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Images for earthquakes; more images...

Images, eqnz.chch.2010

Porritt Park was, before the earthquakes, the headquarters of hockey in this region. Two astro-turf fields (the main one was other side of the building), and corporate offices etc. The earthquakes buckled all the playing surfaces and damaged the buildings; a couple of smaller ones have been removed. Hockey shifted the other side of the city t...

Research papers, University of Canterbury Library

We present ground motion simulations of the Porters Pass (PP) fault in the Canterbury region of New Zealand; a major active source near Christchurch city. The active segment of the PP fault has an inferred length of 82 km and a mostly strike-slip sense of movement. The PP fault slip makes up approximately 10% of the total 37 mm/yr margin-parallel plate motion and also comprises a significant proportion of the total strain budget in regional tectonics. Given that the closest segment of the fault is less than 45 km from Christchurch city, the PP fault is crucial for accurate earthquake hazard assessment for this major population centre. We have employed the hybrid simulation methodology of Graves and Pitarka (2010, 2015), which combines low (f<1 Hz) and high (f>1 Hz) frequencies into a broadband spectrum. We have used validations from three moderate magnitude events (š¯‘€š¯‘¤4.6 Sept 04, 2010; š¯‘€š¯‘¤4.6 Nov 06, 2010; š¯‘€š¯‘¤4.9 Apr 29, 2011) to build confidence for the š¯‘€š¯‘¤ > 7 PP simulations. Thus far, our simulations include multiple rupture scenarios which test the impacts of hypocentre location and the finite-fault stochastic rupture representation of the source itself. In particular, we have identified the need to use location-specific 1D š¯‘‰š¯‘ /š¯‘‰š¯‘¯ models for the high frequency part of the simulations to better match observations.

Research papers, University of Canterbury Library

In this paper, we perform hybrid broadband (0-10 Hz) ground motion simulations for the ten most significant events (Mw 4.7-7.1) in the 2010-2011 Canterbury earthquake sequence. Taking advantage of having repeated recordings at same stations, we validate our simulations using both recordings and an empirically-developed ground motion prediction equation (GMPE). The simulation clearly captures the sedimentary basin amplification and the rupture directivity effects. Quantitative comparisons of the simulations with both recordings and the GMPE, as well as analyses of the total residuals (indicating model bias) show that simulations perform better than the empirical GMPE, especially for long period. To scrutinize the ground motion variability, we partitioned the total residuals into different components. The total residual appears to be unbiased, and the use of a 3D velocity structure reduces the long period systematic bias particularly for stations located close to the Banks Peninsula volcanic area.

Images, eqnz.chch.2010

20160415_0044_1D3-38 The Wobbly Jetty - 2 The South New Brighton jetty was rebuilt a couple of years before the earthquakes wrecked it. Was closed to the public for about four years but is open now. #7222

Research papers, University of Canterbury Library

Weā€™ll never know why the thirteen people whose corpses were discovered in Pompeiiā€™s Garden of the Fugitives hadnā€™t fled the city with the majority of the population when Vesuvius turned deadly in AD79. But surely, thanks to 21st century technology, we know just about everything there is to know about the experiences of the people who went through the Canterbury Earthquakes. Or has the ubiquity of digital technology, combined with seemingly massive online information flows and archives, created a false sense that Canterburyā€™s earthquake stories, images and media are being secured for posterity? In this paper Paul Millar makes reference to issues experienced while creating the CEISMIC Canterbury Earthquakes Digital Archive (www.ceismic.org.nz) to argue that rather than having preserved all the information needed to fully inform recovery, the record of the Canterbury earthquakesā€™ impacts, and the subsequent response, is incomplete and unrepresentative. While CEISMIC has collected and curated over a quarter of a million earthquake-related items, Millar is deeply concerned about the material being lost. Like Pompeii, this disaster has its nameless, faceless, silenced victims; people whose stories must be heard, and whose issues must be addressed, if recovery is to be meaningful.

Videos, UC QuakeStudies

A video of a presentation by Ross Butler, Chair of Otakaro Limited, at the 2016 Seismics in the City Conference. The presentation is titled, "Anchors Aweigh".The abstract for the presentation reads, "A review and preview of the development of the city's anchor projects once the Canterbury Earthquake Recovery Authority is disbanded in April."

Audio, Radio New Zealand

Many Christchurch residents have used shipping containers and other temporary structures to store belongings in while repairs were carried out after the earthquakes. But the Christchurch City Council says it's had an increase in complaints from residents about containers and other temporary structures obscuring neighbours' views or obstructing council berms. Chairman of the council's regulation and consents committee David East says if earthquake repairs are completed, the container may have to go.

Research papers, University of Canterbury Library

This thesis considers the presence and potential readings of graffiti and street art as part of the wider creative public landscape of Christchurch in the wake of the series of earthquakes that significantly disrupted the city physically and socially. While documenting a specific and unprecedented period of time in the cityā€™s history, the prominence of graffiti and street art throughout the constantly changing landscape has also highlighted their popularity as increasingly entrenched additions to urban and suburban settings across the globe. In post-quake Christchurch, graffiti and street art have often displayed established tactics, techniques and styles while exploring and exposing the unique issues confronting this disrupted environment, illustrating both a transposable nature and the entwined relationship with the surrounding landscape evident in the conception of these art forms. The post-quake city has afforded graffiti and street art the opportunity to engage with a range of concepts: from the re-activation and re-population of the empty and abandoned spaces of the city, to commentaries on specific social and political issues, both angry and humorous, and notably the reconsideration of entrenched and evolving traditions, including the distinction between guerrilla and sanctioned work. The examples of graffiti and street art within this work range from the more immediate post-quake appearance of art in a group of affected suburbs, including the increasingly empty residential red-zone, to the use of the undefined spaces sweeping the central city, and even inside the Canterbury Museum, which housed the significant street art exhibition Rise in 2013-2014. These settings expose a number of themes, both distinctive and shared, that relate to both the post-disaster landscape and the concerns of graffiti and street art as art movements unavoidably entangled with public space.