16 research outputs found
Seismic risk for Croatia: overview of research activities and present assessments with guidelines for the future
Iz pozicije glavnog izvrÅ”itelja za procjene rizika od potresa za Hrvatsku, napravljen je pregled brojnih i metodoloÅ”ki razliÄitih procjena rizika, ukljuÄujuÄi nepovezane pojedinaÄne inicijative. Cilj rada je pozicionirati i osvrnuti se na doprinose svake od procjena, ali i upozoriti na manjkavosti odnosno ograniÄenja. Opisana je i uobiÄajena metodologija analizirajuÄi svaki od faktora seizmiÄkog rizika, dajuÄi pregled sadaÅ”njeg stanja istraživanja u Hrvatskoj i u svijetu te nudeÄi smjernice za daljnje strateÅ”ko djelovanje jer svi postojeÄi rezultati istiÄu potres kao neprihvatljiv rizik za Hrvatsku.An overview of numerous methodologically different risk assessments, including sporadic individual initiatives, is presented from the perspective of a leading expert for earthquake risk assessments for Croatia. The aim of the paper is to evaluate and discuss contributions of each of the assessments, but also to caution about their deficiencies i.e. limitations. A common methodology for estimating seismic risk is described by analysing each of its factors, by providing an overview of current research in Croatia and worldwide, and by offering guidelines for further strategic actions, as all existing results reveal that earthquake is an unacceptable risk for Croatia
Post-earthquake damage assessment of buildings ā procedure for conducting building inspections
Procjene oÅ”teÄenja i uporabljivosti graÄevina u Hrvatskoj, iskoÄile su u prvi plan nakon potresa u Zagrebu 22. ožujka 2020. S obzirom na manjkavosti pripremne faze, pri Äemu nije provedena edukacija struÄnjaka prije potresa, nego u hodu, procjene su sadržavale dozu subjektivnosti i interpretacije na temelju znanja, iskustva, ali i intuicije pojedinaca. U radu je detaljno prikazana metodologija koja može pomoÄi u brzim procjenama te kod detaljnih inženjerskih pregleda koji se moraju napraviti prije obnove. Prikazana metodologija se može iskoristiti u sluÄaju novoga razornog potresa koji se može dogoditi veÄ sutra.Assessments of building damage and usability were of primary importance after the Zagreb earthquake of 22 March 2020. Due to deficiencies of preparatory phase, where education of experts was not carried out before the earthquake, but later on, the assessments contained certain subjectivity and interpretations, based on knowledge and experience, but also on intuition of individuals. Detailed methodology, which should improve rapid assessments and detailed engineering inspections to be performed before reconstruction, is highlighted in the paper. This methodology may be utilized if another devastating earthquake occurs, which could happen already tomorrow
Zagreb earthquake of 22 March 2020 ā preliminary report on seismologic aspects and damage to buildings
U radu su opisane bitne znaÄajke i glavne posljedice potresa magnitude 5,5 koji je u jeku pandemije virusa COVID-19 zadesio Zagreb i okolicu. Premda je potres, seizmoloÅ”ki gledano, bio umjerene magnitude, prouzroÄio je gubitak jednoga života i veliku materijalnu Å”tetu. Napravljen je pregled stanja prije treÅ”nje te prikaz lokacije, seizmiÄke aktivnosti i organizacije pregleda zgrada. Grubo su razvrstani podaci o oÅ”teÄenjima, s težiÅ”tem na povijesnoj jezgri i Äetvrtima blizu epicentra. Na kraju su istaknute nužne aktivnosti koje je odavno trebalo provesti, s nadom da Äe ih ovaj potres potaknuti.Significant characteristics and main consequences of the 5.5 magnitude earthquake that struck Zagreb and its surroundings in the midst of the COVID-19 pandemic are presented in the paper. Although, from the seismologic aspect, the earthquake was of moderate magnitude, it caused the loss of one life and considerable material damage. An overview of the situation before the quake is given, and information about the location, seismic activity, and organisation of building inspection activity, is presented. The data on damage are roughly classified, with the focus on historic core of the city and districts situated close to the epicentre. A strong emphasis is placed on indispensable activities that should have been carried out a long time ago, in the hope that they will be prompted by this earthquake
Concept and visual design of a television show
Televizija je medij koji ima znaÄajan utjecaj u danaÅ”njem druÅ”tvu, no svakim danom suoÄava
se s izazovima novih medija koji uspjeŔno prisvajaju publiku te minimiziraju televizijsku
konzumaciju.
Neki od osnovnih preduvjeta potencijalne gledanosti televizijske emisije su odliÄan i zanimljiv
koncept te niÅ”ta manje razraÄen i prezentiran vizualni identitet. Koncept predstavlja ideju na kojoj
se gradi cjelokupna struktura televizijske emisije, dok vizualni identitet ima ulogu kontakta i
komunikacije s krajnjim konzumentom. Navedeni segmenti prožeti su produkcijskim procesima
te su temeljeni na kreativnim procesima pojedinaca ili kreativnih produkcijskih timova.
U radu su opisani pretprodukcijski, produkcijski i postprodukcijski procesi koncepti stvaranja
televizijske emisije te su dani rezultati navedenih procesa u vidu vizualnog identiteta televizijske
emisije. TakoÄer, u radu se spominje televizija kao medij te moguÄnost razvoja u buduÄnosti, dok
je prvenstveni cilj zavrŔnog rada predstaviti produkcijske procese i koncepte stvaranja, ne samo
buduÄim (i sadaÅ”njim) studentima veÄ svima koji su zainteresirani.Television is a piece of media that has a significant impact in today's society, but every day
it faces the challenges of new media that are successfully captivating audiences and minimizing
television consumption.
Some of the basic prerequisites for potential viewership of a television show are a great
and interesting concept and no less elaborate and presented visual identity. The concept is an idea
on which the entire structure of a television show is built, while visual identity plays a role in
communication to the final consumer. These segments are permeated with production processes
and are based on the creative processes of individuals or creative production teams.
The thesis describes the pre-production, production and post-production processes of
creating a television show and presents the results of these processes in the form of the visual
identity of a television show. Also, in this thesis, the television is mentioned with its possibility of
future development, while the primary goal of the thesis is to present the production processes and
concepts of creation, not only to future (and current) students, but to anyone interested
Concept and visual design of a television show
Televizija je medij koji ima znaÄajan utjecaj u danaÅ”njem druÅ”tvu, no svakim danom suoÄava
se s izazovima novih medija koji uspjeŔno prisvajaju publiku te minimiziraju televizijsku
konzumaciju.
Neki od osnovnih preduvjeta potencijalne gledanosti televizijske emisije su odliÄan i zanimljiv
koncept te niÅ”ta manje razraÄen i prezentiran vizualni identitet. Koncept predstavlja ideju na kojoj
se gradi cjelokupna struktura televizijske emisije, dok vizualni identitet ima ulogu kontakta i
komunikacije s krajnjim konzumentom. Navedeni segmenti prožeti su produkcijskim procesima
te su temeljeni na kreativnim procesima pojedinaca ili kreativnih produkcijskih timova.
U radu su opisani pretprodukcijski, produkcijski i postprodukcijski procesi koncepti stvaranja
televizijske emisije te su dani rezultati navedenih procesa u vidu vizualnog identiteta televizijske
emisije. TakoÄer, u radu se spominje televizija kao medij te moguÄnost razvoja u buduÄnosti, dok
je prvenstveni cilj zavrŔnog rada predstaviti produkcijske procese i koncepte stvaranja, ne samo
buduÄim (i sadaÅ”njim) studentima veÄ svima koji su zainteresirani.Television is a piece of media that has a significant impact in today's society, but every day
it faces the challenges of new media that are successfully captivating audiences and minimizing
television consumption.
Some of the basic prerequisites for potential viewership of a television show are a great
and interesting concept and no less elaborate and presented visual identity. The concept is an idea
on which the entire structure of a television show is built, while visual identity plays a role in
communication to the final consumer. These segments are permeated with production processes
and are based on the creative processes of individuals or creative production teams.
The thesis describes the pre-production, production and post-production processes of
creating a television show and presents the results of these processes in the form of the visual
identity of a television show. Also, in this thesis, the television is mentioned with its possibility of
future development, while the primary goal of the thesis is to present the production processes and
concepts of creation, not only to future (and current) students, but to anyone interested
Technical and artistic elements and perception of the frame as an elementary communication unit in a music video
Bez obzira je li rijeÄ o zamrznutom kadru ili seriji zamrznutih kadrova koji prikazuju pokret, kadar,
kao neprekinuti Äin snimanja ili najmanja montažna jedinica, sa svojim odrednicama i
komunikacijskim jedinicama, omeÄuje, bilježi i Äuva prostor i vrijeme. Od poÄetne ideje do
zavrÅ”ne kreacije serije pokretnih slika, kroz kreativne i produkcijske procese odreÄene tehniÄkim
i umjetniÄkim aspektima koji, u glazbenom videospotu, pokuÅ”avaju prikazati, upotpuniti te spojiti
vizualnu i sluŔnu umjetnost, jedni od važnijih segmenata predstavljeni su kroz izbor kadrova, tj.
njihovih unutarnjih odrednica: kompozicija, planova, rakursa, montažne postupke, boju... isto kao
i pokrete u kadrovima ili pokrete tih kadrova. ProŔirivanje semantike i sinestezija viŔe oblika
umjetnosti dovodi do upotpunjivanja naracije, osnovne poruke i semiotike kroz svoja denotativna
i konotativna znaÄenja, a koja su se htjela komunicirati pokretnim slikama. NeograniÄenost
diskursa, razmiŔljanje i stvaranje izvan okvira, izvan zadanih mjerila, odrednica i formi, pridonosi
stvaranju jedinstvenog autorskog stila i Ŕiroku viziju u pogledu kreativne produkcije sadržaja. U
radu su opisane komunikacijske jedinice videospota kroz svoje tehniÄke i umjetniÄke aspekte, a
one ovdje poglavito pripadaju produkcijskim i post-produkcijskim procesima izrade. Pored toga,
socioloÅ”ko-umjetniÄki segment propituje glazbeni video(spot) kao umjetnost u (ko)relaciji s
filmom te moderan etnomuzikoloŔki stil i promociju. Prikazana je i analiza autorskog glazbenog
videospota. Kroz segment istraživanja o tehniÄko-umjetniÄkim odlikama snimljenog glazbenog
videospota, identificirana je percepcija Ŕire populacije na razine saturacije i kontrasta primijenjenih
u vizualnom segmentu videospota. Dobivene su povratne informacije konzumenata koje mogu
utjecati na moguÄa poboljÅ”anja u primjenjivanju saturacije i kontrasta u pokretnim slikama. Pored
toga, po segmentacijskim kriterijima, predstavljeni su i rezultati subjektivnih dojmova ispitanika
na slijed i vrstu kadrova, koriŔtene tehnike snimanja i montaže u glazbenom videospotu te
prianjanja uz glazbenu temu koja se izvodi.Whether it is a freeze-frame or a series of freeze-frames that show movement, the frame, as a
continuous act of recording (shooting) or the smallest editing unit, with its determinants and
communication units, delimits, records, and preserves space and time. From the initial idea to the
final creation of a series of moving images, through creative and production processes determined
by technical and artistic aspects that try to present, complement, and combine visual and auditory
art, one of the most essential segments is given through the selection of frames, i.e. their internal
determinants: compositions, plans, perspectives, editing techniques, colors... as well as the
movements in the frames themselves or the movements of those frames. The expansion of
semantics and synesthesia of several forms of art leads to the completion of the narrative, initial
message, and semiotics through their denotative and connotative meanings, which were intended
to be communicated with moving images. The unlimited discourse, thinking, and creating outside
of the box, beyond the given criteria, determinants, and forms, contributes to the creation of a
unique author's style and a broad vision in terms of creative content production. The thesis
describes the communication units of music videos through their technical and artistic aspects, and
they here mainly belong to the production and post-production processes of creation. In addition,
the sociological-artistic segment questions the music video as art in (co)relation with film and
modern ethnomusicological style and promotion. An analysis of the author's music video is also
presented. Through the research segment of the technical and artistic features of the captured music
video, the wider populationās perception on the levels of saturation and contrast applied in the
visual segment of the video was identified. Consumer feedback was received and that one may
influence possible advances and improvements in the application of saturation and contrast in
moving images. In addition, sorted by segmentation criteria, the results of the interpretation of the
subjective impressions on the sequence and type of frames, the recording and editing techniques
used in the music video, and adherence to the musical theme being performed, are also presented
Technical and artistic elements and perception of the frame as an elementary communication unit in a music video
Bez obzira je li rijeÄ o zamrznutom kadru ili seriji zamrznutih kadrova koji prikazuju pokret, kadar,
kao neprekinuti Äin snimanja ili najmanja montažna jedinica, sa svojim odrednicama i
komunikacijskim jedinicama, omeÄuje, bilježi i Äuva prostor i vrijeme. Od poÄetne ideje do
zavrÅ”ne kreacije serije pokretnih slika, kroz kreativne i produkcijske procese odreÄene tehniÄkim
i umjetniÄkim aspektima koji, u glazbenom videospotu, pokuÅ”avaju prikazati, upotpuniti te spojiti
vizualnu i sluŔnu umjetnost, jedni od važnijih segmenata predstavljeni su kroz izbor kadrova, tj.
njihovih unutarnjih odrednica: kompozicija, planova, rakursa, montažne postupke, boju... isto kao
i pokrete u kadrovima ili pokrete tih kadrova. ProŔirivanje semantike i sinestezija viŔe oblika
umjetnosti dovodi do upotpunjivanja naracije, osnovne poruke i semiotike kroz svoja denotativna
i konotativna znaÄenja, a koja su se htjela komunicirati pokretnim slikama. NeograniÄenost
diskursa, razmiŔljanje i stvaranje izvan okvira, izvan zadanih mjerila, odrednica i formi, pridonosi
stvaranju jedinstvenog autorskog stila i Ŕiroku viziju u pogledu kreativne produkcije sadržaja. U
radu su opisane komunikacijske jedinice videospota kroz svoje tehniÄke i umjetniÄke aspekte, a
one ovdje poglavito pripadaju produkcijskim i post-produkcijskim procesima izrade. Pored toga,
socioloÅ”ko-umjetniÄki segment propituje glazbeni video(spot) kao umjetnost u (ko)relaciji s
filmom te moderan etnomuzikoloŔki stil i promociju. Prikazana je i analiza autorskog glazbenog
videospota. Kroz segment istraživanja o tehniÄko-umjetniÄkim odlikama snimljenog glazbenog
videospota, identificirana je percepcija Ŕire populacije na razine saturacije i kontrasta primijenjenih
u vizualnom segmentu videospota. Dobivene su povratne informacije konzumenata koje mogu
utjecati na moguÄa poboljÅ”anja u primjenjivanju saturacije i kontrasta u pokretnim slikama. Pored
toga, po segmentacijskim kriterijima, predstavljeni su i rezultati subjektivnih dojmova ispitanika
na slijed i vrstu kadrova, koriŔtene tehnike snimanja i montaže u glazbenom videospotu te
prianjanja uz glazbenu temu koja se izvodi.Whether it is a freeze-frame or a series of freeze-frames that show movement, the frame, as a
continuous act of recording (shooting) or the smallest editing unit, with its determinants and
communication units, delimits, records, and preserves space and time. From the initial idea to the
final creation of a series of moving images, through creative and production processes determined
by technical and artistic aspects that try to present, complement, and combine visual and auditory
art, one of the most essential segments is given through the selection of frames, i.e. their internal
determinants: compositions, plans, perspectives, editing techniques, colors... as well as the
movements in the frames themselves or the movements of those frames. The expansion of
semantics and synesthesia of several forms of art leads to the completion of the narrative, initial
message, and semiotics through their denotative and connotative meanings, which were intended
to be communicated with moving images. The unlimited discourse, thinking, and creating outside
of the box, beyond the given criteria, determinants, and forms, contributes to the creation of a
unique author's style and a broad vision in terms of creative content production. The thesis
describes the communication units of music videos through their technical and artistic aspects, and
they here mainly belong to the production and post-production processes of creation. In addition,
the sociological-artistic segment questions the music video as art in (co)relation with film and
modern ethnomusicological style and promotion. An analysis of the author's music video is also
presented. Through the research segment of the technical and artistic features of the captured music
video, the wider populationās perception on the levels of saturation and contrast applied in the
visual segment of the video was identified. Consumer feedback was received and that one may
influence possible advances and improvements in the application of saturation and contrast in
moving images. In addition, sorted by segmentation criteria, the results of the interpretation of the
subjective impressions on the sequence and type of frames, the recording and editing techniques
used in the music video, and adherence to the musical theme being performed, are also presented
Influence of contact stresses on bearing capacity of traditional stone columns
Tradicijski kameni stupovi, izvedeni spajanjem baze, tijela i kapitela trnom u osi stupa, Äesto su prožeti karakteristiÄnim pukotinama u blizini spojeva koje kontinuirano propagiraju. Brojnim sanacijama tijekom povijesti ne uspijeva se zaustaviti raspucavanje, Å”to upuÄuje na neku suÅ”tinsku manjkavost. Radi utvrÄivanja uzroka problema pokrenuto je sustavno istraživanje koje se temelji na nizu numeriÄkih modela razliÄitih složenosti i laboratorijskom ispitivanju na gotovo realnim dimenzijama uzoraka. U ovom radu je prikazan dio rezultata koji opisuje karakteristiÄno ponaÅ”anje stupova.Traditional stone columns, built by linking the base, body of column and capital with a dowel in the column axis, are often characterized by typical cracks in connection zones that are continuously propagating. Despite numerous retrofit, this cracking can not be stopped, which points to an intrinsic defect. A systematic study involving a number of numerical models of variable complexity, and laboratory testing of quasi-real size samples, was initiated In order to determine the cause of the problem. Some results describing typical behaviour of columns are presented in the paper
Selected Papers from 1st Croatian Conference on Earthquake Engineering (1CroCEE)
This special issue of Buildings Journal brings together outstanding papers presented at the 1st Croatian Conference on Earthquake Engineering 1CroCEE, held at the Faculty of Civil Engineering, University of Zagreb, Croatia, 22ā24 March 2021 [...