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Images, UC QuakeStudies

The dome of the Isaac Theatre Royal covered in sheeting and suspended in the backstage area. In the foreground, a small digger sits on the bed of a truck, and a crane is visible to the left. The photographer comments, "This is the 'dome' of the Isaac Theatre Royal's heritage stage. The front section of the theatre has stayed and so has the back, but the middle has been completely demolished. The best way to hide a secret is in plain sight. Could this really be an ancient UFO stored secretly in the old theatre for decades and now exposed by the earthquake? Is the waiting crane and transporter ready to whip it away to another secret location in the dead of night?".

Research papers, The University of Auckland Library

Case study unreinforced masonry (URM) buildings that were seismically retrofitted prior to the 2010/11 Canterbury earthquake sequence and exhibited successful performance during these earthquakes are presented herein. Selected buildings were divided into the following categories based on size and complexity: (1) simple, single storey box type buildings (i.e. electrical substations), (2) common and simple commercial buildings, and (3) large and complex clay brick and stone URM buildings. The retrofitted case study URM buildings were evaluated based on overall structural seismic performance as well as the categories of initial seismic design, heritage preservation, architectural appeal, and cost. Detailed observations of 4 representative case study buildings and a summary of findings are reported herein. http://db.nzsee.org.nz/2017/Orals.htm

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 top left reads 'Christchurch display portaloos' Four different styles of portaloo are shown; the "Merivale", the 'Sumner", the "Heritage" and the "Eastsider"; someone inside the 'Eastsider says 'At least I'm open plan AND mobile!' Context - After the tow Christchurch earthquakes and hundreds of aftershocks that have hit Christchurch one of the problems is lack of toilets because of damage to buildings and also damage to sewage systems so many portaloos and chemical toilets have been sent to Christchurch. However many people have resorted to the good old kiwi way and dug long-drops in the backyard. A website 'showusyourlongdrop.co.nz' has been developed by Christchurch man Jason Moore, who was inspired by photographs of Christchurch dunnies uploaded to Facebook. There has been a competition. Quantity: 1 digital cartoon(s).

Research papers, University of Canterbury Library

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.

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).

Research papers, University of Canterbury Library

This thesis looks at the protocols museums and galleries adopt for the safeguarding of art, artefacts and cultural heritage. In particular, it analyses these procedures in relation to the 2010 and 2011 earthquakes in Christchurch, and considers how these events shaped the preventative conservation measures in place in museum and gallery institutions. Through gathering, assessing, and comparing this information about Christchurch’s institutions to disaster management best practices in national and international organisations, this thesis gauges the extent to which disaster management was changed in response to the events in Christchurch. This thesis first considers the growth in disaster management as a field, before examining what are considered best practices within this sector. Finally, it looks at specific institutions in Christchurch, including the Christchurch Art Gallery Te Puna o Waiwhetu, Canterbury Museum, and the Air Force Museum of New Zealand.

Research papers, University of Canterbury Library

For 150,000 Christchurch school students, the 12.51 pm earthquake of 22 February 2011 shattered their normal lunch time activities and thrust their teachers into the role of emergency first responders. Whether helping students (children) escape immediate danger, or identifying and managing the best strategies for keeping children safe, including provision of extended caregiving when parents were unable to return to school to retrieve their children, teachers had to manage their own fears and trauma reactions in order to appear calm and prevent further distress for the children in their care. Only then did teachers return to their families. Eighteen months later, twenty teachers from across Christchurch, were interviewed. At 12.51pm, the teachers were essentially first responders. Using their usual methods for presenting a calm and professional image, the teachers’ emotion regulation (ER) strategies for managing their immediate fears were similar to those of professional first responders, with similar potential for subsequent burnout and negative emotional effects. Teachers’ higher emotional exhaustion and burnout 18 months later, were associated with school relocation. Lower burnout was associated with more emotional awareness, ER and perceived support. Consistent with international research, teachers’ use of cognitive reappraisal (re-thinking a situation) was an effective ER strategy, but this may not prevent teachers’ emotional resources from eventually becoming depleted. Teachers fulfill an important role in supporting children’s psychosocial adjustment following a natural disaster. However, as also acknowledged in international research, we need to also focus on supporting the teachers themselves.

Research papers, The University of Auckland Library

The city of Christchurch has experienced over 10,000 aftershocks since the 4th of September 2010 earthquake of which approximately 50 have been greater than magnitude 5. The damage caused to URM buildings in Christchurch over this sequence of earthquakes has been well documented. Due to the similarity in age and construction of URM buildings in Adelaide, South Australia and Christchurch (they are sister cities, of similar age and heritage), an investigation was conducted to learn lessons for Adelaide based on the Christchurch experience. To this end, the number of URM buildings in the central business districts of both cities, the extent of seismic strengthening that exists in both cities, and the relative earthquake hazards for both cities were considered. This paper will report on these findings and recommend strategies that the city of Adelaide could consider to significantly reduce the seismic risk posed by URM buildings in future earthquake.

Research papers, University of Canterbury Library

Local independent radio stations in Christchurch, New Zealand, had their operations severely disrupted by major earthquakes in September 2010 and February 2011. This article examines the experiences of three radio stations that were shut out of their central city premises by the cordon drawn around the city after the 22 February quake. One of the stations continued broadcasting automatically, while the others were unable to fully get back on air for several weeks afterwards. All of the stations had to manage access to workspaces, the emotional needs of staff and volunteers, the technical ability to broadcast, and the need to adapt content appropriately when back on air. For the locally based radio managers decisions had to be made about the future of the stations in a time of significant emotional, physical, and geological upheaval. The article explores how these radio stations were disrupted by the earthquake, and how they returned to air through new combinations and interconnections of people, workspace, technology, content and transmission.

Research papers, The University of Auckland Library

Churches are an important part of New Zealand's historical and architectural heritage. Various earthquakes around the world have highlighted the significant seismic vulnerability of religious buildings, with the extensive damage that occurred to stone and clay-brick unreinforced masonry churches after the 2010-2011 Canterbury earthquakes emphasising the necessity to better understand this structural type. Consequently, a country-wide inventory of unreinforced masonry churches is here identified. After a bibliographic and archival investigation, and a 10 000 km field trip, it is estimated that currently 297 unreinforced masonry churches are present throughout New Zealand, excluding 12 churches demolished in Christchurch because of heavy damage sustained during the Canterbury earthquake sequence. The compiled database includes general information about the buildings, their architectural features and structural characteristics, and any architectural and structural transformations that have occurred in the past. Statistics about the occurrence of each feature are provided and preliminary interpretations of their role on seismic vulnerability are discussed. The list of identified churches is reported in annexes, supporting their identification and providing their address.

Research papers, University of Canterbury Library

This article discusses the use of radio after major earthquakes in Christchurch, New Zealand, in 2010 and 2011. It draws on archival sources to retrospectively research post-quake audiences in the terms people used during and soon after the earthquakes through personal narratives and Twitter. Retrospective narratives of earthquake experiences affirm the value of radio for communicating the scale of disaster and comforting listeners during dislocation from safe home spaces. In the narratives radio is often compared with television, which signifies electricity supply and associated comfort but also visually confirms the city’s destruction. Twitter provides insights into radio use from within the disaster period, but its more global reach facilitates reflection on online and international radio from outside the disaster-affected area. This research demonstrates the value of archival audience research, and finds that the combination of online radio and Twitter enables a new form of participatory disaster spectatorship from afar.