Suchergebnisse

ArchiteXt Mining: Spanish modern architecture through its texts (1939–1975) istraživački je projekt koji je financirala Vlada Španjolske putem poziva za "projekte izvrsnosti" Ministarstva gospodarstva i konkurentnosti 2015. godine. Projekt ima za cilj istražiti novo gledište i razmotriti posebnosti suvremene španjolske arhitekture. Unatoč sve većem uspjehu primjene analize podataka kao alata u nizu disciplina, istraživanja na području teorije arhitekture nikada se nisu najefikasnije koristila ovim tehnologijama. Španjolske i međunarodne okolnosti razvoja moderne arhitekture pomno su razmatrane kvalitativnim istraživanjem, koje je uspostavilo opće teorijske osnove. Sada je vrijeme za započinjanje novoga dubinskog istraživanja na temelju objektivnih podataka. Da bismo odgovorili na ovaj izazov, predlažemo primjenu tehnika "rudarenja teksta" (engl. text mining) kako bi se iskoristili najbolji izvori podataka na ovom području: arhitektonska periodika. Svrha je stvoriti snažnu bazu podataka koja će biti javno dostupna znanstvenoj zajednici na internetu. Dakle, ovaj projekt ispunjava nekoliko ciljeva e-istraživanja: olakšati informatizaciju istraživanja podataka, podržati svaku fazu prikupljanja podataka i upravljati analizama velikih podataka uz pomoć posebnih alata. ; ArchiteXt Mining: Spanish Modern Architecture through Its Texts (1939–1975) is a research project funded by the Government of Spain through the 2015 Call for "Excellence Projects" of the Ministry of Economy and Competitiveness. This project aims to explore a new viewpoint and look into the special features of Spanish modern architecture. Despite the increasing success of using data analysis as a tool in a variety of disciplines, research on architectural theory has never made the most efficient use of these technologies. The Spanish and international circumstances of modern architecture development have been scrutinized through qualitative research, which has established a shared theoretical ground. It is now time to start a new in-depth research based on objective data. To address this challenge, we propose the application of text mining techniques to take advantage of the best data source in the field: architectural periodicals. The purpose is to create a powerful database hosted on a public website for the scientific community. Thus, this project fulfils several e-Research objectives: to facilitate the computerization of data research, to support every stageof data collection, and to manage big data analyses with thehelp of specific tools.

On the eastern Adriatic coast and the surrounding areas, there is an entire range of excavated and recorded amphitheatres located in individual former Roman colonies (Pola, Iader, Aequum, Salona, Epidaurum and Dyrrachium) and military camps (Burnum and Tilurium). Through topographic, typological and chronological classification, the author explores the Roman amphitheatre in Burnum. Likewise, in an interdisciplinary approach, the author supports his conclusions with historical sources, displaying materials, archaeological remains, numismatic material, toponomastic records, reconstructions, as well as archival, cartographic, urban and other types of data. ; Na jugozapadnoj periferiji kompleksa vojnog logora u Burnumu iskopan je rimski amfiteatar na mikrolokaciji Karlovac, izvan bedema samog logora. Centralno područje amfiteatra bilo je 44 x 33 m veliko borilište, gdje su se izvodile gladijatorske borbe i ostali sadržaji. Sam ovalno koncipirani tlocrtni oblik amfiteatra čini više-manje pravilna elipsa, što potvrđuju i same dimenzije amfiteatra, 118 x 87 m. Na građevini možemo razlikovati dvije građevinske faze. Prva građevinska faza iz doba cara Klaudija arheološki je potvrđena. Sve potrebne predradnje u vezi s pripremom i nivelacijom terena i potom gradnjom građevine amfiteatra izvršili su pripadnici XI. legije koja od 42. godine nosi spomenuti počasni naziv legio XI Claudia pia fidelis. Završnu građevinsku fazu amfiteatra u Burnumu potrebno je datirati u vrijeme vladavine cara Vespazijana koji je novčano pomogao njezino dovršenje.

Zagrebački Botanički vrt Prirodoslovno-matematičkog fakulteta sačuvan je u urbanističko-arhitektonskoj koncepciji u gotovo izvornom obliku, kako je izgrađen 1892. godine. Članak donosi sažeti prikaz specifične povijesne arhitekture koja je dio Vrta. Građevine su opisane na temelju istraživanja arhivske građe, analize sačuvanih prvotnih i novijih projekata te izvedenih građevina od nastanka Vrta. Obuhvaćene su sve za Botanički vrt značajne građevine: izložbeni staklenici, vrtlarska kuća, izložbeni paviljon, fiziološki laboratorij, javni zahod te bazeni s "vodometom", uresna ograda, mostić, sjenice i vodosprema. Vrijedna povijesna arhitektura postupno se obnavlja pod konzervatorskim nadzorom nadležne službe za zaštitu kulturnih dobara od 1998. godine do danas. ; Almost the entire original layout of the urban and architectural concept of the Zagreb Botanical Garden of the Faculty of Science has been preserved as it was conceived in 1889 by its founder, Prof. Antun Heinz, a professor of botany at the University of Zagreb. The Garden was designed and built in accordance with contemporary European standards for the design of botanical gardens. From its foundation until today, the Garden has retained its multiple purposes. As an integral part of the Faculty of Science of the University of Zagreb for more than a century, the Garden has played an extremely important role in university teaching and scientific research in the field of botany, as well as education of the general public. The Garden also has cultural, historical and touristic value for the city of Zagreb and the Republic of Croatia. Since it was founded, it has remained open to the public free of charge, providing visitors with numerous educational and popular activities. It is part of the Green Horseshoe in Donji grad, a cultural good inscribed in the Register of Cultural Goods of the Republic of Croatia as an original architectural achievement, and as a completed, urbanistic, architectural space in the form of a park in the centre of Zagreb, and also as a horticultural monument in the botanical-garden category. In the first decades after its foundation, a series of functional buildings and structures of park architecture, such as a gazebo, a lookout and small bridges on the lake, shelters and similar elements in various historic styles, were built in the Botanical Garden. As a permanent residence for gardeners, a garden house was built in 1890 in the west part of the Garden, in the direction of Savska cesta. Later, greenhouses were erected and the pavilion was transported from the Second Jubilee Exhibition of Economy and Forestry held in Zagreb in 1891. A rare example of a communal building, a public toilet for parks, based on the 1905 project by Milan Lenuci, has been preserved. The last two buildings were designed by professors from the Faculty of Architecture. In 1933, in the south part of the Garden, Prof. Juraj Denzler built the well of the City Water Supply Network, used by the Garden to this day; and, in 1942, along with the already-built physiological laboratory, Prof. Zvonimir Vrkljan started building the Division of Botany. Buildings, park architecture, parterre and installation network were reconstructed and renovated over the past twenty years in accordance with the defined priorities and conservation guidelines, projects and supervision of the City Institute for the Conservation of Cultural and Natural Heritage. Several selected examples present recent projects and renovations. Industrial development in the late 18th and early 19th centuries, and new materials – iron and glass – enabled the construction of large halls illuminated from above. Constructors applied this type of knowledge to build greenhouses, essential for the successful cultivation of tropical, subtropical and Mediterranean plants in botanical gardens. Often, this type of old greenhouse is a valuable example of specific architectural heritage. A unique historical structure of this type is preserved in the Botanical Garden of the Faculty of Science in Croatia. Professor Dr. Antun Heinz took a sabbatical in 1889 and visited European botanical gardens in order to gather experience and the latest ideas he needed for the design and construction of the Botanical Garden of the University of Zagreb. He chose a situational solution, a combination of geometric and landscape style. He decided to design the largest part of the Garden in the landscape – or socalled English – style, with randomly planted groups of trees and shrubs, and curving paths. Only the parterre (ornamental flower beds), located in the west part of the Garden, was built in the French style, with a strict geometric and symmetrical ground plan. Around the long central axis, a conception typical of Baroque park heritage of the 17th and 18th centuries, he placed the main building of the Garden and the greenhouses with a geometric floral parterre with two symmetrical paths on each side, and most of that open surface is a free composition of the parterre with high and low greenery. The original shape of the exhibition greenhouses built at the end of the 19th century was preserved, but they were in very bad condition. Therefore, renovation was planned and is underway in order to restore the original condition of the complex of exhibition greenhouses. Fence around the Botanical Garden was gradually added as the city in the immediate vicinity of the Garden developed. In 1900, after the construction of the new street (today's Mihanović Street), the north fence of the Garden was built with the main entrance portal based on a design by the Royal Building Department of the Land Government, and then the east and west fence were built. Since the aesthetically shaped southern fence did not exist, it was designed as a public walkway with a pergola, and the construction began in 2018. The oldest fair building in Croatia was preserved in the Botanical Garden of the Department of Biology, Faculty of Science in Zagreb, and restored in 2007. The wooden pavilion was presented at the international exhibition in Vienna in 1890, and in Zagreb in 1891. In 1892, it was moved to the Garden as a building where plants susceptible to frost were kept during winter. Over time, the domes and façade were removed. However, the roof structure and the volume of the building were preserved, and all characteristic elements of the lining were found before the 2005 reconstruction. Based on sufficient data and archival photographs, it was possible to restore the exhibition pavilion to its original form. Reconstruction and renovation of the Botanical Garden complex and functional historic buildings will continue and contribute to the preservation of the complete historical architectural heritage in the park section of the Green Horseshoe of Zagreb Donji Grad.

Drvena kapela sv. Martina u Starom Brodu rijedak je primjer tradicionalnog narodnog graditeljstva s cjelovito očuvanim oslikanim baroknim interijerom. Njezino je očuvanje iznimno važno za lokalnu zajednicu jer je kapela glavno okupljalište seljana u vrijeme pogreba i proštenja, a zbog svoje starosti snažan je simbol višestoljetnog opstanka sela unatoč ratovima i poplavama. Stoga se njezina obnova temeljila na vrednovanju cjelovite strukture građevine i njezinih povijesnih oblikovnih vrijednosti te je povezala sve aspekte kulturnog dobra u cjelinu, što se podjednako odnosi na građevinu, oslikanu unutrašnjost i oltar, kao i na primjenu tradicionalnih tehnika gradnje i uključivanje lokalne zajednice u projekt. Zbog toga je u svibnju 2017. godine Hrvatskom restauratorskom zavodu uručeno najviše europsko priznanje na području zaštite i očuvanja kulturne baštine – Nagrada Europske unije za kulturnu baštinu / Nagrada Europe Nostre u kategoriji zaštite baštine. ; The wooden chapel of St. Martin in Stari Brod is a rare example of traditional, vernacular architecture with a preserved Baroque interior. Over the centuries it has played an important part in the everyday life of villagers as a gathering place for worship and a powerful symbol of the village's survival. Archival records mention the chapel for the frst time in 1699. Originally, it was laid out as a single-nave chapel with a polygonal sanctuary and a small atrium on top of which stood a bell tower. Its present form originated when the atrium was incorporated to form a vestibule in 1736. It was built using a traditional technology of construction with oak planks laid over stone and brick foundations and interlocked without the use of brackets (socalled dovetail joint). What is particular about the chapel is its interior design: all the walls, the ceiling over the nave and the sanctuary vault are lined with a vividly painted wainscoting made of 88 wooden panels framed with decorative laths. The panels depict motifs of intertwined symmetrical ribbons with hanging acanthus leaves, rose flowers, tulips, carnations, peonies and grape vines, painted in vivid colours in the mid-18th century. The main altar with the altarpiece of St. Martin was installed in 1743. By the end of the 20th century, the chapel was rather neglected and had a dilapidated roof. As the roof covering was damaged, the interior was exposed to rainfall, which caused severe damage to the wooden support and the paintwork. An earlier replacement of the roof covering with beavertail tiles instead of shingles led to static displacements and deformations of the building material and caused further damage to the wainscoting panels. The main altar was removed from the chapel in 1991 during a war-time evacuation. Renovation work on the chapel of St. Martin started with an architectural survey of the existing condition and conservation research of the painted wainscoting. The wainscoting was then dismantled, and construction repair of the chapel ensued, which lasted from 2007 to 2012. During the course of it, the entire chapel was disassembled in order for the foundations to be repaired and the damaged or rotted parts of the building replaced. Damaged parts of the roof construction were also repaired and the beavertail tiles replaced with oak shingles, modelled after the original covering. On the dismantled elements of the wainscoting, necessary restoration treatments were carried out, which involved a mechanical removal of dirt from the back of the panels, gamma-ray disinsection, fxing of blistering portions of the polychromy to the support, consolidation of the support, joining and fxating of the panels, and a reconstruction and retouch of the painted layer. With the conservation work completed, the wainscoting panels were returned to the chapel. The Baroque altar of St. Martin was put on display at the 1994 exhibition Sveti trag [Holy Trail], after which it was stored in the Croatian Conservation Institute's depot in Ludbreg. Because of inappropriate microclimatic conditions, damage occurred in places where the wooden elements were joined, and layers of the polychromy and gilding partially detached from the wooden support. The damage was repaired in 2015, just before the altar was returned to the chapel. Despite having been left without the altar in 1991 and the painted wainscoting in 2002, the chapel continued to be used for funerals and on the Feast Day of St. Martin. Only during the construction repair, when it was dismantled, was it out of function. With the renovation completed, the restored wainscoting mounted and the main altar installed, not only was its physical and visual integrity recovered, but a symbolic and spiritual component important to the local community was reinstated as the chapel was returned to function. Albeit important in art-historical terms, as a rare surviving example of Baroque wooden architecture, its true value lies in the symbolism of survival of a community that gathers around it, in spite of all the wars and floods to which it was exposed over the course of history. On the other hand, the comprehensiveness and complexity of the conservation work carried out, while applying the principle of renovation in accordance with professional guidelines, represent a model of how to approach the renovation and presentation of similar monuments of culture. All the aforementioned components constitute the reason why the renovation of the chapel of St. Martin in Stari Brod earned a Europa Nostra Award, a European Union Prize for Cultural Heritage in the category of conservation, with which it was presented in the May of 2017.

Rad sagledava bunkerske sustave upisane u topografiju europskog kontinenta kao vrstu znakova koji označavaju rituale prijelaza iz jednog geopolitičkog i društveno-političkog stanja u drugo. Oni time funkcioniraju kao vrsta simbolizacije ratne traume, poput znakova koji ostaju urezani u kožu poslije rituala prijelaza kod "primitivnih naroda". Uzimajući u obzir teze socijalnog psihologa Richarda Koenigsberga da postoji identifikacija ega pojedinca s formacijom nacionalnog ega te teze Sigmunda Freuda da je ego uvijek povezan s površinom kože, naglašava se uloga arhitekture kao proizvoda označavanja kože pri ritualima prijelaza. Danas, kad migranti prolaze pokraj bunkera iz Drugog svjetskog rata na hrvatskomađarskoj granici da bi se provukli kroz novosagrađenu ogradu s čeličnim žiletima, stvara se novi ožiljak na koži Europe, formira se njezin novi identitet, a društvo u cijelosti sudjeluje u ritualu prijelaza iz starog u još uvijek nepoznato novo. ; This paper focuses on the bunker systems inscribed in the topography of the European continent as a sort of signs indicating rites of passage from one geopolitical and socio-political state into another. They symbolize the war trauma in a way, like signs that remain incised in one's skin after the rites of passage practiced by the "primitive peoples". In reference to the hypothesis of social psychologist Richard Koenigsbergad that the individual tends to identify himself with the formation of the national ego, and that of Sigmund Freud, for whom the Ego is always related to the surface of the skin, architecture is seen as a product of marking the skin in rites of passage. Today, when migrants pass by the bunkers from World War II at the Croatian-Hungarian border in order to squeeze themselves through the newly erected fence with steel blades, a new scar emerges on the skin of Europe, shaping its new identity, and the society as a whole participates in this rite of passage from the old state into a new one, still unforeseeable.

Autor u radu donosi prikaz dviju vladarskih crkava iz IX. st. slična ustroja s westwerkom. Uz obje crkve pronađeni su ulomci kamene plastike s dedikacijskim natpisom, od kojih jedan spominje župana a drugi kraljicu. Na Klisu je pronađena ploča s reljefom na temu Majestas Domini. Obje crkve spadaju u privatne crkve, tzv. eigenkirche, što upućuje na novi način franačke organizacije teritorija s utvrđivanjem feudalnog posjeda (Ordensburgen). ; The remains of churches that have been found and are discussed in the text can reliably be ascribed to the chapel of the long-sought Trpimir residence at Klis and the pre-Romanesque stratum of the church dedicated to the BVM at the cemetery of the village of Blizna Gornja in the Trogir hinterland. The find of sculpture and texts written on the altar screens show that in both cases these were churches of members of the medieval ruling elite: the church in Blizna Gornja can be connected with the župan of the županija of Drid, and the chapel in Klis directly with the ruler of Croatia. The existence of a medieval church at Klis is strongly supported by investigations of the walls, which showed that a large number of marble fragments of ecclesiastical stone architectural decoration from the 9th to the 12th century were incorporated into the building of the mosque. Among the fragments there are pilasters, plutei and the trabeation of an altar screen from the early Middle Ages, while the whole of the medieval material is built into the walls of the mosque above its floor level. In the western wall four marble fragments of architraves of an altar screen with parts of an inscription were found, one fragment of a marble architrave of a pluteus and a pilaster with the base of a pillar of the screen. All the fragments of this carving were made of Proconesian marble and were incorporated in such a way that the decorations and inscriptions were not to be seen. The fragments belonged to the septum and contain typical pre-Romanesque interlacing motifs, pretzels, and the parts of an inscription are carved on a ribbon of the trabeation of the altar screen below the characteristic hook decoration. Fragments of the trabeation contain parts of an inscription about a ruler that mentions the royal family, and on an architrave of the altar screen of the church in Klis that has been found, for the first time the title of queen is mentioned. The parts of the altar screen found with interlacing ornamentation of the 9th century belong to a pilaster with interlacing and an architrave of the pluteus with interlacing ornamentation and four fragments of the architrave of the altar screen with parts of a royal inscription. The fragments contain wording with the royal formula: ORUM FILIU(S)., MEA DOM(N)A S(C)LAVA REGINA. Although these are detached pieces, it is very clear that they are part of a single inscription in which the wife of the ruler or king is mentioned. It is clear in this part of the text that the wife of the ruler is called regina, from which it can be concluded that her husband, the subject of the inscription, is a ruler who bears the title of rex. It is important to point out also that she is addressed as domna, and that analogously to this her husband must have been addressed as dominus. From these titles, the votive inscription of the church in Klis might have belonged to a ruler of the middle of the 9th century, probably to Trpimir himself, the only ruler of that time who is mentioned together with the title of king, probably attained through victory in the war with the nation of the Greeks, as reported by the Saxon Gottschalk. And the fragment of the first part of the inscription contained this very title of the ruler (REX SCLAV)ORUM FILIU(S). This would be supported by the inscription in the Cividale Gospel, where Trpimir is signed as »domno Trepimiro«, and the title of his wife really could have been DOMNA SCLAVA REGINA, as this is read from the wording on the architrave of the altar screen. As well as the described parts of the septum, during works on the renovation of the Church of St Vitus a slab with a relief was found built flat as a building stone in the annular wall of the tambour. This fragment of early medieval figural sculpture of Proconesian marble shows Christ in Glory. Preserved from the composition featuring the topic Majestas Domini in the Klis relief is the central figure of Christ in a mandorla and an angel on his right hand side. Christ is shown down to the waist, his right hand raised in blessing, while in the left hand he holds a scroll with the Gospels. The relief from the Klis Church of St Vitus, though modest in its dimensions, might have belonged to the lintel of a portal of an early medieval church, although according to the mortise on the upper part it could equally well be supposed to have been a fragment of some stone furnishing that consisted of pillars and beams. The visual treatment of the relief of the linearly grooved surfaces that suggest folds of clothing, the manner of treatment of the figures with single incision of the features with expressive underlined eyes, the hatched curls of the hair and the particularly characteristic handling of the nose reveal the hand of the skilled mason who made the relief. As for the origin of the relief of the church in Klis, the finding of the medieval royal church in the foundations of the Church of St Vitus and the confirmation of the existence of a fortified royal court at the site of Klis Fort are sufficient warrant that it originally came from Klis. From this it could well be hypothesised that the relief of Christ from the church in Klis belongs to a separate sculptural unit, directly related to this site. Extensive archaeological and conservation-restoration excavations in 1999-2000 preceded the thoroughgoing renovation of the Church of St Mary in Blizna Gornja. Against expectations, the pre-Romanesque architecture of a ruler from the 9th century was found in them, belonging through their form among the few specimens of pre-Romanesque churches with external buttresses of semicircular cross-section. Like similar examples, the Church of St Saviour at the source of the Cetina and the church at Lopuška glava, Biskupija, by Knin, the Church of St Mary in Blizna had a forecourt in front of the main elevation. An external staircase led to the first floor, over which there was probably a tower, as in examples of similar churches with a westwork. In the forecourt of the church the lid of a Roman period sarcophagus used as a gravestone was found. The find of the sarcophagus lid and many fragments of stone sculptural decoration of the 9th century in marble and limestone show that the Church of St Mary was richly endowed and equipped. One of the fragments contains the name and title of the donor: .ANVSIV[panv]S, for which reason it is assumed to have belonged to an altar screen put up by a Croatian magnate, mostly likely a župan. Numerous fragments of trabeation have been found, the beams of which were marble, while the arched tegurium was made of limestone. Fragments of marble plutei and pilasters of the altar screen, as well as pillars with capitals found around the church belong in their form to the sculptural art of the 9th century. Fragments found are enough for the reconstruction of the original appearance of the screen and for an understanding of the inscriptions in the field of the lower part of the gable and the architraves. The inscription is a typical intercession, in which the prayer is addressed to Our Lady and to St John the Baptist, asking for their intercession with Christ, for the salvation of his soul, and the following reading can be proposed: .[pe]R I[nte]RCOESSIONEM BEATE ET GLORIO[se matri]S D[e]I GE[netricis apud Christum satvatOREm SCTAe Mariae] ET BEATI IO[hannis Baptistae] OP[vs] E[dificavit] pro animae suae[reme]DIO V[otum complevit Prod]ANVS IV[ppanu]S. According to the inscription on the septum the church would have been dedicated to St Mary like many of the churches of that time in the early of medieval Croatia, in Golubić, Ostrovica, Biskupija, Gradec, Pađeni and Lepuri. But the inscription relates it in a particular way via the intercession of Mary and John to Christ, to whom the intercession is addressed. The permeation of the contents by the theme of the Madonna's intercession (i.e. the Deisis), typically Byzantine iconography on the one hand and the Sanctus written in the spirit of the revived Roman liturgy on the screens of churches in Trogir as well as the churches of the Croatian župans in the hinterland and on the islands suggest something of their specific political position in the second half of the 9th century at the border between the tradition of the East and the new influences coming from the West. The question arises as to who the donor of the church of St Mary in Blizna Gornja was. Only the ending of the name and the beginning of the title in the letters IV[ppanu]S are in existence. From this it can be assumed that the church was put up by a župan, and his name, which ends with the letters.ANUS, might be Stephanus or, more likely, it was part of some Croatian name that is borne in the documents by the župans, like Branus or Prodanus. According to the results of the most recent research, St Mar in Blizna is a votive church of a Croatian magnate put up in the middle of the 9th century on the remains of an ancient villa that was part of his estate. Analysis of the architecture confirms this. The oldest archaeological stratum found at the site is the remainder of a wall of the later Roman period, probably from the 6th century, in front of the forecourt of the church. This stratum is insufficiently investigated, but it belonged to a building of much greater size than the pre-Romanesque Church of St Mary. The early medieval stratum, of the 9th century, lays claim to the foundations of the church, of a simple rectangular ground plan with semicircular buttresses, and the shallowly founded apse on the bedrock might be a building of later time. A very good state of preservation is exhibited by the walls of the pre-Romanesque building that bound the ground plan, the beginning of the staircase of the atrium, its western and southern doors, while in the interior of the atrium, in front of the façade of the church, a cylindrical sarcophagus lid has been found. The two-storey court, the chapel of the pre-Romanesque church and its undoubtedly funerary purpose in the ground floor part are known in the literature as westwork, and their finding at the site of Blizna Gornja suggests there was a very strong influence from the Carolingian court on the Croatian ruling and aristocratic stratum of the 9th century, to which, along with the actual rulers, it was primarily the župans that belonged. The Church of St Mary on the current graveyard of the village of Blizna Gornja was, then, the church of a magnate, who in his name has the ending anus, most probably Prodan (Prodanus?) or Bran (Branus?) rather than Stjepan (Stephanus), a župan of the županija of Drid of the middle of the 9th century, for at that time along with the titular functions of the Croatian župans their Slavic names were regularly given. This is a typical example of a private church (Eigenkirche), a new legal institution of the Frankish type, put up on the foundations of a renovated Roman period villa, the feudal property of the lord, who used it for ceremonial purposes, as well as a private funeral chapel for him and the members of his immediate family, and hence it was forbidden to bury members of the community at large in its vicinity. Among the process that took hold of Europe in the post-Carolingian period an important place is occupied by the construction of fortified manors, which from the 9th to the 12th century totally changed the image of early medieval Europe. The Croatian ruler, who was at first directly subject to Aquileia, the Frankish ecclesiastical centre in Friuli, must have been directly impressed by the construction of the fortified estates of the marquisate of Friuli, for it was from here that Frankish missionaries arrived in Croatia. Its connection with Frankish church centre even after the abolition of the marquisate in 828 is shown by the pilgrimages of Croatian dukes and their families to the Benedictine monastery of Cividale during the whole of the 8th century. Einhard's Annales mentioned Borna's forts in Dalmatia, into which the duke retreated before the attack of Ljudevit Posavski. Trpimir's royal residence is mentioned in a deed of gift of his of 852. There is an obvious difference in the name of the ruler's residence of Trpimir's time, as mentioned in two texts: one mentions villa nostra, the other curte nostra. The mentioned curtis in the document is called Clusa, which implies the name of the fortress of Klis, which for the whole of its history was in strategic control of the approach to the sea, to ancient Salona and the city of Split. Unlike Klis, which is called a curtis, the name of the villa from the Gottschalk text is not recorded, and it might be to do with some residential complex in the Salona area, or perhaps some place very close to Klis, such as Rižnice, in which Trpimir, wishing to make contrition for his sins, built a monastery and church after the war, at the time of the normalisation of relations with the Romans. The fact is that the concepts of villa and curtis appear at the same time in the mid-9th century in the context of the formation of feuds and manors, although there may be some fundamental difference concealed in them. One and the other may be related to the ruler's residence. The concept of curtis in this sense can be found afterwards, among many examples of the 11th century, when the king's curtis of Rogovi on the lower slopes of the hill by Biograd, or the curtes of the imperial protospatar and ban Stjepan Uitula, Nova sella and Butina ues, as well as many others related to the names of their owners, like that of Vlkomir and Preda in Žrnovnica or Tješen on Brač. Still, in the light of the new research, the curte nostra, quae Clusan dicitur mentioned in Trpimir's deed of gift should be looked at in a completely different context, not only as an estate but also as the residential complex of a feudal ruler.

Razvoj i raster rimskog naselja s jaškim supstratom na vrlo važnom strateškom položaju današnjeg grada Daruvara, koje je doseglo municipalni status, zbog nedostatka sustavnih arheoloških istraživanja uopće nije poznat, iako temeljem slučajnih reprezentativnih nalaza možemo smatrati da su postojale tri glavne njegove cjeline: civilno naselje na padinama Starog Slavika, balneološki dio s hramom na prostoru današnjeg Julijevog parka te forum na mjestu današnjeg središnjeg trga. Sustavna arheološka iskopavanja Gradskog muzeja Bjelovar na području oko židovskog groblja na Starom Slaviku po prvi puta su registrirali ostatke rimske arhitekture u vidu objekta vjerojatno vojne namjene te ostatke perimetralnog zida, koji je okruživao cijelo naselje. Ustanovljene su najmanje tri građevinske faze, a provedene su i određene geološke analize na nepokretnim i pokretnim nalazima kako bi se utvrdila njihova starost i porijeklo sirovine za gradnju. ; The development and raster of Roman settlement with Iasic substratum, situated at the very important strategic position of the present Daruvar, which had reached municipal status, has due to lack of systematic archaeological research remained completely unknown. However, on the basis of random representative finds, it may be concluded that it consisted of three main parts: civic settlement on the slopes of the Stari Slavik hill, balneological part with a temple in the area of the present Julius' park, and forum on the location of the present central square. Remains of Roman architecture – probably of a facility serving a military purpose, as well as remains of perimetral wall that encircled the entire settlement were for the first time recorded as a result of systematic archaeological research conducted by the Bjelovar Home Museum in the area around Jewish cemetery on the location of Stari Slavik. At least three building phases have been established, and certain geological analyses of immovable and movable finds have been conducted in order for their age and the origin of the building material to be determined.

Ontologija otvorene vlade predstavljena u ovom radu je sveobuhvatna ontologija koja za cilj ima modeliranje širokog opsega servisa otvorene vlade. Semantički model otvorene vlade daje mogućnost za integraciju s drugim semantičkim i informatičkim modelima te omogućuje semantičko razmišljanje i pronalaženje resursa. Karakteristike otvorene vlade su transparentnost, sudjelovanje i suradnja. Glavne komponente otvorene vlade su otvorena arhitektura, otvoreni podaci i otvoreni standardi. Organizacijska struktura otvorene vlade sastoji se od unutarnjih vladinih organizacija, povezanih područja i otvorenih (e)vladinih servisa. Ontologija otvorene vlade se može koristiti kao semantičko spremište meta podataka za (e)vladine i otvorene (e)vladine servise. Primjenom formalnih metoda razmišljanja predložena ontologija omogućuje pronalaženje informacija o servisima otvorene (e)vlade i zaključivanje na osnovu prikupljenog znanja. Također, ontologija otvorene arhitekture se može koristiti kao informacijska arhitektura za stvaranje tih servisa, kao u slučaju Crnogorske semantičke naučne mreže. ; Open Government Ontology proposed in this paper is an extensive ontology aimed at modelling a wide range of Open Government services. Semantic model of the Open Government opens possibilities for the integration with other semantic and information models, and enables semantic reasoning and resource discovery. Characteristics of the Open Government are transparency, participation and collaboration. Main components of the Open Government are Open Architecture, Open Data and Open Standards. Organizational structure of the Open Government consists of the internal government organizations, associated domains and Open (e)Government services. Open Government Ontology can be used as a semantic meta-data repository for the (e)Government and Open (e)Government services. Using formal methods of reasoning with the proposed ontology we can search for information about Open (e)Government services and infer on gathered knowledge. Also Open Architecture Ontology can be used as Information Architecture framework for the creation of these services as was the case regarding Montenegrin Semantic Science Network.

Krajobrazno planiranje grana je interdisciplinarne struke krajobrazne arhitekture koja se temelji na očuvanju kvaliteta krajobraza, a usmjerena je usklađivanju različitih vrijednosti i interesa u prostornom razvoju. Moderna paradigma krajobraza utemeljena je na višedimenzionalnosti i interdisciplinarnosti, što u istraživačkim i analitičkim krajobraznim pristupima neizostavnim čini korištenje GIS-a. U ovom radu prikazana je primjena GIS-a u metodama i alatima krajobraznog planiranja iz perspektive struke krajobrazne arhitekture u Hrvatskoj, a obuhvaćeno je: vrednovanje krajobraza, izrada prostornih modela i strateških planova, procjena utjecaja na krajobraz uključujući vizualne analize i simulacije, procjena karaktera krajobraza te krajobrazni planovi. Radom je ujedno ukazano na raznolikost primjena alata krajobraznog planiranja u instrumentima različitih sektora koji imaju interes i odgovornost prema krajobrazu: prostornom planiranju, zaštiti prirode i okoliša, zaštiti kulturne baštine, zemljišnoj politici, ruralnom i turističkom razvoju i energetici. Također je ukazano na činjenicu da je, unatoč potpisivanju Europske konvencije o krajobrazu kojom je Hrvatska iskazala interes za inovativnim alatima planiranja, zaštite i upravljanja, do danas na institucionalnoj razini učinjeno vrlo malo, a upotreba krajobraznih pristupa u praksi je stihijska. Posebno je evidentno neprimjenjivanje GIS-a u različitim sektorskim instrumentima na svim razinama promišljanja i donošenja odluka o prostoru. ; Landscape planning is a branch of the interdisciplinary profession of landscape architecture, which is based on landscape quality protection, and focuses on harmonising different values and interests in spatial development. The modern paradigm of the landscape is based on multidimensionality and interdisciplinarity, which makes the application of GIS indispensable in researching and analysing landscape approaches. This paper presents the application of GIS within the methods and tools of landscape planning, from the perspective of the landscape architecture profession in Croatia, involving the following methods: landscape evaluation, spatial modelling, development of strategic plans, landscape and environmental impact assessment including visual analysis and simulations, landscape character assessment, and landscape plans. The paper also highlights the diversity of potential landscape planning approaches within the instruments of different sectors, concentrating on responsibility for the landscape, spatial planning, natural and environmental protection, conservation of cultural heritage, land policies, rural and tourist development, and energy issues. The paper also indicates that, despite signing the European Landscape Convention, via which Croatia showed interest in innovative planning, conservation and management approaches, there has still been no significant shift at the institutional level, with the occasional implementation of the landscape approaches in practice. The lack of use of GIS tools is especially evident within different sectoral instruments, at all levels of spatial thinking and decision-making.