This thesis describes the strategies for earthquake strengthening vintage clay bricks unreinforced masonry (URM) buildings. URM buildings are well known to be vulnerable to damage from earthquake-induced lateral forces that may result in partial or full building collapse. The 2010/2011 Canterbury earthquakes are the most recent destructive natural disaster that resulted in the deaths of 185 people. The earthquake events had drawn people’s attention when URM failure and collapse caused about 39 of the fatality. Despite the poor performance of URM buildings during the 2010/2011 Canterbury earthquakes, a number of successful case study buildings were identified and their details research in-depth. In order to discover the successful seismic retrofitting techniques, two case studies of retrofitted historical buildings located in Christchurch, New Zealand i.e. Orion’s URM substations and an iconic Heritage Hotel (aka Old Government Building) was conducted by investigating and evaluating the earthquake performance of the seismic retrofitting technique applied on the buildings prior to the 2010/2011 Canterbury earthquakes and their performance after the earthquakes sequence. The second part of the research reported in this thesis was directed with the primary aim of developing a cost-effective seismic retrofitting technique with minimal interference to the vintage clay-bricks URM buildings. Two retrofitting techniques, (i) near-surface mounted steel wire rope (NSM-SWR) with further investigation on URM wallettes to get deeper understanding the URM in-plane behaviour, and (ii) FRP anchor are reported in this research thesis.
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.
