The fashion system is contributing to the environmental and social crises on an ever increasing scale. The industry must transform in order to situate itself within the environmental and social limits proposed by economist Kate Raworth, and the 17 sustainable development goals set out by the United Nations. This research explored methods of eliminating textile waste through utilising zero waste pattern cutting to expand the outcomes possible within industrial contexts and speculates as to the implications for the wider industry and society. Employing an experimental and phenomenological approach, this thesis outlines the testing of known strategies in the context of industry and responds with new emergent strategies to the challenges that arose. A series of interviews were conducted with designers who have applied zero-waste fashion design in an industry context – both large and small scale – to unpack the strategies used and contextualise the difficulties faced. The findings that emerged from the iterative design practice and the experience of working within the field tests inform the surrounding discussions and reflections. This reflection brings into sharp relief the inherent conflicts that exist within the fashion system and has led to the development of a series of theoretical models.The implications for design and industry are broad. Firstly that while this thesis outlines garment design strategies, and broader – company-wide – approaches that can work to reduce waste in a given context, this research finds that a holistic transformation of the internal design and management processes of the industry is required for them to be successful. In response, theoretical models have been developed which seek to articulate the constraints, roles and actions of design within broader company practices, while contextualising these within the economic system it operates. It is clear that reducing waste will only have a minor positive effect on the environmental outcomes unless we also reduce consumption of raw materials through reducing yield or reducing consumption – ideally both. These findings and models point towards a necessary recalibration of the industry as a whole – small changes are not enough as the existing methods, processes and ethos are deeply embedded, and its agents are resistant to change. The results concur with previous research and conclude that a fundamental shift in thinking is required – one that prioritises a different set of constraints to those the industry and society currently focus on – in order to make the rapid and meaningful change necessary.

This thesis will explore the vital importance of empathy on the part of graphic designers when creating information graphics. Today’s over-mediated public expects a rich user experience that is emotionally engaging, and multi-sensory by nature. To meet the public’s need, graphic designers must accept the cognitive responsibility to be empathetic to the viewers’ relationship to the information, and not just the surface issues of form, media, and content. / Includes bibliography. / Thesis (M.F.A.)--Florida Atlantic University, 2015 / FAU Electronic Theses and Dissertations Collection

[pt] Responsabilidade social nas relações entre designers e artesãos: um caminho sustentável? tem como objetivo principal verificar se projetos autodenominados de responsabilidade social entre designers e artesãos podem proporcionar a geração de renda e a preservação das tradições sócio-culturais dos artesãos envolvidos. O foco recai em exemplos de alianças onde empresas ou representantes de empresas ajudam grupos de artesãos ou comunidades a se ajustarem ao mercado fazendo isto explicitamente como uma finalidade social e não simplesmente uma terceirização. Nos interessamos em casos onde a empresa utiliza a expertise específica de seu mercado para a finalidade social e desta forma capacita e/ou promove estes grupos ou comunidades. A partir desta pesquisa foi possível verificar questões sobre as relações entre designers/estilistas e artesãos que influenciaram diretamente o desenvolvimento de produtos artesanais e sua permanência regular em mercados específicos como o mercado da moda. / [en] Social responsibility in relations between designers and artisans: a sustainable way? has as its chief objective to investigate whether projects selfstyled as social responsibility between designers and artisans may make it possible to generate income and preserve the social and cultural traditions of the artisans involved. The analysis focuses examples of alliances between companies or representatives of companies helping groups of artisans or communities to adjust to the market and doing so explicitly with a social aim and not just outsourcing. We are interested in cases where the company uses market-specific expertise for social ends and thus enables and/or promotes these groups or communities. From this research it was possible to verify issues related to the relationships between designers/stylists and artisans that directly influence the development of handicrafts and their consistent permanence in specific markets, such as the fashion market.

The challenge of transitioning to an environmentally sustainable system of production and consumption is both a major risk and a significant opportunity for companies involved in the design and manufacture of products. One approach that might assist companies in meeting this challenge is ‘eco-innovation’, which aims to deliver new products and processes that provide customer and business value but significantly decrease environmental impacts. <br /> The aim of the research was to understand how eco-innovation tools can be developed and introduced to a company such that they are adopted into the long-term practices of the company and contribute to the development of eco-innovative products. A ‘toolbox for eco-innovation’ was developed by adapting existing innovation tools for the purposes of eco-innovation. The initial toolbox was tested through in-house trials before subsequent trials in industry with a refined suite of tools. One-day workshops were held with six producers of electrical and electronic equipment. Four of these companies went on to participate in more in-depth tool introduction studies in which the tools were customised to the specific needs of the company and its design team. Formal tool feedback sessions and individual interviews with members of the design team were used to asses the effectiveness of the tool customisations. The organisational drivers and barriers for the long-term adoption of eco-innovation tools were also investigated. <br /> The contributions to knowledge of this research are: <br /> <ul> <li>The development of a toolbox for eco-innovation.</li> <li>The validation of tool customisation as an approach to improving the introduction of eco-innovation tools.</li> <li>The definition of a generic process for tool introduction based on tool customisation which is appropriate for workshop-based design and innovation tools (including eco-innovation tools).</li> <li>Insights into the organisational drivers and barriers for the long-term adoption of eco-innovation tools.</li> <li>A model for the management of eco-innovation activities. </li> </ul>

This thesis deals with foldable, portable and eco-friendly textile furnishing for students. Students move quite often and therefore big and heavy furniture is sometimes a problem. In this project prototypes of a hanging sofa called Idle and a hanging storage system called Hang Around are presented. These products can be pulled up to the ceiling when there is no use for them and taken down when needed. The idiom of the products communicates stability and security even though they are suitable for living in motion. The aim has been to create sustainable products that can help to maintain the feeling of home and security in the middle of a hectic and mobile life. The forms of the products and the textile patterns have been developed simultaneously. The inspiration for the pattern design comes from Northern forests. The patterns are digital printed on woollen fabric. The materials and techniques used in this project were chosen because of their limited environmental impacts. Idle and Hang Around are designed to suit the concept house Nestet, which is an eco-friendly exhibition house with solid wood construction. The house, where Idle and Hang Around appear, was built in the centre of Borås in June 2005. / <p>Program: Konstnärligt masterprogram i mode- och textildesign</p><p>Uppsatsnivå: D</p>

This thesis explores a design project concerned with the relationship between the person and nature in the context of achieving a state of symbiosis between the two – a state which can be reached through highlighting the relationship between the person and the rhythmic characteristics of natural light. The project originated from a concern with modern society’s constant separation from the natural environment and the resulting sense of placelessness often experienced in the spaces created. In response, a desire arose to investigate the effect that natural light has on the person and contribute to the design of naturally enriched spaces where light is used as the link between the person and the natural environment. We are constantly influenced by the prevailing conditions of light. Our biorhythms are in tune with the natural changes from day to night, the duration and intensity of sunlight and the spectral composition of light. However, in an attempt to create the optimum formula for comfort, efficiency, and productivity, we are using advanced lighting technology to create uniform interior spaces detached from the everchanging exterior environment. The outcomes of the study are to inform the practice of design and architecture and to use the findings in a beneficial manner towards the design of educative spaces. In response to the need for a secondary school in Fond des Blancs, Haiti, I want to focus on the chosen site and program, and investigate the rhythms of light and their effects as they are related to the specific location and the purpose of education. Moreover, I want to use the results to create a set of design guidelines for the specific location and function of the buildings to find out how biorhythmic design can be used for the creation of an educative environment where natural light is channeled, maximized and utilized for the goals of the learning process?

Problems that the earth has faced with such as the depletion of natural resources, contamination of water, air and land, extension of species, and the global warming have brought up the sustainable development to the agenda. This state of affairs has elicited the undeniable role of industrial design activity on the sustainable development / sustainability has become an important concern of industrial design education. The purpose of this study is to determine the state of sustainable design education in the undergraduate industrial design programs in Turkey &ndash / especially in the Department of Industrial Design at Middle East Technical University (METU) &ndash / by exploring the relation between industrial design education and the concept of sustainability with regard to the examples from all around the world. With reference to the arguments collected by the literature review study and findings of the field study about the opinions of industrial design students and educators, suggestions will be made on how sustainability can be integrated in the curricula of the undergraduate industrial design programs in Turkey.

Inse mitt värde och behåll mig en stund till är ett utforskande projekt i hållbar textildesign. Huvudfokuset i projektet är att utforska vilka möjliga designlösningar som kan ge produkter egenskapen av föränderlighet och på så vis möjliggöra en förlängning av deras livscykler. Detta undersöks utifrån ett eget formulerat förhållningssätt till hållbar design, genom praktiska experimentella undersökningar av olika material och föränderliga mönsterbilder. Detta kombinerat med att ge konsumenten en aktiv roll i förändring av en produkts utseende och funktion. Projektet resulterar i tre produktprototyper som på olika sätt gestaltar föränderlighet och det formulerade förhållningssättet. 1. Mossa, en tröja gjord av rundstickat, jacquard trikåtyg med materialkombinationen Sally Fox bomull och oblekt bomull. Textilen är ett följsamt mjukt tyg med en mönsterbild som ändrar nyans för varje gång konsumenten tvättar den. 2. Kotte, ett påslakan och örngott gjord av en fem-skaftad satängväv i jacquard- teknik. En textil där mönsterbild och färg inverteras på den aviga sidan. Sängklädernas estetiska uttryck kan förnyas av konsumenten själv genom växtfärgning. 3. Bark, en ullfilt gjord av flatstickad dubbelrelief stickning med olika maskstorlekar i jacquardteknik. Filten kan transformeras av konsumenten själv, genom tvättning, och då få en ny funktion som matta. Den går då från en mjuk, tvådimensionell och följsam textil till en kompakt, tredimensionell tålig textil. / Recognise my value and keep me a while longer is an exploratory project in sustainable textile design. The focus is to explore possible design solutions that can give products a property transformation over time and prolong the products life cycle. This through practical investigations with different materials based on a chosen approach to sustainable design and changeable pattern images. Also with aim to give the consumer an active role in the changing of a products appearance and function. The end result is three product prototypes that all in different ways exemplify the chosen approach to sustainable design. 1. Moss is a jumper made of circular knitted jacquard fabric with the material combination Sally Fox cotton and unbleached cotton. The fabric is conformable and soft with a pattern that changes hue strength for each time the consumer washes it. The changing pattern makes the jumper interesting because it´s expression changes slowly while it´s being used. 2. Cone is a duvet and pillow cover that is made of a five shed satin jacquard weave. The textile pattern and colour is inverted on the back and front side of the textile. The aesthetic expression of the bed clothing can be renewed by the consumer through vegetable dyes. 3. Bark is a flat knitted, dubble relief, jacquard wool blanket. The blanket can be transformed by the consumer, through washing, and then get a new function as a rug. The textile goes from a soft, two-dimensional, flexible and somewhat fragile textile into a compact, three-dimensional durable textile.

The two fields of historic preservation and sustainable design include many similar values concerning conservation, yet produce buildings that ultimately look and perform differently. Historic preservation relies on the maintenance of traditional materials to ensure that historic buildings are preserved for future generations. Sustainable design typically works with new construction to create buildings that have little negative impact on the environment. The similarities yet separateness that exist between historic preservation and sustainable design provide a compelling platform to ask how we can combine the two fields within one building project. The combination of these two felds is currently being explored in post-Katrina New Orleans, and I am asking how we can combine historic preservation with aspects of sustainable design to create a sustainable preservation hybrid, or fusion between technological aspects of “green” design with traditional methods of preservation, that will allow historic buildings to maintain their integrity and achieve the values of sustainability. New Orleans provides a great opportunity to examine this question due to the damage caused by Hurricane Katrina and the ensuing efforts to rebuild the city. One specific area of New Orleans, the historic district of Holy Cross, plays home to two key organizations involved in the rebuilding: the Preservation Resource Center, which preserves the existing historic housing stock, and Global Green, which builds new, sustainable design projects. These two organizations work right down the street from one another, yet have yet to combine their building methods or work together on a shared project. This relationship between Global Green/sustainable design and the Preservation Resource Center/historic preservation provides a good opportunity to examine how elements of new sustainable design can be combined with the traditional methods of preservation in order to achieve a sustainable preservation hybrid. I examine the creation of a sustainable preservation hybrid by conducting a literature review, interviews and site visits, and energy modeling. The literature review reveals that preservationists and architects involved with sustainable design like the idea of creating a hybrid, but still lack a thorough understanding of each other’s tacit values. The interviews reveal how the organizations working in Holy Cross also embrace the idea of a sustainable preservation hybrid, yet remain somewhat lost as to how to actually create such a building. The energy modeling then demonstrates which combination of “green” materials from sustainable design and “traditional” materials from historic preservation combine to create a building that achieves both the values of sustainable design and historic preservation. Whether or not we can combine preservation and sustainable design to make a hybrid poses an original and relevant question in the context of post-Katrina New Orleans and elsewhere. Since we are currently facing an energy crisis, the conclusions as to how we can combine these two fields prove how a single, historic building can simultaneously conserve both environmental and historic resources. / text

The United States has over 26 million students in primary and secondary schools nationwide. The result of such a large school-aged population, in combination with an increasingly environmentally conscious culture, has been a national effort towards green and sustainable school design. In theory, high performance school design utilizes a combination of key technologies in order to improve the learning environment while saving money, resources, and energy. An abundance of literature supports the lofty promises of this design strategy, but in an industry that has only recently begun to gain widespread support, very little substantive research of case studies has been documented. This report explores the history and characteristics of green schools, followed by a case study of Pickle Elementary School, located in Austin, Texas. Through the use of quantitative, qualitative and anecdotal research, this report begins to unveil the reality of this ever-growing movement towards greening America’s schools. / text