Though generally considered “natural” disasters, cyclones and earthquakes are increasingly being associated with human activities, incubated through urban settlement patterns and the long-term redistribution of natural resources. As society is becoming more urbanized, the risk of human exposure to disasters is also rising. Architecture often reflects the state of society’s health: architectural damage is the first visible sign of emergency, and reconstruction is the final response in the process of recovery. An empirical assessment of architectural projects in post-disaster situations can lead to a deeper understanding of urban societies as they try to rebuild. This thesis offers an alternative perspective on urban disasters by looking at the actions and attitudes of disaster professionals through the lens of architecture, situated in recent events: the 2010 Christchurch earthquake, the 2010 Haiti earthquake, and the 2005 Hurricane Katrina. An empirical, multi-hazard, cross-sectional case study methodology was used, employing grounded theory method to build theory, and a critical constructivist strategy to inform the analysis. By taking an interdisciplinary approach to understanding disasters, this thesis positions architecture as a conduit between two divergent approaches to disaster research: the hazards approach, which studies the disaster cycles from a scientific perspective; and the sociological approach, which studies the socially constructed vulnerabilities that result from disasters, and the elements of social change that accompany such events. Few studies to date have attempted to integrate the multi-disciplinary perspectives that can advance our understanding of societal problems in urban disasters. To bridge this gap, this thesis develops what will be referred to as the “Rittelian framework”—based on the work of UC Berkeley’s architecture professor Horst Rittel (1930-1990). The Rittelian framework uses the language of design to transcend the multiple fields of human endeavor to address the “design problems” in disaster research. The processes by which societal problems are addressed following an urban disaster involve input by professionals from multiple fields—including economics, sociology, medicine, and engineering—but the contribution from architecture has been minimal to date. The main impetus for my doctoral thesis has been the assertion that most of the decisions related to reconstruction are made in the early emergency recovery stages where architects are not involved, but architects’ early contribution is vital to the long-term reconstruction of cities. This precipitated in the critical question: “How does the Rittelian framework contribute to the critical design decisions in modern urban disasters?” Comparative research was undertaken in three case studies of recent disasters in New Orleans (2005), Haiti (2010) and Christchurch (2010), by interviewing 51 individuals who were selected on the basis of employing the Rittelian framework in their humanitarian practice. Contextualizing natural disaster research within the robust methodological framework of architecture and the analytical processes of sociology is the basis for evaluating the research proposition that architectural problem solving is of value in addressing the ‘Wicked Problems’ of disasters. This thesis has found that (1) the nuances of the way disaster agents interpret the notion of “building back better” can influence the extent to which architectural professionals contribute in urban disaster recovery, (2) architectural design can be used to facilitate but also impede critical design decisions, and (3) framing disaster research in terms of design decisions can lead to innovation where least expected. This empirical research demonstrates how the Rittelian framework can inform a wider discussion about post-disaster human settlements, and improve our resilience through disaster research.
Eccentrically Braced Frames (EBFs) are a widely used seismic resisting structural steel system. Since their inception in the late 1970s, they have been a viable option with an available stiffness that is between simple braced systems and moment resisting systems. A similar concept, the linked column frame (LCF), uses shear links between two closely spaced columns. In both cases, the key component is the active link or the shear link, and this component is the objective of this study. The performance of high rise EBF buildings in the 2010 and 2011 Christchurch earthquakes was beyond that which was expected, especially considering the very high accelerations recorded. As the concrete high-rises were torn down, two EBF buildings remained standing and only required some structural repair. These events prompted a renewed interest in bolted shear links, as well as their performance. While some research into replaceable shear links had already been done (Mansour, 2011), the objectives of this study were to improve on the shear link itself, with the consideration that links built in the future are likely to be bolted. The main components of this study were to: 1. Reduce or eliminate the requirements for intermediate web stiffeners, as they were suspected of being detrimental to performance. Furthermore, any reduction in stiffening requirements is a direct fabrication cost saving. Links with low web aspect ratios were found to achieve exceptional ductilities when no stiffeners were included, prompting new design equations. 2. Ensure that the stresses in the ends of links are adequately transferred into the endplates without causing fractures. Although most of the experimental links had web doubler plates included, four had varied lengths of such doubler plates from 0.0 in. to 8.0 in. The link without any doubler plates performed to a similar level to its peers, and thus it is likely that links with quality end details may not need web doubler plates at all. 3. Evaluate the performance of a link with double sided stiffeners without the use of web welds, as opposed to conventional single sided, welded stiffeners. This link performed well, and web-weld-less double sided stiffeners may be an economical alternative to conventional stiffeners for deeper sections of links. 4. Evaluate the performance of a link with thin endplates that are made efficient with the use of gusset plates. This link performed to an acceptable level and provides evidence for a cost effective alternative to thick endplates, especially considering the high overstrength end moments in links, typically requiring 16-bolt connections. 5. Examine the potential use of an alternative EBF arrangement where the collector beam is over sized, and the link section is formed by cutting out parts of the beam's web. After running a series of finite element models each with a unique variation, a number of approximate design rules were derived such that future research could develop this idea further experimentally. 6. Ensure that during testing, the secondary elements (members that are not the shear link), do not yield and are not close to yielding. None of the instrumented elements experienced any unexpected yielding, however the concerns for high stresses in the collector beam panel zone during design were warranted. The use of an existing New Zealand design equation is recommended as an extra check for design codes worldwide. The above objectives were mainly conducted experimentally, except: the data set for item 1 was greatly expanded through the use of a calibrated numerical model which was then used in an extensive parametric study; item 5 was purely finite element based; and, a small parametric study was included for item 3 in an attempt to expand on the trends found there.
The Canterbury earthquake sequence of 2010-2011 wrought ruptures in not only the physical landscape of Canterbury and Christchurch’s material form, but also in its social, economic, and political fabrics and the lives of Christchurch inhabitants. In the years that followed, the widespread demolition of the CBD that followed the earthquakes produced a bleak landscape of grey rubble punctuated by damaged, abandoned buildings. It was into this post-earthquake landscape that Gap Filler and other ‘transitional’ organisations inserted playful, creative, experimental projects to bring life and energy back into the CBD. This thesis examines those interventions and the development of the ‘Transitional Movement’ between July 2013 and June 2015 via the methods of walking interviews and participant observation. This critical period in Christchurch’s recovery serves as an example of what happens when do-it-yourself (DIY) urbanism is done at scale across the CBD and what urban experimentation can offer city-making. Through an understanding of space as produced, informed by Lefebvre’s thinking, I explore how these creative urban interventions manifested a different temporality to orthodox planning and demonstrate how the ‘soft’ politics of these interventions contain the potential for gentrification and also a more radical politics of the city, by creating an opening space for difference.
Micro - electro - mechanical system (MEMS) based accelerometers are now frequently used in many different parts of our day - to - day lives. It is also increasingly being used for structural testing applications. Researchers have had res ervation of using these devices as they are relatively untested, but now with the wider adoption, it provides a much cheaper and more versatile tool for structural engineering researchers. A number of damaged buildings in the Christchurch Central Business District (CBD) were instrumented with a number of low - cost MEMS accelerometers after the major Christchurch earthquakes. The accelerometers captured extremely high quality building response data as the buildings experienced thousands of aftershocks. This d ata set was amongst one of only a handful of data set s available around the world which provides building response data subjected to real ground motion. Furthermore, due to technological advances, a much larger than usual number of accelerometers has been deployed making the data set one of the most comprehensive available. This data set is utilised to extract modal parameters of the buildings. This paper summarises the operating requirements and preference for using such accelerometers for experimental mod al analysis. The challenges for adapting MEMS based devices for successful modal parameters identification are also discussed.
This research aims to explore how business models of SMEs revolve in the face of a crisis to be resilient. The business model canvas was used as a tool to analyse business models of SMEs in Greater Christchurch. The purpose was to evaluate the changes SMEs brought in their business models after hit by a series of earthquake in 2010 and 2011. The idea was to conduct interviews of business owners and analyse using grounded theory methods. Because this method is iterative, a tentative theoretical framework was proposed, half way through the data collection. It was realised that owner specific characteristics were more prominent in the data than the elements business model. Although, SMEs in this study experienced several operational changes in their business models such as change of location and modification of payment terms. However, the suggested framework highlights how owner specific attributes influence the survival of a small business. Small businesses and their owners are extremely interrelated that the business models personify the owner specific characteristics. In other words, the adaptation of the business model reflects the extent to which the owner possess these attributes. These attributes are (a) Mindsets – the attitude and optimism of business owner; (b) Adaptive coping – the ability of business owner to take corrective actions; and (c) Social capital – the network of a business owner, including family, friends, neighbours and business partners.
A photograph captioned by BeckerFraserPhotos, "A pile of bricks which have crumbled from a wall and landed on a digger at a demolition on Lichfield Street. This is a result of the 23 December 2011 earthquake".
A photograph of a sign on a fence in front of a partially-demolished building on Cashel Street. The sign reads, "This building is dangerous and not safe to enter". In the background, an excavator is working to remove the rubble from in front of the building.
A photograph of a vacant site on the corner of Manchester Street and Gloucester Street. This is to be the location of a large-scale sculpture titled Altitude, which is part of LUXCITY.
Photograph captioned by BeckerFraserPhotos, "96 Harbour Road, a red zoned property in Brooklands. 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".
A building on the corner of Madras Street and Hereford Street, with the Canterbury Television Building visible in the background. Masonry from this building has crumbled onto the footpath below. Fire engines can be seen along Madras Street, combating the fire.
A photograph of a section of a mural on one side of the Shoreline Fitness Centre on Hawke Street. This section of the mural contains bubbles with artworks painted inside.
Photograph captioned by BeckerFraserPhotos, "The church of St Michaels and All Angels is undamaged after the two earthquakes. The pipe organ suffered significant but reparable damage. This church is now the only operational church within the city centre".
A photograph of members of Crack'd for Christchurch in their workshop.Crack'd for Christchurch comments, "Big things are finally happening...this is our first day working in our new workshops. From left: Sharon Wilson, Marie Hudson, Helen Campbell, Jenny Cooper, and Shirley Walden."
An aerial photograph of New Brighton. The photograph has been captioned by BeckerFraserPhotos, "Anzac Drive Bridge over the River Avon. The houses in the bottom half of this photograph are residential red zoned".
A photograph captioned by BeckerFraserPhotos, "The owners of Darkroom Bar were talking about how reduced the entertainment options were some months ago. They decided to do something about it and set up this new funky bar at 336 St Asaph Street".
Photograph captioned by BeckerFraserPhotos, "The Avon River is at this point on Avonside Drive 10 km from the estuary. At high tide the river now overflows its banks showing that the ground has sunk by about 40 cm".
Photograph captioned by BeckerFraserPhotos, "The Avon River is at this point on Avonside Drive 10 km from the estuary. At high tide the river now overflows its banks showing that the ground has sunk by about 40 cm".
A photograph of a section of a piece of street art on a building outside Harrington's Beer Wine and Spirits in New Brighton. This section of the artwork depicts a scene from Doctor Who.
A photograph of a section of a piece of street art on Manchester Street. This section of the artwork is of an elephant. The photograph believes that the artwork was created by the artist Owen Dippie.
A photograph of street art on the wall of a building on Manchester Street. This section of the artwork depicts two elephants. The photograph believes that the artwork was created by the artist Owen Dippie.
A photograph of a section of a piece of street art on a wall facing onto a car park off Hawke Street. This section is signed, "To Jessie, I love you baby, Merry Christmas".
Photograph captioned by BeckerFraserPhotos, "Looking east along Beach Road towards Bower Avenue. Machine is pumping out groundwater and filtering silt. This piece of road is zoned orange on the left and green on the right".
Photograph captioned by BeckerFraserPhotos, "Manikin against sculpture in Cathedral Square. This began as light relief for the crews working within the cordon in the weeks after the February earthquake where the manikins were strategically positioned around the red zone at night".
An aerial photograph of the Forsyth Bar building near Victoria Square. The photograph is captioned by BeckerFraserPhotos, "The Forsyth Barr building at 764 Colombo Street, with Victoria Square behind. This building is staying".
A plaque on the side of the Edmonds Band Rotunda on Cambridge Terrace. The plaque reads, "This rotunda shelter and circular seat were presented by T.J.Edmonds to celebrate fifty years of residence in Christchurch 26th September 1929".
A photograph of the Townsend Telescope in the Observatory at the Christchurch Arts Centre. This image was used by Graeme Kershaw, Technician at the University of Canterbury Department of Physics and Astronomy, to identify the telescope's parts after the 22 February 2011 earthquake.
A photograph of a section of a piece of street art on the side of a building between Brighton Mall and Hawke Street. This section of the artwork depicts Winnie the Pooh.
A photograph of the Townsend Telescope in the Observatory at the Christchurch Arts Centre. This image was used by Graeme Kershaw, Technician at the University of Canterbury Department of Physics and Astronomy, to identify the telescope's parts after the 22 February 2011 earthquake.
A view down a New Brighton Road next to the river. On the left sandbags have been placed on the banks of the river to prevent flooding onto the road. The earthquake caused the ground to subside and sink, making this area susceptible to flooding.
A sign on Morris Street off Avonside Drive clipped to wire fencing on the road. The sign reads "Non-residents are asked not to enter this area. Traffic may cause further damage to roads and properties. Please respect the needs of local residents".