In the aftermath of the 2010 and 2011 earthquakes, Christchurch, New Zealand is framed as a ‘transi- tional’ city, moving from its demolished past to a speculative future. The ADA Mesh Cities project asks what role media art and networks may play in the transitional city, and the practices of remembering, and reimagining space.
The Civil Defense understanding of the role of radio in disaster tends to focus on its value in providing essential information during and after the event. However this role is compromised when a station’s premises are destroyed, or rendered inaccessible by official cordons. The Radio Quake study examines how radio stations in Christchurch managed to resume broadcasting in the aftermath of the earthquake of February 22, 2011. In New Zealand’s heavily networked and commercialised radio environment there is a significant disparity between networked and independent stations’ broadcast commitments and resourcing. All Christchurch radio broadcasters were forced to improvise new locations, complex technical workarounds, and responsive styles of broadcasting after the February 22 earthquake, but the need to restore, or maintain, a full on air presence after the earthquake, rested entirely on often financially tenuous, locally owned and staffed independent radio: student, Iwi, community access, and local commercial stations. This paper will explore the resourcefulness and resilience of broadcasters riding out the aftershocks in hotels, motels, bedrooms, and a horse truck, using digital technologies in new ways to reimagine the practice of radio in Christchurch.
As part of the Canterbury Earthquake Digital Archive, this thesis documents the effects of the earthquakes on the musical life of Christchurch. It concentrates, primarily, on the classical music scene. The thesis examines the difficulties experienced by musical organisations, individual musicians, and teachers as they sought to bring music to the broken city, together with the measures that were necessary in order to overcome those difficulties. It examines how those organisations have worked to re-establish themselves in their particular musical fields. It charts the progress made, to date, along the path to recovery and offers suggestions regarding precautionary measures which, if instituted, could reduce the after-effects of a future disaster. Recognising that not all of the difficulties encountered were directly related to the earthquakes, this thesis also examines the effects on music and musicians, of decision making associated with the recovery effort. The thesis also demonstrates how a destructive event can provide the inspiration for creativity. It recognises the importance of music in maintaining a sense of normality for people, whether they realise it or not, as well as its influences in providing emotional relief in times of stress. Hopefully, it may become a useful guide to which other cities that may be faced with some natural disaster, could refer.
his poster presents the ongoing development of a 3D Canterbury seismic velocity model which will be used in physics-based hybrid broadband ground motion simulation of the 2010-2011 Canterbury earthquakes. Velocity models must sufficiently represent critical aspects of the crustal structure over multiple length scales which will influence the results of the simulations. As a result, numerous sources of data are utilized in order to provide adequate resolution where necessary. Figure 2: (a) Seismic reflection line showing P-wave velocities and significant geologic horizons (Barnes et al. 2011), and (b) Shear wave profiles at 10 locations (Stokoe et al. 2013). Figure 4: Cross sections of the current version of the Canterbury velocity model to depths of 10km as shown in Figure 1: (a) at a constant latitude value of -43.6˚, and (b) at a constant longitude value of 172.64˚. 3. Ground Surface and Geologic Horizon Models Figure 3: (a) Ground surface model derived from numerous available digital elevation models, and (b) Base of the Quaternary sediments derived from structural contours and seismic reflection line elevations. The Canterbury region has a unique and complex geology which likely has a significant impact on strong ground motions, in particular the deep and loose deposits of the Canterbury basin. The Canterbury basin has several implications on seismic wave phenomena such as long period ground motion amplification and wave guide effects. Using a realistic 3D seismic velocity model in physics-based ground motion simulation will implicitly account for such effects and the resultant simulated ground motions can be studied to gain a fundamental understanding of the salient ground motion phenomena which occurred during the Canterbury earthquakes, and the potential for repeat occurrences in the Canterbury region. Figure 1 shows the current model domain as a rectangular area between Lat=[-43.2˚,-44.0˚], and Lon=[171.5˚,173.0˚]. This essentially spans the area between the foot of the Southern Alps in the North West to Banks Peninsula in the East. Currently the model extends to a depth of 50km below sea level.
In the period between September 2010 and December 2011, Christchurch was shaken by a series of strong earthquakes including the MW7.1 4 September 2010, Mw 6.2 22 February 2011, MW6.2 13 June 2011 and MW6.0 23 December 2011 earthquakes. These earthquakes produced very strong ground motions throughout the city and surrounding areas that resulted in soil liquefaction and lateral spreading causing substantial damage to buildings, infrastructure and the community. The stopbank network along the Kaiapoi and Avon River suffered extensive damage with repairs projected to take several years to complete. This presented an opportunity to undertake a case-study on a regional scale of the effects of liquefaction on a stopbank system. Ultimately, this information can be used to determine simple performance-based concepts that can be applied in practice to improve the resilience of river protection works. The research presented in this thesis draws from data collected following the 4th September 2010 and 22nd February 2011 earthquakes. The stopbank damage is categorised into seven key deformation modes that were interpreted from aerial photographs, consultant reports, damage photographs and site visits. Each deformation mode provides an assessment of the observed mechanism of failure behind liquefaction-induced stopbank damage and the factors that influence a particular style of deformation. The deformation modes have been used to create a severity classification for the whole stopbank system, being ‘no or low damage’ and ‘major or severe damage’, in order to discriminate the indicators and factors that contribute to ‘major to severe damage’ from the factors that contribute to all levels of damage a number of calculated, land damage, stopbank damage and geomorphological parameters were analysed and compared at 178 locations along the Kaiapoi and Avon River stopbank systems. A critical liquefiable layer was present at every location with relatively consistent geotechnical parameters (cone resistance (qc), soil behaviour type (Ic) and Factor of Safety (FoS)) across the study site. In 95% of the cases the critical layer occurred within two times the Height of the Free Face (HFF,). A statistical analysis of the geotechnical factors relating to the critical layer was undertaken in order to find correlations between specific deformation modes and geotechnical factors. It was found that each individual deformation mode involves a complex interplay of factors that are difficult to represent through correlative analysis. There was, however, sufficient data to derive the key factors that have affected the severity of deformation. It was concluded that stopbank damage is directly related to the presence of liquefaction in the ground materials beneath the stopbanks, but is not critical in determining the type or severity of damage, instead it is merely the triggering mechanism. Once liquefaction is triggered it is the gravity-induced deformation that causes the damage rather than the shaking duration. Lateral spreading and specifically the depositional setting was found to be the key aspect in determining the severity and type of deformation along the stopbank system. The presence or absence of abandoned or old river channels and point bar deposits was found to significantly influence the severity and type of deformation. A review of digital elevation models and old maps along the Kaiapoi River found that all of the ‘major to severe’ damage observed occurred within or directly adjacent to an abandoned river channel. Whilst a review of the geomorphology along the Avon River showed that every location within a point bar deposit suffered some form of damage, due to the depositional environment creating a deposit highly susceptible to liquefaction.