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Images for fabric; more images...

Images, UC QuakeStudies

A photograph of a detail of one of the large-scale puppets created by Free Theatre Christchurch for Canterbury Tales. A toothbrush, toothpaste, and other household items are held in pockets, sewn onto netting fabric. Canterbury Tales was the main event of FESTA 2013.

Images, UC QuakeStudies

A photograph of a detail of one of the large-scale puppets created by Free Theatre Christchurch for Canterbury Tales. A fork, spoon, lighter, and other household items are held in pockets, sewn onto netting fabric. Canterbury Tales was the main event of FESTA 2013.

Images, UC QuakeStudies

A photograph of Jenny Cooper positioning paper mosaic designs on Crack'd for Christchurch's armchair artwork.Crack'd for Christchurch comments, "January 2014. Jenny Cooper begins the design of the chair 'fabric'. The chair has to be finished by September."

Images, UC QuakeStudies

A photograph of a Pacific print on fabric. The photograph was taken at the second annual Out of the Heart Pacific Women's Leadership Conference, held at Riccarton Racecourse on 21 May 2016. The conference was sponsored by All Right? and featured posters from the All Right? I am ... Identity project.

Research papers, University of Canterbury Library

Earthquake-triggered soil liquefaction caused extensive damage and heavy economic losses in Christchurch during the 2010-2011 Canterbury earthquakes. The most severe manifestations of liquefaction were associated with the presence of natural deposits of clean sands and silty sands of fluvial origin. However, liquefaction resistance of fines-containing sands is commonly inferred from empirical relationships based on clean sands (i.e. sands with less than 5% fines). Hence, existing evaluation methods have poor accuracy when applied to silty sands. Also, existing methods do not quantify appropriately the influence on liquefaction resistance of soil fabric and structure, which are unique to a specific depositional environment. This study looks at the influence of fines content, soil fabric (i.e. arrangement of soil particles) and structure (e.g. layering, segregation) on the undrained cyclic behaviour and liquefaction resistance of fines-containing sandy soils from Christchurch using Direct Simple Shear (DSS) tests on soil specimens reconstituted in the laboratory with the water sedimentation technique. The poster describes experimental procedures and presents early test results on two sands retrieved at two different sites in Christchurch.

Research papers, University of Canterbury Library

In 2010 and 2011 a series of earthquakes hit the central region of Canterbury, New Zealand, triggering widespread and damaging liquefaction in the area of Christchurch. Liquefaction occurred in natural clean sand deposits, but also in silty (fines-containing) sand deposits of fluvial origin. Comprehensive research efforts have been subsequently undertaken to identify key factors that influenced liquefaction triggering and severity of its manifestation. This research aims at evaluating the effects of fines content, fabric and layered structure on the cyclic undrained response of silty soils from Christchurch using Direct Simple Shear (DSS) tests. This poster outlines preliminary calibration and verification DSS tests performed on a clean sand to ensure reliability of testing procedures before these are applied to Christchurch soils.

Research papers, University of Canterbury Library

Earthquake-triggered soil liquefaction caused extensive damage and heavy economic losses in Christchurch during the 2010-2011 Canterbury earthquakes. The most severe manifestations of liquefaction were associated with the presence of natural deposits of clean sands and silty sands of fluvial origin. However, liquefaction resistance of fines-containing sands is commonly inferred from empirical relationships based on clean sands (i.e. sands with less than 5% fines). Hence, existing evaluation methods have poor accuracy when applied to silty sands. The liquefaction behaviour of Christchurch fines-containing (silty) sands is investigated through a series of Direct Simple Shear (DSS) tests. This type of test better resembles earthquake loading conditions in soil deposits compared to cyclic triaxial tests. Soil specimens are reconstituted in the laboratory with the water sedimentation technique. This preparation method yields soil fabrics similar to those encountered in fluvial soil deposits, which are common in the Christchurch area. Test results provide preliminary indications on how void ratio, relative density, preparation method and fines content influence the cyclic liquefaction behaviour of sand-silt mixtures depending on the properties of host sand and silt.

Research papers, The University of Auckland Library

The Canterbury earthquake sequence of 2010-2011 wrought ruptures in not only the physical landscape of Canterbury and Christchurch’s material form, but also in its social, economic, and political fabrics and the lives of Christchurch inhabitants. In the years that followed, the widespread demolition of the CBD that followed the earthquakes produced a bleak landscape of grey rubble punctuated by damaged, abandoned buildings. It was into this post-earthquake landscape that Gap Filler and other ‘transitional’ organisations inserted playful, creative, experimental projects to bring life and energy back into the CBD. This thesis examines those interventions and the development of the ‘Transitional Movement’ between July 2013 and June 2015 via the methods of walking interviews and participant observation. This critical period in Christchurch’s recovery serves as an example of what happens when do-it-yourself (DIY) urbanism is done at scale across the CBD and what urban experimentation can offer city-making. Through an understanding of space as produced, informed by Lefebvre’s thinking, I explore how these creative urban interventions manifested a different temporality to orthodox planning and demonstrate how the ‘soft’ politics of these interventions contain the potential for gentrification and also a more radical politics of the city, by creating an opening space for difference.

Research papers, Lincoln University

Within four weeks of the September 4 2010 Canterbury Earthquake a new, loosely-knit community group appeared in Christchurch under the banner of “Greening the Rubble.” The general aim of those who attended the first few meetings was to do something to help plug the holes that had already appeared or were likely to appear over the coming weeks in the city fabric with some temporary landscaping and planting projects. This article charts the first eighteen months of Greening the Rubble and places the initiative in a broader context to argue that although seismic events in Christchurch acted as a “call to palms,” so to speak, the city was already in need of some remedial greening. It concludes with a reflection on lessons learned to date by GTR and commentary on the likely issues ahead for this new mini-social-environmental movement in the context of a quake-affected and still quake-prone major New Zealand city. One of the key lessons for GTR and all of those involved in Christchurch recovery activities to date is that the city is still very much in the middle of the event and is to some extent a laboratory for seismic and agency management studies alike.

Research papers, The University of Auckland Library

As part of a seismic retrofit scheme, surface bonded glass fiber-reinforced polymer (GFRP) fabric was applied to two unreinforced masonry (URM) buildings located in Christchurch, New Zealand. The unreinforced stone masonry of Christchurch Girls’ High School (GHS) and the unreinforced clay brick masonry Shirley Community Centre were retrofitted using surface bonded GFRP in 2007 and 2009, respectively. Much of the knowledge on the seismic performance of GFRP retrofitted URM was previously assimilated from laboratory-based experimental studies with controlled environments and loading schemes. The 2010/2011 Canterbury earthquake sequence provided a rare opportunity to evaluate the GFRP retrofit applied to two vintage URM buildings and to document its performance when subjected to actual design-level earthquake-induced shaking. Both GFRP retrofits were found to be successful in preserving architectural features within the buildings as well as maintaining the structural integrity of the URM walls. Successful seismic performance was based on comparisons made between the GFRP retrofitted GHS building and the adjacent nonretrofitted Boys’ High School building, as well as on a comparison between the GFRP retrofitted and nonretrofitted walls of the Shirley Community Centre building. Based on detailed postearthquake observations and investigations, the GFRP retrofitted URM walls in the subject buildings exhibited negligible to minor levels of damage without delamination, whereas significant damage was observed in comparable nonretrofitted URM walls. AM - Accepted Manuscript

Research papers, The University of Auckland Library

The seismic tremor that shook Christchurch on February 22, 2011, not only shattered buildings but also the spirit of the city’s residents. Amidst the ruins, this design-focused thesis unravels two intertwining narratives, each essential to the city’s resurrection. At its core, this thesis probes the preservation of Christchurch’s memory and character, meticulously chronicling the lost heritage architecture and the subsequent urban metamorphosis. Beyond bricks and mortar, it also confronts the silent aftershocks - the pervasive mental health challenges stemming from personal losses and the disfigured cityscape. As a native of Christchurch, intimately connected to its fabric, my lens reflects not just on the architectural reconstruction but also on the emotional reconstruction. My experience as an autistic individual, a recently discovered facet of my identity, infuses this design journey with a distinct prism through which I perceive and interact with the world. The colourful sketches that drive the design process aren’t mere illustrations but manifestations of my interpretation of spaces and concepts, evoking joy and vitality—a testament to embracing diversity in design. Drawing parallels between healing my own traumas with my colourful and joyful neurodivergent worldview, I’ve woven this concept into proposals aimed at healing the city through whimsy, joy, and vibrant colours. Personal experiences during and post-earthquakes profoundly shape my design proposals. Having navigated the labyrinth of my own mental health amid the altered cityscape, I seek avenues for reconciliation, both personal and communal. The vibrant sketches and designs presented in this thesis encapsulate this vision—a fusion of vivid, unconventional interpretations and a dedication to preserving the essence of the original cityscape while still encouraging movement into the future.

Research papers, The University of Auckland Library

This thesis revisits the topic of earthquake recovery in Christchurch City more than a decade after the Canterbury earthquakes. Despite promising visions of a community reconnected and a sustainable and liveable city, significant portions of the city’s core – the Red Zone – remain dilapidated and “eerily empty”. At the same time, new developments in other areas have proven to be alienated or underutilised. Currently, the Canterbury Earthquake Recovery Authority’s plans for the rebuilding highlight the delivery of more residential housing to re-populate the city centre. However, prevalent approaches to housing development in Christchurch are ineffective for building an inclusive and active community. Hence, the central inquiry of the thesis is how the development of housing complexes can revitalise the Red Zone within the Christchurch city centre. The inquiry has been carried out through a research-through-design methodology, recognising the importance of an in-depth investigation that is contextualised and combined with the intuition and embodied knowledge of the designer. The investigation focuses on a neglected site in the Red Zone in the heart of Christchurch city, with significant Victorian and Edwardian Baroque heritage buildings, including Odeon Theatre, Lawrie & Wilson Auctioneers, and Sol Square, owned by The Regional Council Environment Canterbury. The design inquiry argues, develops, and is carried through a place-assemblage lens to housing development for city recovery, which recognizes the significance of socially responsive architecture that explores urban renewal by forging connections within the social network. Therefore, place-assemblage criteria and methods for developing socially active and meaningful housing developments are identified. Firstly, this thesis argues that co-living housing models are more focused on people relations and collective identity than the dominant developer-driven housing rebuilds, as they prioritise conduits for interaction and shared social meaning and practices. Secondly, the adaptive reuse of derelict heritage structures is proposed to reinvigorate the urban fabric, as heritage is seen to be conceived as and from a social assemblage of people. The design is realised by the principles outlined in the ICOMOS charter, which involves incorporating the material histories of existing structures and preserving the intangible heritage of the site by ensuring the continuity of cultural practices. Lastly, design processes and methods are also vital for place-sensitive results, which pay attention to the site’s unique characteristics to engage with local stakeholders and communities. The research explores place-assemblage methods of photographic extraction, the drawing of story maps, precedent studies, assemblage maps, bricolages, and paper models, which show an assembly of layers that piece together the existing heritage, social conduits, urban commons and housing to conceptualise the social network within its place.