Doctor of Philosophy / Department of Mechanical and Nuclear Engineering / Youqi Wang / Textile fabrics and textile composite materials demonstrate exceptional mechanical properties, including high stiffness, high strength to weight ratio, damage tolerance, chemical resistance, high temperature tolerance and low thermal expansion. Recent advances in weaving techniques have caused various textile fabrics to gain applications in high performance products, such as aircrafts frames, aircrafts engine blades, ballistic panels, helmets, aerospace components, racing car bodies, net-shape joints and blood vessels. Fabric mechanical properties are determined by fabric internal architectures and fabric micro-geometries are determined by the textile manufacturing process. As the need for high performance textile materials increases, textile preforms with improved thickness and more complex structures are designed and manufactured. Therefore, the study of textile fabrics requires a reliable and efficient CAD/CAM tool that models fabric micro-geometry through computer simulation and links the manufacturing process with fabric micro-geometry, mechanical properties and weavability. Dynamic Weaving Process Simulation is developed to simulate the entire textile process. It employs the digital element approach to simulate weaving actions, reed motion, boundary tension and fiber-to-fiber contact and friction. Dynamic Weaving Process Simulation models a Jacquard loom machine, in which the weaving process primarily consists of four steps: weft insertion, beating up, weaving and taking up. Dynamic Weaving Process Simulation simulates these steps according to the underlying loom kinematics and kinetics. First, a weft yarn moves to the fell position under displacement constraints, followed by a beating-up action performed by reed elements. Warp yarns then change positions according to the yarn interlacing pattern defined by a weaving matrix, and taking-up action is simulated to collect woven fabric for continuous weaving process simulation. A Jacquard loom machine individually controls each warp yarn for maximum flexibility of warp motion, managed by the weaving matrix in simulation. Constant boundary tension is implemented to simulate the spring at each warp end. In addition, process simulation adopts re-mesh function to store woven fabric and add new weft yarns for continuous weaving simulation. Dynamic Weaving Process Simulation fully models loom kinetics and kinematics involved in the weaving process. However, the step-by-step simulation of the 3D weaving process requires additional calculation time and computer resource. In order to promote simulation efficiency, enable finer yarn discretization and improve accuracy of fabric micro geometry, parallel computing is implemented in this research and efficiency promotion is presented in this dissertation. The Dynamic Weaving Process Simulation model links fabric micro-geometry with the manufacturing process, allowing determination of weavability of specific weaving pattern and process design. Effects of various weaving process parameters on fabric micro-geometry, fabric mechanical properties and weavability can be investigated with the simulation method.

The field I’m working in is “design through construction”. Construction as a field in fashion design when creating has expanded and there are many views upon how one can work whit-in this field. I’m working with a cut and then bending or displacing it through placing it on the body so it creates volume which starts from its vertex. One could say that it works like an inverted dart. This way to work has a potential to create volume that stands out from the body without using standard ways e.g. like adding a new pattern piece or build a crinoline. It might answer to the question: How can one create shape or arrange shape without adding anchor points? Therefor I explore the relation between body and shape through inverted dart. I’ve been executing experiments through a trial and error method diverged in three steps when in the physi- cal part examine my aim in tests based on the body pressing a cut apart which gives an effect in the vertex of the cut. Through my research I’ve have come to a conclusion that the body in itself can transform garment trough an inverted dart by stepping into it. The relation between the body and material through the inverted dart has qualities were body can arrange dress and define it trough folding fabric and body can through the inverted dart make room for itself. This idea and development is relating to the basics when make dress, body and material and how we can work whit these opponents. Instead of thinking about new variables like new technical tools, e.g. the laser cutter when pushing boundaries one can also take new turns with basics. In this work the body defines dress through the inverted dart (an interaction between body and dress) and create new ways of handling fabric and shape. This perspective on design and art can also been used when working in other fields when distort basic prin- ciples to create new expression. As an example there might be possibilities to develop basics in architecture by studying society and therefore understand fundamental values in this field and, how you by change these variables can develop design.

<p>During papermaking, the internal structure of the fibrenetwork constituting the paper is to a dominating extentdetermined in the forming zone of the paper machine. Thisthesis is aimed at studying the pressure distribution in bladeforming sections, which is commonly considered to be a keyquantity of the process.</p><p>Previous work has provided insight into the physics ofdifferent devices employed in blade forming. However, there hasbeen a lack of models enabling studies of the effects of theinteraction between different components on the pressuredistribution. In the thesis, a model is presented for a genericblade forming section consisting of three blades. The positionsof two of the blades are fix, and in between them is located asuction box. The third blade is applied by a prescribed forceto the opposing wire, in a position facing the suction box. Themodel admits the study of the interaction between the pulsesfrom the different blades in the blade/counterbladeconfiguration, and between the pulses and one-sidedsuction.</p><p>The wires are modelled as tensioned and perfectly flexibleEuler-Bernoulli beams of negligible mass. The suspension istreated like an inviscid fluid. Consideration is taken to theinfluence of fibre deposition on the permeability of thefabrics. By assuming the ratio between the length scales in thethickness direction and the machine direction to be small, aquasi one-dimensional model is obtained.</p><p>For maximum flexibility, the model domain is divided intomodules. Each module is solved individually using a finitedifference based discretisation. The solutions for thedifferent modules are matched with each other iteratively.</p><p>A comparison with published results for a single bladeindicates that the model can be used to obtain qualitativelycorrect predictions of the pressure distribution. New resultsinclude a series of calculations showing the non-trivialinteraction between the pressure pulses when the blades arepositioned successively closer together, the effects of suctionon the pressure pulse generated by a blade applied to theopposing wire, and how blades of modest curvature do notnecessarily stay in contact with the fabric along their fullwidth and the implication of this on the pressure gradient.</p><p><b>Descriptors:</b>fluid mechanics, blade forming, pressuredistribution, suction, interaction, permeable fabric,modules</p>

Interior textiles have been a part of the everyday life of humans for hundreds of years, especially for women whom the creation of textiles has been a usual feature. Archeological findings from the 16th century B.C. show that tools for spinning and weaving for home usage were a part of every household. This was common until the 19th century, when the industrialization in Europe took off and the first textile industries began to establish. This was the beginning of big changes to the modern man’s lifestyle and the way we consume interior textiles. As mass produced products have taken over the market, a counter-reaction among consumers have emerged. The consumers feel a bigger need for unique products, products that feel meaningful for themselves or in any other way increases the perceived value. This has led to a growing trend for DIY-activities (Do-It-Yourself). While the sales of DIY-related products and interior design products increases, statistics shows a decrease in the sales of textile meter fabrics, which is a raw material aimed to be used for interior design and DIY-projects. It can be identified by the way that businesses are selling textile meter fabrics that the strategies haven’t changed very much in the recent decades. Therefore, it is questionable whether the meter fabric assortment is on its way to extinction or if the offer needs to change to better suit the customers’ requirements. This study has focused on what elements of the textile meter fabric offer could be changed in a store in Germany. An analysis of a selective sample of the German customer and how they use textile meter fabrics has been made, but also on how they perceive the offer in store and what they wish to be changed in the textile meter fabrics department. The interviews were conducted in an anonymous store in Frankfurt, Germany. The empirical findings have been put in relation with studies of DIY-motivations and shopping experience. An interview with a sales leader of one of the leading stores of home textiles in Germany, including meter fabrics, has been done in order to put the customers’ answers in relation to how the store work with increasing the DIY-motivations towards the customers. The study has resulted in insights about the stores lacking ability to provide the customers with enough motivation for DIY-projects in regards to textile meter fabrics. A disconnection between the vision of the store and the customers’ perception of the offer has been discovered, where the possibilities of improvement are vast. The study also shows that a majority of the interviewed German males show little or no interest in both DIY and textile meter fabrics.

A number of general studies of the history of eighteenth century men's clothing have been written by authors such as Zilla Halls, Avril Hart, and Norah Waugh. However, a cursory review of costume literature reveals a lack of academic study on specific men's garments and their history. This work focuses on documenting the development of eighteenth century men's waistcoats using the artifacts themselves. The purpose of using extant waistcoats is to study closely their construction and decorative details with close attention to the similarities and differences in the style, cut and assembly of the garments.

The thesis is made up of episodes in which I am in dialogue with myself, sometimes in dialogue with the work, and yet other times I am speaking directly to the reader/viewer. The tense also sways from past to present as frequently as the visual language does. The following episodes are a selection of writings from my final year at graduate school. The episodes express my influences, inspirations, theories, and philosophies as a person and a maker. I think of these things as what allows me to wander and then wander somewhere else completely different within the same landscape. I feel it is important for an audience to experience these wanderings. I feel it is more valid for you to read exactly what I am thinking rather than to tell you about what I am thinking and making, because it is an expression of my relationship with my work. The images are supplemental to the writing. The images and writings fit together in that they inform one another. That is not to say that the ideas do not always transfer literally from image to writing but that they are what is thought about simultaneously through out my creative process. Most importantly I have developed through my graduate experience an intense relationship with the work. This is the most important relationship an artist has, the one with his or her work. It is deep and enriching, at times painful and frustrating, and at its best surprising, amazing, and even glorious. This is what I have to share through my thesis.

The Beaut-Ease product line consists of several machines that are a hybrid between beauty products and infomercial products. Both industries flourish on a level of falsehood that teeters on the brink of hilarity.

Du tissu à la peau, de la peau au tissu : dessiner à vif dans la matière est une recherche sur la matière du corps et ses liens au monde. Cette étude est impulsée par une pratique artistique qui explore la peau et le tissu non pas comme seules enveloppes et interfaces, mais comme des matières plastiques à part entière, afin de faire émerger et de révéler de nouvelles approches du corps. A cet effet, j’emploie ciseaux, feutres, encre, aiguilles et fils, pour mettre en œuvre ma propre perception du corps, qui ne s’appréhende pas seulement en termes de modelés, mais en termes de lignes, celles qui se révèlent à mon regard dans l’image corporelle. La quête de la ligne, ou des lignes du corps sont au cœur de cette étude. Il s’agit de questionner l’espace du corps, l’idée d’une frontière entre une intériorité et une extériorité, en interrogeant la création artistique qui s’attache à œuvrer sur la peau et le tissu. Comment la peau et le tissu sont-ils perçus ? Comment et par quels procédés une réciprocité plastique de leurs champs d'actions peut-elle se créer, et interroger la vision du corps humain ? La sociologie, l’anthropologie, l’esthétique, la philosophie, l’histoire de l’art, la danse et la haute-couture, sont des disciplines qui nous permettrons d’affiner notre propos, et dont le point commun réside dans ce que chaque courant de pensée et chaque œuvre étudiée nous renseigneront sur la vision que nous avons du corps vêtu/dévêtu, et la perception qui en résulte. Le point de vue plasticien génère et répond aux interrogations théoriques proposant un espace plastique fait de peau et de tissu, que le spectateur est invité à explorer à son tour. / From fabric to skin, from skin to fabric, drawing into material is a research on the body as material and its links to the outside world. This study is based on an artistic practice that explores skin and fabric not only as envelopes and interfaces, but also as artistic materials, so as to bring forth and reveal new approaches of the body. In this regard, I use scissors, felt-tips, inks, needles and thread, to work my own perception of the body, which is not only seen in terms of light and shade but also in terms of lines, those that show themselves to my eyes in the body image. The search for the line, or the lines of the body, is at the heart of this study. Our aim is to question the space of the body, the idea of a border between interior and exterior, whilst interrogating the artistic creation which attempts to work on skin and fabric. How are skin and fabric perceived? How and by which means can an artistic reciprocity of their fields of action be created, to question the vision of the human body? Sociology, anthropology, aesthetics, philosophy, art history, dance and fashion design are some of the fields that will enable us to specify our analysis, and their common point lays in the fact that every currents of thought and every works of art studied here will give us some clues about the vision we have of the dressed/undressed body, and the perception which results from it. The fine artist’s point of view generates and answers some theoretical questions concerning a plastic space made of skin and fabric, that the viewer is invited to explore.

Cette thèse a été réalisée au sein des laboratoires du GEMTEX et du LAMIH, et porte sur l’étude et l’évaluation d’une solution composite à renfort tissé pour la protection balistique de véhicule. L’enjeu de cette thèse consiste à explorer le potentiel des solutions en composite à renfort tissé interlock 3D dans le cas d’unimpact à haute vitesse. Deux solutions composites ont été mis au point en laboratoire, intégrant le même renfort tissé interlock mais mis en oeuvre par deux procédés d'imprégnation différents. Ces composites ont été évalués à l’impact par un FSP (Fragment Simulating Projectile) de 20 mm de diamètre, dans une configuration de backing, c'est-à-dire en face arrière d’une plaque métallique utilisée pour la protection contre les impacts à haute vitesse.Plusieurs campagnes d’essais ont été réalisées permettant d’optimiser nos structures interlocks 3D afin de répondre au mieux à la sollicitation dynamique. Les résultats à l’impact de ces composites ont été comparés à ceux d’une solution composite dite de référence généralement utilisée dans les véhicules blindés à base de tissés 2D empilés suivant différentes directions. Ces essais nous ont permis de faire ressortir les performances de l’une des structures développée présentant des capacités de protection à l’impact supérieures aux composites de référence.Afin d’en comprendre les mécanismes des renforts mis en jeu, nous avons représenté numériquement ces tissus interlocks soumis à l’impact. Des modèles numériques innovants ont été simulés dans le but de représenter le renfort tissé de façon réaliste grâce aux mesures obtenues par micro-tomographie à rayons X. / This thesis was performed at the laboratories of GEMTEX and LAMIH on study and evaluation of a solution based on warp interlock reinforced composite for vehicle ballistic protection. The main purpose of this thesis is to explore the potential of warp interlock reinforced composite solutions in the case of a high velocity impact. We have chosen to study two composite solutions manufactured in our laboratory which presented the same warp interlock reinforcement but with different resins and infusion processes. Those composites were tested by an FSP (Fragment Simulating Projectile) impact as armour backing. Few campaign of tests were performed which helped us to optimize our warp interlock structure in order tohave a better response to the dynamic loading. The impact results of our composites have been compared with those of the benchmark which is a composite generally used backing. Thanks to these tests we had the possibility to observe that one of our structures present a better impact behaviour than the others. In order to improve our representation of those reinforcement, we have been working on the numerical modelling of those warp interlock submitted to impact. Innovative numerical models have been set up thanks to micro-tomography analysis allowing a more realistic representation of the reinforcement.

M.Tech. (Architectural Technology) / This book is based in, and begins with, dialogue. This is the exchange between author and reader, as consumer of its narrative. Portions of this work are interactive in order to extend and capture this dialogue between each of us and the ‘material’ content that “constitutes the city, as lived experience, encounter and representation. The book is an imagining of the city. It is a visual-textual craft anthology that develops over time as a collection of artefacts that point to an alternate future reality. This is done through the process of design. [0.1] The dialogue is interlaced with cross-stitched personal histories[G] of both author and the site. There are many personal reflections about place, image and experience of space comprising the presented material. These are woven into the subject matter. The book sews together these patches of the experiential, the visionary and the idiosyncratic nuances of the existing and future city, and site. The format and composition of the pages that follow resemble material ‘things’ as the manifestations of city. Using montage and collage as devices of visual narrative, the subject and design process is suggested, developed and compiled. The ‘image of the city’ is derived through collection and accumulation of textile-tectonic narrative. This is presented as assemblages that can, at any point, be read as past, present or possibility.