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Research papers, The University of Auckland Library

The seismic tremor that shook Christchurch on February 22, 2011, not only shattered buildings but also the spirit of the city’s residents. Amidst the ruins, this design-focused thesis unravels two intertwining narratives, each essential to the city’s resurrection. At its core, this thesis probes the preservation of Christchurch’s memory and character, meticulously chronicling the lost heritage architecture and the subsequent urban metamorphosis. Beyond bricks and mortar, it also confronts the silent aftershocks - the pervasive mental health challenges stemming from personal losses and the disfigured cityscape. As a native of Christchurch, intimately connected to its fabric, my lens reflects not just on the architectural reconstruction but also on the emotional reconstruction. My experience as an autistic individual, a recently discovered facet of my identity, infuses this design journey with a distinct prism through which I perceive and interact with the world. The colourful sketches that drive the design process aren’t mere illustrations but manifestations of my interpretation of spaces and concepts, evoking joy and vitality—a testament to embracing diversity in design. Drawing parallels between healing my own traumas with my colourful and joyful neurodivergent worldview, I’ve woven this concept into proposals aimed at healing the city through whimsy, joy, and vibrant colours. Personal experiences during and post-earthquakes profoundly shape my design proposals. Having navigated the labyrinth of my own mental health amid the altered cityscape, I seek avenues for reconciliation, both personal and communal. The vibrant sketches and designs presented in this thesis encapsulate this vision—a fusion of vivid, unconventional interpretations and a dedication to preserving the essence of the original cityscape while still encouraging movement into the future.

Research papers, The University of Auckland Library

Unreinforced masonry (URM) buildings have repeatedly been shown to perform poorly in large magnitude earthquakes, with both New Zealand and Australia having a history of past earthquakes that have resulted in fatalities due to collapsed URM buildings. A comparison is presented here of the URM building stock and the seismic vulnerability of Christchurch and Adelaide in order to demonstrate the relevance to Australian cities of observations in Christchurch resulting from the 2010/2011 Canterbury earthquake swarm. It is shown that the materials, architecture and hence earthquake strength of URM buildings in both countries is comparable and that Adelaide and other cities of Australia have seismic vulnerability sufficient to cause major damage to their URM buildings should a design level earthquake occur. Such an earthquake is expected to cause major building damage, and fatalities should be expected.

Images, UC QuakeStudies

A photograph of a visitor to Gap Filler's Inconvenience Store standing in front of her favourite painting. The painting was part of the 'Present Tense' project which sought to highlight the inconvenience of the city in the present day. Visitors to the store were asked to choose five paintings they would like to see presented as a billboard installation in Auckland.

Images, UC QuakeStudies

A photograph of visitors to Gap Filler's Inconvenience Store standing in front of their favourite painting. The painting was part of the 'Present Tense' project which sought to highlight the inconvenience of the city in the present day. Visitors to the store were asked to choose five paintings they would like to see presented as a billboard installation in Auckland.

Images, UC QuakeStudies

A photograph of visitors to Gap Filler's Inconvenience Store deciding which of ten paintings are their favourites. The paintings were part of the 'Present Tense' project which sought to highlight the inconvenience of the city in the present day. Visitors to the store were asked to choose five paintings they would like to see presented as a billboard installation in Auckland.

Images, UC QuakeStudies

A photograph of Rebecca Harris voting for her top five favourite paintings at Gap Filler's Inconvenience Store. The paintings were part of the 'Present Tense' project which sought to highlight the inconvenience of the city in the present day. Visitors to the store were asked to choose five paintings they would like to see presented as a billboard installation in Auckland.

Images, UC QuakeStudies

A photograph of Tracey Porteous at Gap Filler's Inconvenience store, standing in beside her favourite painting. The painting was part of the 'Present Tense' project which sought to highlight the inconvenience of the city in the present day. Visitors to the store were asked to choose five paintings they would like to see presented as a billboard installation in Auckland.

Images, UC QuakeStudies

A photograph of Gap Filler volunteer Masha Oliver choosing her top five paintings at Gap Filler's Inconvenience Store. The paintings were part of the 'Present Tense' project which sought to highlight the inconvenience of the city in the present day. Visitors to the store were asked to choose five paintings they would like to see presented as a billboard installation in Auckland.

Images, UC QuakeStudies

A photograph of Sarah Sutherland at Gap Filler's Inconvenience Store, standing in front of her favourite painting. The painting was part of the 'Present Tense' project which sought to highlight the inconvenience of the city in the present day. Visitors to the store were asked to choose five paintings they would like to see presented as a billboard installation in Auckland.

Images, UC QuakeStudies

A photograph of visitors to Gap Filler's Inconvenience Store deciding which of the ten paintings were their favourites. The paintings were part of the 'Present Tense' project which sought to highlight the inconvenience of the city in the present day. Visitors to the store were asked to choose five paintings they would like to see presented as a billboard installation in Auckland.

Images, UC QuakeStudies

A photograph of visitors to Gap Filler's Inconvenience Store standing in front of their favourite painting. The painting was part of the 'Present Tense' project which sought to highlight the inconvenience of the city in the present day. Visitors to the store were asked to choose five paintings they would like to see presented as a billboard installation in Auckland.

Images, UC QuakeStudies

A photograph of visitors to Gap Filler's Inconvenience Store standing in front of their favourite painting. The painting was part of the 'Present Tense' project which sought to highlight the inconvenience of the city in the present day. Visitors to the store were asked to choose five paintings they would like to see presented as a billboard installation in Auckland.

Images, UC QuakeStudies

A photograph of a visitor to Gap Filler's Inconvenience Store standing in front of her favourite painting. The painting was part of the 'Present Tense' project which sought to highlight the inconvenience of the city in the present day. Visitors to the store were asked to choose five paintings they would like to see presented as a billboard installation in Auckland.

Images, UC QuakeStudies

A photograph of visitors to Gap Filler's Inconvenience Store standing in front of their favourite painting. The painting was part of the 'Present Tense' project which sought to highlight the inconvenience of the city in the present day. Visitors to the store were asked to choose five paintings they would like to see presented as a billboard installation in Auckland.

Images, UC QuakeStudies

A photograph of Julia Holden and Tracey Porteous sitting beneath two paintings at Gap Filler's Inconvenience Store. The paintings were part of the 'Present Tense' project which sought to highlight the inconvenience of the city in the present day. Visitors to the store were asked to choose five paintings they would like to see presented as a billboard installation in Auckland.

Images, UC QuakeStudies

A photograph of Gap Filler volunteer Masha Oliver choosing her top five paintings at Gap Filler's Inconvenience Store. The painting was part of the 'Present Tense' project which sought to highlight the inconvenience of the city in the present day. Visitors to the store were asked to choose five paintings they would like to see presented as a billboard installation in Auckland.

Images, UC QuakeStudies

A photograph of Grey Quinn at Gap Filler's Inconvenience Store, standing in front of his favourite painting. The painting was part of the 'Present Tense' project which sought to highlight the inconvenience of the city in the present day. Visitors to the store were asked to choose five paintings they would like to see presented as a billboard installation in Auckland.

Research papers, The University of Auckland Library

Following the 22 February 2011 Christchurch earthquake a comprehensive damage survey of the unreinforced masonry (URM) building stock of Christchurch city, New Zealand was undertaken. Because of the large number of aftershocks associated with both the 2011 Christchurch earthquake and the earlier 4 September 2010 Darfield earthquake, and the close proximity of their epicentres to Christchurch city, this earthquake sequence presented a unique opportunity to assess the performance of URM buildings and the various strengthening methods used in New Zealand to increase the performance of these buildings in earthquakes. Because of the extent of data that was collected, a decision was made to initially focus exclusively on the earthquake performance of URM buildings located in the central business district (CBD) of Christchurch city. The main objectives of the data collection exercise were to document building characteristics and any seismic strengthening methods encountered, and correlate these attributes with observed earthquake damage. In total 370 URM buildings in the CBD were surveyed. Of the surveyed buildings, 62% of all URM buildings had received some form of earthquake strengthening and there was clear evidence that installed earthquake strengthening techniques in general had led to reduced damage levels. The procedure used to collect and process information associated with earthquake damage, general analysis and interpretation of the available survey data for the 370 URM buildings, the performance of earthquake strengthening techniques, and the influence of earthquake strengthening levels on observed damage are reported within. http://15ibmac.com/home/

Research papers, The University of Auckland Library

The Canterbury earthquake sequence of 2010-2011 wrought ruptures in not only the physical landscape of Canterbury and Christchurch’s material form, but also in its social, economic, and political fabrics and the lives of Christchurch inhabitants. In the years that followed, the widespread demolition of the CBD that followed the earthquakes produced a bleak landscape of grey rubble punctuated by damaged, abandoned buildings. It was into this post-earthquake landscape that Gap Filler and other ‘transitional’ organisations inserted playful, creative, experimental projects to bring life and energy back into the CBD. This thesis examines those interventions and the development of the ‘Transitional Movement’ between July 2013 and June 2015 via the methods of walking interviews and participant observation. This critical period in Christchurch’s recovery serves as an example of what happens when do-it-yourself (DIY) urbanism is done at scale across the CBD and what urban experimentation can offer city-making. Through an understanding of space as produced, informed by Lefebvre’s thinking, I explore how these creative urban interventions manifested a different temporality to orthodox planning and demonstrate how the ‘soft’ politics of these interventions contain the potential for gentrification and also a more radical politics of the city, by creating an opening space for difference.

Research papers, The University of Auckland Library

Following the 2010/2011 Canterbury earthquakes the seismic design of buildings with precast concrete panels has received significant attention. Although this form of construction generally performed adequately in Christchurch, there were a considerable number of precast concrete panel connection failures. This observation prompted a review of more than 4700 panel details from 108 buildings to establish representative details used in both existing and new multi-storey and low rise industrial precast concrete buildings in three major New Zealand cities of Auckland, Wellington and Christchurch. Details were collected from precast manufacturers and city councils and were categorised according to type. The detailing and quantity of each reviewed connection type in the sampled data is reported, and advantages and potential deficiencies of each connection type are discussed. The results of this survey provide a better understanding of the relative prevalence of common detailing used in precast concrete panels and guidance for the design of future experimental studies. http://www.nzsee.org.nz/publications/nzsee-quarterly-bulletin/

Research papers, The University of Auckland Library

On 14 November 2016 a magnitude Mw 7.8 earthquake struck the upper South Island of New Zealand with effects also being observed in the capital city, Wellington. The affected area has low population density but is the largest wine production region in New Zealand and also hosts the main national highway and railway routes connecting the country’s three largest cities of Auckland, Wellington and Christchurch, with Marlborough Port in Picton providing connection between the South and North Islands. These transport facilities sustained substantial earthquake related damage, causing major disruptions. Thousands of landslides and multiple new faults were counted in the area. The winery facilities and a large number of commercial buildings and building components (including brick masonry veneers, historic masonry construction, and chimneys), sustained damage due to the strong vertical and horizontal acceleration. Presented herein are field observations undertaken the day immediately after the earthquake, with the aim to document earthquake damage and assess access to the affected area.

Audio, Radio New Zealand

There's good news of sorts on the building-inspection front in Auckland. After nearly seven days of fanning out across the city inspecting damaged buildings - the biggest such deployment of building inspectors since the Christchurch earthquake emergency - the operation will be scaled back this weekend.  There are currently around 95 inspectors in the field who have checked 3,500 buildings. As of 6pm last night 190 buildings were red stickered, and a further 790 yellow stickered. The most red stickered areas are Mount Albert/Mt Eden with 54 and the North Shore with 32. Auckland Council general manager building consents Ian McCormick spoke to Corin Dann. 

Audio, Radio New Zealand

What does leadership look like in a disaster? David compares Auckland Mayor Wayne Brown's leadership this week with how Bob Parker and Lianne Dalziel coped with the Christchurch earthquakes and terror attacks. He looks at how current Christchurch mayor Phil Mauger's council is faring and whether reality meets the rhetoric and what's happened to the city's Metro Sports facility, one of the anchor projects in the rebuild.

Articles, UC QuakeStudies

This thesis was completed by Abigail Thompson for her Master of Architecture (Professional) at the University of Auckland in 2012. It was initiated with the aim of the addressing the destruction of many Christchurch buildings following the earthquakes, and investigates the role of architecture in public memory and ways of reconnecting people with the city. Note that some images in the thesis have been obscured in order to avoid copyright infringement.

Research papers, The University of Auckland Library

The Canterbury earthquake series of 2010/2011 has turned the city of Christchurch into a full scale natural laboratory testing the structural and non-structural response of buildings under moderate to very severe earthquake shaking. The lessons learned from this, which have come at great cost socially and economically, are extremely valuable in increasing our understanding of whole building performance in severe earthquakes. Given current initiatives underway on both sides of the Tasman towards developing joint Australasian steel and composite steel/concrete design and construction standards that would span a very wide range of geological conditions and seismic zones, these lessons are relevant to both countries. This paper focusses on the performance of steel framed buildings in Christchurch city, with greatest emphasis on multi-storey buildings, but also covering single storey steel framed buildings and light steel framed housing. It addresses such issues as the magnitude and structural impact of the earthquake series, importance of good detailing, lack of observed column base hinging, the excellent performance of composite floors and it will briefly cover research underway to quantify some of these effects for use in design.

Research papers, The University of Auckland Library

Five years on since the first major earthquake struck the Canterbury region, the reconstruction is well advanced. Christchurch is a city in transition. This report considers trends in resourcing and employment practice of Canterbury construction organisations in response to the projected market changes (2015-2016). The report draws on the interviews with 18 personnel from 16 construction organisations and recovery agencies in October 2015. It provides a summary of perceived changes in the construction market in Canterbury, evidence of what steps construction businesses have been taking, how they have prepared for likely changes in the reconstruction sector, as well as the perceived alignment of public policies with the industry response.

Research papers, The University of Auckland Library

This thesis presents the application of data science techniques, especially machine learning, for the development of seismic damage and loss prediction models for residential buildings. Current post-earthquake building damage evaluation forms are developed for a particular country in mind. The lack of consistency hinders the comparison of building damage between different regions. A new paper form has been developed to address the need for a global universal methodology for post-earthquake building damage assessment. The form was successfully trialled in the street ‘La Morena’ in Mexico City following the 2017 Puebla earthquake. Aside from developing a framework for better input data for performance based earthquake engineering, this project also extended current techniques to derive insights from post-earthquake observations. Machine learning (ML) was applied to seismic damage data of residential buildings in Mexico City following the 2017 Puebla earthquake and in Christchurch following the 2010-2011 Canterbury earthquake sequence (CES). The experience showcased that it is readily possible to develop empirical data only driven models that can successfully identify key damage drivers and hidden underlying correlations without prior engineering knowledge. With adequate maintenance, such models have the potential to be rapidly and easily updated to allow improved damage and loss prediction accuracy and greater ability for models to be generalised. For ML models developed for the key events of the CES, the model trained using data from the 22 February 2011 event generalised the best for loss prediction. This is thought to be because of the large number of instances available for this event and the relatively limited class imbalance between the categories of the target attribute. For the CES, ML highlighted the importance of peak ground acceleration (PGA), building age, building size, liquefaction occurrence, and soil conditions as main factors which affected the losses in residential buildings in Christchurch. ML also highlighted the influence of liquefaction on the buildings losses related to the 22 February 2011 event. Further to the ML model development, the application of post-hoc methodologies was shown to be an effective way to derive insights for ML algorithms that are not intrinsically interpretable. Overall, these provide a basis for the development of ‘greybox’ ML models.