Liquefaction-induced lateral spreading during earthquakes poses a significant hazard to the built environment, as observed in Christchurch during the 2010 to 2011 Canterbury Earthquake Sequence (CES). It is critical that geotechnical earthquake engineers are able to adequately predict both the spatial extent of lateral spreads and magnitudes of associated ground movements for design purposes. Published empirical and semi-empirical models for predicting lateral spread displacements have been shown to vary by a factor of <0.5 to >2 from those measured in parts of Christchurch during CES. Comprehensive post- CES lateral spreading studies have clearly indicated that the spatial distribution of the horizontal displacements and extent of lateral spreading along the Avon River in eastern Christchurch were strongly influenced by geologic, stratigraphic and topographic features.
The operation of telecommunication networks is critical during business as usual times, and becomes most vital in post-disaster scenarios, when the services are most needed for restoring other critical lifelines, due to inherent interdependencies, and for supporting emergency and relief management tasks. In spite of the recognized critical importance, the assessment of the seismic performance for the telecommunication infrastructure appears to be underrepresented in the literature. The FP6 QuakeCoRE project “Performance of the Telecommunication Network during the Canterbury Earthquake Sequence” will provide a critical contribution to bridge this gap. Thanks to an unprecedented collaboration between national and international researchers and highly experienced asset managers from Chorus, data and evidences on the physical and functional performance of the telecommunication network after the Canterbury Earthquakes 2010-2011 have been collected and collated. The data will be processed and interpreted aiming to reveal fragilities and resilience of the telecommunication networks to seismic events
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 paper Paul Millar outlines the development of the University of Canterbury Quakebox project, a collaborative venture between the UC CEISMIC Canterbury Earthquakes Digital Archive and the New Zealand Institute of Language Brain and Behaviour to preserve people’s earthquake stories for the purposes of research, teaching and commemoration. The project collected over 700 stories on high definition video, and Millar is now looking at using the corpus to underpin a longitudinal study of post-quake experience.
This article discusses the use of radio after major earthquakes in Christchurch, New Zealand, in 2010 and 2011. It draws on archival sources to retrospectively research post-quake audiences in the terms people used during and soon after the earthquakes through personal narratives and Twitter. Retrospective narratives of earthquake experiences affirm the value of radio for communicating the scale of disaster and comforting listeners during dislocation from safe home spaces. In the narratives radio is often compared with television, which signifies electricity supply and associated comfort but also visually confirms the city’s destruction. Twitter provides insights into radio use from within the disaster period, but its more global reach facilitates reflection on online and international radio from outside the disaster-affected area. This research demonstrates the value of archival audience research, and finds that the combination of online radio and Twitter enables a new form of participatory disaster spectatorship from afar.
The purpose of this assessment is to compare records of known inanga spawning sites in the waterways of Ōtautahi Christchurch from before and after the Canterbury earthquakes, with particular emphasis on information used in the design of planning methods for spawning site protection.
