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Audio, Radio New Zealand

Lyttelton was hit harder than most by the Christchurch earthquakes - particularly the Lyttelton Museum. But now it's back - triumphantly, we may say! - with a little help from its friends, past and present. Key historical figures in Lyttelton's history are brought back to life in a new exhibition by Julia Holden - Lyttelton Redux - which has just opened at Canterbury Museum.

Research papers, University of Canterbury Library

This article examines the representation of Christchurch, New Zealand, student radio station RDU in the exhibition Alternative Radio at the Canterbury Museum in 2016. With the intention of ‘making visible what is invisible’ about radio broadcasting, the exhibition articulated RDU as a point of interconnection between the technical elements of broadcasting, the social and musical culture of station staff and volunteers, and the broader local and national music scenes. This paper is grounded in observations of the exhibitions and associated public programmes, and interviews with the key participants in the exhibition including the museum's exhibition designer and staff from RDU, who acted as independent practitioners in collaboration with the museum. Alternative Radio also addressed the aftermath of the major earthquake of 22 February 2011, when RDU moved into a customised horse truck after losing its broadcast studio. The exhibition came about because of the cultural resonance of the post-quake story, but also emphasised the long history of the station before that event, and located this small student radio station in the broader heritage discourse of the Canterbury museum, activating the historical, cultural, and personal memories of the station's participants and audiences.

Research papers, University of Canterbury Library

SeisFinder is an open-source web service developed by QuakeCoRE and the University of Canterbury, focused on enabling the extraction of output data from computationally intensive earthquake resilience calculations. Currently, SeisFinder allows users to select historical or future events and retrieve ground motion simulation outputs for requested geographical locations. This data can be used as input for other resilience calculations, such as dynamic response history analysis. SeisFinder was developed using Django, a high-level python web framework, and uses a postgreSQL database. Because our large-scale computationally-intensive numerical ground motion simulations produce big data, the actual data is stored in file systems, while the metadata is stored in the database.

Research papers, University of Canterbury Library

Overview of SeisFinder SeisFinder is an open-source web service developed by QuakeCoRE and the University of Canterbury, focused on enabling the extraction of output data from computationally intensive earthquake resilience calculations. Currently, SeisFinder allows users to select historical or future events and retrieve ground motion simulation outputs for requested geographical locations. This data can be used as input for other resilience calculations, such as dynamic response history analysis. SeisFinder was developed using Django, a high-level python web framework, and uses a postgreSQL database. Because our large-scale computationally-intensive numerical ground motion simulations produce big data, the actual data is stored in file systems, while the metadata is stored in the database. The basic SeisFinder architecture is shown in Figure 1.

Research papers, University of Canterbury Library

Recently developed performance-based earthquake engineering framework, such as one provided by PEER (Deierlein et al. 2003), assist in the quantification in terms of performance such as casualty, monetary losses and downtime. This opens up the opportunity to identify cost-effective retrofit/rehabilitation strategies by comparing upfront costs associated with retrofit with the repair costs that can be expected over time. This loss assessment can be strengthened by learning from recent earthquakes, such as the 2010 Canterbury and 2016 Kaikoura earthquakes. In order to investigate which types of retrofit/rehabilitation strategies may be most cost-effective, a case study building was chosen for this research. The Pacific Tower, a 22-storey EBF apartment located within the Christchurch central business district (CBD), was damaged and repaired during the 2010 Canterbury earthquake series. As such, by taking hazard levels accordingly (i.e. to correspond to the Christchurch CBD), modelling and analysing the structure, and considering the vulnerability and repair costs of its different components, it is possible to predict the expected losses of the aforementioned building. Using this information, cost-effective retrofit/rehabilitation strategy can be determined. This research found that more often than not, it would be beneficial to improve the performance of valuable non-structural components, such as partitions. Although it is true that improving such elements will increase the initial costs, over time, the benefits gained from reduced losses should be expected to overcome the initial costs. Aftershocks do increase the predicted losses of a building even in lower intensities due to the fact that non-structural components can get damaged at such low intensities. By comparing losses computed with and without consideration of aftershocks for a range of historical earthquakes, it was found that the ratio between losses due to main shock with aftershocks to the losses due to the main shock only tended to increase with increasing main shock magnitude. This may be due to the fact that larger magnitude earthquakes tend to generate larger magnitude aftershocks and as those aftershocks happen within a region around the main shock, they are more likely to cause intense shaking and additional damage. In addition to this observation, it was observed that the most significant component of loss of the case study building was the non-structural partition walls.

Research papers, Victoria University of Wellington

Architecture and music have a long intertwining history.These respective creative forces many times have collaborated into monumental place, harboured rich occasion, been catalyst for cultural movement and defined generations. Together they transcend their respective identities. From dinky local church to monstrous national stadia, together they are an intense concentration, a powerfully addictive dosage where architecture is the place, music is the faith, and people are the reason.  Music is a programme that architecture often celebrates in poetic and grand fashion; a superficial excuse to symbolise their creative parallels. But their relationship is much richer and holds more value than just the opportunity to attempt architectural metaphor.While music will always overshadow the architecture in the sense of a singular event, architecture is like the soundman behind the mixing desk. It’s not the star front and centre grabbing your attention, but is responsible for framing the star. It is the foundational backdrop, a critical pillar. Great architecture can help make great music. In this sense music is a communication of architecture, it is the ultimate creative function.  Christchurch, New Zealand, is a city whose story changed in an instant. The seismic events of 2010 and 2011 have become the overriding subject of its historical narrative, as it will be for years to come. Disaster redefines place (the town of Napier, struck by an earthquake in 1931, exemplifies this). There is no quantifiable justification for an exploration of architecture and music within the context of Christchurch. The Town Hall, one of New Zealand’s most architecturally significant buildings, is under repair. The Christ Church Cathedral will more than likely be rebuilt to some degree of its former self. But these are echoes of the city that Christchurch was.They are saved because they are artefact. Evidence of history.This thesis makes the argument for the new, the better than before, and for the making of opportunity from disaster, by proposing a ‘new’ town hall, conceived from the sound of old.