
A photograph of street art on the wall of a building in Sydenham. The photographer believes that the artwork was created by the artist 'Misery'.
A research project which presents the traffic and transport planning that has been undertaken to achieve the overarching goal of rebuilding Christchurch, whilst keeping the traffic moving.
A photograph of street art on the wall of a building in Sydenham. The photographer believes that the artwork was created by the artist 'Misery'.
A photograph of street art on the wall of a building in Sydenham. The photographer believes that the artwork was created by the artist 'Misery'.
They’re one of the most ubiquitous aspects of 19th century houses, a feature that functions as both a source of warmth and light and a decorative element in the interior design of the house (as so many things do). We … Continue reading →
It's five years since the earthquake, and for the first time I feel a sense that the rebuild is taking effect. In this photo - the left hand building is on the way up, and the right hand building is on the way down.
The Sendai Framework for Disaster Risk Reduction 2015-2030 finds that, despite progress in disaster risk reduction over the last decade “evidence indicates that exposure of persons and assets in all countries has increased faster than vulnerability has decreased, thus generating new risk and a steady rise in disaster losses” (p.4, UNISDR 2015). Fostering cooperation among relevant stakeholders and policy makers to “facilitate a science-policy interface for effective decisionmaking in disaster risk management” is required to achieve two priority areas for action, understanding disaster risk and enhancing disaster preparedness (p. 13, p. 23, UNISDR 2015). In other topic areas, the term science-policy interface is used interchangeably with the term boundary organisation. Both terms are usually used refer to systematic collaborative arrangements used to manage the intersection, or boundary, between science and policy domains, with the aim of facilitating the joint construction of knowledge to inform decision-making. Informed by complexity theory, and a constructivist focus on the functions and processes that minimize inevitable tensions between domains, this conceptual framework has become well established in fields where large complex issues have significant economic and political consequences, including environmental management, biodiversity, sustainable development, climate change and public health. To date, however, there has been little application of this framework in the disaster risk reduction field. In this doctoral project the boundary management framework informs an analysis of the research response to the 2010-2011 Canterbury Earthquake Sequence, focusing on the coordination role of New Zealand’s national Natural Hazards Research Platform. The project has two aims. It uses this framework to tell the nuanced story of the way this research coordination role evolved in response to both the complexity of the unfolding post-disaster environment, and to national policy and research developments. Lessons are drawn from this analysis for those planning and implementing arrangements across the science-policy boundary to manage research support for disaster risk reduction decision-making, particularly after disasters. The second aim is to use this case study to test the utility of the boundary management framework in the disaster risk reduction context. This requires that terminology and concepts are explained and translated in terms that make this analysis as accessible as possible across the disciplines, domains and sectors involved in disaster risk reduction. Key findings are that the focus on balance, both within organisations, and between organisations and domains, and the emphasis on systemic effects, patterns and trends, offer an effective and productive alternative to the more traditional focus on individual or organisational performance. Lessons are drawn concerning the application of this framework when planning and implementing boundary organisations in the hazard and disaster risk management context.
A Transitional Imaginary: Space, Network and Memory in Christchurch is the outcome and the record of a particular event: the coming together of eight artists and writers in Ōtautahi Christchurch in November 2015, with the ambitious aim to write a book collaboratively over five days. The collaborative process followed the generative ‘book sprint’ method founded by our facilitator for the event, Adam Hyde, who has long been immersed in digital practices in Aotearoa. A book sprint prioritises the collective voice of the participants and reflects the ideas and understandings that are produced at the time in which the book was written, in a plurality of perspectives. Over one hundred books have been completed using the sprint methodology, covering subjects from software documentation to reflections on collaboration and fiction. We chose to approach writing about Ōtautahi Christchurch through this collaborative process in order to reflect the complexity of the post-quake city and the multiple paths to understanding it. The city has itself been a space of intensive collaboration in the post-disaster period. A Transitional Imaginary is a raw and immediate record, as much felt expression as argued thesis. In many ways the process of writing had the character of endurance performance art. The process worked by honouring the different backgrounds of the participants, allowing that dialogue and intensity could be generative of different forms of text, creating a knowledge that eschews a position of authority, working instead to activate whatever anecdotes, opinions, resources and experiences are brought into discussion. This method enables a dynamic of voices that merge here, separate there and interrupt elsewhere again. As in the contested process of rebuilding and reimagining Christchurch itself, the dissonance and counterpoint of writing reflects the form of conversation itself. This book incorporates conflict, agreement and the activation of new ideas through cross-fertilisation to produce a new reading of the city and its transition. The transitional has been given a specific meaning in Christchurch. It is a product of local theorising that encompasses the need for new modes of action in a city that has been substantially demolished (Bennett & Parker, 2012). Transitional projects, such as those created by Gap Filler, take advantage of the physical and social spaces created by the earthquake through activating these as propositions for new ways of being in the city. The transitional is in motion, looking towards the future. A Transitional Imaginary explores the transitional as a way of thinking and how we understand the city through art practices, including the digital and in writing.
The New Zealand city of Christchurch suffered a series of devastating earthquakes in 2010-11 that changed the urban landscape forever. A new rebuilt city is now underway, largely based on the expressed wishes of the populace to see Christchurch return to being a more people-oriented, cycle-friendly city that it was known for in decades past. Currently 7% of commuters cycle to work, supported by a 200km network of mostly conventional on-road painted cycle lanes and off-road shared paths. The new "Major Cycleways" plan aims to develop approximately 100km of high-quality cycling routes throughout the city in 5-7 years. The target audience is an unaccompanied 10-year-old cycling, which requires more separated cycleways and low-volume/speed "neighbourhood greenways" to meet this standard. This presentation summarises the steps undertaken to date to start delivering this network. Various pieces of research have helped to identify the types of infrastructure preferred by those currently not regularly cycling, as well as helping to assess the merits of different route choices. Conceptual cycleway guidelines have now been translated into detailed design principles for the different types of infrastructure being planned. While much of this work is based on successful designs from overseas, including professional advice from Dutch practitioners, an interesting challenge has been to adapt these designs as required to suit local road environments and road user expectations. The first parts of the new network are being rolled out now, with the hope that this will produce an attractive and resilient network for the future population that leads to cycling being a major part of the local way of life.
It is a truth universally acknowledged that a man or woman in possession of natural body odour is most definitely in want of something to cover it up. At least, in today’s society, it certainly seems to be considered unacceptable … Continue reading →
Late in 2014 we were contacted by contractors working on a rebuild project in Christchurch’s city centre. It was reported that a number of bottles had been uncovered during routine earthworks and the area cordoned off until our arrival. The bottles … Continue reading →
A photograph of street art on the public toilets on Shaw Avenue. The photograph believes that the artwork was created by the artist 'Minx'.
A photograph of a paste-up on a skip between Brighton Mall and Hawke Street. The photographer believes that the artwork was created by the artist 'Porta'.
A photograph of a paste-up on a skip between Brighton Mall and Hawke Street. The photographer believes that the artwork was created by the artist 'Porta'.
A photograph of street art on the partially-demolished wall of the Odeon Theatre. The photograph believes that the artwork was created by the artist Owen Dippie.
A photograph of paste-ups on a wall between Brighton Mall and Hawke Street. The photographer believes that the artwork was created by the artist 'Porta'.
A photograph of paste-ups on a wall between Brighton Mall and Hawke Street. The photographer believes that the artwork was created by the artist 'Porta'.
A photograph of street art on a wall along Oxford Street in Lyttelton. The street art depicts buildings that were lost in Lyttelton after the 2010 and 2011 Canterbury earthquakes.
A photograph of street art on a wall between Brighton Mall and Hawke Street. The photographer believes that the artwork was created by the artist 'Porta'.
A photograph of street art on a wall along Oxford Street in Lyttelton. The street art depicts buildings that were lost in Lyttelton after the 2010 and 2011 Canterbury earthquakes.
A photograph of street art on a wall along Oxford Street in Lyttelton. The street art depicts buildings that were lost in Lyttelton after the 2010 and 2011 Canterbury earthquakes.
A photograph of street art on a wall along Oxford Street in Lyttelton. The street art depicts buildings that were lost in Lyttelton after the 2010 and 2011 Canterbury earthquakes.
A photograph of street art on a wall along Oxford Street in Lyttelton. The street art depicts buildings that were lost in Lyttelton after the 2010 and 2011 Canterbury earthquakes.
A photograph of street art on the partially-demolished wall of the Odeon Theatre. The photograph believes that the artwork was created by the artist Owen Dippie.
A photograph of street art on a wall along Oxford Street in Lyttelton. The street art depicts buildings that were lost in Lyttelton after the 2010 and 2011 Canterbury earthquakes.
A photograph of street art on a brick wall near the corner of Alfred Street and Fitzgerald Avenue. The photographer believes that the artwork was created by the artist 'Paulie'.
As the study of human history, it comes as no surprise that archaeology can be an exercise in contradictions. Humans are, after all, complex and paradoxical creatures. From a material culture perspective, one of the most obvious and frustrating incongruities … Continue reading →
Children are often overlooked in the aftermath of a natural disaster, and children’s use of coping strategies plays an important part in their post-disaster adaptation (Vernberg, La Greca, Silverman, & Prinstein, 1996). The aim of this qualitative study was to explore the coping strategies of children with adequate self-regulation skills and minimal behaviour problems, living in Christchurch following the major 2010 and 2011 earthquakes. This aim was achieved through the use of semi-structured interviews with five seven-year-old children, their parents, and their teachers. These interviews were analysed using Directed Content Analysis and results showed that children most often reported using active and adaptive coping strategies, followed by avoidant strategies. Results in the current literature regarding children’s coping suggest that children exposed to natural disasters are able to utilise strategies that involve some personal control over their environment and emotions, through the use of active and adaptive coping strategies. Findings from this study contribute to the current understanding of children’s use of coping strategies when faced with commonly occurring childhood upsets. Further research is required regarding the outcomes associated with the use of effective coping strategies following traumatic events.
The Canterbury Earthquake Sequence (CES) of 2010-2011 produced large seismic moments up to Mw 7.1. These large, near-to-surface (<15 km) ruptures triggered >6,000 rockfall boulders on the Port Hills of Christchurch, many of which impacted houses and affected the livelihoods of people within the impacted area. From these disastrous and unpredicted natural events a need arose to be able to assess the areas affected by rockfall events in the future, where it is known that a rockfall is possible from a specific source outcrop but the potential boulder runout and dynamics are not understood. The distribution of rockfall deposits is largely constrained by the physical properties and processes of the boulder and its motion such as block density, shape and size, block velocity, bounce height, impact and rebound angle, as well as the properties of the substrate. Numerical rockfall models go some way to accounting for all the complex factors in an algorithm, commonly parameterised in a user interface where site-specific effects can be calibrated. Calibration of these algorithms requires thorough field checks and often experimental practises. The purpose of this project, which began immediately following the most destructive rupture of the CES (February 22, 2011), is to collate data to characterise boulder falls, and to use this information, supplemented by a set of anthropogenic boulder fall data, to perform an in-depth calibration of the three-dimensional numerical rockfall model RAMMS::Rockfall. The thesis covers the following topics: • Use of field data to calibrate RAMMS. Boulder impact trails in the loess-colluvium soils at Rapaki Bay have been used to estimate ranges of boulder velocities and bounce heights. RAMMS results replicate field data closely; it is concluded that the model is appropriate for analysing the earthquake-triggered boulder trails at Rapaki Bay, and that it can be usefully applied to rockfall trajectory and hazard assessment at this and similar sites elsewhere. • Detailed analysis of dynamic rockfall processes, interpreted from recorded boulder rolling experiments, and compared to RAMMS simulated results at the same site. Recorded rotational and translational velocities of a particular boulder show that the boulder behaves logically and dynamically on impact with different substrate types. Simulations show that seasonal changes in soil moisture alter rockfall dynamics and runout predictions within RAMMS, and adjustments are made to the calibration to reflect this; suggesting that in hazard analysis a rockfall model should be calibrated to dry rather than wet soil conditions to anticipate the most serious outcome. • Verifying the model calibration for a separate site on the Port Hills. The results of the RAMMS simulations show the effectiveness of calibration against a real data set, as well as the effectiveness of vegetation as a rockfall barrier/retardant. The results of simulations are compared using hazard maps, where the maximum runouts match well the mapped CES fallen boulder maximum runouts. The results of the simulations in terms of frequency distribution of deposit locations on the slope are also compared with those of the CES data, using the shadow angle tool to apportion slope zones. These results also replicate real field data well. Results show that a maximum runout envelope can be mapped, as well as frequency distribution of deposited boulders for hazard (and thus risk) analysis purposes. The accuracy of the rockfall runout envelope and frequency distribution can be improved by comprehensive vegetation and substrate mapping. The topics above define the scope of the project, limiting the focus to rockfall processes on the Port Hills, and implications for model calibration for the wider scientific community. The results provide a useful rockfall analysis methodology with a defensible and replicable calibration process, that has the potential to be applied to other lithologies and substrates. Its applications include a method of analysis for the selection and positioning of rockfall countermeasure design; site safety assessment for scaling and demolition works; and risk analysis and land planning for future construction in Christchurch.
A photograph of street art on a shipping container behind the Embassy clothing store on Colombo Street. The photographer believes that the artwork was created by the artists 'Resto' and 'Paulie'.