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Images for art; more images...

Images, UC QuakeStudies

A photograph of a section of a mural on one side of the Shoreline Fitness Centre on Hawke Street. This section of the mural contains bubbles with artworks painted inside. One of the bubbles contains a message, reading, "Never doubt that a small group of thoughtful, committed citizens can change the world. Indeed it is the only thing that ever has. Margaret Mead".

Images, UC QuakeStudies

A photograph of a section of a mural on one side of the Shoreline Fitness Centre on Hawke Street. This section of the mural contains bubbles with artworks painted inside. One of the bubbles contains a message, reading, "Never doubt that a small group of thoughtful, committed citizens can change the world. Indeed it is the only thing that ever has. Margaret Mead".

Images, UC QuakeStudies

A photograph of artworks on the wall of a building between New Brighton Mall and Beresford Street. The artwork in the middle depicts a range of native birds. To the left, a section of another artwork shows a hei matau and a jester holding a sign that reads, "Nothing about us without us!". To the right there is a landscape with a message written over it.

Images, UC QuakeStudies

A photograph of artworks on the wall of a building between New Brighton Mall and Beresford Street. The artwork in the middle depicts a range of native birds. To the left, a section of another artwork shows a hei matau and a jester holding a sign that reads, "Nothing about us without us!". To the right there is a landscape with a message written over it.

Research papers, The University of Auckland Library

Following the devastating 1931 Hawke's Bay earthquake, buildings in Napier and surrounding areas in the Hawke's Bay region were rebuilt in a comparatively homogenous structural and architectural style comprising the region's famous Art Deco stock. These interwar buildings are most often composed of reinforced concrete two-way space frames, and although they have comparatively ductile detailing for their date of construction, are often expected to be brittle, earthquake-prone buildings in preliminary seismic assessments. Furthermore, the likelihood of global collapse of an RC building during a design-level earthquake became an issue warranting particular attention following the collapse of multiple RC buildings in the February 22, 2011 Christchurch earthquake. Those who value the architectural heritage and future use of these iconic Art Deco buildings - including building owners, tenants, and city officials, among others - must consider how they can be best preserved and utilized functionally given the especially pressing implications of relevant safety, regulatory, and economic factors. This study was intended to provide information on the seismic hazard, geometric weaknesses, collapse hazards, material properties, structural detailing, empirically based vulnerability, and recommended analysis approaches particular to Art Deco buildings in Hawke's Bay as a resource for professional structural engineers tasked with seismic assessments and retrofit designs for these buildings. The observed satisfactory performance of similar low-rise, ostensibly brittle RC buildings in other earthquakes and the examination of the structural redundancy and expected column drift capacities in these buildings, led to the conclusion that the seismic capacity of these buildings is generally underrated in simple, force-based assessments.

Research papers, The University of Auckland Library

This paper explores the responses by a group of children to an art project that was undertaken by a small school in New Zealand after the September 2010 and February 2011 Christchurch earthquakes. Undertaken over a period of two years, the project aimed to find a suitable form of memorialising this significant event in a way that was appropriate and meaningful to the community. Alongside images that related directly to the event of the earthquakes, the art form of a mosaic was chosen, and consisted of images and symbols that clearly drew on the hopes and dreams of a school community who were refusing to be defined by the disaster. The paper 'writes' the mosaic by placing fragments of speech spoken by the children involved in relation to ideas about memory, affect, and the 'sublime', through the work of Jean-Francois Lyotard. The paper explores the mosaic as constituted by the literal and metaphorical 'broken pieces' of the city of Christchurch in ways that confer pedagogic value inscribed through the creation of a public art space by children. AM - Accepted Manuscript