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Images for New Zealand; more images...

Images, UC QuakeStudies

A photograph of people drawing at a table at the Pallet Pavilion during Supernova City, a drawing workshop led by Melbourne-based New Zealand artist and architect Byron Kinnaird. This event was part of FESTA 2013, and invited people to make new, imaginative drawings of Christchurch city.

Images, UC QuakeStudies

A photograph of people drawing at a table at the Pallet Pavilion during Supernova City, a drawing workshop led by Melbourne-based New Zealand artist and architect Byron Kinnaird. This event was part of FESTA 2013, and invited people to make new, imaginative drawings of Christchurch city.

Images, UC QuakeStudies

A photograph of people drawing at a table at the Pallet Pavilion during Supernova City, a drawing workshop led by Melbourne-based New Zealand artist and architect Byron Kinnaird. This event was part of FESTA 2013, and invited people to make new, imaginative drawings of Christchurch city.

Images, UC QuakeStudies

A photograph of someone drawing at a table at the Pallet Pavilion during Supernova City, a drawing workshop led by Melbourne-based New Zealand artist and architect Byron Kinnaird. This event was part of FESTA 2013, and invited people to make new, imaginative drawings of Christchurch city.

Images, UC QuakeStudies

A photograph of people drawing at a table at the Pallet Pavilion during Supernova City, a drawing workshop led by Melbourne-based New Zealand artist and architect Byron Kinnaird. This event was part of FESTA 2013, and invited people to make new, imaginative drawings of Christchurch city.

Images, UC QuakeStudies

A photograph of someone drawing at a table at the Pallet Pavilion during Supernova City, a drawing workshop led by Melbourne-based New Zealand artist and architect Byron Kinnaird. This event was part of FESTA 2013, and invited people to make new, imaginative drawings of Christchurch city.

Images, UC QuakeStudies

A photograph of people drawing at a table at the Pallet Pavilion during Supernova City, a drawing workshop led by Melbourne-based New Zealand artist and architect Byron Kinnaird. This event was part of FESTA 2013, and invited people to make new, imaginative drawings of Christchurch city.

Images, UC QuakeStudies

A photograph of people drawing at a table at the Pallet Pavilion during Supernova City, a drawing workshop led by Melbourne-based New Zealand artist and architect Byron Kinnaird. This event was part of FESTA 2013, and invited people to make new, imaginative drawings of Christchurch city.

Images, UC QuakeStudies

A photograph of people drawing at a table at the Pallet Pavilion during Supernova City, a drawing workshop led by Melbourne-based New Zealand artist and architect Byron Kinnaird. This event was part of FESTA 2013, and invited people to make new, imaginative drawings of Christchurch city.

Images, UC QuakeStudies

A photograph of people drawing at a table at the Pallet Pavilion during Supernova City, a drawing workshop led by Melbourne-based New Zealand artist and architect Byron Kinnaird. This event was part of FESTA 2013, and invited people to make new, imaginative drawings of Christchurch city.

Images, UC QuakeStudies

A photograph of Nick Sargent sitting at a table at the Pallet Pavilion during Supernova City, a drawing workshop led by Melbourne-based New Zealand artist and architect Byron Kinnaird. This event was part of FESTA 2013, and invited people to make new, imaginative drawings of Christchurch city.

Images, UC QuakeStudies

A photograph of Hugh Grant (right) drawing at a table at the Pallet Pavilion during Supernova City, a drawing workshop led by Melbourne-based New Zealand artist and architect Byron Kinnaird. This event was part of FESTA 2013, and invited people to make new, imaginative drawings of Christchurch city.

Images, UC QuakeStudies

A photograph of a person drawing at a table at the Pallet Pavilion during Supernova City, a drawing workshop led by Melbourne-based New Zealand artist and architect Byron Kinnaird. This event was part of FESTA 2013, and invited people to make new, imaginative drawings of Christchurch city.

Images, UC QuakeStudies

A photograph of Sally Airey (left) drawing at a table at the Pallet Pavilion during Supernova City, a drawing workshop led by Melbourne-based New Zealand artist and architect Byron Kinnaird. This event was part of FESTA 2013, and invited people to make new, imaginative drawings of Christchurch city.

Images, UC QuakeStudies

A photograph of Nick Sargent and Jessica Halliday of FESTA outside the Pallet Pavilion during Supernova City, a drawing workshop led by Melbourne-based New Zealand artist and architect Byron Kinnaird. This event was part of FESTA 2013, and invited people to make new, imaginative drawings of Christchurch city.

Research papers, University of Canterbury Library

his poster presents the ongoing development of a 3D Canterbury seismic velocity model which will be used in physics-based hybrid broadband ground motion simulation of the 2010-2011 Canterbury earthquakes. Velocity models must sufficiently represent critical aspects of the crustal structure over multiple length scales which will influence the results of the simulations. As a result, numerous sources of data are utilized in order to provide adequate resolution where necessary. Figure 2: (a) Seismic reflection line showing P-wave velocities and significant geologic horizons (Barnes et al. 2011), and (b) Shear wave profiles at 10 locations (Stokoe et al. 2013). Figure 4: Cross sections of the current version of the Canterbury velocity model to depths of 10km as shown in Figure 1: (a) at a constant latitude value of -43.6˚, and (b) at a constant longitude value of 172.64˚. 3. Ground Surface and Geologic Horizon Models Figure 3: (a) Ground surface model derived from numerous available digital elevation models, and (b) Base of the Quaternary sediments derived from structural contours and seismic reflection line elevations. The Canterbury region has a unique and complex geology which likely has a significant impact on strong ground motions, in particular the deep and loose deposits of the Canterbury basin. The Canterbury basin has several implications on seismic wave phenomena such as long period ground motion amplification and wave guide effects. Using a realistic 3D seismic velocity model in physics-based ground motion simulation will implicitly account for such effects and the resultant simulated ground motions can be studied to gain a fundamental understanding of the salient ground motion phenomena which occurred during the Canterbury earthquakes, and the potential for repeat occurrences in the Canterbury region. Figure 1 shows the current model domain as a rectangular area between Lat=[-43.2˚,-44.0˚], and Lon=[171.5˚,173.0˚]. This essentially spans the area between the foot of the Southern Alps in the North West to Banks Peninsula in the East. Currently the model extends to a depth of 50km below sea level.

Research papers, University of Canterbury Library

Deconstruction, at the end of the useful life of a building, produces a considerable amount of materials which must be disposed of, or be recycled / reused. At present, in New Zealand, most timber construction and demolition (C&D) material, particularly treated timber, is simply waste and is placed in landfills. For both technical and economic reasons (and despite the increasing cost of landfills), this position is unlikely to change in the next 10 – 15 years unless legislation dictates otherwise. Careful deconstruction, as opposed to demolition, can provide some timber materials which can be immediately re-used (eg. doors and windows), or further processed into other components (eg. beams or walls) or recycled (‘cascaded’) into other timber or composite products (e.g. fibre-board). This reusing / recycling of materials is being driven slowly in NZ by legislation, the ‘greening’ of the construction industry and public pressure. However, the recovery of useful material can be expensive and uneconomic (as opposed to land-filling). In NZ, there are few facilities which are able to sort and separate timber materials from other waste, although the soon-to-be commissioned Burwood Resource Recovery Park in Christchurch will attempt to deal with significant quantities of demolition waste from the recent earthquakes. The success (or otherwise) of this operation should provide good information as to how future C&D waste will be managed in NZ. In NZ, there are only a few, small scale facilities which are able to burn waste wood for energy recovery (e.g. timber mills), and none are known to be able to handle large quantities of treated timber. Such facilities, with constantly improving technology, are being commissioned in Europe (often with Government subsidies) and this indicates that similar bio-energy (co)generation will be established in NZ in the future. However, at present, the NZ Government provides little assistance to the bio-energy industry and the emergence worldwide of shale-gas reserves is likely to push the economic viability of bio-energy further into the future. The behaviour of timber materials placed in landfills is complex and poorly understood. Degrading timber in landfills has the potential to generate methane, a potent greenhouse gas, which can escape to the atmosphere and cancel out the significant benefits of carbon sequestration during tree growth. Improving security of landfills and more effective and efficient collection and utilisation of methane from landfills in NZ will significantly reduce the potential for leakage of methane to the atmosphere, acting as an offset to the continuing use of underground fossil fuels. Life cycle assessment (LCA), an increasingly important methodology for quantifying the environmental impacts of building materials (particularly energy, and global warming potential (GWP)), will soon be incorporated into the NZ Green Building Council Greenstar rating tools. Such LCA studies must provide a level playing field for all building materials and consider the whole life cycle. Whilst the end-of-life treatment of timber by LCA may establish a present-day base scenario, any analysis must also present a realistic end-of-life scenario for the future deconstruction of any 6 new building, as any building built today will be deconstructed many years in the future, when very different technologies will be available to deal with construction waste. At present, LCA practitioners in NZ and Australia place much value on a single research document on the degradation of timber in landfills (Ximenes et al., 2008). This leads to an end-of-life base scenario for timber which many in the industry consider to be an overestimation of the potential negative effects of methane generation. In Europe, the base scenario for wood disposal is cascading timber products and then burning for energy recovery, which normally significantly reduces any negative effects of the end-of-life for timber. LCA studies in NZ should always provide a sensitivity analysis for the end-of-life of timber and strongly and confidently argue that alternative future scenarios are realistic disposal options for buildings deconstructed in the future. Data-sets for environmental impacts (such as GWP) of building materials in NZ are limited and based on few research studies. The compilation of comprehensive data-sets with country-specific information for all building materials is considered a priority, preferably accounting for end-of-life options. The NZ timber industry should continue to ‘champion’ the environmental credentials of timber, over and above those of the other major building materials (concrete and steel). End-of-life should not be considered the ‘Achilles heel’ of the timber story.

Research Papers, Lincoln University

As far as suburbs with bad reputations go, Aranui in Christchurch often seems to dominate local public perceptions. High crime, high unemployment, low incomes, run-down state houses and uncared-for neighbourhoods have been the key words and phrases used over many decades. This reputation achieved national standing over the same period and in 2001 Aranui gained the dubious distinction of becoming the pilot project for the Labour Government’s state housing Community Renewal Programme initiated in 2001. It is common to read “Don’t buy or rent here” comments on websites and blogs advising prospective immigrants on where to live. One of the dispiriting moments in Aranui’s history came in September 2009 with the discovery of two bodies under the floorboards of a Hampshire Street property and the subsequent charge of double-homicide and conviction of local resident Jason Somerville for the murder of his wife Rebecca Chamberlain and neighbour Tisha Lowry.

Other, National Library of New Zealand

Official site of the New Zealand Ministry of Education, in association with the Tertiary Education Commission (TEC) on education renewal in greater Christchurch in the wake of the earthquakes of 2010 and 2011.

Images, UC QuakeStudies

A photograph of part of a collaborative drawing on a table at the Pallet Pavilion. The drawing was made during Supernova City, a workshop led by Melbourne-based New Zealand artist and architect Byron Kinnaird. This event was part of FESTA 2013, and invited people to make new, imaginative drawings of Christchurch city.

Images, UC QuakeStudies

A photograph of Nick Sargent (middle) and Melanie Oliver (right) drawing at a table at the Pallet Pavilion during Supernova City, a drawing workshop led by Melbourne-based New Zealand artist and architect Byron Kinnaird. This event was part of FESTA 2013, and invited people to make new, imaginative drawings of Christchurch city.

Research papers, University of Canterbury Library

On February 22, 2011, a magnitude Mw 6.2 earthquake affected the Canterbury region, New Zealand, resulting in many fatalities. Liquefaction occurred across many areas, visible on the surface as ‘‘sand volcanoes’’, blisters and subsidence, causing significant damage to buildings, land and infrastructure. Liquefaction occurred at a number of sites across the Christchurch Boys High School sports grounds; one area in particular contained a piston ground failure and an adjacent silt volcano. Here, as part of a class project, we apply near-surface geophysics to image these two liquefaction features and determine whether they share a subsurface connection. Hand auger results enable correlation of the geophysical responses with the subsurface stratigraphy. The survey results suggest that there is a subsurface link, likely via a paleo-stream channel. The anomalous responses of the horizontal loop electromagnetic survey and electrical resistivity imaging highlight the disruption of the subsurface electrical properties beneath and between the two liquefaction features. The vertical magnetic gradient may also show a subtle anomalous response in this area, however the results are inconclusive. The ground penetrating radar survey shows disruption of the subsurface stratigraphy beneath the liquefaction features, in particular sediment mounding beneath the silt ejection (‘‘silt volcano’’) and stratigraphic disruption beneath the piston failure. The results indicate how near-surface geophysics allow the characteristics of liquefaction in the subsurface to be better understood, which could aid remediation work following liquefaction-induced land damage and guide interpretation of geophysical surveys of paleoliquefaction features.