Blood is a biological fluid frequently encountered at crime scenes and can be an important source of information regarding the events that occurred and individuals involved. Blood evidence can be the subject of bloodstain pattern analysis (BPA) to ascertain the details of a blood shedding event as well as deoxyribonucleic acid (DNA) analysis to identify potential individuals that were present at the event. BPA becomes more complicated when bloodstains are found on clothing items due to the wide range of fabrics and their inherent properties, along with a range of factors, including but not limited to, treatments, effects of laundering, and wear. The interaction between fabrics and bloodstains has not been wholly explored in the forensic literature. Additionally, most forensic research on bloodstain and fabric interactions have been conducted on laundered, absorbent fabrics. Waterproof fabrics are designed to repel water and protect underlying surfaces from the effects of weather such as rain and snow, often having very different properties from other fabrics. In this research, the characteristics of bloodstains deposited on waterproof and absorbent fabrics were assessed, as well as the ability to chemically detect the presence of blood after physical alteration of the stains. Six unlaundered, waterproof fabrics with different waterproof coatings, fiber content, and other properties in addition to three different types of absorbent fabrics were cut into swatches and utilized for this study. Whole human blood was used to create a variety of bloodstain types that are often observed at a crime scene: drip stains at two different impact angles, spatter stains, and transfer stains. Ten replicates were completed for all nine fabrics and each bloodstain type, for a total of 360 bloodstains. The dried bloodstains were photographed with a handheld digital camera and a digital camera mounted on a stereo microscope to better visualize the interactions between the blood and fibers. The bloodstained fabric swatches were then physically manipulated to assess the persistence of the stains and the ability of a presumptive blood assay to detect the remaining traces. Four mechanisms of blood deposition created bloodstains with different characteristics. Differences were observed among the variety of waterproof fabrics as well as the different absorbent fabrics. Bloodstains on the waterproof fabrics appeared to rest on the surface with very little wicking into the fabric. The largest drip stain diameters were observed on the cotton t-shirt, implying that the cotton t-shirt had the greatest wicking ability. Pearling of the blood droplets was observed on the waterproof fabrics used in this experiment, but appeared to occur irrespective of the type of waterproof finish applied. The drip stains on the nylon fabrics appeared flatter and frequently caved in at the center, even though the waterproof finishes were the same as two of the polyester fabrics, which produced more spherical drip stains. The contrasting appearances of the drip stains on cotton jersey and the cotton t-shirt is likely due to the presence of 5% spandex in the cotton jersey fabric. Bloodstain characteristics thus appeared to be influenced by fiber content, fabric structure and thickness, and the presence of waterproofing surface treatments, as well as the blood deposition mechanism. The bloodstains on absorbent fabrics did not separate greatly from the fabric after alteration and appeared largely unchanged. The bloodstains were dislocated from the waterproof fabrics to varying extents, but all greater than the absorbent fabrics. Traces of the bloodstains were frequently observed under the stereo microscope when the pre-existing stains were not observed macroscopically, indicating that a microscopic examination may be a useful tool in the forensic laboratory. The altered drip stains at both impact angles were overwhelmingly detected by the presumptive Kastle-Meyer blood test, with only a single instance of a negative result. In contrast, test results were more evenly split among the spatter stains on waterproof fabrics and were less likely to produce positive test results. Positive test results were obtained for the majority of altered stains, including stains that were not visible to the naked eye, indicating that a presumptive blood test may be useful for detecting latent bloodstains on clothing items such as the ones analyzed in this research.

this thesis is an exploration of rational architectural forms and urban ideas. reflections of density, circulation, rhythm, pattern, and punctuation. the formal consequence of two ideas, city and spectacle, manifest in a theatre for the acrobatic performing arts. on the exterior, an autonomous construction where the architecture is a confrontation to the urban world. internally, a world where spectator and spectacle exist playfully through drawing, modeling, and collage. the project brings the structure of the city to the structure of the theatre. theatre as analogy, a city turned inward. / Master of Architecture

Appreciation of the natural light, air, and scenery outside the built interior environment spurs the architect's desire to "bring the outside in". (Lately, floor-to-ceiling glazing is the most popular way of doing this.) Appreciation of what can be found "in the wall" also inspires the architect. Neither inside nor outside, being "in the wall" offers unique sensory experiences. Historically, the thick masonry walls of public buildings provided spaces (such as the arched vestibule of a library) within the walls' openings where people could gather to talk or wait out the rain. Another example of space within walls is the window seat, which is the architect's response to many peoples' desire to curl up inside a window to read a book or to watch what's going on outside. Modern materials and technologies have allowed us to build buildings taller and lighter than ever before but they also have led us to cease creating those special spaces, neither inside nor outside, that protect people from the elements without entirely cutting them off from them. It is this third space, neither inside nor outside, that I seek to reclaim in this thesis project. I hope to return to people space of fresh air, indirect, natural light, sense of protection, and openness; a place where stories are traded, secrets are whispered, and stars are wished on. With this project, I seek to develop a third space. / Master of Architecture

O consumidor de têxteis confeccionados percebe a qualidade da roupa pela estética, caimento, toque e durabilidade. A cor e a textura, juntamente com o caimento do tecido, contribuem para a beleza do modelo. Na seleção do material para a confecção de vestuário, essas características seguem as propostas da moda vigente, porém ao caimento é dado significativa importância na adaptação do tecido ao modelo proposto. A dinâmica atual da moda exige agilidade das pequenas e médias empresas nacionais nos processos de compra do tecido, prototipagem e confecção com variedades de modelos e produção limitada. Entretanto, não se utilizam todos os recursos tecnológicos disponíveis em laboratórios têxteis equipados com aparelhos e pessoas especializadas na leitura dos dados. Devido ao acesso restrito, em função da logística e custos operacionais, o profissional seleciona o tecido a partir de amostras físicas, em uma avaliação subjetiva e pessoal, baseada na experiência com desenvolvimento de produto. O processo é dificultado na comunicação a distância, pois, mesmo com uma amostra do tecido em mãos, o diálogo é dificultado pela falta de parâmetros comuns de classificação e descrição das características visuais de caimento do tecido. Nesse contexto, o presente trabalho, disponibiliza um instrumento – Graduador Brehm e sua metodologia - para a classificação da maleabilidade dos tecidos em graus de caimento e a padronização dos seus termos descritores. / The consumer of manufactured textiles perceives the quality of the clothes taking the aesthetics, the fit, the feel and durability into account. Color and texture, together with the fit, contribute to the beauty of the garment. When selecting the material for clothing manufacture, those features follow the current fashion proposals: however, the fit – how the cloth hangs in loose folds – plays a very significant role when adapting the material to the proposed model. The present fashion dynamics calls for agility in the small and medium-sized national companies in the processes of buying material, prototyping and manufacturing a variety of models with limited production. However, all the available technological resources are not being used in textile laboratories equipped with devices and counting on personnel specialized in reading the data. Due to the restricted access because of the logistics and operational costs, the professional selects the material based on physical samples – a subjective and personal evaluation counting on their experience with product development. That process becomes more difficult when it is discussed from a distance. Even when one has a sample of the fabric in their hands, the dialog becomes more difficult when there are no common parameters for the classification and description of the visual characteristics for cloth hanging. For that context, this study provides an instrument – the Brehm grader and its methodology – for the classification of fabric malleability in degrees of hanging in loose folds and the standardization of the terms described.

O consumidor de têxteis confeccionados percebe a qualidade da roupa pela estética, caimento, toque e durabilidade. A cor e a textura, juntamente com o caimento do tecido, contribuem para a beleza do modelo. Na seleção do material para a confecção de vestuário, essas características seguem as propostas da moda vigente, porém ao caimento é dado significativa importância na adaptação do tecido ao modelo proposto. A dinâmica atual da moda exige agilidade das pequenas e médias empresas nacionais nos processos de compra do tecido, prototipagem e confecção com variedades de modelos e produção limitada. Entretanto, não se utilizam todos os recursos tecnológicos disponíveis em laboratórios têxteis equipados com aparelhos e pessoas especializadas na leitura dos dados. Devido ao acesso restrito, em função da logística e custos operacionais, o profissional seleciona o tecido a partir de amostras físicas, em uma avaliação subjetiva e pessoal, baseada na experiência com desenvolvimento de produto. O processo é dificultado na comunicação a distância, pois, mesmo com uma amostra do tecido em mãos, o diálogo é dificultado pela falta de parâmetros comuns de classificação e descrição das características visuais de caimento do tecido. Nesse contexto, o presente trabalho, disponibiliza um instrumento – Graduador Brehm e sua metodologia - para a classificação da maleabilidade dos tecidos em graus de caimento e a padronização dos seus termos descritores. / The consumer of manufactured textiles perceives the quality of the clothes taking the aesthetics, the fit, the feel and durability into account. Color and texture, together with the fit, contribute to the beauty of the garment. When selecting the material for clothing manufacture, those features follow the current fashion proposals: however, the fit – how the cloth hangs in loose folds – plays a very significant role when adapting the material to the proposed model. The present fashion dynamics calls for agility in the small and medium-sized national companies in the processes of buying material, prototyping and manufacturing a variety of models with limited production. However, all the available technological resources are not being used in textile laboratories equipped with devices and counting on personnel specialized in reading the data. Due to the restricted access because of the logistics and operational costs, the professional selects the material based on physical samples – a subjective and personal evaluation counting on their experience with product development. That process becomes more difficult when it is discussed from a distance. Even when one has a sample of the fabric in their hands, the dialog becomes more difficult when there are no common parameters for the classification and description of the visual characteristics for cloth hanging. For that context, this study provides an instrument – the Brehm grader and its methodology – for the classification of fabric malleability in degrees of hanging in loose folds and the standardization of the terms described.

O consumidor de têxteis confeccionados percebe a qualidade da roupa pela estética, caimento, toque e durabilidade. A cor e a textura, juntamente com o caimento do tecido, contribuem para a beleza do modelo. Na seleção do material para a confecção de vestuário, essas características seguem as propostas da moda vigente, porém ao caimento é dado significativa importância na adaptação do tecido ao modelo proposto. A dinâmica atual da moda exige agilidade das pequenas e médias empresas nacionais nos processos de compra do tecido, prototipagem e confecção com variedades de modelos e produção limitada. Entretanto, não se utilizam todos os recursos tecnológicos disponíveis em laboratórios têxteis equipados com aparelhos e pessoas especializadas na leitura dos dados. Devido ao acesso restrito, em função da logística e custos operacionais, o profissional seleciona o tecido a partir de amostras físicas, em uma avaliação subjetiva e pessoal, baseada na experiência com desenvolvimento de produto. O processo é dificultado na comunicação a distância, pois, mesmo com uma amostra do tecido em mãos, o diálogo é dificultado pela falta de parâmetros comuns de classificação e descrição das características visuais de caimento do tecido. Nesse contexto, o presente trabalho, disponibiliza um instrumento – Graduador Brehm e sua metodologia - para a classificação da maleabilidade dos tecidos em graus de caimento e a padronização dos seus termos descritores. / The consumer of manufactured textiles perceives the quality of the clothes taking the aesthetics, the fit, the feel and durability into account. Color and texture, together with the fit, contribute to the beauty of the garment. When selecting the material for clothing manufacture, those features follow the current fashion proposals: however, the fit – how the cloth hangs in loose folds – plays a very significant role when adapting the material to the proposed model. The present fashion dynamics calls for agility in the small and medium-sized national companies in the processes of buying material, prototyping and manufacturing a variety of models with limited production. However, all the available technological resources are not being used in textile laboratories equipped with devices and counting on personnel specialized in reading the data. Due to the restricted access because of the logistics and operational costs, the professional selects the material based on physical samples – a subjective and personal evaluation counting on their experience with product development. That process becomes more difficult when it is discussed from a distance. Even when one has a sample of the fabric in their hands, the dialog becomes more difficult when there are no common parameters for the classification and description of the visual characteristics for cloth hanging. For that context, this study provides an instrument – the Brehm grader and its methodology – for the classification of fabric malleability in degrees of hanging in loose folds and the standardization of the terms described.

Resource degradation is a significant problem in the world, which is directly related to the textile and fashion industry. Efficient use of the material has been identified as an essential aspect to be addressed seriously. It is a critical topic that has attracted the attention of people and companies in recent years and has become a fundamental issue of sustainability. This research study was based on UN sustainable development goals number 12 and 8, which focuses on resource efficiency. The research is designed in considering fabric consumption, which has a significant impact on the textile and clothing industry to contribute to a brighter future and a more sustainable life. The purpose of this study is to reduce the fabric consumption through improving marker efficiency. The research focuses on investigating the behaviour of marker efficiency concerning usable fabric widths, markers with different sizes and marker with style combinations to reduce fabric consumption. The improvements of the existing markers lead to reduce fabric wastage during the cutting process while improving resource efficiency in consumption and production. In this study, the explanatory sequential design of mixed research method is employed with carrying out experiments to collect and analyze quantitative data, explained and elaborated with qualitative findings through expert interviews to get insights into the quantitative findings in a deductive approach. The marker efficiency significantly varies according to the combination of sizes and style and usable fabric width. The improvements of the marker efficiency, reduce the fabric consumption per garment and increase resource efficiency while preventing waste generation. A saving of 1% of a material which consumed millions of tons per year, significantly affect on reducing resource depletion and environmental pollution. This study is limited to five usable fabric widths, four size marker combinations and two style combinations. Moreover, it is focused on material efficiency, and cost efficiency is not considered. There are possibilities for clothing manufactures’ to improve resource efficiency by improving marker efficiency while planning the demand, considering multi-size and multi-style markers. They can concern usable fabric widths, which provide higher marker efficiencies during material purchasing.

No description available.

Kwok Hong-kin. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1980. / Bibliography: leaves 204-215.

Le tissu est réalisé par un entrecroisement, appelé armure [1], de 2 réseaux de fils, un longitudinal et un transversal 2D et de plus de 2 réseaux 3D. Les propriétés de ces tissus seront fonction de la quantité de fil insérable dans l'armure, quantité dont la limite doit être déterminée de façon précise. Hors, à ce jour, cette limite est très mal connue [2]. Donc, l'utilité principale du calcul des limites de tissabilité est de savoir si un tissu 2D ou 3D est réalisable ou non sur une machine à tisser. Les coefficients de difficulté permettent d'éviter des productions endommageant le matériel et aussi d'apprécier a priori les problèmes de rendement de production des articles proches des limites de tissabilité tel que les tissus techniques. Il est d'autre part possible de déduire certaines caractéristiques techniques de l'article réalisé. Ces calculs peuvent en effet quantifier le serrage des fils entre eux et permettre de déduire les caractéristiques mécaniques et physiques. Les raisons motivant ces recherches sont d'une part d'éviter un surcoût de production en essayant de tisser un article, 2D ou 3D, impossible à tisser et d'autre part de diminuer les casses des fils et l'usure des éléments de la machine à tisser à cause d'une surcharge sur le métier à tisser pendant l'opération de tissage. Après la mise en place d'un plan d'expérience de tissage, l'étude des propriétés mécaniques et physiques d'un nombre représentatifs de tissus 2D et 3D et la modélisation des structures tissées a permis de proposer de nouvelles équations de saturations et de limite de tissabilité en particulier pour le 3D [3]. Par ailleurs, à partir de ces équations, il est possible de prévoir, pour une contexture et une armure donnée en 2D ou 3D, la masse maximale de fil insérable dans le tissu ainsi que la difficulté qui sera rencontrée lors du tissage. Les relations théoriques nouvelles proposées, indices de saturation numérique et indice de saturation massique ont été confirmées par les résultats expérimentaux et Il a été conclu que les équations et abaques qui en découlent sont des outils utiles pour l'industrie de tissage traditionnel et technique. / The woven fabrics 2D and 3D are made by interlacing warp and weft, called pattern [1]. The properties of these woven fabrics will depend on the number of yarns into the woven fabrics, quantity whose limit must be determined accurately. Out, to date, this limit isn't very well known [2]. So, the main purpose of calculating the limit of weavability is whether a 2D or 3D woven fabric is feasible or not on a loom. The degree of difficulty can avoid damaging production equipment and also to assess a priori the efficiency problems of producing near the limits of weavability as technical fabrics. It is further possible to infer some specifications of the article made. These calculations can quantify the tightess and allow them to deduct the mechanical and physical properties. The reasons for this research are first to avoid additional costs of production in trying to weave 2D or 3D fabrics, impossible to weave and second to reduce breakage and wear parts of weaving machine due to an overload on the loom during the weaving operation. After the establishment of an experimental weaving and studies of mechanical and physical properties of a representative number of 2D and 3D woven fabrics, the modeling of woven structures allowed to propose new saturation and limit of weavability equations particularly for 3D [3]. Moreover, from these equations, it is possible to provide for a given texture and pattern in 2D or 3D, the maximum yarn inserted into the woven fabrics and the difficulty will be encountered during weaving. The new proposed theoretical relationships, numerical saturation index and weight saturation index were confirmed by experimental results and it was concluded that the equations and abacus are useful tools for the traditional and technique weaving industry.