A photograph of an illuminated temporary sculpture titled Anamorphic Shadows on Worcester Street. The sculpture was created by students from Unitec, for FESTA's 2013 Canterbury Tales event.
A photograph of an illuminated temporary sculpture titled Anamorphic Shadows on Worcester Street. The sculpture was created by students from Unitec, for FESTA's 2013 Canterbury Tales event.
A photograph of Whole House Reuse item 303. This item was salvaged from 19 Admiral Way in New Brighton as part of the Whole House Reuse project.
Father and daughter Peter and Cait O'Connor set up the Teaspoon of Light theatre company in Christchurch after the earthquakes, working with young children in the most quake-affected schools. Lynn Freeman speaks with Peter and Cait ahead of a trip to Mexico for similar work.
Base isolation is an incredibly effective technology used in seismic regions throughout the world to limit structural damage and maintain building function, even after severe earthquakes. However, it has so far been underutilised in light-frame wood construction due to perceived cost issues and technical problems, such as a susceptibility to movement under strong wind loads. Light-frame wood buildings make up the majority of residential construction in New Zealand and sustained significant damage during the 2010-2011 Canterbury earthquake sequence, yet the design philosophy has remained largely unchanged for years due to proven life-safety performance. Recently however, with the advent of performance based earthquake engineering, there has been a renewed focus on performance factors such as monetary loss that has driven a want for higher performing residential buildings. This research develops a low-cost approach for the base isolation of light-frame wood buildings using a flat-sliding friction base isolation system, which addresses the perceived cost and technical issues, and verifies the seismic performance through physical testing on the shake table at the University of Canterbury. Results demonstrate excellent seismic performance with no structural damage reported despite a large number of high-intensity earthquake simulations. Numerical models are subsequently developed and calibrated to New Zealand light-frame wood building construction approaches using state-of-the-art wood modelling software, Timber3D. The model is used to accurately predict both superstructure drift and acceleration demand parameters of fixed-base testing undertaken after the base isolation testing programme is completed. The model development allows detailed cost analyses to be undertaken within the performance based earthquake engineering framework that highlights the monetary benefits of using base isolation. Cost assessments indicate the base isolation system is only 6.4% more compared to the traditional fixed-base system. Finally, a design procedure is recommended for base isolated light-frame wood buildings that is founded on the displacement based design (DBD) approach used in the United States and New Zealand. Nonlinear analyses are used to verify the DBD method which indicate its suitability.
A photograph of people on Gloucester Street during LUXCITY.
A photograph of people in Cathedral Square on the night of Canterbury Tales, during FESTA 2013. A smoke machine and theatre lights are being used to set the scene.
A digitally manipulated image of light sculptures on Gloucester Street during the LuxCity event. The photographer comments, "This was part of the LuxCity event in Christchurch, New Zealand. It was a way of creating a city of lights on the sites of demolished buildings in the earthquake devastated red zone. 350 architecture and design students from all around New Zealand created and constructed 16 pop up spaces".
GeoNet has classified the shaking as "light".
A photograph of the installation 'Upon the Upland Road' on the former site of the Harbour Light in Lyttelton. The installation shows the last three lines of James K Baxter's poem, 'High Country Weather', written in the nautical flag alphabet.
A video of an interview with landscape architect Di Lucas, about her vision for the Christchurch rebuild. Lucas talks about the need to build light buildings by using light materials such as timber. The video is part of The Press's 'Christchurch, one year after February 22, 2011' series.
A map showing proposed light rail routes in Christchurch.
A map showing the proposed location for a red-light district.
Trent Hiles's artwork in the demolished site of the Harbour Light Theatre.
We measure the longer-term effect of a major earthquake on the local economy, using night-time light intensity measured from space, and investigate whether insurance claim payments for damaged residential property affected the local recovery process. We focus on the destructive Canterbury Earthquake Sequence (CES) 2010 -2011 as our case study. Uniquely for this event, more than 95% of residential housing units were covered by insurance, but insurance payments were staggered over 5 years, enabling us to identify their local impact. We find that night-time luminosity can capture the process of recovery and describe the recovery’s determinants. We also find that insurance payments contributed significantly to the process of economic recovery after the earthquake, but delayed payments were less affective and cash settlement of claims were more effective than insurance-managed repairs in contributing to local recovery.
Seismic isolation is an effective technology for significantly reducing damage to buildings and building contents. However, its application to light-frame wood buildings has so far been unable to overcome cost and technical barriers such as susceptibility of light-weight buildings to movement under high-wind loading. The 1994 Northridge Earthquake (6.7 MW) in the United States, 1995 Kobe Earthquake (6.9 MW) in Japan and 2011 Christchurch Earthquake (6.7 Mw) all highlighted significant loss to light-frame wood buildings with over half of earthquake recovery costs allocated to their repair and reconstruction. This poster presents a value case to highlight the benefits of seismically isolated residential buildings compared to the standard fixed-base dwellings for the Wellington region. Loss data generated by insurance claim information from the 2011 Christchurch Earthquake has been used to determine vulnerability functions for the current light-frame wood building stock. By using a simplified single degree of freedom (SDOF) building model, methods for determining vulnerability functions for seismic isolated buildings are developed. Vulnerability functions are then applied directly in a loss assessment to determine the Expected Annual Loss. Vulnerability was shown to dramatically reduce for isolated buildings compared to an equivalent fixed-base building resulting in significant monetary savings, justifying the value case. A state-of-the-art timber modelling software, Timber3D, is then used to model a typical residential building with and without seismic isolation to assess the performance of a proposed seismic isolation system which addresses the technical and cost issues.
A photograph of the installation 'Upon the Upland Road' on the former site of the Harbour Light in Lyttelton. The installation shows the last three lines of James K Baxter's poem, 'High Country Weather', written in the nautical flag alphabet.
A photograph of a damaged traffic light on Manchester Street.
A large crack in the side of the Harbour Light Theatre in Lyttelton.
A photograph of Whole House Reuse item 301. This item was salvaged from 19 Admiral Way in New Brighton as part of the Whole House Reuse project.
A thumbnail photograph of Whole House Reuse item 301, cropped for the catalogue. This item was salvaged from 19 Admiral Way in New Brighton as part of the Whole House Reuse project.
A photograph of the LUXCITY installations Archrobatics (left) and Altitude on Manchester Street.
A page banner promoting an article titled, "Green light in red zone".
A photograph of a window detail and outdoor light bulb of 216 Peterborough Street.
Four strings of forest green, light green, yellow, orange and purple peace cranes.
A photograph of a large-scale installation titled Kloud being set up for LUXCITY.
A photograph of people standing under a large-scale fabric installation titled Kloud, which is part of LUXCITY.
A photograph of a large-scale installation titled Kloud, which is part of LUXCITY.
A photograph of a large-scale installation titled Kloud being set up for LUXCITY.
A photograph of a large-scale installation titled Kloud, which is part of LUXCITY.