The Avon River and the Avon-Heathcote Estuary/Ihutai are features of the urban environment of Christchurch City and are popular for recreational and tourist activities. These include punting, rowing, organized yachting, water skiing, shoreline walking, bird watching, recreational fishing and aesthetic appreciation. The Canterbury earthquakes of 2010 and 2011 significantly affected the estuarine and river environments, affecting both the valued urban recreation resources and infrastructure. The aim of the research is to evaluate recreational opportunities using a questionnaire, assess levels of public participation in recreation between winter 2014 and summer 2014-2015 and evaluate the quality of recreational resources. The objective is to determine the main factors influencing recreational uses before and after the February 2011 earthquake and to identify future options for promoting recreational activities. Resource evaluation includes water quality, wildlife values, habitats, riparian strip and the availability of facilities and infrastructure. High levels of recreational participation usually occurred at locations that provided many facilities along with their suitability for family activities, scenic beauty, relaxation, amenities and their proximity to residences. Some locations included more land-based activities, while some included more water-based activities. There were greater opportunities for recreation in summer compared to winter. Activities that were negatively affected by the earthquake such as rowing, kayaking and sailing have resumed. But activities at some places may be limited due to the lack of proper tracks, jetty, public toilets and other facilities and infrastructure. Also, some locations had high levels of bacterial pollution, excessive growth of aquatic plants and a low number of amenity values. These problems need to be solved to facilitate recreational uses. In recovering from the earthquake, the enhancement of recreation in the river and the Estuary will lead to a better quality of life and the improved well-being and psychological health of Christchurch residents. It was concluded that the Avon River and the Avon-Heathcote Estuary/Ihutai continue to provide various opportunities of recreation for users.
Understanding posttraumatic stress disorder (PTSD) symptoms in police first-responders is an underdeveloped field. Using a cross-sectional survey, this study investigated demographic and occupational characteristics, coping resources and processes, along with first-responder roles and consequences 18 months following a disaster. Hierarchical linear regression (N = 576) showed that greater symptom levels were significantly positively associated with negative emotional coping (β = .31), a communications role (β = .08) and distress following exposure to resource losses (β = .14), grotesque scenes (β = .21), personal harm (β = .14), and concern for significant others (β = .17). Optimism alone was negatively associated (β=−15), with the overall model being a modest fit (adjusted R2 = .39). The findings highlight variables for further study in police.
The standard way in which disaster damages are measured involves examining separately the number of fatalities, of injuries, of people otherwise affected, and the financial damage that natural disasters cause. Here, we implement a novel way to aggregate these separate measures of disaster impact and apply it to two catastrophic events from 2011: the Christchurch (New Zealand) earthquakes and the Greater Bangkok (Thailand) flood. This new measure, which is similar to the World Health Organization's calculation of Disability Adjusted Life Years (DALYs) lost due to the burden of diseases and injuries, is described in detail in Noy [7]. It allows us to conclude that New Zealand lost 180 thousand lifeyears as a result of the 2011 events, and Thailand lost 2644 thousand lifeyears. In per capita terms, the loss is similar, with both countries losing about 15 days per person due to the 2011 catastrophic events in these two countries.
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Following the devastating 1931 Hawke's Bay earthquake, buildings in Napier and surrounding areas in the Hawke's Bay region were rebuilt in a comparatively homogenous structural and architectural style comprising the region's famous Art Deco stock. These interwar buildings are most often composed of reinforced concrete two-way space frames, and although they have comparatively ductile detailing for their date of construction, are often expected to be brittle, earthquake-prone buildings in preliminary seismic assessments. Furthermore, the likelihood of global collapse of an RC building during a design-level earthquake became an issue warranting particular attention following the collapse of multiple RC buildings in the February 22, 2011 Christchurch earthquake. Those who value the architectural heritage and future use of these iconic Art Deco buildings - including building owners, tenants, and city officials, among others - must consider how they can be best preserved and utilized functionally given the especially pressing implications of relevant safety, regulatory, and economic factors. This study was intended to provide information on the seismic hazard, geometric weaknesses, collapse hazards, material properties, structural detailing, empirically based vulnerability, and recommended analysis approaches particular to Art Deco buildings in Hawke's Bay as a resource for professional structural engineers tasked with seismic assessments and retrofit designs for these buildings. The observed satisfactory performance of similar low-rise, ostensibly brittle RC buildings in other earthquakes and the examination of the structural redundancy and expected column drift capacities in these buildings, led to the conclusion that the seismic capacity of these buildings is generally underrated in simple, force-based assessments.
Following a damaging earthquake, the immediate emergency response is focused on individual collapsed buildings or other "hotspots" rather than the overall state of damage. This lack of attention to the global damage condition of the affected region can lead to the reporting of misinformation and generate confusion, causing difficulties when attempting to determine the level of postdisaster resources required. A pre-planned building damage survey based on the transect method is recommended as a simple tool to generate an estimate of the overall level of building damage in a city or region. A methodology for such a transect survey is suggested, and an example of a similar survey conducted in Christchurch, New Zealand, following the 22 February 2011 earthquake is presented. The transect was found to give suitably accurate estimates of building damage at a time when information was keenly sought by government authorities and the general public. VoR - Version of Record
Seismic retrofitting of unreinforced masonry buildings using posttensioning has been the topic of many recent experimental research projects. However, the performance of such retrofit designs in actual design level earthquakes has previously been poorly documented. In 1984 two stone masonry buildings within The Arts Centre of Christchurch received posttensioned seismic retrofits, which were subsequently subjected to design level seismic loads during the 2010/2011 Canterbury earthquake sequence. These 26 year old retrofits were part of a global scheme to strengthen and secure the historic building complex and were subject to considerable budgetary constraints. Given the limited resources available at the time of construction and the current degraded state of the steel posttension tendons, the posttensioned retrofits performed well in preventing major damage to the overall structure of the two buildings in the Canterbury earthquakes. When compared to other similar unretrofitted structures within The Arts Centre, it is demonstrated that the posttensioning significantly improved the in-plane and out-of-plane wall strength and the ability to limit residual wall displacements. The history of The Arts Centre buildings and the details of the Canterbury earthquakes is discussed, followed by examination of the performance of the posttension retrofits and the suitability of this technique for future retrofitting of other historic unreinforced masonry buildings. http://www.aees.org.au/downloads/conference-papers/
With origins in the South Bronx area of New York in the early 1970s, hip-hop culture is now produced and consumed globally. While hip-hop activities can be varied, hip-hop is generally considered to have four forms or “elements”: DJing, MCing, b-boying/b-girling, and graffiti. Although all four elements of hip-hop have become a part of many youth work initiatives across the globe, public debate and controversy continue to surround hip-hop activities. Very little research and literature has explored the complexities involved in the assembling of hip-hop activities in youth work sites of practice using these hip-hop elements. This study attends to the gap in hip-hop and human service literature by tracing how hip-hop activities were assembled in several sites of youth work activity in Christchurch, New Zealand. Actor-network theory (ANT) is the methodological framework used to map the assemblage of hip-hop-youth work activities in this study. ANT follows how action is distributed across both human and non-human actors. By recognising the potential agency of “things”, this research traces the roles played by human actors, such as young people and youth workers, together with those of non-human actors such as funding documents, social media, clothing, and youth venue equipment. This ethnographic study provides rich descriptions or “snapshots” of some of the key socio-material practices that shaped the enactment of hip-hop-youth work activities. These are derived from fieldwork undertaken between October 2009 and December 2011, where participant observation took place across a range of sites of hip-hop-youth work activity. In addition to this fieldwork, formal interviews were undertaken with 22 participants, the majority being youth workers, young people, and youth trust administrators. The ANT framework reveals the complexity of the task of assembling hip-hop in youth work worlds. The thesis traces the work undertaken by both human and non-human actors in generating youth engagement in hip-hop-youth work activities. Young people’s hip-hop interests are shown to be varied, multiple, and continually evolving. It is also shown how generating youth interest in hip-hop-youth work activities involved overcoming young people’s indifference or lack of awareness of the hip-hop resources a youth trust had on offer. Furthermore, the study highlights where hip-hop activities were edited or “tinkered” with to avoid hip-hop “bads”. The thesis also unpacks how needed resources were enlisted, and how funders’ interests were translated into supporting hip-hop groups and activities. By tracing the range of actors mobilised to enact hip-hop-youth work activities, this research reveals how some youth trusts could avoid having to rely on obtaining government funds for their hip-hop activities. The thesis also includes an examination of one youth trust’s efforts to reconfigure its hip-hop activities after the earthquakes that struck Christchurch city in 2010 and 2011. Working both in and on the world, the text that is this thesis is also understood as an intervention. This study constitutes a deliberate attempt to strengthen understandings of hip-hop as a complex, multiple, and fluid entity. It therefore challenges traditional media and literature representations that simplify and thus either stigmatise or celebrate hip-hop. As such, this study opens up possibilities to consider the opportunities, as well as the complexities of assembling hip-hop in youth work sites of practice.
Canterbury, New Zealand, was struck by two major earthquakes in 2010 and 2011. Using a dyadic and developmental perspective, the current thesis first aimed to determine how the experience of earthquake-related stressors (including loss of material resources, trauma exposure, and ongoing earthquake-related stressors) and stress (posttraumatic stress symptoms) impacted individuals’ intimate relationship quality (Part 1). Data were collected from a sample of 99 couples at four time points over a period of approximately 15 months, with Time 1 completed 14 months after the 2010 earthquake (eight months post the 2011 earthquake). Data were analysed using moderated growth curve modelling in an Actor-Partner Interdependence Model framework. In line with expectations, posttraumatic stress symptoms were the strongest predictors of relationship quality. More specifically, individuals’ (actor) posttraumatic stress symptoms and their partner’s posttraumatic stress symptoms had an adverse effect on their relationship quality at Time 1. Demonstrating the importance of taking a developmental perspective, the effect of partner posttraumatic stress symptoms changed over time. Although higher partner posttraumatic stress symptoms were associated with worse relationship quality in individuals (actors) at Time 1, this was no longer the case at Time 4. Differences were also found between men and women’s actor posttraumatic stress symptom slopes across time. Using the same data and analyses, Part 2 built on these findings by investigating the role of a possible posttrauma resource available within the relationship – support exchanges. Overall, results showed that individuals were protected from any adverse effects that posttraumatic stress symptoms had on relationship quality if they had more frequent support exchanges in the relationship, however, differences between men and women and slopes across time were found. Although not the case initially, individuals’ relationship quality was worse in the longer-term if their partner reported receiving lower support from them when they were experiencing high posttraumatic stress symptoms. Results also suggested that although women coped better (as evidenced through slightly better relationship quality) with higher symptoms and lower support than men initially, these efforts diminished over time. Furthermore, men appeared to be less able to cope (i.e., had worse relationship quality) with their partner’s stress when they were not receiving frequent support. Contrary to expectations, negative exchanges in the relationship did not exacerbate any adverse effects that posttraumatic stress symptoms (experienced by either individuals or their partner) had on an individuals’ relationship quality. The theoretical and practical implications and applications of these findings are discussed.
A Transitional Imaginary: Space, Network and Memory in Christchurch is the outcome and the record of a particular event: the coming together of eight artists and writers in Ōtautahi Christchurch in November 2015, with the ambitious aim to write a book collaboratively over five days. The collaborative process followed the generative ‘book sprint’ method founded by our facilitator for the event, Adam Hyde, who has long been immersed in digital practices in Aotearoa. A book sprint prioritises the collective voice of the participants and reflects the ideas and understandings that are produced at the time in which the book was written, in a plurality of perspectives. Over one hundred books have been completed using the sprint methodology, covering subjects from software documentation to reflections on collaboration and fiction. We chose to approach writing about Ōtautahi Christchurch through this collaborative process in order to reflect the complexity of the post-quake city and the multiple paths to understanding it. The city has itself been a space of intensive collaboration in the post-disaster period. A Transitional Imaginary is a raw and immediate record, as much felt expression as argued thesis. In many ways the process of writing had the character of endurance performance art. The process worked by honouring the different backgrounds of the participants, allowing that dialogue and intensity could be generative of different forms of text, creating a knowledge that eschews a position of authority, working instead to activate whatever anecdotes, opinions, resources and experiences are brought into discussion. This method enables a dynamic of voices that merge here, separate there and interrupt elsewhere again. As in the contested process of rebuilding and reimagining Christchurch itself, the dissonance and counterpoint of writing reflects the form of conversation itself. This book incorporates conflict, agreement and the activation of new ideas through cross-fertilisation to produce a new reading of the city and its transition. The transitional has been given a specific meaning in Christchurch. It is a product of local theorising that encompasses the need for new modes of action in a city that has been substantially demolished (Bennett & Parker, 2012). Transitional projects, such as those created by Gap Filler, take advantage of the physical and social spaces created by the earthquake through activating these as propositions for new ways of being in the city. The transitional is in motion, looking towards the future. A Transitional Imaginary explores the transitional as a way of thinking and how we understand the city through art practices, including the digital and in writing.
