Results for repetition translation from English to Albanian

if they say these words particularly with repetition,
nëse i thonë këto fjalë, veçanërisht nëse ata i përsëritin ato në mënyrë të përsëritur.

an intelligent spaced-repetition memory training program
një program inteligjent me përsëritje në hapësirë për stërvitjen e kujtesës

i'm not sure... but it's not just the repetition.
nuk jam i sigurtë... por nuk është thjesht përsëritja.

i figure it's like field stripping a weapon, repetition, repetition...
përsëritje dhe përsëritje!

allah forgives what is past: for repetition allah will exact from him the penalty.
all-llahu e fal të kaluarën, por kush e përsërit all-llahu do ta dënojë.

what are they waiting for except to witness the repetition of the days of calamity that their predecessors witnessed?
a janë duke pritur tjetër (fat) pos ditët (e zeza) si të atyre që ekzistonin para tyre?

the government wants to avoid a repetition of irregularities registered in some municipalities during the first round on 13 march.
qeveria do që të shmangë një përsëritje të parregullsive të vëna re në disa komuna gjatë raundit të parë në 13 mars.

he also said kosovo has reached a new level of maturity that excludes any repetition of the march 2004 ethnic riots and violence.
ai shtoi gjithashtu se kosova ka arritur një nivel të ri pjekurie që përjashton çdo përsëritje të trazirave dhe dhunës etnike të marsit 2004.

state election commission spokesman zoran tanevski said the session must be called without waiting for possible appeals to the results of the vote repetition wednesday.
zëdhënësi i komisionit shtetëror zgjedhor, zoran tanevski tha se sesioni duhet të thirret pa pritur për apelet e mundshme ndaj rezultateve të përsëritjes së votimit të mërkurën.

"that would be a solid base to prevent the repetition of those crimes in the future," blakaj said.
"kjo do të ishte një bazë e fortë për të parandaluar përsëritjen e këtyre krimeve në të ardhmen," tha blakaj.

keen to avoid a repetition of the same embarrassing scenario, the ec has been closely watching croatia's efforts in implementing the required judicial reforms.
e prirur për të shmangur një përsëritje të të njëjtit skenar turpërues, ke ka vëzhguar nga afër përpjekjet e kroacisë në zbatimin e reformave gjyqësore të kërkuara.

ahmeti stressed that authorities are determined to prevent a repetition of the violence that marred vetevendosje's february 10th demonstration in pristina, which ended in two deaths.
ahmeti theksoi se autoritetet janë të vendosura të parandalojnë një përsëritje të dhunës që prishi demonstrimin e vetëvendosjes të 10 shkurtit në prishtinë, gjë që përfundoi me dy vdekje.

de hoop scheffer reaffirmed the importance of nato's presence in the region, pledging that kfor would do everything in its power to prevent the repetition of interethnic violence that broke out in march 2004.
de hop shefer ripohoi rëndësinë e pranisë së nato-s në rajon duke u zotuar se kfor do të bëjë gjithshka të mundur për të ndaluar përsëritjen e dhunës ndër-etnike që shpërtheu në mars 2004.

during a meeting at the weekend, eufor commander major general david leakey and nato hq commander general steven p. schook requested that the bih presidency take action to identify the responsible individuals and prevent the repetition of such incidents.
gjatë një takimi në fundjavë, komandanti i eufor- it, gjeneral- major dejvid liki dhe komandanti i selisë së nato- s, gjenerali stivën p. shuk kërkuan që presidenca e bih të ndërmarrë veprim për të identifikuar individët përgjegjës dhe për të parandaluar përsëritjen e të tilla incidenteve.

the central election commission (cec) ordered the partial repetition of the poll due to voting irregularities that prompted more than 300 challenges of last month's election results.
komisioni qëndror zgjedhor (kqz) urdhëroi përsëritjen e pjesshme të votimit për shkak të parregullsive që shkaktuan mbi 300 ankesa ndaj rezultateve të zgjedhjeve të muajit të kaluar.

program while the heydar aliyev centre’s continuous architectural landscape merges various architectural components i.e. stairs, slab, wall, roof and bridge, it contains 3 major programmes. convention centre: 1200 seat auditorium with hydraulic orchestra pit will be used for both conventions and musical performances. the auditorium has been designed for naked sound acoustic values, but with transformable coupling slots it can adjust to meeting purposes. adjacent to the auditorium, the multi-purpose hall is used as a banquet, event space or projection room to show films. this hall also expands into the garden to the north and subdivides into three smaller halls – each with separate direct public and service access. upon arrival, the museum greets visitors with a double-height space lobby that houses a grand staircase which seamlessly peels off from the interior skin of the building. this staircase, which leads to the higher museum levels where the heritage, permanent and temporary exhibitions will be showcased, is also used to display sculptures. capping the museum volume, the presidential level looks out over the old city centre of baku. the 8 storey library is situated to face north, to take advantage of indirect diffused northern light. when viewed from the exterior, the volumetric massing and surfaces of the centre ensure that three distinct singularities are easily identifiable. the design layout allows each of these three entities to operate independently with their own entry and security areas. internally, these three different zones function separately from each other but share some service areas. these communal zones contain cafeterias, meeting rooms, bars, restaurants and other supporting services. topographical analysis of building envelope structure baku, which in old farsi means ‘where wind beats’, is subject to high wind loads throughout the year, and as the city lies within a seismic zone, the project’s structural engineers faced a multitude of challenges. the freeform structure of the project derives from the architectural design concept of modifying a single surface to adopt different functional requirements. the aim was to create a large column-free space giving visitors the opportunity of experiencing the fluidity of the interior. to achieve this, vertical elements are absorbed by the envelope and curtain wall system. the heydar aliyev centre consists of 2 structural systems: concrete and space frame with a single movement joint. the space frame enables the construction of this free form structure while offering significant savings in time throughout the construction process. the surface geometry driven by the architecture, dictates the need to pursue unconventional structural solutions; the introduction of curved ‘boot columns’ to achieve the inverse peel of the surface from the ground at the west, and the cantilever beams ‘dovetails’ tapering towards the free end, supporting the building envelope at the east. the substructure enables the incorporation of a flexible relationship between the rigid structural grid of the space frame and the free-formed exterior cladding seams which derive from complex geometry rationalization, architectural aesthetics and usage. structural system geometry and materiality a primary element that differentiates a rectilinear-surfaced volume from a volume with a fluid geometry is the way it reflects light. each side of a cube or a box will reflect only one tone of light; however volumes with fluid geometries will reflect varying shades that continually transform and flow into each other, creating much richer surface composition. the heydar aliyev cultural centre design achieves the ideas of a continuous architectural landscape by using two primary elements that are profoundly interlinked: complex geometry and materiality. the choice of the building’s materiality enabled further development of the project’s form. one of the most challenging and critical elements of the project was its external skin. the aim was to use a unifying material for both the plaza flooring and also the envelope cladding. this material needed to adapt to the plasticity of the geometry, whilst at the same time, offer the required colour, sheen, texture and technical specifications of uv protection, graffiti-proofing and slip resistance. glass fibre reinforced concrete, gfrc, is the ideal material, allowing the creation of the unique free form building design. a special extrusion process incorporates layers of glass-fiber into a concrete matrix. in the top and bottom layers the fibers are undirected and scattered; in the middle layer, they are set in fiber bundles that take the form of the roof. the omission of steel reinforcement allows the construction of slim concrete elements which can accommodate high stress loads despite having a very thin section. the result is an extremely thin slab of 8-13 mm thickness that is very light-weight yet has a high flexural strength. besides extrusion methods, using moulds allows grfc panels to be created with complex geometries. in addition to fabrication restrictions, the panel dimensions must take transportation, installation, handling and assemblage into account. geometrically the panels are divided into three categories: flat-planar, single curvature and double curvature. flat panels are fabricated through an extrusion bed while single and double curvature panels are moulded. for obvious reasons, the panels fabricated from moulds are more expensive. the panels are also classified as per their location and consequently usage: plaza, transitional and envelope panels. flat plaza panels and panels used in the transition zone must be treated differently due to their exposure to human reach, heavy foot load, anti-slip requirements, graffiti-proofing and scratch protection. to prevent dirt gathering in-between the panels and create a smooth surface to the plaza that enables pedestrians to cross with ease, metal and rubber gaskets are located between the panels. as the surface undulates upwards, these gaskets peal inwards implying a restricted pedestrian access through the transition zones. south elevation in addition, the support structure varies at each of the above mentioned locations. while the plaza panels rest on gravel and concrete, the panels at the transitional zone are supported on a wedge-shaped concrete footing. the envelope panels working as rain screen cladding system are connected to the space frame nodes via pedestals and the sub-structure, enabling maximum flexibility between the structure and cladding. high wind loads, maintenance and lightning protection were among many other issues that posed challenges during the development of the envelope panels. the surface’s homogenous appearance actually has underlying heterogeneous properties which respond to various functional necessities. unlike the exterior skin’s unifying material used for cladding and flooring, the interior surface consist of two different materials: the areas where the envelope folds inwards, creating slabs and stairs, required a different treatment (museum’s first floor exhibition area, library’s ground level lobby and the grand stair which performs as a bridge displaying sculptures as it connects the museum to library on the first floor). bolidt, synthetic resin flooring enables a smooth transition of the geometry from floor to wall, while providing the required acoustical and technical values, as well as colour, geometry adaptability and aesthetic requirements. interior view from museum entrance the interior surface of the walls and ceiling will be constructed of composite gypsum boards with white matt paint finish, responding to acoustical and lighting requirements, as well as parameters such as load (resulting from hanging art work at the museum) and location (required strength at areas within human reach). seams in this architectural composition, if the surface is the music, then the seams are the rhythm. numerous studies were carried out on the surface geometry of the heydar aliyev centre to rationalise and panelise it while maintaining the continuity of the entity and landscape. through various design stages our goal was to achieve a seamless transition between disparate elements. however, on a large architectural scale the introduction of seams is necessary as manufacturing, handling, transportation and assembly become important parameters determining the panel size limitations. the expansion joints are also incorporated within the seams allowing movement due to deflection, external loads, temperature change, seismic activity and wind loads. the seams also give a better understanding of the project’s scale and emphasize the continual transformation and implied motion of the project’s fluid geometry; offering a pragmatic solution to practical construction issues. the seams are an essential element of the design, generating an elegant relationship between repetition and continuous variation of the centre’s surfaces. good communication and coordination amongst architects, engineers, fabricators and contractors are key factors in realizing an architectural vision of such complexity; enabling a better understanding of materiality and assembly systems, whilst also contributing to the further evolution of the architecture and construction industries as a whole. the heydar aliyev cultural centre has used this advanced concrete technology to marry the sensual nature of azerbaijan’s culture with the ambition, optimism and boundless energy of the azeri people. as with all our work, we investigate and research the landscape, topography and circulation of the site to inform our design; ensuring the building becomes “embedded” into its surroundings – giving the cultural centre the strongest relationship with its unique context within baku. the grfc paneling used throughout the centre plays a critical role in its design – allowing the building to sit perfectly within its environment and embrace the future possibilities of the nation. exterior view from east plaza
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