Seismic risk for Croatia: overview of research activities and present assessments with guidelines for the future

Iz pozicije glavnog izvršitelja za procjene rizika od potresa za Hrvatsku, napravljen je pregled brojnih i metodološki različitih procjena rizika, uključujući nepovezane pojedinačne inicijative. Cilj rada je pozicionirati i osvrnuti se na doprinose svake od procjena, ali i upozoriti na manjkavosti odnosno ograničenja. Opisana je i uobičajena metodologija analizirajući svaki od faktora seizmičkog rizika, dajući pregled sadašnjeg stanja istraživanja u Hrvatskoj i u svijetu te nudeći smjernice za daljnje strateško djelovanje jer svi postojeći rezultati ističu 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 – procedure for conducting building inspections

Procjene oštećenja i uporabljivosti građevina u Hrvatskoj, iskočile su u prvi plan nakon potresa u Zagrebu 22. ožujka 2020. S obzirom na manjkavosti pripremne faze, pri čemu nije provedena edukacija stručnjaka 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 pomoći u brzim procjenama te kod detaljnih inženjerskih pregleda koji se moraju napraviti prije obnove. Prikazana metodologija se može iskoristiti u slučaju novoga razornog potresa koji se može dogoditi već 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 – preliminary report on seismologic aspects and damage to buildings

U radu su opisane bitne značajke i glavne posljedice potresa magnitude 5,5 koji je u jeku pandemije virusa COVID-19 zadesio Zagreb i okolicu. Premda je potres, seizmološki gledano, bio umjerene magnitude, prouzročio je gubitak jednoga života i veliku materijalnu štetu. Napravljen je pregled stanja prije trešnje te prikaz lokacije, seizmičke aktivnosti i organizacije pregleda zgrada. Grubo su razvrstani podaci o oštećenjima, s težištem na povijesnoj jezgri i četvrtima blizu epicentra. Na kraju su istaknute nužne aktivnosti koje je odavno trebalo provesti, s nadom da će 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 značajan utjecaj u današnjem društvu, no svakim danom suočava se s izazovima novih medija koji uspješno prisvajaju publiku te minimiziraju televizijsku konzumaciju. Neki od osnovnih preduvjeta potencijalne gledanosti televizijske emisije su odličan i zanimljiv koncept te ništa manje razrađen 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. Također, u radu se spominje televizija kao medij te mogućnost razvoja u budućnosti, dok je prvenstveni cilj završnog rada predstaviti produkcijske procese i koncepte stvaranja, ne samo budućim (i sadašnjim) studentima već 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 značajan utjecaj u današnjem društvu, no svakim danom suočava se s izazovima novih medija koji uspješno prisvajaju publiku te minimiziraju televizijsku konzumaciju. Neki od osnovnih preduvjeta potencijalne gledanosti televizijske emisije su odličan i zanimljiv koncept te ništa manje razrađen 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. Također, u radu se spominje televizija kao medij te mogućnost razvoja u budućnosti, dok je prvenstveni cilj završnog rada predstaviti produkcijske procese i koncepte stvaranja, ne samo budućim (i sadašnjim) studentima već 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 riječ o zamrznutom kadru ili seriji zamrznutih kadrova koji prikazuju pokret, kadar, kao neprekinuti čin snimanja ili najmanja montažna jedinica, sa svojim odrednicama i komunikacijskim jedinicama, omeđuje, bilježi i čuva prostor i vrijeme. Od početne ideje do završne kreacije serije pokretnih slika, kroz kreativne i produkcijske procese određene tehničkim i umjetničkim aspektima koji, u glazbenom videospotu, pokušavaju prikazati, upotpuniti te spojiti vizualnu i slušnu 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. Proširivanje semantike i sinestezija više oblika umjetnosti dovodi do upotpunjivanja naracije, osnovne poruke i semiotike kroz svoja denotativna i konotativna značenja, a koja su se htjela komunicirati pokretnim slikama. Neograničenost diskursa, razmišljanje i stvaranje izvan okvira, izvan zadanih mjerila, odrednica i formi, pridonosi stvaranju jedinstvenog autorskog stila i široku viziju u pogledu kreativne produkcije sadržaja. U radu su opisane komunikacijske jedinice videospota kroz svoje tehničke i umjetničke aspekte, a one ovdje poglavito pripadaju produkcijskim i post-produkcijskim procesima izrade. Pored toga, sociološko-umjetnički segment propituje glazbeni video(spot) kao umjetnost u (ko)relaciji s filmom te moderan etnomuzikološki stil i promociju. Prikazana je i analiza autorskog glazbenog videospota. Kroz segment istraživanja o tehničko-umjetničkim odlikama snimljenog glazbenog videospota, identificirana je percepcija šire populacije na razine saturacije i kontrasta primijenjenih u vizualnom segmentu videospota. Dobivene su povratne informacije konzumenata koje mogu utjecati na moguća poboljšanja 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, korištene 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 population’s 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 riječ o zamrznutom kadru ili seriji zamrznutih kadrova koji prikazuju pokret, kadar, kao neprekinuti čin snimanja ili najmanja montažna jedinica, sa svojim odrednicama i komunikacijskim jedinicama, omeđuje, bilježi i čuva prostor i vrijeme. Od početne ideje do završne kreacije serije pokretnih slika, kroz kreativne i produkcijske procese određene tehničkim i umjetničkim aspektima koji, u glazbenom videospotu, pokušavaju prikazati, upotpuniti te spojiti vizualnu i slušnu 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. Proširivanje semantike i sinestezija više oblika umjetnosti dovodi do upotpunjivanja naracije, osnovne poruke i semiotike kroz svoja denotativna i konotativna značenja, a koja su se htjela komunicirati pokretnim slikama. Neograničenost diskursa, razmišljanje i stvaranje izvan okvira, izvan zadanih mjerila, odrednica i formi, pridonosi stvaranju jedinstvenog autorskog stila i široku viziju u pogledu kreativne produkcije sadržaja. U radu su opisane komunikacijske jedinice videospota kroz svoje tehničke i umjetničke aspekte, a one ovdje poglavito pripadaju produkcijskim i post-produkcijskim procesima izrade. Pored toga, sociološko-umjetnički segment propituje glazbeni video(spot) kao umjetnost u (ko)relaciji s filmom te moderan etnomuzikološki stil i promociju. Prikazana je i analiza autorskog glazbenog videospota. Kroz segment istraživanja o tehničko-umjetničkim odlikama snimljenog glazbenog videospota, identificirana je percepcija šire populacije na razine saturacije i kontrasta primijenjenih u vizualnom segmentu videospota. Dobivene su povratne informacije konzumenata koje mogu utjecati na moguća poboljšanja 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, korištene 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 population’s 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, često su prožeti karakterističnim pukotinama u blizini spojeva koje kontinuirano propagiraju. Brojnim sanacijama tijekom povijesti ne uspijeva se zaustaviti raspucavanje, što upućuje na neku suštinsku manjkavost. Radi utvrđivanja uzroka problema pokrenuto je sustavno istraživanje koje se temelji na nizu numeričkih modela različitih složenosti i laboratorijskom ispitivanju na gotovo realnim dimenzijama uzoraka. U ovom radu je prikazan dio rezultata koji opisuje karakteristično ponašanje 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, 22–24 March 2021 [...