A non-destructive hardness testing method has been developed to investigate the amount of plastic strain demand in steel elements subjected to cyclic loading. The focus of this research is on application to the active links of eccentrically braced frames (EBFs), which are a commonly used seismic-resisting system in modern steel framed buildings. The 2010/2011 Christchurch earthquake series, especially the very intense February 22 shaking, which was the first earthquake worldwide to push complete EBF systems fully into their inelastic state, generating a moderate to high level of plastic strain in EBF active links, for a range of buildings from 3 to 23 storeys in height. This raised two important questions: 1) what was the extent of plastic deformation in active links; and 2) what effect does that have to post-earthquake steel properties? This project comprised determining a robust relationship between hardness and plastic strain in order to be able to answer the first question and provide the necessary input into answering the second question. A non-destructive Leeb (portable) hardness tester (model TH170) has been used to measure the hardness, in order to determine the plastic strain, in hot rolled steel universal sections and steel plates. A bench top Rockwell B was used to compare and validated the hardness measured by the portable hardness tester. Hardness was measured from monotonically strained tensile test specimens to identify the relationship between hardness and plastic strain demand. Test results confirmed a good relationship between hardness and the amount of monotonically induced plastic strain. Surface roughness was identified as an important parameter in obtaining reliable hardness readings from a portable hardness reader. A proper surface preparation method was established by using three different cleaning methods, finished with hand sanding to achieve surface roughness coefficients sufficiently low not to distort the results. This work showed that a test surface roughness (Ra) is not more than 1.6 micron meter (μm) is required for accurate readings from the TH170 tester. A case study on an earthquake affected building was carried out to identify the relationship between hardness and amount of plastic strain demand in cyclically deformed active links. Hardness was carried out from active links shown visually to have been the most affected during one of the major earthquake events. Onsite hardness test results were then compared with laboratory hardness test results. A good relationship between hardness from onsite and laboratory was observed between the test methods; Rockwell B bench top and portable Leeb tester TH170. Manufacturing induced plastic strain in the top and bottom of the webs of hot rolled sections were discovered from this research, an important result which explains why visual effects of earthquake induced active link yielding (eg cracked or flaking paint) was typically more prevalent over the middle half depth of the active link. The extent of this was quantified. It was also evident that the hardness readings from the portable hardness tester are influenced by geometry, mass effects and rigidity of the links. The final experimental stage was application of the method to full scale cyclic inelastic tested nominally identical active links subjected to loading regimes comprising constant and variable plastic strain demands. The links were cyclically loaded to achieve different plastic strain level. A novel Digital Image Correlation (DIC) technique was incorporated during the tests of this scale, to confirm the level of plastic strain achieved. Tensile test specimens were water jet cut from cyclically deformed webs to analyse the level of plastic strain. Test results show clear evidence that cyclically deformed structural steel elements show good correlation between hardness and the amount of plastic strain demand. DIC method was found to be reliable and accurate to check the level of plastic strain within cyclically deformed structural steel elements.
This thesis investigates the relationship between the apocalyptic narrative and the postmodern novel. It explores and builds on Patricia Waugh‟s hypothesis in Practising Postmodernism: Reading Modernism (1992) which suggests that that the postmodern is characterised by an apocalyptic sense of crisis, and argues that there is in fact a strong relationship between the apocalyptic and the postmodern. It does so through an exploration of apocalyptic narratives and themes in five postmodern novels. It also draws on additional supporting material which includes literary and cultural theory and criticism, as well as historical theory. In using the novel as a medium through which to explore apocalyptic narratives, this thesis both assumes and affirms the novel‟s importance as a cultural artefact which reflects the concerns of the age in which it is written. I suggest that each of the novels discussed in this thesis demonstrates the close relationship between the apocalyptic and the postmodern through society‟s concern over the direction of history, the validity of meta-narratives, and other cultural phenomenon, such as war, the development of nuclear weaponry, and terrorism. Although the scope of this thesis is largely confined to the historical-cultural epoch known as postmodernity, it also draws on literature and cultural criticism from earlier periods so as to provide a more comprehensive framework for investigating apocalyptic ideas and their importance inside the postmodern novel. A number of modernist writers are therefore referred to or quoted throughout this thesis, as are other important thinkers from preceding periods whose ideas are especially pertinent. The present thesis was researched and written between March 2010 and August 2011 and is dedicated to all of those people who lost their lives in the apocalyptic events of the February 22nd Christchurch earthquake.
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.
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.
