TV toranj na Avali 1960-1999. godine

The Guangzhou New TV Tower with a total height of 610 m is the tallest tower in the word. It comprises a 454 m high main tower and a 156 m high antenna mast. The main tower is a tube-in-tube structure consisting of a steel lattice outer structure and a reinforced concrete inner structure. The antenna mast is a steel structure founded on the tope of the main tower. To ensure the safety during construction of this challenging structure, the failure probability estimates under wind load during construction has been performed. The estimates consists of three steps. First, the cumulative distribution functions (CDFs) of static wing loads per year at Guangzhou site are given out. Secondly, the CDFs of horizontal displacement responses during construction of the Guangzhou New TV Tower to static wind loads are derived based on static analyses of a reduced finite element (FE) model of the structure. Finally, anti-wind safeties during construction of the structure are estimated based on the structural reliability method. The study not only provides useful data concerning the structural safety of the Guangzhou New TV Tower during construction but also is of considerable referential importance in estimating the safety of an in-construction supertall structure.

This article examines the history of, and specialist design principles behind, two Admission Units that were added to two existing mental health hospitals in post-war England: Fair Mile Hospital, in Cholsey, near Wallingford, Berkshire (now Oxfordshire) and Fulbourn Hospital, near Cambridge, Cambridgeshire, completed in 1956 and 1964 respectively. Their commission and realisation fell within a period of critical psychiatric reforms, some of which first emerged in the first half of the twentieth century with further developments peaking after the Second World War. Although the two buildings preceded subsequent interdisciplinary advancements that specifically fed into the correlation between buildings and healthcare, namely, environmental psychology and evidence-based design, they emerged at a time when prominent hospital architecture studies were embracing a research culture and aimed at merging an interdisciplinary approach with modernist architectural principles. Yet these two buildings, and numerous other similar units, have been virtually absent from existing scholarship, both general architectural historiography and studies of specialist healthcare architecture. The study here uses literature review of architectural historiography, historic policy and guidance documents, and archival material, as well as review of graphic material comprising photographs, architectural drawings and diagrams. The discussion opens with a brief overview of the general policy and psychiatric context within which the two units were commissioned and erected. This is then followed by a closer inspection of the two buildings, which brings to light both similarities and differences. Discussed in parallel to principles outlined in healthcare architecture guidance published at the time, this comparison highlights the complex and nuanced associations between architectural design and mental healthcare, as well as the way these evolved in this particular time period. Specifically, by looking closely at national and international guidance on healthcare architecture developed by the Nuffield Provincial Hospitals Trust, the World Health Organization and the Ministry of Health, key shifts in the role that architecture could play beyond a medical model of mental healthcare and in support of a psychosocial approach are discerned. Finally, the article also makes the case for further research that broadens and deepens studies of the post-war history of this field as well as comparisons both to the inter-war and to the contemporary periods.

Highly significant evidence of the intellectual and cultural efforts of the human race is contained in documents. They take many forms, from papyri through paper to modern magnetic media and optical records. These items are mainly made of organic materials many of which contain polymers, which span from cellulose and its derivatives to synthetic resins. As with other manmade objects, however, documentary heritage is susceptible to chemical, physical, and biological damage. For the colonization and establishment of any biological community, the composition of materials used, their status of conservation, and environmental and climatic factors, such as temperature and humidity, are important elements to take into account. This article covers the scientific investigation of microbial degradation of documents, which is one of the most serious and underappreciated sources of damage to library and archival materials. In particular, although less known, modern records, including compact discs, are also subjected to biodeterioration. Archival and library material preservation broadly encompasses those activities and functions designed to produce a suitable and safe environment that extends the life of collections in useable condition for as long as is feasible. In the literature quoted, key information is also provided to avoid or limit microbial growth and some conservation treatments are also reported.

The Regulations concerning description and access to material in libraries, archives and museums present a theoretical frame for production of functional records of museum objects. It will include core descriptive elements required for identification of a museum object. Also, it will enable the users to access the museum objects, as well as to reach the information and data about the object. This paper investigates which descriptive elements are provided by the existing standards and schemes, such as CIDOC-CRM, CDWA, CCO, ISBD, Regulations concerning the content and management of museum documentation on museum material. Furthermore, it investigates which descriptive elements that are anticipated in the new Regulations concerning description and access to material in libraries, archives and museums can be applied to the description of museum objects. Specific museum objects exemplify its applicability. The aim of this research is primarily to examine the applicability of the Regulations concerning description and access to material in libraries, archives and museums to the description of particular museum objects in order to identify and access the material more easily. Moreover, this paper’s aim is to determine which descriptive elements of the museum object are specific to it (depending on the users’ needs) and to examine the applicability of the Regulations, to provide with the functional descriptions based on the Regulations and to compare them to the existing descriptions in the M++ database. Content analysis of the elements in a catalogue record, descriptive method and comparison were used in order to achieve this aim. This paper will contribute to the better understanding of the significance of formulating quality records on museum objects. Quality process of managing museum documentation is, in a way, a guarantee of cultural heritage preservation for the future.

Purpose: The article presents the role of librarians in the construction of the first pur­pose-built independent library building in Slovenia. The librarians drew up guidelines for the construction of the building, actively participated in the planning and drew at­tention to non-functional solutions. The Plečnik building, which was built for the uni­versity library of the University of Ljubljana, today houses its successor, the National and University Library. Methodology/approach: The article is based on archival material that documents the construction of the university library and is stored in the archive and in the Manuscript Collection of the National and University Library and in the Historical Archive and Mu­seum of the University of Ljubljana. It covers the period from 1930 to 1944. Results: Archival material shows that librarians were aware of contemporary architec­tural trends in the construction of library buildings, but their efforts for functional solutions were not taken into account. Plečnik’s plan was criticized mainly because of the wide corridors and staircases, the inadequate lighting of the Great Reading Room, the excessively long transport routes for the material and the poor security of the ware­houses, which are accessed from the staircases, which are open to users. Some archi­tects have also pointed out similar shortcomings of the building. Research limitation: The archival material consulted is limited to the National and Uni­versity Library and the Historical Archives and Museum of the University of Ljubljana. Originality/practical implications: The article illuminates the issue of construction of representative buildings.

The Reactor Pressure Vessel task of the LWRS Program works with various organizations to obtain archival surveillance materials from commercial nuclear power plants to allow for comparisons of the irradiation-induced microstructural features from reactor surveillance materials with those from similar materials irradiated under high flux conditions in test reactors, such as the UCSB ATR-2 experiment. This report, originally submitted as a Level 3 Milestone M3LW-14OR0402012 – “Complete report on post-irradiation examination plan for ORNL and University of California Santa Barbara assessment of ATR-2 capsules,” has been expanded to providing a reference to access and / or perform characterization of irradiated archival RPV materials that were transferred to the Nuclear Science User Facility (NSUF), Nuclear Fuels and Materials Library (NFML).

Deterioration of library and archival materials in the delta region of Nigeria

The paper is on the preservation and conservation practices at Thomas Mofolo library. It examines the situation and the environment under which the library and archival materials are kept and made accessible to the users so as to pinpoint the main enemy of the TML collection. It goes on to look at the impact of increasing number of users on the dwindling resources. The paper is divided into six parts. The first part is the introduction which deals with the structure of the paper. The second part is the background information on Thomas Mofolo Library. The third part is on the problems Thomas Mofolo Library experience with regard to the preservation and conservation of its collection. The fourth part is on the measures taken by Thomas Mofolo library to preserve its collection. The fifth part deals with the future activities of Thomas Mofolo Library on preservation and the sixth part is the conclusions. ESARBICA Journal Vol.23 2004: 75-81

Library of Congress Genre/Form Terms for Library and Archival Materials (LCGFT) is a multidisciplinary thesaurus that provides indexing terminology to describe what works are, rather than what they are about. Traditionally, access to genres and forms of works has been provided with subject headings, which poses two problems: first, subject headings are by definition more properly restricted to the topic of a work, and second, the rules for application of subject headings often treat forms secondarily to the topic, thereby limiting access. This entry will explain the differences between subjects and genres and forms, and put LCGFT in the context of other vocabularies that provide genre/form access. The development of LCGFT is a large undertaking, and the project management will be described. The majority of the entry will elaborate on the principles upon which LCGFT is built (the choice of authorized terms and the syndetic structure) and the application of terms. Finally, the entry will outline developments in the provision of access to characteristics of works and expressions that are closely related to genre and form: musical medium of performance, intended audience, characteristics of creators and contributors, and time period of creation.

This review article sums up the available data on the fate of archival and library materials which were transported to the Soviet Union after WW2 from German cities Lübeck, Hamburg and Bremen. The main focus is on medieval manuscripts and documents. Despite the fact that these cities were in the British occupation zone, their archival and library fonds became Soviet war trophies since in 1942–1944 these documents had been evacuated to what would later comprise parts of the Soviet occupation zone. In August 1946, they were transported to Leningrad by train. Most medieval manuscripts and documents did not remain in Leningrad. In the early 1950s, part of the trophies was handed over to the German Democratic Republic, while a considerable amount of the Hanseatic material was returned to Germany in the 1980–1990s from the Soviet Union and from independent Georgia and Armenia; yet a large part of archival and library materials remained in the Soviet Union. Unfortunately, very little is known about the time and places of their subsequent movements as published documents cover only the period of 1945–1946. Thanks to recent discoveries some displacements can be traced down to the former Soviet cities Leningrad, Moscow, Tomsk, Tbilisi, Yerevan. The review lists German trophy medieval manuscripts and archival materials discovered and identified in Moscow (Moscow State University, Russian State Library, Russian State Archive of Ancient Acts), St. Petersburg (National Library of Russia) and Tomsk (Tomsk State University). Moreover, at least two medieval manuscripts are documented as being preserved in Yerevan.

Deterioration as Documentation: Fashioning the Cinematic Artifact in the Documentary Dylon Robbins (bio) There is an “archival art” that, according to Hal Foster, seeks to “transform the no-place of the archive into the no-place of a utopia.”1 Through an engagement with archival materials, this art aims to recuperate and revive “failed visions” as “possible scenarios of alternative kinds of social relations.” The possibility of calling upon archival material as the point of departure for imagining social relations necessarily alludes to the history of how notions of the material are entangled with the social, with its evolution and transformation, and inevitably with their roles in shaping perceptions and ideas of the past.2 Michel Foucault, furthermore, has described inversely how the archive, the material it contains, and its organization manage to shape the very contours of knowledge and how it is produced and recorded, a formation and inscription made in anticipation of its potential or eventual incorporation.3 In particular, the archived film hosts an opportunity to reflect further upon these two dimensions, as the material features of a medium both embody and respond to the specific material and historical conditions that gestate and shape it, along with the precariousness and unpredictability of its storage and presentation. Arguably, this multifaceted materiality of cinema has constituted a central concern of [End Page 69] a significant body of works comprising diverse approaches to the archived cinematic object, making films that explore the porous boundaries between the documentary on one side and, on the other, those experimental or aesthetic explorations that shun narrative or exegesis to emphasize form and texture. William Wees described these found footage films as calling upon cinema’s “leftovers” and therefore as scavenging upon history’s waste, upon its forgotten and disregarded past, constituting, then, an inversion or reconfiguration of historical and thus archival priorities.4 Cinema in Latin America, however, has a distinct history of engaging with these material conditions, even making their impact and effects the central premise of a production that sought to foreground these conditions and thus elaborated in contrast to those other cinematic approaches whose production values permitted techniques that actively obfuscate any contradictions in their context or otherwise wipe away any of the other residues of history. Whether Glauber Rocha’s notion of an aesthetics of hunger, García Espinosa’s call for an imperfect cinema, or Rogério Sganzerla’s celebration of an aesthetics of garbage, an exploration of marginality, disfigurement, and refuse has an established trajectory at the center of Latin American cinema as a deliberate engagement with its historicity and materiality.5 The Latin American documentary, moreover, has played an influential role in shaping the truth criteria for cinema as a whole in the region, defining, as it were, important approaches to visual evidence and its relationship to the historical.6 This essay, then, explores some uses of archival footage in the documentary in a few Latin American cases. By situating precisely the uses of frequently degraded or damaged archival material in the conditions and arc of some of the central tendencies in filmmaking in Latin America, this essay suggests how the multiple dimensions of cinema’s materiality work to both reinforce and build upon some of the central critiques of the archive while exploring alternative notions of temporality and historicity in film. Documentation as Artifact To enter into an archive is to occasionally confront the taxonomic and organizational crisis created by some of its materials: incomplete indices and catalogs, records lost or corrupted in the transfer from analog to digital systems, and variants in the transliteration of non-Latin alphabets. Part of that crisis, beyond being organizational, involves these materials’ fragility. For example, 78-rpm [End Page 70] shellac records are brittle and can shatter and chip like glass if bumped or dropped. Residual acid in paper stock makes it so that photos, books, and prints crumble and break as they age. But film, whether acetate or nitrate, is especially precarious. Celluloid decomposes and becomes vinegary, and the organic compounds in its gelatin-based emulsion are a cozy substrate for the proliferation of molds and funguses that slowly render its images invisible. And indeed, if the film...

Based on the current scientific understanding regarding COVID-19, this article presents the results of new studies (Tests 4, 5, 6), conducted by the Institute of Museum and Library Services (IMLS) and the Online Computer Library Center (OCLC), in partnership with Battelle. The purpose of the experiments is to determine how long frequently circulated library, museum and archival materials should be quarantined before being put back into public circulation.Each test has been conducted by applying the virulent SARS-CoV-2 virus on various materials held at standard room temperature and relative humidity conditions, and then examining the rate of natural attenuation of the virus. The items were not sterilized before testing. Battelle propagated the clinical isolate of the SARS-CoV-2 virus in-house, followed by characterization and testing to establish a certified titer. The materials in Test 4 included binding and cover items placed in a stacked configuration to imitate the common practice that libraries employ when handling book/DVD returns, as well as expanded polyethylene foam, which is typically used in museums for storage and shipping. Test 5 focused on textiles, while Test 6 included building materials (glass, marble, brass, laminate, and powder-coated steel). Test coupons cut from the materials were inoculated with active virus, and then allowed to dry. The test coupons were then examined at the following timepoints: on the second, third, fourth and sixth day (Test 4); on the second, fourth, sixth and eighth day (Tests 5 and 6). The results of the tests showed how much virus was detectable at the selected timepoints. In Test 4, the virus was still detected on all the five materials after six days. In Test 5, the virus was still detected on leather and synthetic leather publication after eight days. In Test 6, the virus was not detected on the tested materials after six days.This publication is provided for informational purposes only, and readers are encouraged to review federal, regional, and local guidance. The authors, sponsors and researchers are not liable for any damages resulting from use, misuse, or reliance upon this information, or any errors or omissions herein.

Based on the current scientific understanding regarding COVID-19, this article presents the results of new studies (Tests 4, 5, 6), conducted by the Institute of Museum and Library Services (IMLS) and the Online Computer Library Center (OCLC), in partnership with Battelle. The purpose of the experiments is to determine how long frequently circulated library, museum and archival materials should be quarantined before being put back into public circulation.Each test has been conducted by applying the virulent SARS-CoV-2 virus on various materials held at standard room temperature and relative humidity conditions, and then examining the rate of natural attenuation of the virus. The items were not sterilized before testing. Battelle propagated the clinical isolate of the SARS-CoV-2 virus in-house, followed by characterization and testing to establish a certified titer. The materials in Test 4 included binding and cover items placed in a stacked configuration to imitate the common practice that libraries employ when handling book/DVD returns, as well as expanded polyethylene foam, which is typically used in museums for storage and shipping. Test 5 focused on textiles, while Test 6 included building materials (glass, marble, brass, laminate, and powder-coated steel). Test coupons cut from the materials were inoculated with active virus, and then allowed to dry. The test coupons were then examined at the following timepoints: on the second, third, fourth and sixth day (Test 4); on the second, fourth, sixth and eighth day (Tests 5 and 6). The results of the tests showed how much virus was detectable at the selected timepoints. In Test 4, the virus was still detected on all the five materials after six days. In Test 5, the virus was still detected on leather and synthetic leather publication after eight days. In Test 6, the virus was not detected on the tested materials after six days.This publication is provided for informational purposes only, and readers are encouraged to review federal, regional, and local guidance. The authors, sponsors and researchers are not liable for any damages resulting from use, misuse, or reliance upon this information, or any errors or omissions herein.

The care and handling of library and archival materials has become a much - discussed topic in recent years. Considerable time, effort, and money are being invested by many libraries and archives in protective housing, rebinding, conservation, and preservation microfilming programs. These activities are expensive. Therefore it makes good fiscal sense to delay the need for these costly activities by making an effort to preserve library materials in good condition for as long as possible.

Libraries in the 21st century have the goal and task to preserve the wealth of spiritual culture, taken over from ancient times when books and literacy played a very important role in creating the history, not only of monastery libraries but also of rulers and intelligent people, whose role was from of crucial importance for their creation. Libraries in cultural institutions represent historical places due to the specificity and historical layering preserved in them, thanks to which they shape the cultural identity of the local community, including the intellectual and educational spectrum of its readers. In addition to influencing the education of new young generations of readers, they also create contemporary history. Modern technology has replaced the written word with an electronic record, so everything is "at our fingertips" via the Internet and search engines, which applies especially to electronic editions of certain books. Nevertheless, there is a certain number of researchers and users who look for books in the library, and the advantage of such a way of working with users is reflected in the ability to see and define the needs of users and to provide them with assistance in the way of accessing and searching for data when using the library and archive materials. Such a way of working contributes to the improvement of services and records of library users. To find spiritual culture in librarianship among the many books of all kinds, from precious and decorative manuscripts, through newspapers and ordinary writings, to diplomatic works, postcards, and much more, represents a real skill in terms of choice of specialization, both in work and in the protection of library material. Library employees protect the library material that connects literary, artistic, and scientific creativity. Protection is inextricably linked to the scientific organization of libraries. The book is a unique document that represents tradition and culture that we should preserve.