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Research papers, University of Canterbury Library

This research investigates the validation of simulated ground motions on complex structural systems. In this study, the seismic responses of two buildings are compared when they are subjected to as-recorded ground motions and simulated ones. The buildings have been designed based on New Zealand codes and physically constructed in Christchurch, New Zealand. The recorded ground motions are selected from 40 stations database of the historical 22 Feb. 2011 Christchurch earthquake. The Graves and Pitarka (2015) methodology is used to generate the simulated ground motions. The geometric mean of maximum inter-story drift and peak floor acceleration are selected as the main seismic responses. Also, the variation of these parameters due to record to record variability are investigated. Moreover, statistical hypothesis testing is used to investigate the similarity of results between observed and simulated ground motions. The results indicate a general agreement between the peak floor acceleration calculated by simulated and recorded ground motions for two buildings. While according to the hypothesis tests result, the difference in drift can be significant for the building with a shorter period. The results will help engineers and researchers to use or revise the procedure by using simulated ground motions for obtaining seismic responses.

Research Papers, Lincoln University

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.