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Research papers, The University of Auckland Library

Reinforced concrete (RC) frame buildings designed according to modern design standards achieved life-safety objectives during the Canterbury earthquakes in 2010-11 and the Kaikōura earthquake in 2016. These buildings formed ductile plastic hinges as intended and partial or total building collapse was prevented. However, despite the fact that the damage level of these buildings was relatively low to moderate, over 60% of multi-storey RC buildings in the Christchurch central business district were demolished due to insufficient insurance coverage and significant uncertainty in the residual capacity and repairability of those buildings. This observation emphasized an imperative need to improve understanding in evaluating the post-earthquake performance of earthquake-damaged buildings and to develop relevant post-earthquake assessment guidelines. This thesis focuses on improving the understanding of the residual capacity and repairability of RC frame buildings. A large-scale five-storey RC moment-resisting frame building was tested to investigate the behaviour of earthquake-damaged and repaired buildings. The original test building was tested with four ground motions, including two repeated design-level ground motions. Subsequently, the test building was repaired using epoxy injection and mortar patching and re-tested with three ground motions. The test building was assessed using key concepts of the ATC-145 post-earthquake assessment guideline to validate its assessment procedures and highlight potential limitations. Numerical models were developed to simulate the peak storey drift demand and identify damage locations. Additionally, fatigue assessment of steel reinforcement was conducted using methodologies as per ATC-145. The residual capacity of earthquake-strained steel reinforcement was experimentally investigated in terms of the residual fatigue capacity and the residual ultimate strain capacity. In addition to studying the fatigue capacity of steel reinforcement, the fatigue damage demand was estimated using 972 ground motion records. The deformation limit of RC beams and columns for damage control was explored to achieve a low likelihood of requiring performance-critical repair. A frame component test database was developed, and the deformation capacity at the initiation of lateral strength loss was examined in terms of the chord rotation, plastic rotation and curvature ductility capacity. Furthermore, the proposed curvature ductility capacity was discussed with the current design curvature ductility limits as per NZS 3101:2006.

Research papers, The University of Auckland Library

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.