On 22 February 2011, Ōtautahi Christchurch was struck by a devastating earthquake. The city was changed forever: lives were lost, buildings destroyed and much of the city’s infrastructure needed to be repaired or replaced. One of the unexpected outcomes of the process of recovery was the volume of archaeological work that was carried out in the city, including the substantial amount of buildings archaeology that was undertaken (that is, recording standing buildings prior to and during their demolition, using archaeological techniques). Amongst the numerous buildings recorded in this way were 101 houses from across the city (but concentrated in those areas hit hardest by the earthquakes), built between 1850 and 1900. This work yielded a wealth of data about what houses in the city looked like in the nineteenth century. It is this data that forms the core of my thesis, providing an opportunity to examine the question of what life was like in nineteenth century Christchurch through these houses and the people who built them. Christchurch was founded in 1850 by European settlers, most of whom were English. These people came to New Zealand to build a better life for themselves and their families. For many of them, this ‘better life’ included the possibility of owning their own home and, in some instances, building that house (or at least, commissioning its construction). The buildings archaeology data collected following the Canterbury earthquakes enabled a detailed analysis of what houses in the city looked like in the nineteenth century – their form, and both their external and internal appearance – and how this changed as the century progressed. A detailed examination of the lives of those who built 21 of the houses enabled me to understand why each house looked the way it did, and how the interplay of class, budget and family size and expectations (amongst other factors) shaped each house. It is through these life stories that more about life in Christchurch in the nineteenth century was revealed. These are stories of men and women, of success and failure, of businesses and bankruptcies. There are themes that run through the stories: class, appearances, death, religion, gender, improvement. Just as importantly, though, they reveal the everyday experiences of people as they set about building a new city. Thus, through the archaeology of the houses and the history of the people who built them, an earthquake has revealed more about life in nineteenth century Christchurch, as well as providing the means for a deeper understanding of the city’s domestic architecture.
At one minute to seven last night, two beams of light were switched on to commemorate the anniversary of the first Canterbury earthquake.
Catholic priest Father John O'Connor is of a mind that religion is not about to become extinct in NZ, especially in light of how people responded to last month's Christchurch earthquake.
A carving of angels on the wall of the Cathedral of the Blessed Sacrament is coloured by light coming from a stained-glass window, seen before the earthquakes.
Topics - scientists are wondering how the light gets out. Maybe there is a cosmic crack in everything, because in the Journal Astrophysical Letters it is noted that there is a huge deficit of light in the universe. Owners of heritage apartments in Auckland face becoming "impoverished" according to a high-profile real estate figure, because of new laws around earthquake strengthening. Martin Dunn of City Sales says the Building Amendment Bill is "overkill". He says those trying to sell heritage apartments are having a difficult time because of the new rules. Jim Anderton, has again raised the issue of whether the Christchurch Cathedral has to come down.
73 months after the earthquake that damaged it, the jetty at South New Brighton Domain is still not repaired. Seven years ago it was straight and level. Dull, flat and orrible (horrible) light meant this image was destined to become monochrome!
A photograph of an installation titled 'Halo', which is part of the LUXCITY event.
An artist's impression of the installation 'Altitude', created as part of the LUXCITY event. Tutors: David Turner, Lester Mismash
An artist's impression of the installation 'Altitude', created as part of the LUXCITY event. Tutors: David Turner, Lester Mismash
A photograph of an installation titled 'Murmur'. The installation is part of the LUXCITY event. Tutor: Craig Moller
An artist's impression of the installation 'Archrobatics', created as part of the LUXCITY event. Tutors: David Turner, Lester Mismash
An artist's impression of the installation 'Archrobatics', created as part of the LUXCITY event. Tutors: David Turner, Lester Mismash
They’re one of the most ubiquitous aspects of 19th century houses, a feature that functions as both a source of warmth and light and a decorative element in the interior design of the house (as so many things do). We … Continue reading →
It was a warm fair day on the 16th December 1919, a light nor’easterly breeze was blowing through the city. Much the same weather was being experienced throughout the whole of the Dominion. T…
Photograph captioned by Fairfax, "Vicar Nick Mountfort is opening the doors at St Johns Anglican church on Friday night for the community to come and light a candle in thanksgiving for surviving the recent earthquake".
A photograph of an installation titled 'In Your Face'. The installation is part of the LUXCITY event. Tutor: Fraser Horton
An artist's impression of the installation 'eLITE', created as part of the LUXCITY event. Tutors: Cameron Rowe, Kate Rogan
An artist's impression of the LUXCITY event. The image depicts installations on Gloucester and Colombo Streets. Student: Erica Austin
A photograph of crowds at the LUXCITY event.
An artist's impression of the installation 'In Your Face', created as part of the LUXCITY event. Tutor: Fraser Horton
An artist's impression of the installation 'Atmosphere', created as part of the LUXCITY event. Tutor: Sue Hillery
Photograph captioned by Fairfax, "Vicar Nick Mountfort is opening the doors at St Johns Anglican church on Friday night for the community to come and light a candle in thanksgiving for surviving the recent earthquake".
An artist's impression of the installation 'Tonic', created as part of the LUXCITY event. Tutors: Annabel Pretty, Cesar Wagner, Peter McPherson
An artist's impression of the installation 'In Your Face', created as part of the LUXCITY event. Tutor: Fraser Horton
In most design codes, infill walls are considered as non-structural elements and thus are typically neglected in the design process. The observations made after major earthquakes (Duzce 1999, L’Aquila 2009, Christchurch 2011) have shown that even though infill walls are considered to be non-structural elements, they interact with the structural system during seismic actions. In the case of heavy infill walls (i.e. clay brick infill walls), the whole behaviour of the structure may be affected by this interaction (i.e. local or global structural failures such as soft storey mechanism). In the case of light infill walls (i.e. non-structural drywalls), this may cause significant economical losses. To consider the interaction of the structural system with the ‘non-structural ’infill walls at design stage may not be a practical approach due to the complexity of the infill wall behaviour. Therefore, the purpose of the reported research is to develop innovative technological solutions and design recommendations for low damage non-structural wall systems for seismic actions by making use of alternative approaches. Light (steel/timber framed drywalls) and heavy (unreinforced clay brick) non-structural infill wall systems were studied by following an experimental/numerical research programme. Quasi-static reverse cyclic tests were carried out by utilizing a specially designed full scale reinforced concrete frame, which can be used as a re-usable bare frame. In this frame, two RC beams and two RC columns were connected by two un-bonded post tensioning bars, emulating a jointed ductile frame system (PRESSS technology). Due to the rocking behaviour at the beam-column joint interfaces, this frame was typically a low damage structural solution, with the post-tensioning guaranteeing a linear elastic behaviour. Therefore, this frame could be repeatedly used in all of the tests carried out by changing only the infill walls within this frame. Due to the linear elastic behaviour of this structural bare frame, it was possible to extract the exact behaviour of the infill walls from the global results. In other words, the only parameter that affected the global results was given by the infill walls. For the test specimens, the existing practice of construction (as built) for both light and heavy non-structural walls was implemented. In the light of the observations taken during these tests, modified low damage construction practices were proposed and tested. In total, seven tests were carried out: 1) Bare frame , in order to confirm its linear elastic behaviour. 2) As built steel framed drywall specimen FIF1-STFD (Light) 3) As built timber framed drywall specimen FIF2-TBFD (Light) 4) As built unreinforced clay brick infill wall specimen FIF3-UCBI (Heavy) 5) Low damage steel framed drywall specimen MIF1-STFD (Light) 6) Low damage timber framed drywall specimen MIF2-TBFD (Light) 7) Low damage unreinforced clay brick infill wall specimen MIF5-UCBI (Heavy) The tests of the as built practices showed that both drywalls and unreinforced clay brick infill walls have a low serviceability inter-storey drift limit (0.2-0.3%). Based on the observations, simple modifications and details were proposed for the low damage specimens. The details proved to be working effectively in lowering the damage and increasing the serviceability drift limits. For drywalls, the proposed low damage solutions do not introduce additional cost, material or labour and they are easily applicable in real buildings. For unreinforced clay brick infill walls, a light steel sub-frame system was suggested that divides the infill panel zone into smaller individual panels, which requires additional labour and some cost. However, both systems can be engineered for seismic actions and their behaviour can be controlled by implementing the proposed details. The performance of the developed details were also confirmed by the numerical case study analyses carried out using Ruaumoko 2D on a reinforced concrete building model designed according to the NZ codes/standards. The results have confirmed that the implementation of the proposed low damage solutions is expected to significantly reduce the non-structural infill wall damage throughout a building.
An artist's impression of the installation 'Etch-a-Sketch', created as part of the LUXCITY event. Tutors: Anna Tong, Chris Holmes
A montage of photographs of the installation 'Tonic', created as part of the LUXCITY event. Tutors: Annabel Pretty, Cesar Wagner, Peter McPherson
A photograph of an installation on the corner of Manchester Street and Worcester Street. The installation is titled "Archrobatics", and is part of the LUXCITY event.
Member of the public using the Dance-O-Mat, a dance floor on a vacant site with coin operated light and music player. This was a project by Gap Filler who wanted to give the Christchurch community a unique dance experience whilst bringing life to our broken city.
A photograph captioned, "In the 1930s the traffic in Gayhurst Road was so light that I can remember playing hockey and cricket with apple boxes for wickets. If a car or cart came along there was plenty of time to shift the boxes to let them past".