INTRODUCTION: There is little research on the role of creative arts and craft in disaster recovery. This article reports findings about the emergent role of crafting from research conducted after the 2010–2011 series of earthquakes in Christchurch and surrounding districts in Aotearoa New Zealand. In particular, the article focuses on the significance and differing interpretations of the notion of place expressed by participants through their craftwork, in this case led by women and mediated by the post-earthquake geographic and temporal context. METHOD: This qualitative research included nine individual interviews and five focus group interviews with crafters from Christchurch and surrounding districts. There were 35 participants in total, 33 were women. Applied thematic analysis was used to code the data and identify themes. These themes included connection to place, the symbolism of craft, the healing experience of craft groups and places for women. The notion of place was evident across all three themes. FINDINGS: The findings from the research demonstrate differing ways in which the significance of place was reflected in the craftwork. Participants interpreted the concept of place in descriptive, symbolic, and therapeutic ways. IMPLICATIONS: More understanding about the way creative endeavours like crafting can be used to help ameliorate the impact of natural disasters is needed. Social work practitioners are encouraged to explore place-based wellbeing during their work with service users and to include aspects of artistry, craft and creativity.
In the wake of the Canterbury earthquakes, one of the biggest threats to our heritage buildings is the risk of earthquakes and the associated drive to strengthen or demolish buildings. Can Small Town NZ balance the requirements of the EQPB legislation and economic realities of their places? The government’s priority is on safety of building occupants and citizens in the streets. However, maintaining and strengthening privately-owned heritage buildings is often cost prohibitive. Hence, heritage regulation has frequently been perceived as interfering with private property rights, especially when heritage buildings occupy a special place in the community becoming an important place for people (i.e. public benefits are larger than private). We investigate several case studies where building owners have been given green light to demolish heritage listed buildings to make way for modern developments. In two of the case studies developers provided evidence of unaffordable strengthening costs. A new trend that has emerged is a voluntary offer of contributing to an incentive fund to assist with heritage preservation of other buildings. This is a unique example where private owners offer incentives (via council controlled organisations) instead of it being purely the domain of the central or local governments.
This article explores the scope of small-scale radio to create an auditory geography of place. It focuses on the short-term art radio project The Stadium Broadcast, which was staged in November 2014 in an earthquake-damaged sports stadium in Christchurch, New Zealand. Thousands of buildings and homes in Christchurch have been demolished since the February 22, 2011, earthquake, and by the time of the broadcast the stadium at Lancaster Park had been unused for three years and nine months, and its future was uncertain. The Stadium Broadcast constructed a radio memorial to the Park’s 130-year history through archival recordings, the memories of local people, observation of its current state, and a performed site-specificity. The Stadium Broadcast reflected on the spatiality of radio sounds and transmissions, memory, postdisaster transitionality, and the impermanence of place.
Validation is an essential step to assess the applicability of simulated ground motions for utilization in engineering practice, and a comprehensive analysis should include both simple intensity measures (PGA, SA, etc), as well as the seismic response of a range of complex systems obtained by response history analysis. In order to enable a spectrum of complex structural systems to be considered in systematic validation of ground motion simulations in a routine fashion, an automated workflow was developed. Such a workflow enables validation of simulated ground motions in terms of different complex model responses by considering various ground motion sets and different ground motion simulation methods. The automated workflow converts the complex validation process into a routine one by providing a platform to perform the validation process promptly as a built-in process of simulation post-processing. As a case study, validation of simulated ground motions was investigated via the automated workflow by comparing the dynamic responses of three steel special moment frame (SMRF) subjected to the 40 observed and 40 simulated ground motions of 22 February 2011 Christchurch earthquake. The seismic responses of the structures are principally quantified via the peak floor acceleration and maximum inter-storey drift ratio. Overall, the results indicate a general agreement in seismic demands obtained using the recorded and simulated ensembles of ground motions and provide further evidence that simulated ground motions can be used in code-based structural performance assessments in-place of, or in combination with, ensembles of recorded ground motions.
