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Images for IT; more images...

Images, UC QuakeStudies

A photograph of an earthquake-damaged building in Christchurch. The wall on the side of the house has crumbled, and the bricks have fallen onto the fence and damaged it. Wooden planks have been used to brace the wall towards the back of the property. A red sticker on the front window indicates that the house is unsafe to enter.

Articles, UC QuakeStudies

A PDF copy of an advertisement for the All Right? 'Compliments' campaign that appeared in The Christchurch Star on 2 December 2013. The advertisement reads, "You're a wee Canterbury Gem. Canterbury's been through a lot. Let's remember it's often the simple things that bring the most joy." The advertisement also includes the web address of the All Right? Facebook page.

Articles, UC QuakeStudies

An PDF copy of a poster featuring Merivale resident Salamina Kauapa. The poster quotes Kauapa: "No matter who you are, exercise can be fun! It's easy to forget that." 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.

Articles, UC QuakeStudies

An PDF copy of a poster featuring Riccarton resident Miliakere Tabukovu. The poster quotes Tabukovu: "I am proud of my Fijian heritage. It's a massive part of who I am." 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

Two people examine damage to a house in Richmond. The brick wall is badly cracked and twisted, and some bricks have fallen, exposing the lining paper and framing below. The photographer comments, "These photos show our old house in River Rd and recovery work around Richmond and St Albans. The near wall is leaning at an alarming angle. I didn't like walking past it".

Images, UC QuakeStudies

A photograph of an ICOM IDAS Repeater next to the information for the Civil Defence Response Team networks. The IDAS is a digital land mobile radio system which retransmits radio signals. It was used by the Civil Defence to extend the range of their digital radios during the emergency response to the 22 February 2011 earthquake.

Images, UC QuakeStudies

Workers repairing the James Hight building at the University of Canterbury, seen from inside the library. The photographer comments, "Yet another change of workplace for our E-Learning group, as the University juggles people and buildings to carry out earthquake repairs. Our area looks over a central roof space that has seating areas. It may be a while before we're allowed out there though".

Articles, UC QuakeStudies

An PDF copy of a poster featuring Northcote residents Sandy Otufangavalu and her daughter Arihadnah. The poster quotes Otufangavalu: "It's good to give things a go. I never thought I could play rugby!". 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

Photograph captioned by BeckerFraserPhotos, "Horseshoe Lake area of Burwood has that name because a loop of the Avon River encircled it in a horseshoe shape. There used to be an attractive walk alongside the loop of the River. Much of the path is now under water as the land level has subsided as a result of the earthquakes".

Images, UC QuakeStudies

A photograph of a detail of Mike Hewson's installation 'View from the Studio' in Re:Start Mall. An outline of the cathedral's tower is sketched on plywood, accompanied by the words, "Mike Hewson 2012. 'View From Studio'. (We should try keep some part of the cathedral rather than just demo-ing it)".

Articles, UC QuakeStudies

A PDF copy of an advertisement for the All Right? 'Compliments' campaign that appeared in The Christchurch Star on 5 December 2013. The advertisement reads, "Your aroha really helps. Canterbury's been through a lot. Let's remember it's often the simple things that bring the most joy." The advertisement also includes the web address of the All Right? Facebook page.

Images, UC QuakeStudies

A view down London Street in Lyttelton. The road has been closed to traffic because of unstable and damaged buildings in the area. In the background is the Empire Hotel on London Street in Lyttelton. Bracing has been placed on the front of the building to keep it together and limit further damage from aftershocks. The building has been cordoned off with fencing.

Images, UC QuakeStudies

A photograph of a house on Glenarm Terrace in Dallington. The chimney fell off the roof during the September earthquake and the bricks are still lying on the ground. A tarpaulin has been placed over the top of the hole to prevent water damage inside the house. Ironically, it has been weighed down with bricks.

Images, UC QuakeStudies

A photograph of the earthquake damage to the Asko Design building on Victoria Street. The top of the facade has crumbled and fallen into the street, taking the awning with it. The side wall has also collapsed, exposing the inside of the building. Wire fencing and tape have been used to cordon the buildings off.

Images, UC QuakeStudies

A digital copy of a plan for the Greening the Rubble Green Room garden on Colombo Street. The plan shows a sketch of the garden including a raised floor, flower beds, a paved path, and a picket fence. It also contains measurements and notes on what will be planted in the beds.

Images, UC QuakeStudies

A photograph of a floating installation on the Avon River. The installation consists of dresser, stool and lamp, situated on a grass-covered platform, with net curtains hanging from the frame. It was created by students from Lincoln University's School of Landscape Architecture for Canterbury Tales, a carnivalesque procession and the main event of FESTA 2013.

Images, UC QuakeStudies

A photograph taken from the top of the BNZ building. The photograph is captioned by BeckerFraserPhotos, "There are workers suspended from a cage about a third of the way up the Pacific Tower as well as a couple of workers on the top penthouse floor. It's hard to see where they are suspended from".

Images, eqnz.chch.2010

The September Canterbury earthquake. These pictures were taken of Colombo Street in Sydenham. A lot of masonry in this area has been damaged/fallen down. Angus Donaldson copy service. This has moved down the road on Colombo Street. It is now sharing the premises with Penny Lane Records. Note: these photos were taken on a cellphone; mind the qu...

Images, eqnz.chch.2010

Demolition of the old Millers building is just about complemented. On my walk around the city in the rain.. thought it may have stopped.. but didn't so I just kept walking! June 12, 2014 Christchurch New Zealand.

Videos, UC QuakeStudies

A video of a presentation by Thomas Petschner during the Resilience and Response Stream of the 2016 People in Disasters Conference. The presentation is titled, "Medical Clowning in Disaster Zones".The abstract for this presentation reads as follows: To be in a crisis caused by different kinds of natural disasters (as well as a man made incidents), dealing with ongoing increase of problems and frequent confrontation with very bad news isn't something that many people can easily cope with. This applies obviously to affected people but also to the members of SAR teams, doctors in the field and the experienced humanitarians too. The appropriate use of humour in crisis situations and dis-functional environments is a great tool to make those difficult moments more bearable for everyone. It helps injured and traumatised people cope with what they're facing, and can help them to recover more quickly too. At the same time humorous thinking can help to solve some of the complex problems emergency responders face. This is in addition to emergency and medical only reactions - allowing for a more holistic human perspective, which can provide a positive lasting effect. The ability to laugh is hardwired into our systems bringing a huge variety of physical, mental and social benefits. Even a simple smile can cultivate optimism and hope, while laughter can boost a hormone cocktail - which helps to cope with pain, enhance the immune system, reduce stress, re-focus, connect and unite people during difficult times. Humour as an element of psychological response in crisis situations is increasingly understood in a much wider sense: as the human capacity to plan and achieve desired outcomes with less stress, thus resulting in more 'predictable' work in unpredictable situations. So, if we approach certain problems in the same way Medical Clowns do, we may find a more positive solution. Everyone knows that laughter is an essential component of a healthy, happy life. The delivery of 'permission to laugh' into disaster zones makes a big difference to the quality of life for everyone, even if it's for a very short, but important period of time. And it's crucial to get it right as there is no second chance for the first response.

Research papers, Victoria University of Wellington

Architecture and music have a long intertwining history.These respective creative forces many times have collaborated into monumental place, harboured rich occasion, been catalyst for cultural movement and defined generations. Together they transcend their respective identities. From dinky local church to monstrous national stadia, together they are an intense concentration, a powerfully addictive dosage where architecture is the place, music is the faith, and people are the reason.  Music is a programme that architecture often celebrates in poetic and grand fashion; a superficial excuse to symbolise their creative parallels. But their relationship is much richer and holds more value than just the opportunity to attempt architectural metaphor.While music will always overshadow the architecture in the sense of a singular event, architecture is like the soundman behind the mixing desk. It’s not the star front and centre grabbing your attention, but is responsible for framing the star. It is the foundational backdrop, a critical pillar. Great architecture can help make great music. In this sense music is a communication of architecture, it is the ultimate creative function.  Christchurch, New Zealand, is a city whose story changed in an instant. The seismic events of 2010 and 2011 have become the overriding subject of its historical narrative, as it will be for years to come. Disaster redefines place (the town of Napier, struck by an earthquake in 1931, exemplifies this). There is no quantifiable justification for an exploration of architecture and music within the context of Christchurch. The Town Hall, one of New Zealand’s most architecturally significant buildings, is under repair. The Christ Church Cathedral will more than likely be rebuilt to some degree of its former self. But these are echoes of the city that Christchurch was.They are saved because they are artefact. Evidence of history.This thesis makes the argument for the new, the better than before, and for the making of opportunity from disaster, by proposing a ‘new’ town hall, conceived from the sound of old.

Research papers, The University of Auckland Library

The Canterbury earthquakes of 2010 and 2011 generated hundreds of thousands of insurance claims, many of which were disputed. The New Zealand justice system faced the same challenge encountered by other jurisdictions following a natural disaster: how to resolve these disputes quickly and at minimal cost but also fairly, to avoid compounding the disaster with injustice? The thesis is of this article is that although the earthquakes were catastrophic for New Zealand, they also created a unique opportunity to design an innovative civil justice process—the Christchurch High Court Earthquake List—and to test, over a relatively short timeframe, how well that process works. This article describes the Christchurch High Court Earthquake List and analyses it by reference to civil justice theory about the relative normative values of public adjudication and private settlement and the dialogic relationship between them. It then evaluates the List, using statistics available five years on from the earthquakes and by reference to the author’s own experience mediating earthquake disputes.

Research papers, The University of Auckland Library

A number of field testing techniques, such as standard penetration test (SPT), cone penetration test (CPT), and Swedish weight sounding (SWS), are popularly used for in-situ characterisation. The screw driving sounding (SDS) method, which has been recently developed in Japan, is an improved version of the SWS technique and measures more parameters, including the required torque, load, speed of penetration and rod friction; these provide more robust way of characterising soil stratigraphy. It is a cost-efficient technique which uses a machine-driven and portable device, making it ideal for testing in small-scale and confined areas. Moreover, with a testing depth of up to 10-15m, it is suitable for liquefaction assessment. Thus, the SDS method has great potential as an in-situ testing method for geotechnical site characterisation, especially for residential house construction. In this paper, the results of SDS tests performed at a variety of sites in New Zealand are presented. The soil database was employed to develop a soil classification chart based on SDS-derived parameters. Moreover, using the data obtained following the 2010-2011 Christchurch Earthquake Se-quence, a methodology was established for liquefaction potential evaluation using SDS data. http://www.isc5.com.au/wp-content/uploads/2016/09/1345-2-ORENSE.pdf

Research papers, Victoria University of Wellington

In the aftermath of the 2011 earthquake, a state of polycentric urbanity was thrust upon New Zealand’s second largest city. As the city-centre lay in disrepair, smaller centres started to materialise elsewhere, out of necessity. Transforming former urban peripheries and within existing suburbs into a collective, dispersed alternative to the city centre, these sub-centres prompted a range of morphological, socio-cultural and political transformations, and begged multiple questions: how to imbue these new sub-centres with gravity? How to render them a genuine alternative to the CBD? How do they operate within the wider city? How to cope with the physical and cultural transformations of this shifting urbanscape and prevent them occurring ad lib? Indeed, the success and functioning of the larger urban structure hinges upon a critical, informed response to these sub-centre urban contexts. Yet, with an unrelenting focus on the CBD rebuild - effectively a polycentric denial - little such attention has been granted.  Taking this urban condition as its premise and its provocation, this thesis investigates architecture’s role in the emergent sub-centre. It asks: what can architecture do in these urban contexts; how can architecture act upon the emergent sub-centre in a critical, catalytic fashion? Identifying this volatile condition as both an opportunity for architectural experimentation and a need for critical architectural engagement, this thesis seeks to explore the sub-centre (as an idea and actual urban context) as architecture’s project: its raison d’etre, impetus and aspiration.  These inquiries are tested through design-led research: an initial design question provoking further, broader discursive research (and indeed, seeking broader implications). The first section is a site-specific, design for Sumner, Christchurch. Titled ‘An Agora Anew’; this project - both in conception and outcome - is a speculative response to a specific sub-centre condition. The second section ‘The Sub-centre as Architecture’s Project’ explores the ideas provoked by the design project within a discursive framework. Firstly it identifies the sub-centre as a context in desperate need of architectural attention (why architecture?); secondly, it negotiates a possible agenda for architecture in this context through terms of engagement that are formal, critical and opportunistic (how architecture?): enabling it to take a position on and in the sub-centre. Lastly, a critical exegesis positions the design in regards to the broader discursive debate: critiquing it an architectural project predicated upon the idea of the sub-centre.  The implications of this design-led thesis are twofold: firstly, for architecture’s role in the sub-centre (especially to Christchurch); secondly for the possibilities of architecture’s productive engagement with the city (largely through architectural form), more generally. In a century where radical, new urban contexts (of which the sub-centre is just one) are commonplace, this type of thinking – what can architecture do in the city? - is imperative.

Images, UC QuakeStudies

Photograph captioned by BeckerFraserPhotos, "A sign on the fence of a red zoned property in Lower Styx Road. The sign reads, 'Browlee an (sic) Sutton R Clowns. Haven't got it right! $75 He rip off'. Many of the homeowners in this area believe that their homes should not be red zoned as the damage is much less than in other red zoned areas".

Images, UC QuakeStudies

The damaged Cranmer Centre on the corner of Montreal and Armagh Streets shortly after the 22 February 2011 earthquake. The east wall of the building has crumbled onto the street and a man in a hard hat and high-visibility vest is directing people around it. There is scaffolding on the south side of the building from repair works after the 4 September 2010 earthquake. The gable in the background has also collapsed.

Images, UC QuakeStudies

A close-up photograph of a floating installation titled The River on the Avon River. The installation consists of four chairs and a table situated on a grass-covered platform, with net curtains hanging from the frame. It was created by students from Lincoln University's School of Landscape Architecture for Canterbury Tales, a carnivalesque procession and the main event of FESTA 2013.