This thesis looks at the protocols museums and galleries adopt for the safeguarding of art, artefacts and cultural heritage. In particular, it analyses these procedures in relation to the 2010 and 2011 earthquakes in Christchurch, and considers how these events shaped the preventative conservation measures in place in museum and gallery institutions. Through gathering, assessing, and comparing this information about Christchurch’s institutions to disaster management best practices in national and international organisations, this thesis gauges the extent to which disaster management was changed in response to the events in Christchurch. This thesis first considers the growth in disaster management as a field, before examining what are considered best practices within this sector. Finally, it looks at specific institutions in Christchurch, including the Christchurch Art Gallery Te Puna o Waiwhetu, Canterbury Museum, and the Air Force Museum of New Zealand.
This article examines the representation of Christchurch, New Zealand, student radio station RDU in the exhibition Alternative Radio at the Canterbury Museum in 2016. With the intention of ‘making visible what is invisible’ about radio broadcasting, the exhibition articulated RDU as a point of interconnection between the technical elements of broadcasting, the social and musical culture of station staff and volunteers, and the broader local and national music scenes. This paper is grounded in observations of the exhibitions and associated public programmes, and interviews with the key participants in the exhibition including the museum's exhibition designer and staff from RDU, who acted as independent practitioners in collaboration with the museum. Alternative Radio also addressed the aftermath of the major earthquake of 22 February 2011, when RDU moved into a customised horse truck after losing its broadcast studio. The exhibition came about because of the cultural resonance of the post-quake story, but also emphasised the long history of the station before that event, and located this small student radio station in the broader heritage discourse of the Canterbury museum, activating the historical, cultural, and personal memories of the station's participants and audiences.
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.
In this thesis, focus is given to develop methodologies for rapidly estimating specific components of loss and downtime functions. The thesis proposes methodologies for deriving loss functions by (i) considering individual component performance; (ii) grouping them as per their performance characteristics; and (iii) applying them to similar building usage categories. The degree of variation in building stock and understanding their characteristics are important factors to be considered in the loss estimation methodology and the field surveys carried out to collect data add value to the study. To facilitate developing ‘downtime’ functions, this study investigates two key components of downtime: (i) time delay from post-event damage assessment of properties; and (ii) time delay in settling the insurance claims lodged. In these two areas, this research enables understanding of critical factors that influence certain aspects of downtime and suggests approaches to quantify those factors. By scrutinising the residential damage insurance claims data provided by the Earthquake Commission (EQC) for the 2010- 2011 Canterbury Earthquake Sequence (CES), this work provides insights into various processes of claims settlement, the time taken to complete them and the EQC loss contributions to building stock in Christchurch city and Canterbury region. The study has shown diligence in investigating the EQC insurance claim data obtained from the CES to get new insights and build confidence in the models developed and the results generated. The first stage of this research develops contribution functions (probabilistic relationships between the expected losses for a wide range of building components and the building’s maximum response) for common types of claddings used in New Zealand buildings combining the probabilistic density functions (developed using the quantity of claddings measured from Christchurch buildings), fragility functions (obtained from the published literature) and cost functions (developed based on inputs from builders) through Monte Carlo simulations. From the developed contribution functions, glazing, masonry veneer, monolithic and precast concrete cladding systems are found to incur 50% loss at inter-storey drift levels equal to 0.027, 0.003, 0.005 and 0.011, respectively. Further, the maximum expected cladding loss for glazing, masonry veneer, monolithic, precast concrete cladding systems are found to be 368.2, 331.9, 365.0, and 136.2 NZD per square meter of floor area, respectively. In the second stage of this research, a detailed cost breakdown of typical buildings designed and built for different purposes is conducted. The contributions of structural and non- structural components to the total building cost are compared for buildings of different usages, and based on the similar ratios of non-structural performance group costs to the structural performance group cost, four-building groups are identified; (i) Structural components dominant group: outdoor sports, stadiums, parkings and long-span warehouses, (ii) non- structural drift-sensitive components dominant group: houses, single-storey suburban buildings (all usages), theatres/halls, workshops and clubhouses, (iii) non-structural acceleration- sensitive components dominant group: hospitals, research labs, museums and retail/cold stores, and (iv) apartments, hotels, offices, industrials, indoor sports, classrooms, devotionals and aquariums. By statistically analysing the cost breakdowns, performance group weighting factors are proposed for structural, and acceleration-sensitive and drift-sensitive non-structural components for all four building groups. Thus proposed building usage groupings and corresponding weighting factors facilitate rapid seismic loss estimation of any type of building given the EDPs at storey levels are known. A model for the quantification of post-earthquake inspection duration is developed in the third stage of this research. Herein, phase durations for the three assessment phases (one rapid impact and two rapid building) are computed using the number of buildings needing inspections, the number of engineers involved in inspections and a phase duration coefficient (which considers the median building inspection time, efficiency of engineer and the number of engineers involved in each assessment teams). The proposed model can be used: (i) by national/regional authorities to decide the length of the emergency period following a major earthquake, and estimate the number of engineers required to conduct a post-earthquake inspection within the desired emergency period, and (ii) to quantify the delay due to inspection for the downtime modelling framework. The final stage of this research investigates the repair costs and insurance claim settlement time for damaged residential buildings in the 2010-2011 Canterbury earthquake sequence. Based on the EQC claim settlement process, claims are categorized into three groups; (i) Small Claims: claims less than NZD15,000 which were settled through cash payment, (ii) Medium Claims: claims less than NZD100,000 which were managed through Canterbury Home Repair Programme (CHRP), and (iii) Large Claims: claims above NZD100,000 which were managed by an insurance provider. The regional loss ratio (RLR) for greater Christchurch for three events inducing shakings of approximate seismic intensities 6, 7, and 8 are found to be 0.013, 0.066, and 0.171, respectively. Furthermore, the claim duration (time between an event and the claim lodgement date), assessment duration (time between the claim lodgement day and the most recent assessment day), and repair duration (time between the most recent assessment day and the repair completion day) for the insured residential buildings in the region affected by the Canterbury earthquake sequence is found to be in the range of 0.5-4 weeks, 1.5- 5 months, and 1-3 years, respectively. The results of this phase will provide useful information to earthquake engineering researchers working on seismic risk/loss and insurance modelling.
This article explores the scope of small-scale radio to create an auditory geography of place. It focuses on the short-term art radio project The Stadium Broadcast, which was staged in November 2014 in an earthquake-damaged sports stadium in Christchurch, New Zealand. Thousands of buildings and homes in Christchurch have been demolished since the February 22, 2011, earthquake, and by the time of the broadcast the stadium at Lancaster Park had been unused for three years and nine months, and its future was uncertain. The Stadium Broadcast constructed a radio memorial to the Park’s 130-year history through archival recordings, the memories of local people, observation of its current state, and a performed site-specificity. The Stadium Broadcast reflected on the spatiality of radio sounds and transmissions, memory, postdisaster transitionality, and the impermanence of place.
