ulol level 48 Structural health monitoring (SHM) is vital for safeguarding infrastructure by identifying and addressing damage risks. Traditional methods, however, often struggle to deliver accurate real-time data on high-stress areas, like crack tips, where failure is most likely. These regions require careful monitoring to predict and prevent catastrophic structural failure. Yet, capturing the complexities of stress concentrations at crack tips remains a significant challenge. This study addresses these shortcomings by proposing a novel solution to achieve real-time structural assessments of pre-cracked structures. Researchers from the National University of Sciences & Technology, Islamabad, and the University of Strathclyde, Glasgow, have introduced an innovative contribution to the field of SHM, in the . Their study introduces a two-dimensional, six-node triangular inverse crack-tip element formulated to ensure strain singularities at the crack tip without compromising computational efficiency, enabling real-time health assessments of cracked structures. The study presents a two-dimensional, six-node triangular inverse crack-tip element, marking a significant advancement in SHM of through-thickness pre-cracked structures. The proposed crack-tip element integrates seamlessly with the inverse finite element method (iFEM) for shape-sensing and health assessment applications of engineering structures with and without preexisting cracks. A critical characteristic for accurate fracture analysis is maintaining strain singularities at the crack tip, accomplished by strategically repositioning mid-side nodes in this research. The element is adaptable to both structured and unstructured mesh discretization, making it highly versatile for modeling complex geometries, particularly in areas of high stress, such as crack tips. Rigorous validation confirms its effectiveness in shape-sensing and computing stress intensity factors (SIFs) across various crack geometries and loading conditions, highlighting its potential to revolutionize real-time monitoring of structures with preexisting cracks. Prof. Dr. Erkan Oterkus, the corresponding author and supervisor of the research, is of the view that "the formulation of the inverse crack-tip element represents a step forward in monitoring and the assessment of engineering structures with preexisting cracks. This approach enables precise shape-sensing capabilities and accurate reconstruction of critical fracture parameters, which are crucial for timely and informed decision-making regarding the maintenance and safety of critical infrastructure." This research has transformative potential across industries where structural integrity is paramount, notably in the aerospace and marine sectors. It enhances safety by detecting issues early, reduces maintenance costs through targeted repairs, and extends the lifespan of vital structures. Automating and streamlining the evaluation process minimizes downtime and operational disruptions, paving the way for more innovative, efficient, and sustainable infrastructure management.Geotab Connect will be held on February 25-27 at Walt Disney World Resort in Orlando, Florida TORONTO , Dec. 17, 2024 /PRNewswire/ - Geotab Inc. ("Geotab"), a global leader in connected transportation, announces Geotab Connect 2025, taking place on February 25-27 at Walt Disney World Swan & Dolphin Resort in Orlando, Florida . This premier event will bring together industry leaders, fleet managers, and innovators to explore the latest trends and technologies shaping the future of transportation. Javascript is required for you to be able to read premium content. Please enable it in your browser settings.

Maupay also had a dig at Everton when he departed on loan to Marseille in the summer and his latest taunt has further angered the Premier League club’s supporters. The 28-year-old said on X after Sean Dyche’s side had lost 2-0 to Nottingham Forest at Goodison Park on Sunday: “Whenever I’m having a bad day I just check the Everton score and smile.” Whenever I’m having a bad day I just check the Everton score and smile 🙂 — Neal Maupay (@nealmaupay_) December 29, 2024 Former boxer Tony Bellew was among the Toffees’ supporters who responded to Maupay, with the ex-world cruiserweight champion replying on X with: “P****!” Maupay endured a miserable spell at Everton, scoring just one league goal in 29 appearances after being signed by the Merseysiders for an undisclosed fee in 2022. He departed on a season-long loan to his former club Brentford for the 2023-24 season and left Goodison for a second time in August when Marseille signed him on loan with an obligation to make the deal permanent. After leaving Everton in the summer, Maupay outraged their fans by posting on social media a scene from the film Shawshank Redemption, famous for depicting the main character’s long fight for freedom.

The most significant dress I will ever wear could not, under any circumstances, be new. To wed in anything but vintage would have felt like a betrayal. For decades, I have dressed in garments from, or lovingly inspired by, the 1950s—a time when fashion was all about romance. If a wedding is a declaration of love, I was certain my wedding dress—a Bergdorf Goodman creation from 1957—would articulate it with an eloquence no current design could achieve. Even though I live just two New York City blocks from Bergdorf Goodman—the most storied temple to fashion this side of the Atlantic—curiously, my dress was unearthed in the small Dutch town of Roermond. (More on that later.) I found it online and, upon its arrival, reverently unboxed it like a relic. It was perfect. Urbane enough for a Manhattan City Hall wedding, yet still dainty. A slender row of covered buttons ran the bodice’s length, stopping at the bow cinched across the hips; above, a V-neck collar framed the neck with a swan-like elegance. But it was the interior that revealed the true gem: a “Bergdorf Goodman on the Plaza” label in the retailer’s distinctive lilac hue. Handwritten beneath the store’s name were the details: July 6, 1957, and the names O’Keefe and Cath. Bergdorf Goodman has always been synonymous with high fashion, but the label “On the Plaza” harkened to a particular era. For decades, the flagship on Fifth Avenue and 58th Street housed a custom salon, an atelier bustling with seamstresses catering to the sartorial whims of society’s grande dames. In February of 1956, Vogue published this cheeky excerpt from the then-upcoming Bergdorf’s on the Plaza book: “In the workrooms there are several thousand forms, each padded to the exact proportions of the customer it represents. Some have been there for thirty years; peel off the padding put on over the years, and you'd see some lovely figures of many years and many desserts ago.” The dress, then, was a remnant of Bergdorf’s golden age—when buyers returned from Paris with bonded models of Dior and Balenciaga to inspire their adaptations. O’Keefe, the likely bride, had been rendered immortal in silk by Cath, a dressmaker whose careful work was now in my possession. So how, exactly, did this dress wind up in my hands? Well, my Poirot-worthy sleuthing led me down a trail that began with a Dutch dealer named Soul of Eve and wound through the world of Live Auctioneers. There, a fashion historian operating under the name Hoboken Auctions recalled buying it from a Chicago-based eBay seller who picked it up from Bristol Community College’s theater department in Fall River, Massachusetts. “It was donated,” I was told by the Chicago dealer, “by someone from New Bedford, Fall River, or somewhere in that region. Or maybe Rhode Island.” Beyond that, the trail went cold, even after hours spent rifling through the Bergdorf Goodman archives housed at the Museum of the Fashion Institute of Technology; O’Keefe and her story slipped through my fingers. Yet even though her identity remains a mystery—dear reader, I am always open to your tips—one thing is certain: the woman had taste. Given its circuitous journey, the dress required a little rejuvenation. Enter Patricia Voto, the designer-cum-bridal-whisperer behind One/Of whose atelier on East 70th Street has quietly become the place for discerning brides. She revived the once-wilted bow to a buoyant state and added to the architecture of the dress by trimming a strip of horsehair to the hem. Slight adjustments to the princess seams ensured it fit like a glove. Accessories fell into place with poetic symmetry. A vintage Judith Leiber satin bag, antique ivory as the dress itself, was plucked from The RealReal. And though I had every intention of finding the perfect Manolo Blahnik mule at the legendary shoe designer’s boutique, it was Bergdorf Goodman—but of course—who had an exclusive on the style I wanted. On my wrist was a Victoriana tennis bracelet and timeless diamond drops dangled from my ears, both from De Beers. My lips, as ever, were painted in the same shade of scarlet red I have worn for half a decade. On the morning of September 29, I woke in a suite at the Plaza Hotel, a place packed with my memories—as a teenager, I worked there as a shop girl, selling Eloise books in the Plaza’s gift shop—to get ready with my sister. My hair was coiffed into a sleek modern bun by David Cotteblanche, the stylist behind three of my Met Gala hairdos, and a Bobbi Brown artist applied my makeup. My husband arrived at City Hall looking splendid: a custom navy suit, Tod’s shoes, and an Hermès tie. His lapel was adorned with Lily of the Valley—a bloom I insisted on carrying, despite its elusive, spring-only nature. My mother, with Herculean determination, procured a fall bouquet, knowing all too well that I wasn’t going to let go of the “references.” Blame it on Dior (who had a long love affair with the bloom) and Funny Face (in which Audrey Hepburn carries it as a fashion model playing the blushing bride). Next, we trekked—umbrellas in hand, the rainy forecast only adding to the sense of adventure—to City Hall, where we joined a throng of couples, all giddy with anticipation. The room seemed to hum with the cacophony of love stories converging in one place. Amid the rush of it all, my dress and my carefully chosen details anchored me. In that moment, as I said “I do,” I felt—truly and unmistakably—myself. The evening was spent celebrating with close family and friends at dinner at Fasano Club, where Champagne flowed, and toasts were made. By then, I had slipped into something less delicate: a white-and-black Mary McFadden Couture dress, also vintage, that had waited patiently in my closet for its special moment. McFadden’s signature pleats, with their effortless drape and freedom of movement, allowed me to revel fully in the festivities—it was the perfect piece to close out my very big day. Months later, while headed to an event and carrying my Judith Leiber bridal bag, I stepped into my elevator and a very elegant woman beside me leaned in. “Could I ask where you got that bag?” she asked. “I had one just like it, but I gave it to The RealReal.” I admitted to her it was likely the very same purse and we bonded over its unlikely reunion. What are the odds? The chances were as improbable as they were perfect—much like finding the one person in a city of millions. Those odds felt oddly right.

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