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Images, Alexander Turnbull Library

The cartoon shows God sitting at his computer with an image of a devastated Christchurch on the screen. He is about to hit the 'smite' key. Text above reads 'God at his computer'. Context - Two more earthquakes rocked Christchurch on 13th June, following those of 4 September 2010 and 22 February 2011. The first magnitude 5.5 quake struck at 1pm, 10 kilometres east of Christchurch at Taylor's Mistake beach, at a depth of 11 kilometres, and sent people scrambling for cover. It was followed at 2.20pm by a more powerful magnitude 6 quake, centred 10 kilometres southeast of the city and 9km underground. Quantity: 1 digital cartoon(s).

Images, Alexander Turnbull Library

Two skeletal people sit in armchairs waist-deep in silt. The man is reading the newspaper and says 'The wait's over! The Land Report's due out dear!... DEAR?' He realises that his wife, whose bony hand clutches 'EQC update No. 37', is dead. Context - On Thursday 23 June Prime Minister John Key, Canterbury Earthquake Recovery Minister Gerry Brownlee and representatives from engineering consultants Tonkin & Taylor announced the first part of the Government's long-awaited land report that revealed the fate of up to 5000 quake-damaged homes. Quantity: 1 digital cartoon(s).

Research papers, University of Canterbury Library

This is an ethnographic case study, tracking the course of arguments about the future of a city’s central iconic building, damaged following a major earthquake sequence. The thesis plots this as a social drama and examines the central discourses of the controversy. The focus of the drama is the Anglican neo-Gothic Christ Church Cathedral, which stands in the central square of Christchurch, New Zealand. A series of major earthquakes in 2010/2011 devastated much of the inner city, destroying many heritage-listed buildings. The Cathedral was severely damaged and was declared by Government officials in 2011 to be a dangerous building, which needed to be demolished. The owners are the Church Property Trustees, chaired by Bishop Victoria Matthews, a Canadian appointed in 2008. In March 2012 Matthews announced that the Cathedral, because of safety and economic factors, would be deconstructed. Important artefacts were to be salvaged and a new Cathedral built, incorporating the old and new. This decision provoked a major controversy, led by those who claimed that the building could and should be restored. Discourses of history and heritage, memory, place and identity, ownership, economics and power are all identified, along with the various actors, because of their significance. However, the thesis is primarily concerned with the differing meanings given to the Cathedral. The major argument centres on the symbolic interaction between material objects and human subjects and the various ways these are interpreted. At the end of the research period, December 2015, the Christ Church Cathedral stands as a deteriorating wreck, inhabited by pigeons and rats and shielded by protective, colourfully decorated wooden fences. The decision about its future remains unresolved at the time of writing.

Images, Alexander Turnbull Library

Text at the top reads 'Bob's next speech?... The cartoon shows Christchurch Mayor Bob Parker making a speech - 'We shall fight on the beaches... We shall fight in the liquefaction... We shall fight in the cracks... We shall fight on the falling rocks and in the sinkholes... We shall fight in the portaloos... We shall fight in the sewage pipes... We shall fight in the polluted waters and subsided streets... We shall fight in the heritage buildings including the Dux de Lux... We shall NEVER surrender! A man leans over a fence and yells 'Hey Bob... How about a rewrite..."We shall raise the white flag and shall get the hell out!"' Context - The continuing earthquakes and aftershocks are causing serious problems in Christchurch, both practical and emotional. Many people are considering leaving the city. Quantity: 1 digital cartoon(s).

Images, Alexander Turnbull Library

The cartoon shows Prime Minister John Key as a surgeon in a blood-spattered white coat; he has just created a Frankenstein monster which has resulted in the Minister for Earthquake Recovery Gerry Brownlee and Mayor of Christchurch Bob Parker joined together in a single body named 'CERA". Gerry Brownlee clutches a huge spiked mallet and Bob Parker a paintbrush. Context - a new bill is being rushed through parliament to establish the Canterbury Earthquake Recovery Authority (Cera); it empowers it to lead reconstruction efforts in Christchurch. It gives Cera specific powers to get information from any source, to requisition and build on land and to carry out demolitions. It can also take over local authorities if they are not working effectively on recovery work. The monster suggests distinctly differing philosophies on how the work of rebuilding Christchurch should proceed. Quantity: 1 digital cartoon(s).

Images, Alexander Turnbull Library

It is the middle of the night and a man wearing his dressing-gown runs out of his house towards a portaloo clutching a toilet roll and saying 'Try me'. The neighbourhood is wrecked by earthquakes. On the ground is a newspaper with a headline that reads 'New Delhi athletes substandard accomodation facilities'. A second newspaper reads 'Given the choice many prefer to stay home'. Context: The first Christchurch earthquake shook the city on early morning of the 4th September 2010. The destruction of sewage infrastructure has meant portaloos and long-drops have become de rigeur as a consequence. There was a desperate rush to get the village ready for the influx of athletes before the opening of the Commonwealth Games on 3rd October 2010 and there was a fear that unsatisfactory sanitation systems might cause health and safety problems. Quantity: 1 digital cartoon(s).

Images, Alexander Turnbull Library

Minister for Christchurch Recovery, Gerry Brownlee drives a huge tractor among debris that spells out 'Due Process' and says 'In order to get Christchurch back on its feet again we have to bring parliament to its knees. Context - The minister says he is happy with the speed of the work being done, as he wants tomake sure those involved in the rebuild portion of the recovery effort are well prepared. The bill establishes the Canterbury Earthquake Recovery Authority (Cera) and empowers it to lead reconstruction efforts in Christchurch. It gives Cera specific powers to get information from any source, to requisition and build on land and to carry out demolitions. It can also take over local authorities if they are not working effectively on recovery work. Quantity: 1 digital cartoon(s).

Images, Alexander Turnbull Library

The cartoon shows the Minister for Earthquake Recovery, Gerry Brownlee, who wears a jacket with 'CERA' printed on it, reading from the 'Doomsday Book'. He reads 'The following suburbs and my hopes of a reputation as an effective minister, are now officially listed as munted...' Context - On 23rd June Prime Minister, John Key, officially announced which streets and suburbs in earthquake-ravaged Christchurch would be abandoned. For many residents, there has been too much delay and too little information regarding progress towards resolving questions about which land can or cannot be used for rebuilding for Gerry Brownlee's reputation to remain unsullied. Quantity: 1 digital cartoon(s).

Research papers, University of Canterbury Library

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.

Research papers, The University of Auckland Library

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.