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Research papers, University of Canterbury Library

The increase of the world's population located near areas prone to natural disasters has given rise to new ‘mega risks’; the rebuild after disasters will test the governments’ capabilities to provide appropriate responses to protect the people and businesses. During the aftermath of the Christchurch earthquakes (2010-2012) that destroyed much of the inner city, the government of New Zealand set up a new partnership between the public and private sector to rebuild the city’s infrastructure. The new alliance, called SCIRT, used traditional risk management methods in the many construction projects. And, in hindsight, this was seen as one of the causes for some of the unanticipated problems. This study investigated the risk management practices in the post-disaster recovery to produce a specific risk management model that can be used effectively during future post-disaster situations. The aim was to develop a risk management guideline for more integrated risk management and fill the gap that arises when the traditional risk management framework is used in post-disaster situations. The study used the SCIRT alliance as a case study. The findings of the study are based on time and financial data from 100 rebuild projects, and from surveying and interviewing risk management professionals connected to the infrastructure recovery programme. The study focussed on post-disaster risk management in construction as a whole. It took into consideration the changes that happened to the people, the work and the environment due to the disaster. System thinking, and system dynamics techniques have been used due to the complexity of the recovery and to minimise the effect of unforeseen consequences. Based on an extensive literature review, the following methods were used to produce the model. The analytical hierarchical process and the relative importance index have been used to identify the critical risks inside the recovery project. System theory methods and quantitative graph theory have been used to investigate the dynamics of risks between the different management levels. Qualitative comparative analysis has been used to explore the critical success factors. And finally, causal loop diagrams combined with the grounded theory approach has been used to develop the model itself. The study identified that inexperienced staff, low management competency, poor communication, scope uncertainty, and non-alignment of the timing of strategic decisions with schedule demands, were the key risk factors in recovery projects. Among the critical risk groups, it was found that at a strategic management level, financial risks attracted the highest level of interest, as the client needs to secure funding. At both alliance-management and alliance-execution levels, the safety and environmental risks were given top priority due to a combination of high levels of emotional, reputational and media stresses. Risks arising from a lack of resources combined with the high volume of work and the concern that the cost could go out of control, alongside the aforementioned funding issues encouraged the client to create the recovery alliance model with large reputable construction organisations to lock in the recovery cost, at a time when the scope was still uncertain. This study found that building trust between all parties, clearer communication and a constant interactive flow of information, established a more working environment. Competent and clear allocation of risk management responsibilities, cultural shift, risk prioritisation, and staff training were crucial factors. Finally, the post-disaster risk management (PDRM) model can be described as an integrated risk management model that considers how the changes which happened to the environment, the people and their work, caused them to think differently to ease the complexity of the recovery projects. The model should be used as a guideline for recovery systems, especially after an earthquake, looking in detail at all the attributes and the concepts, which influence the risk management for more effective PDRM. The PDRM model is represented in Causal Loops Diagrams (CLD) in Figure 8.31 and based on 10 principles (Figure 8.32) and 26 concepts (Table 8.1) with its attributes.

Images, UC QuakeStudies

A painting wrapped around the side of one of the shipping containers in Sumner. Shipping containers have been placed along Main Road to protect people from rock fall. The artwork is part of the ContainerArt project which aims to turn the fixture of shipping containers in the Sumner community into a positive by turning them into works of art.

Audio, Radio New Zealand

When the new Canterbury Earthquake Memorial was revealed last month, something unusual happened for a work of public art. It was universally appreciated! Christchurch filmmaker Rick Harvie has documented the two year long project from seeking submissions though to the official ceremony. Rick tells Lynn Freeman he's about to put his now finished documentary, including footage of the ceremony and feedback from a range of people, online.

Images, UC QuakeStudies

A digital copy of a poster from the Te Waioratanga project of the All Right? campaign. The poster features a black and white photographic portrait of brothers Ridge and Chase Kamo. The caption reads, "Te reo Māori is about being proud of our family, friends and who we are".

Articles, UC QuakeStudies

An PDF copy of a poster featuring Riccarton resident Ema Tabukovu. The poster quotes Tabukovu: "I always feel good after a game with the girls." The poster is from the All Right? I am ... Identity project, which sought to celebrate identity and its importance to Pacific youth and their wellbeing.

Images, UC QuakeStudies

A photograph of a visitor to Gap Filler's Inconvenience Store standing beside his favourite painting. The painting was part of the 'Present Tense' project which sought to highlight the inconvenience of the city in the present day. Visitors to the store were asked to choose five paintings they would like to see presented as a billboard installation in Auckland.

Images, UC QuakeStudies

A photograph of a visitor to Gap Filler's Inconvenience Store standing in front of her favourite painting. The painting was part of the 'Present Tense' project which sought to highlight the inconvenience of the city in the present day. Visitors to the store were asked to choose five paintings they would like to see presented as a billboard installation in Auckland.

Images, UC QuakeStudies

A photograph of visitors to Gap Filler's Inconvenience Store standing in front of their favourite painting. The painting was part of the 'Present Tense' project which sought to highlight the inconvenience of the city in the present day. Visitors to the store were asked to choose five paintings they would like to see presented as a billboard installation in Auckland.

Images, UC QuakeStudies

A photograph of visitors to Gap Filler's Inconvenience Store deciding which of ten paintings are their favourites. The paintings were part of the 'Present Tense' project which sought to highlight the inconvenience of the city in the present day. Visitors to the store were asked to choose five paintings they would like to see presented as a billboard installation in Auckland.

Images, UC QuakeStudies

A photograph of Rebecca Harris voting for her top five favourite paintings at Gap Filler's Inconvenience Store. The paintings were part of the 'Present Tense' project which sought to highlight the inconvenience of the city in the present day. Visitors to the store were asked to choose five paintings they would like to see presented as a billboard installation in Auckland.

Images, UC QuakeStudies

A photograph of Nikki Wallace at Gap Filler's Inconvenience Store, standing beside her favourite painting. The painting was part of the 'Present Tense' project which sought to highlight the inconvenience of the city in the present day. Visitors to the store were asked to choose five paintings they would like to see presented as a billboard installation in Auckland.

Images, UC QuakeStudies

A photograph of Catherine Morganti at Gap Filler's Inconvenience store, standing beside her favourite painting. The painting was part of the 'Present Tense' project which sought to highlight the inconvenience of the city in the present day. Visitors to the store were asked to choose five paintings they would like to see presented as a billboard installation in Auckland.

Images, UC QuakeStudies

A photograph of Sarah Sutherland at Gap Filler's Inconvenience Store, standing in front of her favourite painting. The painting was part of the 'Present Tense' project which sought to highlight the inconvenience of the city in the present day. Visitors to the store were asked to choose five paintings they would like to see presented as a billboard installation in Auckland.

Images, UC QuakeStudies

A photograph of visitors to Gap Filler's Inconvenience Store standing in front of their favourite painting. The painting was part of the 'Present Tense' project which sought to highlight the inconvenience of the city in the present day. Visitors to the store were asked to choose five paintings they would like to see presented as a billboard installation in Auckland.

Images, UC QuakeStudies

A photograph of visitors to Gap Filler's Inconvenience Store standing in front of their favourite painting. The painting was part of the 'Present Tense' project which sought to highlight the inconvenience of the city in the present day. Visitors to the store were asked to choose five paintings they would like to see presented as a billboard installation in Auckland.

Images, UC QuakeStudies

A photograph of a visitor to Gap Filler's Inconvenience Store standing beside her favourite painting. The painting was part of the 'Present Tense' project which sought to highlight the inconvenience of the city in the present day. Visitors to the store were asked to choose five paintings they would like to see presented as a billboard installation in Auckland.

Images, UC QuakeStudies

A photograph of a visitor to Gap Filler's Inconvenience Store standing beside his favourite painting. The painting was part of the 'Present Tense' project which sought to highlight the inconvenience of the city in the present day. Visitors to the store were asked to choose five paintings they would like to see presented as a billboard installation in Auckland.

Images, UC QuakeStudies

A photograph of a visitor to Gap Filler's Inconvenience Store standing beside her favourite painting. The painting was part of the 'Present Tense' project which sought to highlight the inconvenience of the city in the present day. Visitors to the store were asked to choose five paintings they would like to see presented as a billboard installation in Auckland.

Images, UC QuakeStudies

A photograph of a visitor to Gap Filler's Inconvenience Store standing beside her favourite painting. The painting was part of the 'Present Tense' project which sought to highlight the inconvenience of the city in the present day. Visitors to the store were asked to choose five paintings they would like to see presented as a billboard installation in Auckland.

Images, UC QuakeStudies

A photograph of Johnny McFarlane of Beca and Jessica Halliday of FESTA in the Christchurch Transitional Cathedral, otherwise known as the Cardboard Cathedral. A tour of the Cathedral took place as part of FESTA 2013, which included a talk by Johnny McFarlane about project management of transitional architecture.

Images, UC QuakeStudies

A photograph of two large signs that are part of Signs of Things to Come. This was a wayfinding project by Generation Zero and Diadem, for FESTA 2014. The signage gives directions to key central city and FESTA locations, and compares the current and future potential of transport in Christchurch.

Images, UC QuakeStudies

A photograph of visitors to Gap Filler's Inconvenience Store standing beside their favourite painting. The painting was part of the 'Present Tense' project which sought to highlight the inconvenience of the city in the present day. Visitors to the store were asked to choose five paintings they would like to see presented as a billboard installation in Auckland.

Articles, UC QuakeStudies

An PDF copy of a poster featuring Upper Riccarton resident Salote Tagicakibau. The poster quotes Tagicakibau: "My family are really supportive of me playing." The poster is from the All Right? I am ... Identity project, which sought to celebrate identity and its importance to Pacific youth and their wellbeing.