Courage has remained an elusive concept to define despite having been in the English lexicon for hundreds of years. The Canterbury earthquake sequence that began in 2010 provided a unique context in which to undertake research that would contribute to further conceptualisation of courage. This qualitative study was undertaken in Christchurch, New Zealand, with adults over the age of 70 who experienced the Canterbury earthquakes and continued to live in the Canterbury region. The population group was chosen because it is an under researched group in post-disaster environments, and one that offers valuable insights because of members' length and breadth of life experiences, and likely reminiscent and reflective life stage. A constructivist grounded theory approach was utilised, with data collected through semi-structured focus groups and individual key informant interviews. The common adverse experience of the participants initially discussed was the earthquakes, which was followed by exploration of courage in their other lived experiences. Through an inductive process of data analysis, conceptual categories were identified, which when further analysed and integrated, contributed to a definition of courage. The definition was subsequently discussed with social work professionals who had remained working in the Canterbury region after experiencing the earthquakes. From the examples and the actions described within these, a process model was developed to support the application of courage. The model includes five steps: recognising an adverse situation, making a conscious decision to act, accessing sources of motivation, mastering emotion and taking action. Defining and utilising courage can help people to face adversity associated with everyday life and ultimately supports self-actualisation and self-development. Recommendations from the study include teaching about courage within social work education, utilising the process model within supervision, intentionally involving older adults in emergency management planning and developing specific social work tasks in hospital settings following a disaster.
Following the 2010/2011 Canterbury earthquakes a detailed campaign of door to door assessments was conducted in a variety of areas of Christchurch to establish the earthquake performance of residential dwellings having masonry veneer as an external cladding attached to a lightweight timber framing system. Specifically, care was taken to include regions of Christchurch which experienced different levels of earthquake shaking in order to allow comparison between the performance of different systems and different shaking intensities. At the time of the inspections the buildings in the Christchurch region had been repeatedly subjected to large earthquakes, presenting an opportunity for insight into the seismic performance of masonry veneer cladding. In total just under 1100 residential dwellings were inspected throughout the wider Christchurch area, of which 24% were constructed using the older nail-on veneer tie system (prior to 1996) and 76% were constructed using screw fixed ties to comply with the new 1996 standards revision (post-1996), with 30% of all inspected houses being of two storey construction. Of the inspected dwellings 27% had some evidence of liquefaction, ground settlement or lateral spreading. Data such as damage level, damage type, crack widths, level of repair required and other parameters were collected during the survey. A description of the data collection processes and a snapshot of the analysis results are presented within. http://15ibmac.com/home/
Seismic retrofitting of unreinforced masonry buildings using posttensioning has been the topic of many recent experimental research projects. However, the performance of such retrofit designs in actual design level earthquakes has previously been poorly documented. In 1984 two stone masonry buildings within The Arts Centre of Christchurch received posttensioned seismic retrofits, which were subsequently subjected to design level seismic loads during the 2010/2011 Canterbury earthquake sequence. These 26 year old retrofits were part of a global scheme to strengthen and secure the historic building complex and were subject to considerable budgetary constraints. Given the limited resources available at the time of construction and the current degraded state of the steel posttension tendons, the posttensioned retrofits performed well in preventing major damage to the overall structure of the two buildings in the Canterbury earthquakes. When compared to other similar unretrofitted structures within The Arts Centre, it is demonstrated that the posttensioning significantly improved the in-plane and out-of-plane wall strength and the ability to limit residual wall displacements. The history of The Arts Centre buildings and the details of the Canterbury earthquakes is discussed, followed by examination of the performance of the posttension retrofits and the suitability of this technique for future retrofitting of other historic unreinforced masonry buildings. http://www.aees.org.au/downloads/conference-papers/
Seismic retrofitting of unreinforced masonry buildings using posttensioning has been the topic of many recent experimental research projects. However, the performance of such retrofit designs in actual design level earthquakes has previously been poorly documented. In 1984 two stone masonry buildings within The Arts Centre of Christchurch received posttensioned seismic retrofits, which were subsequently subjected to design level seismic loads during the 2010/2011 Canterbury earthquake sequence. These 26 year old retrofits were part of a global scheme to strengthen and secure the historic building complex and were subject to considerable budgetary constraints. Given the limited resources available at the time of construction and the current degraded state of the steel posttension tendons, the posttensioned retrofits performed well in preventing major damage to the overall structure of the two buildings in the Canterbury earthquakes. When compared to other similar unretrofitted structures within The Arts Centre, it is demonstrated that the posttensioning significantly improved the in-plane and out-of-plane wall strength and the ability to limit residual wall displacements. The history of The Arts Centre buildings and the details of the Canterbury earthquakes is discussed, followed by examination of the performance of the posttension retrofits and the suitability of this technique for future retrofitting of other historic unreinforced masonry buildings. http://www.aees.org.au/downloads/conference-papers/2013-2/
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.
This thesis is a creative and critical exploration of how transmedia storytelling meshes with political documentary’s nature of representing social realities and goals to educate and promote social change. I explore this notion through Obrero (“worker”), my independently produced transmedia and transjournalistic documentary project that explores the conditions and context of the Filipino rebuild workers who migrated to Christchurch, New Zealand after the earthquake in 2011. While the project should appeal to New Zealanders, it is specifically targeted at an audience from the Philippines. Obrero began as a film festival documentary that co-exists with strategically refashioned Web 2.0 variants, a social network documentary and an interactive documentary (i-doc). Using data derived from the production and circulation of Obrero, I interrogate how the documentary’s variants engage with differing audiences and assess the extent to which this engagement might be effective. This thesis argues that contemporary documentary needs to re-negotiate established film aesthetics and practices to adapt in the current period of shifting technologies and fragmented audiences. Documentary’s migration to new media platforms also creates a demand for filmmakers to work with a transmedia state of mind—that is, the capacity to practise the old canons of documentary making while comfortably adjusting to new media production praxis, ethics, and aesthetics. Then Obrero itself, as the creative component of this thesis, becomes an instance of research through creative practice. It does so in two respects: adding new knowledge about the context, politics, and experiences of the Filipino workers in New Zealand; and offering up a broader model for documentary engagement, which I analyse for its efficacy in the digital age.
This study is a qualitative investigation into the decision-making behaviour of commercial property owners (investors and developers) who are rebuilding in a city centre after a major disaster. In 2010/2011, Christchurch, the largest city in the South Island of New Zealand, was a site of numerous earthquakes. The stronger earthquakes destroyed many buildings and public infrastructure in the commercial inner city. As a result, affected property owners lost all or most of their buildings, a significant proportion of which were old and in the last phase of their life span. They had to negotiate pay-outs with insurance companies and decide, once paid out, whether they should rebuild in Christchurch or sell up and invest elsewhere. The clear majority of those who decided to reinvest in and rebuild the city are ‘locals’, almost all of whom had no prior experience of property development. Thus, in a post-disaster environment, most of these property owners have transitioned from being just being passive investors to active property developers. Their experience was interpreted using primary data gathered from in-depth and semi-structured interviews with twenty-one “informed property people” who included commercial property owners; property agents or consultants; representatives of public-sector agencies and financial institutions. The study findings showed that the decision-making behaviour of property investors and developers rebuilding after a major disaster did not necessarily follow a strict financial or profit motive as prescribed in the mainstream or neo-classical economics property literature. Rather, their decision-making behaviour has been largely shaped by emotional connections and external factors associated with their immediate environment. The theoretical proposition emerging from this study is that after a major disaster, local urban property owners are faced with two choices “to stay” or “to go”. Those who decide to stay and rebuild are typically very committed individuals who have a feeling of ownership, belonging and attachment to the city in which they live and work. These are people who will often take the lead in commercial property development, proactively making decisions and seeking positive investment outcomes for themselves which in turn result in revitalised commercial urban precincts.
While societal messages can encourage an unhealthy strive for perfection, the notion of embracing individual flaws and openly displaying vulnerabilities can appear foreign and outlandish. However, when fallibility is acknowledged and imperfection embraced, intimate relationships built on foundations of acceptance, trust and understanding can be established. In an architectural context, similar deep-rooted connections can be formed between a people and a place through the retention of layers of historical identity. When a building is allowed to age with blemishes laid bare for all to see, an architectural work can exhibit a sense of 'humanising vulnerability' where the bruises and scars it bears are able to visually communicate its contextual narrative. This thesis explores the notion of designing to capitalise on past decay through revitalisation of the former Wood Brothers Flour Mill in Addington, Christchurch (1891). Known as one of the city's last great industrial buildings, the 130-year-old structure remains hugely impressive due to its sheer size and scale despite being abandoned and subject to vandalism for a number of years. Its condition of obsolescence ensured the retention of visible signs of wear and tear in addition to the extensive damage caused by the 2010-12 Canterbury earthquakes. In offering a challenge to renovation and reconstruction as a means of conservation, this thesis asks if 'doing less' has the potential to 'do more'. How can an understanding of architecture as an ongoing process inform a design approach to celebrate ageing and patina? While the complex is undergoing redevelopment at the time of writing, the design project embraces the condition of the historic buildings in the immediate aftermath of the earthquakes and builds upon the patina of the mill and adjacent flour and grain store in developing a design for their adaptation as a micro-distillery. Research into the traditional Japanese ideology of wabi-sabi and its practical applications form the basis for a regenerative design approach which finds value in imperfection, impermanence and incompleteness. The thesis combines a literature review, precedent review and site analysis together with a design proposal. This thesis shows that adaptive reuse projects can benefit from an active collaboration with the processes of decay. Instead of a mindset where an architectural work is considered the finished article upon completion of construction, an empathetic and sensitive design philosophy is employed in which careful thought is given to the continued preservation and evolution of a structure with the recognition that evidence of past wear, tear, patina and weathering can all contribute positively to a building's future. In this fashion, rather than simply remaining as relics of the past, buildings can allow the landscape of their urban context to shape and mould them to ensure that their architectural experience can continue to be enjoyed by generations to come.
