Since the mid 1990s, the Christchurch inventory of substation buildings was seismically retrofitted as part of the Risk and Realities improvement programme. • The substation buildings were retrofitted using a system of simple and cost-effective steel elements. • The 2010/2011 Canterbury earthquakes caused significant immediate disruption to power distribution network in Christchurch. • It took a single day in September 2010 and ten days in February 2011 to restore power to 90% customers. Tostudytheseismicperformanceofmasonrysubstationbuildingsfromamulti-disciplinary perspective on structural,economic and social aspects.
Creativity that is driven by a need for physical or economic survival, which disasters are likely to inspire, raises the question of whether such creativity fits with conventional theories and perspectives of creativity. In this paper we use the opportunity afforded by the 2010-2013 Christchurch, New Zealand earthquakes to follow and assess the creative practices and responses of a number of groups and individuals. We use in-depth interviews to tease out motivations and read these against a range of theoretical propositions about creativity. In particular, we focus on the construct of “elite panic” and the degree to which this appeared to be evident in the Christchurch earthquakes context. Bureaucratic attempts to control or limit creativity were present but they did not produce a completely blanket dampening effect. Certain individuals and groups seemed to be pre-equipped to navigate or ignore potential blocks to creativity. We argue, using Geir Kaufmann’s novelty-creativity matrix and aspects of Teresa Amabile’s and Michael G. Pratt’s revised componential theory of creativity that a special form of disaster creativity does exist.
