The story of the city’s urban marae, Ngā Hau e Whā, built from 1981 onwards, begins in the migration of Māori from their tūrangawaewae to cities. The marae project is linked to a desire among city elders to move Māori out of the city centre to the east.
Introduction In 2011 Christchurch city centre was partially destroyed by an earthquake. Government-led anchor projects were tasked with bringing Christchurch back from rubble. After a period of 7 years out of 16 proposed projects, 10 are already over time for their initial completion dates and the ones completed, are under scrutiny for failing to deliver their expected outcome.
After the Christchurch earthquakes, the government declared about 8000 houses as Red Zoned, prohibiting further developments in these properties, and offering the owners to buy them out. The government provided two options for owners: the first was full payment for both land and dwelling at the 2007 property evaluation, the second was payment for land, and the rest to be paid by the owner’s insurance. Most people chose the second option. Using data from LINZ combined with data from StatNZ, this project empirically investigates what led people to choose this second option, and what were the implications of these choices for the owners’ wealth and income.
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.
Our poster will present on-going QuakeCoRE-founded work on strong motion seismology for Dunedin-Mosgiel area, focusing on ground motion simulations for Dunedin Central Business District (CBD). Source modelling and ground motion simulations are being carried out using the SCEC (Southern California Earthquakes Center) Broad Band simulation Platform (BBP). The platform computes broadband (0-10 Hz) seismograms for earthquakes and was first implemented at the University of Otago in 2016. As large earthquakes has not been experienced in Dunedin in the time of period of instrumental recording, user-specified scenario simulations are of great value. The Akatore Fault, the most active fault in Otago and closest major fault to Dunedin, is the source focused on in the present study. Simulations for various Akatore Fault source scenarios are run and presented. Path and site effects are key components considered in the simulation process. A 1D shear wave velocity profile is required by SCEC BBP, and this is being generated to represent the Akatore-to-CBD path and site within the BBP. A 3D shear velocity model, with high resolution within Dunedin CBD, is being developed in parallel with this study (see Sangster et al. poster). This model will be the basis for developing a 3D shear wave velocity model for greater Dunedin-Mosgiel area for future ground motion simulations, using Canterbury software (currently under development).