The objective of the study presented herein is to assess three commonly used CPT-based liquefaction evaluation procedures and three liquefaction severity index frameworks using data from the 2010–2011 Canterbury earthquake sequence. Specifically, post-event field observations, ground motion recordings, and results from a recently completed extensive geotechnical site investigation programme at selected strong motion stations (SMSs) in the city of Christchurch and surrounding towns are used herein. Unlike similar studies that used data from free-field sites, accelerogram characteristics at the SMS locations can be used to assess the performance of liquefaction evaluation procedures prior to their use in the computation of surficial manifestation severity indices. Results from this study indicate that for cases with evidence of liquefaction triggering in the accelerograms, the majority of liquefaction evaluation procedures yielded correct predictions, regardless of whether surficial manifestation of liquefaction was evident or not. For cases with no evidence of liquefaction in the accelerograms (and no observed surficial evidence of liquefaction triggering), the majority of liquefaction evaluation procedures predicted liquefaction was triggered. When all cases are used to assess the performance of liquefaction severity index frameworks, a poor correlation is shown between the observed severity of liquefaction surface manifestation and the calculated severity indices. However, only using those cases where the liquefaction evaluation procedures yielded correct predictions, there is an improvement in the correlation, with the Liquefaction Severity Number (LSN) being the best performing of the frameworks investigated herein. However scatter in the relationship between the observed and calculated surficial manifestation still remains for all liquefaction severity index frameworks.
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
Following a damaging earthquake, the immediate emergency response is focused on individual collapsed buildings or other "hotspots" rather than the overall state of damage. This lack of attention to the global damage condition of the affected region can lead to the reporting of misinformation and generate confusion, causing difficulties when attempting to determine the level of postdisaster resources required. A pre-planned building damage survey based on the transect method is recommended as a simple tool to generate an estimate of the overall level of building damage in a city or region. A methodology for such a transect survey is suggested, and an example of a similar survey conducted in Christchurch, New Zealand, following the 22 February 2011 earthquake is presented. The transect was found to give suitably accurate estimates of building damage at a time when information was keenly sought by government authorities and the general public. VoR - Version of Record
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.
