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Images for boxes; more images...

Images, UC QuakeStudies

A photograph of wrapped up mattresses and boxes of tracksuits from the Red Cross in Cowles Stadium. The stadium served as temporary accommodation for refugees from the 4 September earthquake. These mattresses and tracksuits were given to people whose belongings were destroyed or unreachable.

Videos, UC QuakeStudies

A video of Jeanette Wilson, a nurse at Princess Margaret Hospital, and seven of her friends receiving an 'Outrageous Burst of All Right' at The Ten Tenors concert at the CBS Arena on 7 October 2013. Ciaran Fox introduces the video by describing All Right?'s 'Outrageous Bursts of All Right'. Fox then finds Jeanette Wilson and her group as they arrive at their seats to take them instead to the VIP box, which is stocked with food, wine, and various All Right? resources. The VIP box was provided by The Press. The Press published the video embedded in an article by Ashleigh Stewart on 10 October 2013 at 5:00am. All Right? posted a link to the article on their Facebook Timeline on 9 October 2013 at 3:42pm. All Right? also uploaded the video to their YouTube account on 10 December 2013.

Images, UC QuakeStudies

A photograph of a stretcher with blankets and pillows sitting in the corner of Cowles Stadium. In the background, boxes full of supplies from the Red Cross and wrapped-up mattresses can be seen. The stadium served as temporary accommodation for refugees from the 4 September earthquake.

Images, UC QuakeStudies

A photograph of Marie Hudson opening a box of broken china in a garage. Hudson is wearing painting overalls.Crack'd for Christchurch comments, "August 2013. Moving into our new inner-city workshop...on the 2nd storey of a quake-damaged building. We could see daylight through the walls in places."

Images, UC QuakeStudies

A sculpture titled 'Passing Time' on the corner of St Asaph Street and Madras Street. 'Passing Time' was installed outside the CPIT Building for the 6th SCAPE (a contemporary public art programme in Christchurch) a few days prior to the 22 February 2011 earthquake. The work features twisting boxes depicting each year between 1906 (the founding of CPIT) and 2010 (the date of the sculpture's production).

Images, UC QuakeStudies

A sculpture titled 'Passing Time' on the corner of St Asaph Street and Madras Street. 'Passing Time' was installed outside the CPIT Building for the 6th SCAPE (a contemporary public art programme in Christchurch) a few days prior to the 22 February 2011 earthquake. The work features twisting boxes depicting each year between 1906 (the founding of CPIT) and 2010 (the date of the sculpture's production).

Images, UC QuakeStudies

A sculpture titled 'Passing Time' on the corner of St Asaph Street and Madras Street. 'Passing Time' was installed outside the CPIT Building for the 6th SCAPE (a contemporary public art programme in Christchurch) a few days prior to the 22 February 2011 earthquake. The work features twisting boxes depicting each year between 1906 (the founding of CPIT) and 2010 (the date of the sculpture's production).

Images, UC QuakeStudies

A sculpture titled 'Passing Time' on the corner of St Asaph Street and Madras Street. 'Passing Time' was installed outside the CPIT Building for the 6th SCAPE (a contemporary public art programme in Christchurch) a few days prior to the 22 February 2011 earthquake. The work features twisting boxes depicting each year between 1906 (the founding of CPIT) and 2010 (the date of the sculpture's production).

Images, UC QuakeStudies

People walk along Tuam Street carrying bags and boxes. Brick dust covers the street where fallen bricks have been cleared, and on the left emergency tapes cordons off Manchester Street. The photographer comments, "This was taken shortly after the 4th September earthquake. Police allowed us free access past the cordon and simply advised us to watch out for falling masonry. The access situation was much different after the February aftershock".

Images, UC QuakeStudies

A photograph of Marie Hudson in Crack'd for Christchurch's workshop. Behind her, boxes of broken china have been stacked on a shelf. Hudson is wearing painters overalls and rubber gloves, and is holding a teacup.Crack'd for Christchurch comments, "The famous grey overalls. This all we would see Marie in for the next year."

Images, UC QuakeStudies

Moira Fraser standing in front of the 'Passing Time' sculpture on the corner of St Asaph Street and Madras Street. 'Passing Time' was installed outside the CPIT Building for the 6th SCAPE (a contemporary public art programme in Christchurch) a few days prior to the 22 February 2011 earthquake. The work features twisting boxes depicting each year between 1906 (the founding of CPIT) and 2010 (the date of the sculpture's production).

Images, UC QuakeStudies

A plaque on the ground in front of the 'Passing Time' sculpture on the corner of Madras Street and St Asaph Street. The 'Passing Time' sculpture was installed outside the CPIT Building for the 6th SCAPE (a contemporary public art programme in Christchurch) a few days prior to the 22 February 2011 earthquake. The work features twisting boxes depicting each year between 1906 (the founding of CPIT) and 2010 (the date of the sculpture's production).

Images, UC QuakeStudies

Moira Fraser standing in front of the 'Passing Time' sculpture on the corner of St Asaph Street and Madras Street. 'Passing Time' was installed outside the CPIT Building for the 6th SCAPE (a contemporary public art programme in Christchurch) a few days prior to the 22 February 2011 earthquake. The work features twisting boxes depicting each year between 1906 (the founding of CPIT) and 2010 (the date of the sculpture's production).

Images, UC QuakeStudies

Moira Fraser in front of the 'Passing Time' sculpture on the corner of St Asaph Street and Madras Street. 'Passing Time' was installed outside the CPIT Building for the 6th SCAPE (a contemporary public art programme in Christchurch) a few days prior to the 22 February 2011 earthquake. The work features twisting boxes depicting each year between 1906 (the founding of CPIT) and 2010 (the date of the sculpture's production).

Images, UC QuakeStudies

A photograph of boxes of broken china stored in a bedroom.Crack'd for Christchurch comments, "May 2011, Crack'd has been going for a month. The china begins to collect in our spare room. It often arrived covered in liquefaction and broken glass, food and mud, and it was incredibly bulky. It had to be cleaned, sorted, but not broken down, before it was stored."

Images, UC QuakeStudies

A photograph of members of Crack'd for Christchurch in their workshop. A number of mosaics of flowers and leaves have been laid out on the carpet in front of them. In the background there are boxes of broken china and furniture stacked in a pile.Crack'd for Christchurch comments, "Early November 2013. Last day for Shirley Walden who is leaving the city. From left: Helen Campbell, Shirley Walden, and Sharon Wilson. We miss you Shirley."

Other, UC QuakeStudies

A zip file containing the suite of SCIRT CAD customisation tools. This file contains:SCIRT CAD LISP routines (198 files)SCIRT CAD dialogue box filesa complete set of layer listsa full set of text files containing the complete list of street names in Christchurchtemplates and lists used for translating 12d outputs to useable dwg reference filesa full set of SCIRT CAD manualsThis file is not sufficient for someone to set up a full SCIRT CAD System, but it will allow a developer to select tools to incorporate with an existing system.

Images, UC QuakeStudies

A photograph of boxes of flowers ready to be given out during All Right?'s 'Flower Bombing' project on 4 September 2013. Moffatts Flower Company donated thousands of flowers for the All Right? 'Flower Bombing' project. With the assistance of BNZ 'Closed for Good' staff, flowers were given out at the EQC call centre, Lyttelton Main, Lyttelton West and Phillipstown Schools, Eastgate Mall, and SCIRT rebuild sites. All Right? posted the photograph on their Facebook page on 21 February 2014 at 3:05pm.

Images, UC QuakeStudies

Members of the University of Canterbury's Digital Media Group in their temporary office in KB02 in Kirkwood Village, the complex of prefabs set up after the earthquakes to provide temporary office and classroom space for the university. The photographer comments, "The e-learning group and the video conferencing team are now located in the Kirkwood Village at the University of Canterbury. It's a very impressive project, about 60 buildings arranged in various configurations with some used for teaching or computer labs, and others as staff offices. We will probably stay here for several years now. Nick Calvert from the video-conferencing team, Blair and Paul Nicholls behind. Nathan Gardiner with his head in a box".

Research papers, University of Canterbury Library

Existing unreinforced masonry (URM) buildings are often composed of traditional construction techniques, with poor connections between walls and diaphragms that results in poor performance when subjected to seismic actions. In these cases the application of the common equivalent static procedure is not applicable because it is not possible to assure “box like” behaviour of the structure. In such conditions the ultimate strength of the structure relies on the behaviour of the macro-elements that compose the deformation mechanisms of the whole structure. These macroelements are a single or combination of structural elements of the structure which are bonded one to each other. The Canterbury earthquake sequence was taken as a reference to estimate the most commonly occurring collapse mechanisms found in New Zealand URM buildings in order to define the most appropriate macroelements.

Images, UC QuakeStudies

A photograph of members of Crack'd for Christchurch working in their workshop. A number of mosaics of flowers and leaves have been laid out on the table in front of them. Boxes of broken china are organised on the shelf behind.Crack'd for Christchurch comments, "Back at the workshop, flower making continues. You can see a table covered with flower motifs, looking amazing. We had to make the flowers at home in the evenings as we all worked during the day. After much trial and error our flower experts (Helen, Sharon, and Jennie) came up with a clever way to attach the tiny pieces to mesh, so they could be transferred to the chair easily. From left: Sharon Wilson, Helen Campbell, and Shirley Walden."

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, The University of Auckland Library

Soil-structure interaction (SSI) has been widely studied during the last decades. The influence of the properties of the ground motion, the structure and the soil have been addressed. However, most of the studies in this field consider a stand-alone structure. This assumption is rarely justifiable in dense urban areas where structures are built close to one another. The dynamic interaction between adjacent structures has been studied since the early 1970s, mainly using numerical and analytical models. Even though the early works in this field have significantly contributed to understanding this problem, they commonly consider important simplifications such as assuming a linear behaviour of the structure and the soil. Some experimental works addressing adjacent structures have recently been conducted using geotechnical centrifuges and 1g shake tables. However, further research is needed to enhance the understanding of this complex phenomenon. A particular case of SSI is that of structures founded in fine loose saturated sandy soil. An iconic example was the devastating effects of liquefaction in Christchurch, New Zealand, during the Canterbury earthquake in 2011. In the case of adjacent structures on liquefiable soil, the experimental evidence is even scarcer. The present work addresses the dynamic interaction between adjacent structures by performing multiple experimental studies. The work starts with two-adjacent structures on a small soil container to expose the basics of the problem. Later, results from tests considering a more significant number of structures on a big laminar box filled with sand are presented. Finally, the response of adjacent structures on saturated sandy soil is addressed using a geotechnical centrifuge and a large 1g shake table. This research shows that the acceleration, lateral displacement, foundation rocking, damping ratio, and fundamental frequency of the structure of focus are considerably affected by the presence of neighbouring buildings. In general, adjacent buildings reduced the dynamic response of the structure of focus on dry sand. However, the acceleration was amplified when the structures had a similar fundamental frequency. In the case of structures on saturated sand, the presence of adjacent structures reduced the liquefaction potential. Neighbouring structures on saturated sand also presented larger rotation of the footing and lateral displacement of the top mass than that of the stand-alone case.

Research Papers, Lincoln University

During the 21st century, New Zealand has experienced increasing public concern over the quality of the design and appearance of new developments, and their effects on the urban environment. In response to this, a number of local authorities developed a range of tools to address this issue, including urban design panels to review proposals and provide independent advice. Following the 2010 and 2011 Canterbury earthquake sequence, the commitment to achieve high quality urban design within Christchurch was given further importance, with the city facing the unprecedented challenge of rebuilding a ‘vibrant and successful city’. The rebuild and regeneration reinforced the need for independent design review, putting more focus and emphasis on the role and use of the urban design panel; first through collaboratively assisting applicants in achieving a better design outcome for their development by providing an independent set of eyes on their design; and secondly in assisting Council officers in forming their recommendations on resource consent decisions. However, there is a perception that urban design and the role of the urban design panel is not fully understood, with some stakeholders arguing that Council’s urban design requirements are adding cost and complexity to their developments. The purpose of this research was to develop a better understanding on the role of the Christchurch urban design panel post-earthquake in the central city; its direct and indirect influence on the built environment; and the deficiencies in the broader planning framework and institutional settings that it might be addressing. Ultimately, the perceived role of the Panel is understood, and there is agreement that urban design is having a positive influence on the built environment, albeit viewed differently amongst the varying groups involved. What has become clear throughout this research is that the perceived tension between the development community and urban design well and truly exists, with the urban design panel contributing towards this. This tension is exacerbated further through the cost of urban design to developers, and the drive for financial return from their investments. The panel, albeit promoting a positive experience, is simply a ‘tick box’ exercise for some, and as the research suggests, groups or professional are determining themselves what constitutes good urban design, based on their attitude, the context in which they sit and the financial constraints to incorporate good design elements. It is perhaps a bleak time for urban design, and more about building homes.