There is a now a rich literature on the connections between digital media, networked computing, and the shaping of urban material cultures. Much less has addressed the post-disaster context, like we face in Christchurch, where it is more a case of re-build rather than re-new. In what follows I suggest that Lev Manovich’s well-known distinction between narrative and database as distinct but related cultural forms is a useful framework for thinking about the Christchurch rebuild, and perhaps urbanism more generally.
The last few years have seen the emergence of a range of Digital Humanities projects concerned with archiving material related to traumatic events and disasters. The 9/11 Digital Archive, The Hurricane Memory Bank and the CEISMIC Canterbury Earthquakes Digital Archive are a few such projects committed to collecting, curating and making available disaster-related images, stories and media for the purposes of commemoration, teaching and research. In this paper Paul Millar 1. examines the value of such projects in preserving post-disaster memories, 2. explores some differences between passive and active digital memory projects, and 3. asks whether even the most determinedly open and inclusive digital memory project can preserve its values when issues of race, class, gender, politics and economics impact upon its activities.
A digital copy of a pen and ink and watercolour painting by Raymond Morris, titled, 'Bains Warehouse, 84 Lichfield Street'.
A digital copy of a pen and ink and watercolour painting by Raymond Morris, titled, 'Holy Grail, 88 Worcester Street'.
A digital copy of a pen and ink and watercolour painting by Raymond Morris, titled, 'Bob Browns Hi Fi, 218 Manchester Street'.
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A Transitional Imaginary: Space, Network and Memory in Christchurch is the outcome and the record of a particular event: the coming together of eight artists and writers in Ōtautahi Christchurch in November 2015, with the ambitious aim to write a book collaboratively over five days. The collaborative process followed the generative ‘book sprint’ method founded by our facilitator for the event, Adam Hyde, who has long been immersed in digital practices in Aotearoa. A book sprint prioritises the collective voice of the participants and reflects the ideas and understandings that are produced at the time in which the book was written, in a plurality of perspectives. Over one hundred books have been completed using the sprint methodology, covering subjects from software documentation to reflections on collaboration and fiction. We chose to approach writing about Ōtautahi Christchurch through this collaborative process in order to reflect the complexity of the post-quake city and the multiple paths to understanding it. The city has itself been a space of intensive collaboration in the post-disaster period. A Transitional Imaginary is a raw and immediate record, as much felt expression as argued thesis. In many ways the process of writing had the character of endurance performance art. The process worked by honouring the different backgrounds of the participants, allowing that dialogue and intensity could be generative of different forms of text, creating a knowledge that eschews a position of authority, working instead to activate whatever anecdotes, opinions, resources and experiences are brought into discussion. This method enables a dynamic of voices that merge here, separate there and interrupt elsewhere again. As in the contested process of rebuilding and reimagining Christchurch itself, the dissonance and counterpoint of writing reflects the form of conversation itself. This book incorporates conflict, agreement and the activation of new ideas through cross-fertilisation to produce a new reading of the city and its transition. The transitional has been given a specific meaning in Christchurch. It is a product of local theorising that encompasses the need for new modes of action in a city that has been substantially demolished (Bennett & Parker, 2012). Transitional projects, such as those created by Gap Filler, take advantage of the physical and social spaces created by the earthquake through activating these as propositions for new ways of being in the city. The transitional is in motion, looking towards the future. A Transitional Imaginary explores the transitional as a way of thinking and how we understand the city through art practices, including the digital and in writing.
On the 22nd of February, 2011 the city of Christchurch, New Zealand was crippled by a colossal earthquake. 185 people were killed, thousands injured and what remained was a city left in destruction and ruin. Thousands of Christchurch properties and buildings were left damaged beyond repair and the rich historical architecture of the Canterbury region had suffered irreparably. This research will conduct an investigation into whether the use of mixed reality can aid in liberating Christchurch’s rich architectural heritage when applied to the context of destructed buildings within Christchurch. The aim of this thesis is to formulate a narrative around the embodiment of mixed reality when subjected to the fragmentary historical architecture of Christchurch. Mixed reality will aspire to act as the defining ligature that holds the past, present and future of Christchurch’s architectural heritage intact as if it is all part of the same continuum. This thesis will focus on the design of a memorial museum within a heavily damaged historical trust registered building due to the Christchurch earthquake. It is important and relevant to conceive the idea of such a design as history is what makes everything we know. The memories of the past, the being of the now and the projection of the future is the basis and fundamental imperative in honouring the city and people of Christchurch. Using the technologies of Mixed Reality and the realm of its counter parts the memorial museum will be a definitive proposition of desire in providing a psychological and physical understanding towards a better Christchurch, for the people of Christchurch. This thesis serves to explore the renovation possibilities of the Canterbury provincial council building in its destructed state to produce a memorial museum for the Christchurch earthquake. The design seeks to mummify the building in its raw state that sets and develops the narrative through the spaces. The design intervention is kept at a required minimum and in doing so manifests a concentrated eloquence to the derelict space. The interior architecture unlocks the expression of history and time encompassed within a destructive and industrialised architectural dialogue. History is the inhabitant of the building, and using the physical and virtual worlds it can be set free. This thesis informs a design for a museum in central Christchurch that celebrates and informs the public on past, present and future heritage aspects of Christchurch city. Using mixed reality technologies the spatial layout inside will be a direct effect of the mixed reality used and the exploration of the physical and digital heritage aspects of Christchurch. The use of technology in today’s world is so prevalent that incorporating it into a memorial museum for Christchurch would not only be interesting and exploratory but also offer a sense of pushing forward and striving beyond for a newer, fresher Christchurch. The memorial museum will showcase a range of different exhibitions that formulate around the devastating Christchurch earthquake. Using mixed reality technologies these exhibitions will dictate the spaces inside dependant on their various applications of mixed reality as a technology for architecture. Research will include; what the people of Canterbury are most dear to in regards to Christchurch’s historical environment; the use of mixed reality to visualise digital heritage, and the combination of the physical and digital to serve as an architectural mediation between what was, what is and what there could be.
he strong motion station at Heathcote Valley School (HVSC) recorded unusually high peak ground accelerations (2.21g vertical and 1.41g horizontal) during the February 2011 Christchurch earthquake. Ground motions recorded at HVSC in numerous other events also exhibited consistently higher intensities compared with nearby strong motion stations. We investigated the underlying causes of such high intensity ground motions at HVSC by means of 2D dynamic finite element analyses, using recorded ground motions during the 2010-2011 Canterbury earthquake sequence. The model takes advantage of a LiDAR-based digital elevation model (DEM) to account for the surface topography, while the geometry and dynamic properties of the surficial soils are characterized by seismic cone penetration tests (sCPT) and Multi-Channel Analyses of Surface Waves (MASW). Comparisons of simulated and recorded ground motions suggests that our model performs well for distant events, while for near-field events, ground motions recorded at the adopted reference station at Lyttelton Port are not reasonable input motions for the simulation. The simulations suggest that Rayleigh waves generated at the inclined interface of the surficial colluvium and underlying volcanic rock strongly affect the ground motions recorded at HVSC, in particular, being the dominant contributor to the recorded vertical motions.
Oblique-convergent plate collision between the Pacific and Australian plates across the South Island has resulted in shallow, upper crustal earthquake activity and ground surface deformation. In particular the Porters Pass - Amberley Fault Zone displays a complex hybrid zone of anastomosing dextral strike-slip and thrust/reverse faulting which includes the thrust/reverse Lees Valley Fault Zone and associated basin deformation. There is a knowledge gap with respect to the paleoseismicity of many of the faults in this region including the Lees Valley Fault Zone. This study aimed to investigate the earthquake history of the fault at a selected location and the structural and geomorphic development of the Lees Valley Fault Zone and eastern rangefront. This was investigated through extensive structural and geomorphic mapping, GPS field surveying, vertical aerial photo interpretation, analysis of Digital Elevation Models, paleoseismic trenching and optically stimulated luminescence dating. This thesis used a published model for tectonic geomorphology development of mountain rangefronts to understand the development of Lees Valley. Rangefront geomorphology is investigated through analysis of features such as rangefront sinuosity and faceted spurs and indicates the recently active and episodic nature of the uplifted rangefront. Analysis of fault discontinuity, fault splays, distribution of displacement, fault deformation zone and limited exposure of bedrock provided insight into the complex structure of the fault zone. These observations revealed preserved, earlier rangefronts, abandoned and uplifted within the eastern ranges, indicating a basinward shift in focus of faulting and an imbricate thrust wedge development propagating into the footwall of the fault zone and along the eastern ranges of Lees Valley. Fault scarp deformation analysis indicated multiple events have produced the deformation present preserved by the active fault trace in the northern valley. Vertical deformation along this scarp varied with a maximum of 11.5 m and an average of 5 m. Field mapping revealed fan surfaces of various ages have been offset and deformed, likely during the Holocene, based on expected relative surface ages. Geomorphic and structural mapping highlighted the effect of cross-cutting and inherited structures on the Lees Valley Fault, resulting in a step-over development in the centre of the eastern range-bounding trace. Paleoseismic trenching provided evidence of at least two earthquakes, which were constrained to post 21.6 ± 2.3 ka by optically stimulated luminescence dating. Single event displacements (1.48 ± 0.08 m), surface rupture earthquake magnitudes (Mw 6.7 ± 0.1, with potential to produce ≥ 7.0), and a minimum recurrence interval (3.6 ± 0.3 ka) indicated the Lees Valley Fault is an active structure capable of producing significant earthquake events. Results from this study indicate that the Lees Valley Fault Zone accommodates an important component of the Porters Pass - Amberley Fault Zone deformation and confirms the fault as a source of potentially damaging, peak ground accelerations in the Canterbury region. Remnants of previous rangefronts indicate a thrust wedge development of the Lees Valley Fault Zone and associated ranges that can potentially be used as a model of development for other thrust-fault bounded basins.
