals, potentially necessitating reassembly or redesign if there is large error. In particular, devices with a force capacity well above or below a design range can require more testing and redesign, leading to increased economic and time cost. Thus, there is a major need for a modelling methodology to accurately estimate the range of possible device force capacity values in the design phase – upper and lower bounds. Upper and lower bound force capacity estimates are developed from equations in the metal extrusion literature. These equations consider both friction and extrusion forces between the lead and the bulged shaft in HF2V devices. The equations for the lower and upper bounds are strictly functions of device design parameters ensuring easy use in the design phase. Two different sets of estimates are created, leading to estimates for the lower and upper bounds denoted FLB,1, FUB,1, FUB,2, respectively. The models are validated by comparing the bounds with experimental force capacity data from 15 experimental HF2V device tests. All lower bound estimates are below or almost equal to the experimental device forces, and all upper bound estimates are above. Per the derivation, the (FLB,1, FUB,1) pair provide narrower bounds. The (FLB,1, FUB,1) pair also had a mean lower bound gap of -34%, meaning the lower bound was 74% of device force on average, while the mean upper bound gap for FUB,1 was +23%. These are relatively tight bounds, within ~±2 SE of device manufacture, and can be used as a guide to ensure device forces are in range for the actual design use when manufactured. Therefore, they provide a useful design tool.
The Canterbury earthquake sequence of 2010-2011 wrought ruptures in not only the physical landscape of Canterbury and Christchurch’s material form, but also in its social, economic, and political fabrics and the lives of Christchurch inhabitants. In the years that followed, the widespread demolition of the CBD that followed the earthquakes produced a bleak landscape of grey rubble punctuated by damaged, abandoned buildings. It was into this post-earthquake landscape that Gap Filler and other ‘transitional’ organisations inserted playful, creative, experimental projects to bring life and energy back into the CBD. This thesis examines those interventions and the development of the ‘Transitional Movement’ between July 2013 and June 2015 via the methods of walking interviews and participant observation. This critical period in Christchurch’s recovery serves as an example of what happens when do-it-yourself (DIY) urbanism is done at scale across the CBD and what urban experimentation can offer city-making. Through an understanding of space as produced, informed by Lefebvre’s thinking, I explore how these creative urban interventions manifested a different temporality to orthodox planning and demonstrate how the ‘soft’ politics of these interventions contain the potential for gentrification and also a more radical politics of the city, by creating an opening space for difference.
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.
