A number of field testing techniques, such as standard penetration test (SPT), cone penetration test (CPT), and Swedish weight sounding (SWS), are popularly used for in-situ characterisation. The screw driving sounding (SDS) method, which has been recently developed in Japan, is an improved version of the SWS technique and measures more parameters, including the required torque, load, speed of penetration and rod friction; these provide more robust way of characterising soil stratigraphy. It is a cost-efficient technique which uses a machine-driven and portable device, making it ideal for testing in small-scale and confined areas. Moreover, with a testing depth of up to 10-15m, it is suitable for liquefaction assessment. Thus, the SDS method has great potential as an in-situ testing method for geotechnical site characterisation, especially for residential house construction. In this paper, the results of SDS tests performed at a variety of sites in New Zealand are presented. The soil database was employed to develop a soil classification chart based on SDS-derived parameters. Moreover, using the data obtained following the 2010-2011 Christchurch Earthquake Se-quence, a methodology was established for liquefaction potential evaluation using SDS data. http://www.isc5.com.au/wp-content/uploads/2016/09/1345-2-ORENSE.pdf
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 city’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.
