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Images, Canterbury Museum

One print on paper of an artwork titled "There Came a Day" featuring the text "There came a day, the earth did say, I've had enough, of this fault's fray, so up it lift, a Christchurch rift, a seven point one, of rattle and tip, still here we are, too strong to split" in white and red ink on a black background.

Images, Canterbury Museum

One print on paper of an artwork titled "Build it on Jelly" featuring an image of a construction worker and steel beam in black ink standing on a molded jelly in orange ink, with the words "Build it on Jelly, By Order, Jelly City Council, Christchurch NZ".

Images, UC QuakeStudies

A photograph of chalk writing on a footpath next to the Avon River, as part of Emerge Poetica #5. The text reads 'Poetica in association with FESTA, follow the stones to our floating poem..' The project was part of FESTA 2014 and included water calligraphy workshops and poetry readings.

Images, UC QuakeStudies

A photograph of Emerge Poetica #5 - an installation of a calligraphic line of poetry by Irish poet William Yeats. The installation is floating in the Avon River. The installation was part of FESTA 2014 and was accompanied by water calligraphy workshops and poetry readings.

Images, UC QuakeStudies

A photograph of a container of short poems printed on paper tags, for the event Emerge Poetica #5. This event was part of FESTA 2014 and included a calligraphic line of poetry floating in the Avon River, water calligraphy workshops and poetry readings.

Images, UC QuakeStudies

A photograph of Emerge Poetica #5 - an installation of a calligraphic line of poetry by Irish poet William Yeats. The installation is floating in the Avon River. The installation was part of FESTA 2014 and was accompanied by water calligraphy workshops and poetry readings.

Images, UC QuakeStudies

A photograph of Emerge Poetica #5 - an installation of a calligraphic line of poetry by Irish poet William Yeats. The installation is floating in the Avon River. The installation was part of FESTA 2014 and was accompanied by water calligraphy workshops and poetry readings.

Images, UC QuakeStudies

A photograph of Emerge Poetica #5 - an installation of a calligraphic line of poetry by Irish poet William Yeats. The installation is floating in the Avon River. The installation was part of FESTA 2014 and was accompanied by water calligraphy workshops and poetry readings.

Images, UC QuakeStudies

A photograph of Emerge Poetica #5 - a calligraphic line of poetry by Irish poet William Yeats. The installation is floating in the Avon River by the historic mill wheel. The installation was part of FESTA 2014 and was accompanied by water calligraphy workshops and poetry readings.

Images, UC QuakeStudies

A photograph of Helen Campbell and Jonathan Hall preparing to move Crack'd for Christchurch's ottoman artwork. The ottoman has been wrapped up in bubble wrap and secured to a pallet.Crack'd for Christchurch comments, "Helen Campbell and Jonathan Hall getting Otto ready for his trip to meet Flora at their final destination."

Images, UC QuakeStudies

A photograph of Jenny Cooper taking a break in front of the Crack'd for Christchurch armchair artwork. The Crack'd for Christchurch team have been working on the artwork in a garage.Crack'd for Christchurch comments, "February 2014. The work continues through the summer and into the winter."

Images, UC QuakeStudies

A photograph of members of Crack'd for Christchurch preparing to attach one of the flower mosaics to their armchair artwork.Crack'd for Christchurch comments, "Mosaic adhesive goes on to the concrete chair (which has been sealed and primed). We also put mosaic adhesive on the back of each flower."

Images, UC QuakeStudies

A photograph of Jonathan Hall, Marie Hudson, and Nick Johnston's reactions as Crack's for Christchurch's armchair is loaded onto the back of a truck.Crack'd for Christchurch comments, "Flora is uplifted from the workshop at last! You can see the relief on our faces."

Images, UC QuakeStudies

A photograph of members of Crack'd for Christchurch, Greening the Rubble, and Phresh Deliveries standing in front of a truck. Crack'd for Christchurch's armchair artwork has been wrapped in a tarpaulin and placed on the back of the truck.Crack'd for Christchurch comments, "Flora is uplifted from the workshop at last! You can see the relief on our faces. From left: Marie Hudson, Jenny Cooper, Jonathan Hall, and Nick Johnston from Phresh Deliveries."

Images, UC QuakeStudies

A photograph of Jonathan Hall, Marie Hudson, and Nick Johnston's reactions as Crack's for Christchurch's armchair is loaded onto the back of a truck.Crack'd for Christchurch comments, "Flora is uplifted from the workshop at last! You can see the relief on our faces."

Images, UC QuakeStudies

A photograph of members of Crack'd for Christchurch attaching one of the flower mosaics to their armchair artwork.Crack'd for Christchurch comments, "Mosaic adhesive goes on to the concrete chair (which has been sealed and primed). We also put mosaic adhesive on the back of each flower."

Images, Canterbury Museum

One white linen tea towel with the poem ‘Stronger City’ by Gertrude Ryder Bennett, 1931, printed in black. This tea towel was produced by Lyttelton retailer 'God Save the Queen' in response to the 22 February earthquake. Rebecca Lovell-Smith owned and operated the vintage shop ‘God Save the Queen’ in Lyttelton. She lost both her home and the sh...

Videos, UC QuakeStudies

A video of a panel discussion at the 2016 Seismics in the City Conference. The panel is titled, "Engaging: Generating Community Input and Feedback".Leanne Curtis of Breakthrough Services, Evan Smith, Programme Manager of Eastern Vision, and André Lovatt, CEO of the Arts Centre, respond to questions from the floor. Brendon Burns, of Brendon Burns and Associates, facilitates the discussion.The theme of the panel reads, "'Regenerate Christchurch must and will engage with the community around what will be done' (André Lovatt, Chair, Regenerate Christchurch). Learning from the past by tapping the wisdom of communities and applying the lessons to the future as we shape the new city."

Research papers, The University of Auckland Library

Seismic retrofitting of unreinforced masonry buildings using posttensioning has been the topic of many recent experimental research projects. However, the performance of such retrofit designs in actual design level earthquakes has previously been poorly documented. In 1984 two stone masonry buildings within The Arts Centre of Christchurch received posttensioned seismic retrofits, which were subsequently subjected to design level seismic loads during the 2010/2011 Canterbury earthquake sequence. These 26 year old retrofits were part of a global scheme to strengthen and secure the historic building complex and were subject to considerable budgetary constraints. Given the limited resources available at the time of construction and the current degraded state of the steel posttension tendons, the posttensioned retrofits performed well in preventing major damage to the overall structure of the two buildings in the Canterbury earthquakes. When compared to other similar unretrofitted structures within The Arts Centre, it is demonstrated that the posttensioning significantly improved the in-plane and out-of-plane wall strength and the ability to limit residual wall displacements. The history of The Arts Centre buildings and the details of the Canterbury earthquakes is discussed, followed by examination of the performance of the posttension retrofits and the suitability of this technique for future retrofitting of other historic unreinforced masonry buildings. http://www.aees.org.au/downloads/conference-papers/2013-2/

Images, UC QuakeStudies

A photograph of the entrance to Gap Filler's temporary outdoor cinema on the corner of Madras and St Asaph Streets. The entranceway is made of lights on a steel frame, and leads to a painted "red carpet".

Images, UC QuakeStudies

A photograph of Mike Hewson's artwork, 'Deconstruction', on the walkway between Ballantyne's and the former bus exchange building. The photograph is taken from an angle such that the artwork gives the illusion that the walkway is transparent.