This work is about getting to know tufting as a technique and to design tufted products for home furnishing. It all began in Finland, where during springtime 2004, I got in contact with the technique of tufting for the first time. A very pleasant meeting that resulted in two carpets and a longing to continue and learn more. It was then that an idea for my final project started to take form. My wish was to design tufted “floor jewelleries” and cushions. I made a base for my project during a design project in autumn 2004. During a stay in New York I got inspired partly from colours and shapes from the Bauhaus movement, partly from the architecture of the city. The geometric forms associated to Bauhaus spoke to me. In New York I got fascinated of the lines and surfaces next to each other on the front of the buildings. The small details were important to the entire impression. The amazing perspectives were also very inspiring. It was a great feeling glancing up buildings that had no end and above all looking down on the top of the buildings and on the streets from the top of Empire state building. The collected material from the design project was then put together with impressions of Swedish nature. So I got the inspiration material that had feeling that was hard, soft, warm, cold, powerful, and fragile. Those emotions have been important to ad to the tufted carpets. Wool was chosen to give the felling of warmth and linen to ad shine. The smooth materials made a nice complement to the strict geometric forms. The group of tufted products contain one big pillow for the floor, seven decorative cushions and four carpets. The pillow for the floor becomes a plain and soft piece of furniture, strict in black and white. The decorative cushion is more colourful and finds its place on a sofa or armchair. The carpets are small and easy to place as “jewelleries” next to or in front of a piece of furniture, on their own, several together, but never with furniture on top. The tufted products fit in both small and big rooms. The little scale makes it easy to change and intensify the expression in a home environment. Through my choice of material I want to give the products a long lifetime. This partly has been a part of the esthetical expression. I have also considered nearby production and ecological alternatives in my choices of materials. A timeless form and colour scale makes the products stand outside trends. That gives the products sustainability and they can be a part of the home for a very long time. The carpets are industrially tufted at Hitex and the cushions are made by me, tufted by hand at Konstnärernas Kollektivverkstad in Gothenburg. An important part of the work was to tuft myself and get a feeling for all the possibilities in that specific technique. / <p>Program: Textildesignutbildningen</p><p>Uppsatsnivå: C</p>

This work represents the most recent development of Zn isotopic measurements, and the first identification of Zn isotopic fractionation in natural materials using Thermal Ionisation Mass Spectrometry (TIMS). The procedures developed in this research systematically evaluates and solves several critical analytical issues involved in TIMS Zn isotopic measurements such as, reducing the size of sample needed to perform an accurate and precise measurement, minimizing the effect of interferences on the Zn fractionation, reducing the blank associated with the analyses, dissolution and purification of different natural samples, and the generally ignored issue of the effect of the ion exchange chemistry (Zn separation) to the fractionation of Zn. These procedures have allowed sub-permil fractionations in the isotopic composition of Zn to be revealed in small Zn sample (1µg), and the determination of low level (ng) elemental abundance of Zn in samples to be measured accurately by the means of isotope dilution mass spectrometry IDMS. This thesis uses the rigorous double spike technique to measure fractionation, relative to the internationally proposed absolute Zn isotopic reference material (δ zero), based on a high purity Alfa Aesar 10759, now available to the international isotope community. All the isotopic measurements in natural materials were performed on bulk samples purified by ion exchange chemistry. / The isotopic composition of the Zn minerals and igneous rocks agreed with that of the absolute reference material, which makes it possible to consider this reference material as being representative of “bulk Earth” Zn. Significant and consistent fractionation of ~+0.3 ‰ per amu were found in 5 sediments from a range of localities. The consistency of this is attributed to conveyor type oceanic circulations effects. The results from the two metamorphic samples indicate that the fractionation of Zn in these rocks is the same as found in igneous rocks but are different from the Zn found in sedimentary rocks. This supports the widely held assumption that high temperature and pressure processes do not fractionate the isotopic composition of chalcophile elements, such as has been found for Cd. Clay sample TILL-3 appears to exhibit a consistently slightly positive Zn fractionation of +0.12 ± 0.10 ‰ amu-1, although inside the uncertainties of both igneous and sedimentary rocks, which is not surprising since Till is thought to be a formed from a range of mixed glacial sediments The isotopic composition of Zn was measured in two plants and one animal sample. The fractionation of (-0.088 ± 0.070 ‰ amu-1) of Zn in the Rice (a C3 type plant material) sample suggested that Zn may be used to study Zn systematics in plants. The result obtained for MURST-Iss-A2 (Antarctic Krill) was +0.21 ± 0.11 ‰ amu-1 relative to the laboratory standard which is similar to the average Zn fractionation results of +0.281 ± 0.083 ‰ amu-1 obtained for marine sediments. / In this work, the isotopic composition of Zn was measured in five stone and two iron meteorites. The range of Zn fractionation in stone meteorites was between -0.287 ± 0.098 and + 0.38 ± 0.16 ‰ amu-1, and was consistent with previous work, although more measurements would be needed to generalize this to all stone meteorites. In iron meteorites; Canyon Diablo was found to have the greatest fractionation of +1.11 ± 0.11 ‰ amu-1 relative to the laboratory standard. Of all the meteorites studied, Redfields clearly showed an anomalous isotopic composition indicating that this meteorite possesses a significantly different Zn isotopic composition compared to all of the other natural materials measured. Using 64Zn as a reference isotope, significant differences relative to the laboratory standard were found of +5.6 ± 0.4‰, +4.4 ± 3.6 ‰, and +21.0± 0.9 ‰ and +27.4 ± 18.8 ‰ on 66Zn and 67Zn, 68Zn and 70Zn respectively. These significant “Redfields anomalies” can be interpreted in a number of ways in relation to their nucleosynthetic production. Whether Redfields is a primitive type of iron meteorite or not, the Redfields anomaly strongly suggests wide spread isotopic heterogeneity of at least one part of the Solar System and does not support the suggestion that “Zn was derived from an initially single homogeneous reservoir in the early Solar System”. A pilot study to determine the concentration and the isotopic composition of Zn in River and tap water was performed. / The concentration of Zn in River water averaged 6.9 ± 0.8 ngg-1, while for tap water it ranged from 13.1 ngg-1 to 5.2 μgg-1. River water was fractionated by -1.09 ± 0.70 ‰ amu-1, while restrained tap water yielded the maximum fractionation of -6.39 ± 0.62 ‰ amu-1 relative to the laboratory standard. The Zn fractionation of tap water is much larger than all other natural samples, although the uncertainty is also significantly greater due to the use of the less precise Daly detector used for these preliminary experimental measurements. The fractionation of Zn in seven ultra pure Zn standard materials was measured relative to the laboratory standard and found to range from -5.11 ± 0.36 ‰ amu-1 for AE 10760 to +0.12 ± 0.16 ‰ amu-1 for Zn IRMM 10440. There appears to be some evidence for a relationship between Zn fractionation and its purity. As well as natural materials, the fractionation of Zn was measured in a number of processed materials. None of these results or those obtained for natural materials impact on the currently IUPAC accepted value for the atomic weight of Zn. Along with fractionation determinations, the concentration of Zn was also measured by Isotope Dilution Mass Spectrometry in all of the samples. The concentration of Zn in five stony meteorites ranged from 26 ± 13 to 302 ± 14 μgg-1 for Plainview and Orgueil respectively. For ordinary Chondrites, the concentration of Zn in the three samples analysed ranged from 26 ± 13 to 64 ± 34 μgg-1 for Plainview and Brownfield 1937 respectively. / The concentration of Zn was measured in two metamorphic rocks standard materials; the maximum concentration was 101.5 ± 1.7 µgg-1 in SDC-1. The concentration of Zn present in plant samples studied in this research was 22.15 ± 0.42, 14.62 ± 0.27 µgg-1 for Rice IMEP-19 and Sargasso NIES-Number 9 respectively which is within the normal range of Zn concentrations. Except for meteorites, the final uncertainties consistently cover the ranges of individual concentration measurements and indicate the homogeneity of the samples, including samples from different bottles where available. The final fractional uncertainties obtained for SRMs were all less than 2.8 %, demonstrating the high level of precision possible using IDMS.

Magistro darbą „Individualus namo interjeras“ sudaro dviejų aukštų namo išplanavimas, kuriame kūriau interjerą. Stengiaus, kad jame derėtu funkcionalumas ir geros emocijos, kokybė ir patogumas, išskirtinumas ir jaukumas. Kuriant namo interjerą dailininkui pirminių vizijų nebuvo viskas gimę palaipsniui. Didelis namo plotas diktavo tam tikrus sprendimus, tad interjere persipynė įvairių stilių detalės. Minimalizmą sušvelninau klasikiniais akcentais – taip buvo užmegztas dialogas tarp tradicinės klasikos ir šiuolaikinio stiliaus. Manau jei interjere nebus justi emocijos, jis taps formalus. Šiame interjere dominuoja natūralios medžiagos, žemės spalvų koloritas. Greta subtilių rudų, pilkų, smėlio ir samanų atspalvių intuityviai atsirado juoda spalva kuri tapo puikia atsvara pasteliniams tonams, savotišku karkasu, laikančiu spalvinę pusiausvyrą. Norėdama patraukti žiūrovą dėmesį svetainės zonoj, radau vieta ir motociklui pakabinti, tai įgyvendinti leido aukštos lubos. / My work ,,Individual Interior of The House" consists of the plan of two stored house in which I designed its interior.I tried to combine suitability and good mood, quality and comfortability, unique and cosiness. Creating interior the ideas came gradually. Huge area of the building suggested certain solutions so there are a lot of details of various styles.Classical ideas made a link between traditional classical style and contemporary style. I think the emotions are very important to make interior informal so I used natural materials and earth's colours. beside brown, grey, sand and moss colour I used black as well. In order to gain people's attention I hung the motorbike on the wall in the living room as the ceiling is high.

The meaning of a place results from accumulated interactions between an individual's life history and a setting. Place experiences often include some feeling of ownership. Ownership in this case is a psychological phenomenon that does not require legal title to a piece of land or a building, but rather, a sense that the person has some uncommon, special relationship with that particular setting. Although much of what characterizes a place may be very personal. Groups and even entire communities can develop place attachments. The objective of the study is the design of agri-tourism facilities within the realm of local community development. These facilities need to meet a variety of criteria to fulfil the expectations of the three main stakeholders, being agriculture, tourism and local community. A design that is context, and energy conscious, with a sympathy to existing ecological systems and self-sustainability, will determine the success of this project. The design, including before mentioned criteria, of an agri-tourism complex , incorporates local skills training which form part of the activities on the farm Madi A Thava, Makhado district in the Limpopo province. These facilities must meet the needs of the different clientele for each of the three entities. Each facility has its own identity arising from its specific function. The agri-tourism complex will have a dominant agricultural character, as this facility houses the main activity to ensure self-sustainability of the farm as a whole. / Dissertation (MArch(Prof))--University of Pretoria, 2007. / Architecture / unrestricted

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The theme of my thesis deals with a winery near to the village Strachotín next to the Protected Landscape Area Pálava. It focuses, in particular, on the design of this object which serves not only to processing and producing of wine but also for degustation followed by the tour of wine production. Another part of my thesis is the design of accommodation, restaurant and wellness center by the means of using low-energy buildings, their various construction systems and natural materials. The whole conception is based on the overall potential of the territory, using the local sources and supporting the economic and social development of the area.

The chosen solution is based on a significant element of the axis intersecting the studied area and allows for new possibilities and throughput bottlenecks as well as the needs of indigenous residents. The new structure is compact but permeable, is one of total serenity set into court. Buildings define its own square on which the park. Living rooms are oriented to this element, as generated by the spontaneous dvorcům compared to the other, where we are going gardens. Old and new buildings mainly divided foliage, to a greater extent original. Height was chosen so that does not diaphragm the existing development and that the occupant was still in touch with events in the street. Distance from the neighboring area is sufficient for satisfactory insolation. The appearance of buildings and facades in the treatment of natural materials give a greater sense of coziness.

Portland cement concrete, the most widely used manufactured material in the world, is made primarily from water, mineral aggregates, and portland cement. The production of portland cement is energy intensive, accounting for 2% of primary energy consumption and 5% of industrial energy consumption globally. Moreover, Portland cement manufacturing contributes significantly to greenhouse gases and accounts for 5% of the global CO2 emissions resulting from human activity. The primary objective of this research was to explore methods of reducing the environmental impact of cement production while maintaining or improving current performance standards. Two approaches were taken, 1.) incorporation of waste materials in portland cement synthesis, and 2.) optimization of an alternative environmental friendly binder, calcium sulfoaluminate-belite cement. These approaches can lead to less energy consumption, less emission of CO2, and more reuse of industrial waste materials for cement manufacturing. In the portland cement part of the research, portland cement clinkers conforming to the compositional specifications in ASTM C 150 for Type I cement were successfully synthesized from reagent-grade chemicals with 0% to 40% fly ash and 0% to 60% slag incorporation (with 10% intervals), 72.5% limestone with 27.5% fly ash, and 65% limestone with 35% slag. The synthesized portland cements had similar early-age hydration behavior to commercial portland cement. However, waste materials significantly affected cement phase formation. The C3S–C2S ratio decreased with increasing amounts of waste materials incorporated. These differences could have implications on proportioning of raw materials for cement production when using waste materials. In the calcium sulfoaluminate-belite cement part of the research, three calcium sulfoaluminate-belite cement clinkers with a range of phase compositions were successfully synthesized from reagent-grade chemicals. The synthesized calcium sulfoaluminate-belite cement that contained medium C4A3 S and C2S contents showed good dimensional stability, sulfate resistance, and compressive strength development and was considered the optimum phase composition for calcium sulfoaluminate-belite cement in terms of comparable performance characteristics to portland cement. Furthermore, two calcium sulfoaluminate-belite cement clinkers were successfully synthesized from natural and waste materials such as limestone, bauxite, flue gas desulfurization sludge, Class C fly ash, and fluidized bed ash proportioned to the optimum calcium sulfoaluminate-belite cement synthesized from reagent-grade chemicals. Waste materials composed 30% and 41% of the raw ingredients. The two calcium sulfoaluminate-belite cements synthesized from natural and waste materials showed good dimensional stability, sulfate resistance, and compressive strength development, comparable to commercial portland cement. / text

This master's report addresses the conceptual and material investigations that were explored within my artistic research made at the University of Texas at Austin between 2011 and 2014. These works are a confluence of adornment, sculpture and installation art. These pieces incorporate ancient and contemporary metalworking techniques with raw, organic material. The notion of elegant ornamentation is expanded beyond the body into the adornment of architecture. The potential for transformation and reinvention within found elements is explored within this work. The natural resources I work with have gone through a cycle, which is interrupted when the objects are removed from the earth. I see my process in relationship to alchemical concepts of transmutation. Through manipulation, common matter evolves into precious material. The refined, meticulous craftsmanship conveys a sense of reverence and honor towards the common material. This intervention with the material is an act of preservation and veneration. This work explores my sense of intrigue about the extraordinary potential of mundane materials, and investigates conventional notions of material value. / text