natgillin/translations-raw huggingface dataset:
The architectural policies of the Republic of Croatia are focused on achieving three main objectives:
Arhitektonske politike Republike Hrvatske usmjerene su u ostvarivanje tri osnovna cilja:
1. Building culture as a prerequisite for the quality of built space: Achieving building culture is a long-term process of developing built space and our relationship towards it, which in turn in uences its quality level.
1. Kultura gra enja kao preduvjet za kvalitetu izgra enog prostora - Kultura gra enja je dugotrajan proces razvoja izgra enog prostora i našeg odnosa prema njemu, kojim utje emo na podizanje razine njegove kvalitete.
Raising the level of building culture is a necessary prerequisite for making the concern for the built environment a matter of general concern.
Podizanje razine kulture gra enja neophodan je preduvjet da briga za izgra eni prostor postane briga svih nas.
Recognizable, goodquality architecture has the potential to initiate national development and progress, and it can have a positive impact in terms of the better positioning Croatia internationally.
Izgra eni prostor treba biti poticajan životni ambijent, njegova visoka kvaliteta predstavlja osnovu za kvalitetu naših života.
Architectural policies provide a targeted contribution to the development of architecture, which shapes the environment in which we live and work.
Arhitektonske politike ciljano doprinose razvoju arhitekture koja oblikuje prostore u kojima svakodnevno živimo i radimo.
Therefore, we believe that it is of utmost importance to increase awareness by discussing the importance, the conditions and the possibilities of architecture in Croatia.
Stoga držimo klju nim podizanje svijesti putem rasprave o zna aju, uvjetima i mogu nostima arhitekture u Hrvatskoj.
Participation of a broad range of experts in this important working conference is of great signi cance, because we believe that their professional contribution will possibly supplement this document with additional incentives, and contribute to its successful implementation.
Sudjelovanje široke palete stru njaka na ovoj radnoj konferenciji je od velikog zna aja budu i smatramo da je uz njihov stru ni doprinos mogu e poticajno nadopuniti dokument, te stvoriti preduvjete za njegovu uspješnu implementaciju.
The objective of the conference was to involve professionals and the broader public in developing the nal draft of this document, which will be forwarded to Parliament for adoption by the end of this year.
Cilj konferencije je bio uklju ivanje stru ne i šire javnosti koja je na taj na in pozvana da komentarima i prijedlozima sudjeluje u izradi kona ne varijante koja e biti upu ena do kraja godine u saborsku proceduru.
Could you please introduce yourself to our readers?
Molim Vas da se predstavite našem itateljstvu?
I am the General Director of the Berlage Institute and in charge of its administration.
Ja sam generalni direktor Berlage Instituta i zadužen sam za upravu instituta.
I am educated at the Faculty of Architecture of the Delft University of Technology, and was previously the Senior Advisor on Film and Architecture for the Arts Directorate of the Netherlands Ministry of Education, Culture and Science.
Obrazovao sam se na Arhitektonskom fakultetu na Tehnološkom sveu ilištu u Delftu, a radio sam i kao viši savjetnik za lm i arhitekturu u Upravi za umjetnost nizozemskog Ministarstva obrazovanja, kulture i znanosti.
From 1992 to 1996 I was responsible for the Dutch government's policy on architecture as Head of the Architecture Department of the Netherlands Ministry of Education, Culture, and Science.
Od 1992. do 1996. sam bio odgovoran za arhitektonsku politiku nizozemske vlade kao na elnik Odjela za arhitekturu nizozemskog Ministarstva obrazovanja, kulture i znanosti.
I have previously worked at the Netherlands Department for Conservation, concentrating on the protection of historic towns and the advisement of local authorities on urban conservation issues.
Prethodno sam radio i u nizozemskom Odjelu za konzervatorske poslove gdje sam se usredoto io na zaštitu povijesnih gradova i savjetovanje lokalnih tijela vlasti o pitanjima o uvanja urbane spomeni ke baštine.
I consult worldwide on various subjects related to the larger cultural position of architecture, including education policies and the integration, conservation, and development of urban heritage.
U cijelom svijetu pružam savjetodavne usluge o raznim temama vezanim uz širi zna aj arhitekture unutar kulture, uklju uju i politiku obrazovanja i integracije, o uvanja spomeni ke baštine i razvoj urbanog naslije a.
I am the president of the European Forum for Architectural Policies, a founding board member of the Venice Rietveld Pavilion Foundation, a member of the Advisory
Predsjednik sam Europskog foruma za arhitektonske politike, lan osniva ke skupštine Zaklade Venice Rietveld Pavilion, lan Savjetodavnog odbora
Committee of the European Prize for Contemporary Architecture Mies van der Rohe Award, and a board member of the Palladio Project Foundation.
Europske nagrade za suvremenu arhitekturu Mies van der Rohe te lan odbora Zaklade Palladio Project.
My past activities include being the Secretary of the International Specialist Committee on Urbanism and Landscapes for DoCoMoMo International and a board member of the Architecture Film Festival Rotterdam.
Moje dosadašnje aktivnosti uklju uju funkciju tajnika Me unarodnog odbora stru njaka za urbanizam i krajobraze za DoCoMoMo International i lana Upravnog odbora Arhitektonskog lmskog festivala u Rotterdamu.
(Source: http://www. berlage-institute.nl/persons/rob_docter)
(Izvor: http://www.berlage-institute.nl/persons/ rob_docter)
You are a speaker at the Conference on Croatian Architecture Policies in Zagreb on May 11, 2012.
Predava ste na Konferenciji o hrvatskoj arhitektonskoj politici u Zagrebu, 11. svibnja 2012.
Please, give us the best de nition of architecture policies.
Koja je Vaša najbolja de nicija arhitektonske politike?
Architecture Policies are the intentions and concrete measures to promote good architecture and spatial design.
Arhitektonska politika predstavlja namjere i konkretne mjere promicanja dobre arhitekture i prostornog ure enja.
Basically the government shows its will and sense of (cultural) responsibility to live up to improving the spatial living and working conditions for the citizens.
Na elno, vlada time iskazuje svoju volju i osje aj (kulturne) odgovornosti kako bi unaprijedila prostorne uvjete života i rada za gra ane.
Since when does the idea of creating national architecture policies exist?
Od kada postoji ideja izrade nacionalne arhitektonske politike?
The idea of national architecture policies emerged in the late 1980's, when for instance France was formulating ambitions in that respect and the Netherlands was preparing a
Zamisao o nacionalnoj arhitektonskoj politici pojavila se krajem 1980-tih kada je primjerice Francuska formulirala ambicije u tom pogledu, a Nizozemska je pripremala sveobuhvatnu politiku u
comprehensive policy, in collaboration between the ministry of culture and the ministry of spatial planning and construction.
suradnji izmeu Ministarstva kulture i Ministarstva prostornog planiranja i izgradnje.
You have a large experience and knowledge about the European architecture policies.
Imate veliko iskustvo i znanje o europskim arhitektonskim politikama.
On the website www.efap-fepa.eu you will nd a number of examples.
Na web stranici www.efap-fepa.eu ete prona i odre eni broj primjera.
However, it is important to realize that each country, each city or region should nd its own speci c set of measures (its own recipe) to promote good architecture, depending on the local government culture, the situation with regard of legislation, the maintaining of regulations, the way projects are nanced etc. So there is no “great example”; Croatia must nd its own way of dealing with this subject.
Me utim, važno je shvatiti da svaka zemlja, svaki grad ili regija trebaju prona i svoj vlastiti konkretni paket mjera (svoj vlastiti recept) promicanja dobre arhitekture, ovisno o kulturi lokalne vlasti, situaciji u odnosu na zakonodavstvo, pridržavanje propisa, na in nanciranja projekata itd. Tako da ne postoji neki „izvrstan primjer“; Hrvatska mora prona i svoj vlastiti na in bavljenja ovom temom.
Why is it important for Croatia to adopt the document on architecture policies?
Zašto je važno da Hrvatska donese dokument o arhitektonskoj politici?
It will hopefully create a new and positive relation between the developers, the political decision makers and the public.
Nadajmo se da e to dovesti do novog i pozitivnog odnosa me u developerima, donositeljima politi kih odluka i javnosti.
After all, they need each other to create sustainable cities.
Naposljetku, svi oni trebaju jedni druge kako bi stvorili održive gradove.
What is the most important issue of Croatia's accession to the EU with respect to the Croatian architecture?
Što je najvažnije pitanje hrvatskog pristupanja Europskoj Uniji u kontekstu hrvatske arhitekture?
What would you say to Croatian architects to encourage them regarding Croatia's accession to the EU?
Koju poruku biste uputili hrvatskim arhitektima kako biste ih ohrabrili u odnosu na pristupanje Hrvatske Europskoj Uniji?
What is the role of architects in today's commercial real estate projects?
Kako gledate na suradnju i komunikaciju izme u developera i arhitekata?
What are the main challenges for architects in coming years?
Koji su najvažniji izazovi za arhitekte u nadolaze im godinama?
The main challenge is in renovating or redeveloping the existing building stock and usage of low energy technologies, while creating excellent design.
Glavni izazov je renoviranje ili rekonstrukcija postoje eg gra evinskog inventara i korištenje nisko-energetskih tehnologija uz istovremeno stvaranje izvrsnih projekata.
It is also a challenge to prove that good architecture is cheaper than bad architecture.
Osim toga, izazov je dokazati da je dobra arhitektura jeftinija od loše arhitekture.
KULTURNA BAŠTINA > Nematerijalna kulturna baština > Nematerijalna dobra upisana na UNESCO Reprezentativnu listu nematerijalne kulturne baštine čovječanstva > Spring procession of Ljelje/Kraljice (Queens) from Gorjani
KULTURNA BAŠTINA > Nematerijalna kulturna baština > Nematerijalna dobra upisana na UNESCO Reprezentativnu listu nematerijalne kulturne baštine čovječanstva > GODIŠNJI PROLJETNI OPHOD KRALJICE ILI LJELJE IZ GORJANA
Kraljice (queens) from village Gorjani are girls who go through their village in a procession and perform a ritual consisting of special songs and dance with sabres in spring, on Whitsunday.
Kraljice iz sela Gorjana su djevojke koje u proljeće, o blagdanu Duhova, u povorci obilaze selom i izvode ritual sastavljen od osobitih pjesama i plesa sa sabljama.
They are divided into kraljice (queens) and kraljevi (kings); about ten kings wear sabres and male hats decorated with flowers and half as much queens wear white garlands on their heads like brides.
Dijele se na kraljice i kraljeve; desetak kraljeva nosi sablje i muške šešire ukrašene cvijećem, a upola manje kraljica na glavama, poput mladenki, imaju bijele vijence.
From a wide repertoire of kraljica lyrics they choose songs corresponding to the families they are visiting; most often they sing to a girl, boy or a young bride.
Iz šireg repertoara kraljičkih tekstova odabiru pjesme primjerene obitelji koju posjećuju; najčešće pjevaju djevojci, mladiću ili mladoj nevjesti.
Then kraljevi perform a dance with sabres, and kraljice comment on the dance figures through song.
Zatim kraljevi izvode ples sa sabljama, a kraljice pjesmom komentiraju plesne figure.
This is followed by a folk dance accompanied by musicians that can be joined in by the household members.
Slijedi narodni ples uz pratnju glazbenika, kojemu se mogu pridružiti i ukućani.
After they are treated to food and drinks, the procession goes to another house.
Nakon što ih počaste hranom i pićem povorka odlazi u drugu kuću.
On the second day of Whitsuntide they visit a neighbouring village or a close by town.
Drugoga dana Duhova odlaze u susjedno selo ili obližnji gradić.
Finally there is a common feast and entertainment at one of the participant's homes.
Na kraju slijedi zajednička gozba i zabava kod jedne od sudionica.
Visit to the family with a young bride
Posjet obitelji u kojoj je mlada snaha
Lace is independent porous handiwork originating from the Renaissance period on the Mediterranean and western Europe.
Čipkaje samostalni, šupljikavi, ručni rad koji nastaje u doba renesanse na prostoru Mediterana i zapadne Europe.
The main lacemaking techniques produce needle point and bobbin lace.
Osnovne tehnike čipkarstva, vještina izrade čipke su šivanje iglom i preplitanje pomoću batića.
The difference between the lacemaking in European countries and our country lies in its creators.
Razlika između čipkarstva europskih zemalja i onog na prostoru naše zemlje su njezini stvaratelji.
In Europe, lacemaking was in the hands of nuns, bourgeoisie and nobility, while in Croatia it was transferred from them to the hands of rural women in small villages.
U Europi je izrada čipke bila u rukama ženskih crkvenih redova, građanstva i plemstva, dok se u Hrvatskoj njihovim posredstvom prenosi u ruke seoskih žena u manjim ruralnim sredinama.
They have made lace for traditional clothes and furnishings.
One čipku izrađuju za potrebe tradicijske odjeće i posoblja.
Nowadays, there are three main centres of lacemaking in Croatia, whose work is a continuation of the long-lasting lacemaking tradition.
Danas u Hrvatskoj postoje tri glavna centra izrade čipke, čije se djelovanje nastavlja na višegodišnju tradiciju čipkarstva.
These are: Lepoglava in Hrvatsko zagorje with bobbin lace, Pag on the Adriatic with needle point lace and Hvar with aloe lace.
To su: Lepoglava u Hrvatskom zagorju sa čipkom na batiće, a na Jadranu Pag sa čipkom na iglu, i Hvar sa čipkom od agave.
The skill of making ribbon bobbin lacework from flax fibres that the rural women from Lepoglava made for decorating their garments or for sale, resulted in the making of fine lace with different forms.
Vještina izrade pruga čipke na batiće, iz grube lanene pređe, koje su seljanke u Lepoglavi izrađivale za ukras svoga ruha ili za prodaju, iznjedrila je izradu finih čipaka različita oblika.
The Pag lace is an ornamental element first occurring in folklore textile and later as an independent decoration.
Paška čipka je ukrasni element koji se javlja prvotno na folklornom tekstilu, a zatim kao samostalni ukrasni predmet.
Assistant Minister of Culture
Blaž Žilić, pomoćnik ministra kulture
2016 - Assistant Minister of Culture, Ministry of Culture of the Republic of Croatia
2016. pomoćnik ministra kulture, Ministarstvo kulture RH
2012 - 2016 - Head of Sector for Management and Financing in Culture, Ministry of Culture of the Republic of Croatia
2012. - 2016. načelnik Sektora za gospodarenje i financiranje u kulturi, Ministarstvo kulture
2008 - 2012 - Head of Directorate for Management and Financing in Culture, Ministry of Culture of the Republic of Croatia
2008. - 2012. ravnatelj Uprave za gospodarenje i financiranje u kulturi, Ministarstvo kulture
2004 - 2008 - Head of Department for Planning and Investments, Ministry of Culture of the Republic of Croatia
2004. - 2008. načelnik Odjela za planiranje i investicije, Ministarstvo kulture
2001 - 2004 - Assistant Minister in the Directorate for Management and Financing, Ministry of Culture of the Republic of Croatia
2001. - 2004. pomoćnik ministra u Upravi za gospodarenje i financiranje, Ministarstvo kulture
1995 - 2001 - Head of Financing Department , Ministry of Culture of the Republic of Croatia
1995. - 2001. načelnik Odjela za financiranje, Ministarstvo kulture
1991 - 1995 - Adviser for Economic Affairs, Ministry of Education, Culture and Sports
1991. - 1995. savjetnik za ekonomske poslove, Ministarstvo prosvjete, kulture i športa
1983 - 1990 - Coordinator for Financing and Accounting Affairs, Republic Self-government Interest Community in the field of Culture
1983. - 1990. koordinator financijsko računovodstvenih poslova, Republička samoupravna interesna zajednica u oblasti kulture
1975 - 1983 - Expert Adviser for Investments in Culture, Republic Self-government Interest Community in the field of Culture
1975. - 1983. stručni suradnik za investicije u kulturi, Republička samoupravna interesna zajednica u oblasti kulture
Education and vocational training
Obrazovanje i osposobljavanje
1970 - 1974, title of awarded qualification: graduate economist
1970. - 1974., naziv dodijeljene kvalifikacije: diplomirani ekonomist
Name and type of education and vocational training organisation: Faculty of Economy - University of Zagreb, Zagreb, Croatia
ime i vrsta organizacije pružatelja obrazovanja i osposobljavanja: Ekonomski fakultet - Sveučilište u Zagrebu, Zagreb, Hrvatska
Committees and working groups
Odbori i radne skupine
2009 - 2015 - Head of Service for drama art and audio-visual activities, Ministry of Culture of the Republic of Croatia
2009. - 2015. voditeljica Službe za dramsku umjetnost i audiovizualnu djelatnost, Ministarstvo kulture RH
2005 - 2009 - Cultural Attaché, Embassy of the Republic of Croatia in Vienna
2005. - 2009. savjetnica za kulturu, Veleposlanstvo RH u Beču
2003 - 2005 - Senior Expert Adviser in the Department for Culture, Ministry of Foreign Affairs of the Republic of Croatia
2003. - 2005. viša stručna savjetnica u Odjelu za kulturu, Ministarstvo vanjskih poslova RH
1986 - 2002 - opera soloist , Croatian National Theatre in Zagreb
1986. - 2002. operna solistica, Hrvatsko narodno kazalište u Zagrebu
as external associate she works at the Academy of Drama Arts of the University of Zagreb in the status of assistant professor, at the Study of acting DIU LIBERTAS international university, and at the Post-graduate international university study of diplomacy
kao vanjski suradnik djeluje na Akademiji dramske umjetnosti Sveučilišta u Zagrebu u statusu naslovnog docenta, na Studiju glume DIU LIBERTAS međunarodnom sveučilištu te na Poslijediplomskom međunarodnom sveučilišnom studiju diplomacije
Evaluation Committee of the Marko Fotez Award, 2012
Ocjenjivački odbor Nagrade Marko Fotez 2012. godine
Working Group for marking the accession to the EU
Radna skupina za obilježavanje ulaska u EU
Organisation Committee of the Vukovar Puppet Spring
Organizacijski odbor Vukovarskog lutkarskog proljeća
Organisation Committee for marking the 450 th anniversary of the Battle of Siget and the death of Nikola Šubić Zrinski
Organizacijski odbor za obilježavanje 450. obljetnice Sigetske bitke i pogibije Nikole Šubića Zrinskoga
2015 - Assistant professor , Academy of Drama Arts of the University of Zagreb
2015. naslovni docent Akademija dramske umjetnosti Sveučilišta u Zagrebu
2012 - Doctor of Sciences, Faculty of Philosophy of the University of Zagreb
2012. doktorica znanosti, Filozofski fakultet Sveučilišta u Zagrebu
1985 - 1989 - Academic musician - solo singer, Musical Academy of the University of Zagreb
1985. - 1989. akademski muzičar - solo pjevač, Muzička akademija Sveučilišta u Zagrebu
2006 - 2011 - Doctorate study of Croatian culture, Faculty of Philosophy of the University of Zagreb
2006. - 2011. doktorski studij hrvatske kulture, Filozofski fakultet Sveučilišta u Zagrebu
2004 - The basics of rhetoric, Diplomatic Academy of the Ministry of Foreign Affairs in cooperation with the Hanns Seidel Foundation, Zagreb
2004. osnove retorike, Diplomatska akademija MVP-a u suradnji s Zakladom Hanns Seidel, Zagreb
1993 - 2002 - Artistic singing, Opera studio KS Oliver Miljakovic, KulturKontakt Austria scholarship, Federal Ministry of Education and Art of the Republic of Austria, Vienna, Austria
1993. - 2002. umjetničko pjevanje, Operni studio KS Olivera Miljakovic, stipendija KulturKontakt Austria, Savezno ministarstvo za obrazovanje i umjetnost Republike Austrije, Beč, Austrija
Scientific and professional papers
Znanstveni i stručni radovi
Performances in music and performing arts productions
Nastupi u glazbeno-scenskim produkcijama
Once under a steady engagement by the Opera of the Croatian National Theatre in Zagreb, as one of the youngest soloists in the history of the Opera, she interpreted 21 leading roles of the soprano opera and concert repertoire in country and abroad (Bolshoi Theatre in Moscow, Mariinsky Theatre in St. Petersburg, the National Opera in Kiev, Milan, Trento, Modena, Naples, Fiuggi, Tokyo, Osaka, Ljubljana, Sarajevo, etc.).
od primanja u stalni angažman Opere HNK Zagreb, kao jedna od najmlađih solistica u povijesti Opere, interpretirala je 21 glavnu ulogu sopranskog opernog i koncertnog repertoara u zemlji i inozemstvu (Boljšoj teatar u Moskvi, Marijinski Tetar u Sankt Peterburgu, Nacionalna opera u Kijevu, Milano, Trento, Modena, Napulj, Fiuggi, Tokyo, Osaka, Ljubljana, Sarajevo, itd.).
Prizes and awards
Nagrade i priznanja
On Friday, 4th December 2009 the annual award ceremony of Prof. Dr. Marijan Hanžeković took place.
U petak 4. prosinca 2009. godine održana je svečana dodjela godišnje nagrade Zaklade prof. dr. Marijan Hanžeković.
The award in the regular category, the diploma, the medal and 50,000 kuna was awarded to Saša Cerovac and Lana Ivičić from the Croatian National Bank for the paper Credit Risk Assessment of Corporate Sector in Croatia .
Nagradu u kategoriji redovitih radova, diplomu, medalju i 50.000 kuna dobili su Saša Cerovac i Lana Ivičić iz Hrvatske narodne banke za rad Procjena kreditnog rizika poduzeća u Hrvatskoj .
The award in the student category was not awarded because the papers submitted were of insufficient quality.
Nagrada u kategoriji studentskih radova ove godine nije dodijeljena zbog nedovoljne kvalitete pristiglih radova.
The Award Committee members for 2009 Awards were Predrag Bejaković (Institute of Public Finance); Boris Cota (Faculty of economics and Business, Zagreb); Boris Majcen (Institute for Economic Research, Ljubljana); Neven Mates (Croatian National Bank) and Katarina Ott (Institute of Public Finance).
Članovi odbora za dodjelu nagrade 2009. godine bili su Predrag Bejaković (Institut za javne financije); Boris Cota (Ekonomski fakultet, Zagreb); Boris Majcen (Institut za ekonomska istraživanja, Ljubljana); Neven Mates (Hrvatska narodna banka) i Katarina Ott (Institut za javne financije).
Početna » Social inclusion in EU
Socijalna uključenost u EU
Social inclusion in EU
Ciljevi Programa PROGRESS
EU policies need to keep pace with these trends, and help people adapt to changing circumstances.
EU politika i mjere trebaju pratiti te trendove i pomoći ljudima u prilagođavanju promijenjenim uvjetima.
The renewed social agenda aims to create more opportunities for EU citizens, improve access to quality services and demonstrate solidarity with those who are affected negatively by change.
Obnovljena Socijalna Agenda usmjerena je na stvaranje boljih mogućnosti za građane EU, unaprjeđenje kvalitete usluga i solidarnost prema onima koji trpe od negativnih posljedica navedenih promjena.
How will the renewed social agenda help?
Kako će pomoći obnovljena Socijalna Agenda?
The EU has limited powers and responsibilities, but it can make a real difference to people's lives by working in partnership with Member States and stakeholders.
EU ima ograničenu moć i odgovornost, ali u partnerstvu s državama članicama može stvoriti značajnu razliku u životu građana.
Over the last 50 years, the EU has successfully promoted growth and jobs, gender equality and better working conditions.
U razdoblju dužem od 50 godina EU je uspješno promovirala gospodarski rast i povećane mogućnosti zapošljavanja, zastupala rodnu jednakost i zalagala se za bolje radne uvjete.
It has helped to tackle discrimination, poverty and inequalities between regions.
Pomogla je u suzbijanju diskriminacije, siromaštva i regionalne nejednakosti.
Building on these achievements, the renewed social agenda brings together a range of EU policies in order to support action in seven priority areas:
Na tim je dostignućima, obnovljena Socijalna Agenda objedinjuje cijeli niz EU politike i mjera kako bi podržale aktivnosti u sedam prioritetnih područja:
Children and youth - tomorrow's Europe
Djeca i mladi - budućnost Europe
Investing in people: more and better jobs, new skills
Ulaganje u ljude: više poslova i bolji poslovi, nova znanja, stručnosti i sposobnosti