A non-destructive hardness testing method has been developed to investigate the amount of plastic strain demand in steel elements subjected to cyclic loading. The focus of this research is on application to the active links of eccentrically braced frames (EBFs), which are a commonly used seismic-resisting system in modern steel framed buildings. The 2010/2011 Christchurch earthquake series, especially the very intense February 22 shaking, which was the first earthquake worldwide to push complete EBF systems fully into their inelastic state, generating a moderate to high level of plastic strain in EBF active links, for a range of buildings from 3 to 23 storeys in height. This raised two important questions: 1) what was the extent of plastic deformation in active links; and 2) what effect does that have to post-earthquake steel properties? This project comprised determining a robust relationship between hardness and plastic strain in order to be able to answer the first question and provide the necessary input into answering the second question. A non-destructive Leeb (portable) hardness tester (model TH170) has been used to measure the hardness, in order to determine the plastic strain, in hot rolled steel universal sections and steel plates. A bench top Rockwell B was used to compare and validated the hardness measured by the portable hardness tester. Hardness was measured from monotonically strained tensile test specimens to identify the relationship between hardness and plastic strain demand. Test results confirmed a good relationship between hardness and the amount of monotonically induced plastic strain. Surface roughness was identified as an important parameter in obtaining reliable hardness readings from a portable hardness reader. A proper surface preparation method was established by using three different cleaning methods, finished with hand sanding to achieve surface roughness coefficients sufficiently low not to distort the results. This work showed that a test surface roughness (Ra) is not more than 1.6 micron meter (μm) is required for accurate readings from the TH170 tester. A case study on an earthquake affected building was carried out to identify the relationship between hardness and amount of plastic strain demand in cyclically deformed active links. Hardness was carried out from active links shown visually to have been the most affected during one of the major earthquake events. Onsite hardness test results were then compared with laboratory hardness test results. A good relationship between hardness from onsite and laboratory was observed between the test methods; Rockwell B bench top and portable Leeb tester TH170. Manufacturing induced plastic strain in the top and bottom of the webs of hot rolled sections were discovered from this research, an important result which explains why visual effects of earthquake induced active link yielding (eg cracked or flaking paint) was typically more prevalent over the middle half depth of the active link. The extent of this was quantified. It was also evident that the hardness readings from the portable hardness tester are influenced by geometry, mass effects and rigidity of the links. The final experimental stage was application of the method to full scale cyclic inelastic tested nominally identical active links subjected to loading regimes comprising constant and variable plastic strain demands. The links were cyclically loaded to achieve different plastic strain level. A novel Digital Image Correlation (DIC) technique was incorporated during the tests of this scale, to confirm the level of plastic strain achieved. Tensile test specimens were water jet cut from cyclically deformed webs to analyse the level of plastic strain. Test results show clear evidence that cyclically deformed structural steel elements show good correlation between hardness and the amount of plastic strain demand. DIC method was found to be reliable and accurate to check the level of plastic strain within cyclically deformed structural steel elements.
New Zealand’s stock of unreinforced masonry (URM) bearing wall buildings was principally constructed between 1880 and 1935, using fired clay bricks and lime or cement mortar. These buildings are particularly vulnerable to horizontal loadings such as those induced by seismic accelerations, due to a lack of tensile force-resisting elements in their construction. The poor seismic performance of URM buildings was recently demonstrated in the 2011 Christchurch earthquake, where a large number of URM buildings suffered irreparable damage and resulted in a significant number of fatalities and casualties. One of the predominant failure modes that occurs in URM buildings is diagonal shear cracking of masonry piers. This diagonal cracking is caused by earthquake loading orientated parallel to the wall surface and typically generates an “X” shaped crack pattern due to the reversed cyclic nature of earthquake accelerations. Engineered Cementitious Composite (ECC) is a class of fiber reinforced cement composite that exhibits a strain-hardening characteristic when loaded in tension. The tensile characteristics of ECC make it an ideal material for seismic strengthening of clay brick unreinforced masonry walls. Testing was conducted on 25 clay brick URM wallettes to investigate the increase in shear strength for a range of ECC thicknesses applied to the masonry wallettes as externally bonded shotcrete reinforcement. The results indicated that there is a diminishing return between thickness of the applied ECC overlay and the shear strength increase obtained. It was also shown that, the effectiveness of the externally bonded reinforcement remained constant for one and two leaf wallettes, but decreased rapidly for wall thicknesses greater than two leafs. The average pseudo-ductility of the strengthened wallettes was equal to 220% of that of the as-built wallettes, demonstrating that ECC shotcrete is effective at enhancing both the in-plane strength and the pseudo-ductility of URM wallettes. AM - Accepted Manuscript
Indigenous Peoples retain traditional coping strategies for disasters despite the marginalisation of many Indigenous communities. This article describes the response of Māori to the Christchurch earthquakes of 2010 and 2012 through analyses of available statistical data and reports, and interviews done three months and one year after the most damaging event. A significant difference between Māori and ‘mainstream’ New Zealand was the greater mobility enacted by Māori throughout this period, with organisations having roles beyond their traditional catchments throughout the disaster, including important support for non-Māori. Informed engagement with Indigenous communities, acknowledging their internal diversity and culturally nuanced support networks, would enable more efficient disaster responses in many countries.
A photograph of street art in Avonside. The artworks are on the walls of a derelict toilet block. The photographer believes that the artworks were created by the artist 'SGC'.
A photograph of street art in Avonside. The artwork is on the walls of a derelict toilet block. The photographer believes that the artworks were created by the artist 'SGC'.
A photograph of street art in Avonside. The artworks are on the walls of a derelict toilet block. The photographer believes that the artworks were created by the artist 'SGC'.
A photograph of street art in Avonside. The artworks are on the walls of a derelict toilet block. The photographer believes that the artworks were created by the artist 'SGC'.
A photograph of street art on the Cathedral Square side of the Cathedral Junction building. The artwork was created by street artist Rone Wright for the RISE Festival. The artwork is titled 'Teresa', and depicts Australian model Teresa Oman.
A photograph of street art on the Cathedral Square side of the Cathedral Junction building. The artwork was created by street artist Rone Wright for the RISE Festival. The artwork is titled 'Teresa', and depicts Australian model Teresa Oman.
A photograph of Mike Hewson's installation, 'Old Public Toilets 2014'. The artwork depicts a distorted image of the surrounding buildings. The installation is part of a series titled 'Homage to the Lost Spaces'.
A photograph of street art on the wall of the Calendar Girls building on Hereford Street. The artwork is by Australian artist Seb Humphreys, who works under the name 'Order 55'.
A photograph of street art on the back wall of the AJ Creative Glass building on Fitzgerald Avenue. The photographer believes that the artwork was created by the artist 'Saves'.
A photograph of street art on the back wall of the AJ Creative Glass building on Fitzgerald Avenue. The photographer believes that the artwork was created by the artist 'Paulie'.
A photograph of fence art in Cathedral Square. The artwork shows different types of flowers.
A photograph of street art on the side wall of Canterbury Museum. The artwork was created by Belgian street artist 'ROA' as part of the RISE Festival.
A photograph of street art on the side wall of Canterbury Museum. The artwork was created by Belgian street artist 'ROA' as part of the RISE Festival.
A photograph of street art on the side wall of Canterbury Museum. The artwork was created by Belgian street artist 'ROA' as part of the RISE Festival.
A photograph of street art on the side wall of Canterbury Museum. The artwork was created by Belgian street artist 'ROA' as part of the RISE Festival.
A photograph of Mike Hewson's installation, 'Old Public Toilets 2014'. The artwork depicts a distorted image of the surrounding buildings. The installation is part of a series titled 'Homage to the Lost Spaces'.
A photograph of an installation view of Julia Holden's exhibition, 'its like now'. The installation was exhibited at the ArtBox gallery on the corner of Madras and St Asaph Streets.
A photograph of street art on Gloucester Street near Cathedral Junction. The title of the art work is "Kristen". The artists are Askew One and Mark TMD.
A photograph of a sign attached to a chair at the Canterbury Cultural Recovery Centre. The sign reads, "Look at me... But please don't walk on me!" A object from one of the collections has been laid flat on the floor and wrapped in white linen for protection.
A trailer video for Elizabeth Guthrey's film series 'Dancing Through Impermanent Spaces', which was screened as part of the Body Festival 2014.
A photograph of Julia Holden's painting 'Blue Building' displayed on a billboard on Taranaki Street, Wellington.
A video of dance and physical theatre featuring Matt Grant and Elizabeth Guthrey, incorporating several central city locations. The voiceover is a poem written and read by Matt Grant.
A zip file of an interactive 360-degree panoramic photograph in SWF format. The photograph was taken at the intersection of Manchester Street and Hereford Street on 1 June 2014.
A photograph of Julia Holden's painting 'Cotter Building'.
A photograph of Julia Holden's painting 'Red Zone Home 1' displayed on a billboard in Mount Eden, Auckland.
A photograph of a portrait of Sarah Anderson, painted by Julia Holden. The portrait was from a 'selfie' provided by Sarah, and was part of Julia Holden's exhibition, 'its like now'.
A photograph of street art in Avonside. The artworks are on the walls of a derelict toilet block. The photographer believes that the artworks were created by the artist 'SGC'.