This work positions itself in the intersection between art, fashion and crafts. The work aims to challenge traditional ways of making clothes by investigating the relationship between material, form and body through a three dimensional hand weaving technique with focus on up-cycling. The design examples were conducted through a series of experiments where different objects were investigated as alternative weaving looms. The study resulted in five design examples that argue the importance to maintain and develop craft techniques and to give suggestions of how to address the environmental problems within the industry.

Within Alinea, the purpose is to explore the use of bioplastic as unconventional yarn in the traditional technique of handweaving. The focus toward bioplastic as a design material and the technique of handweaving as the fabrication technique to generate broader alternatives for using bioplastic materials in woven textile design. Described through experimental and practise-based research, handwoven bioplastic samples have been explored to investigate the methods of structures and bindings, gradient colouring and print design within bioplastic and weaving. With the attempt to make bioplastic more accessible for the textile industry. The experimental design research resulted in scaled prototypes that showcase a collection of seven pieces that present various design possibilities and potentials regarding bioplastic within the textile weaving technique, including distinct structural tactile qualities bioplastics can offer to the field of textile. It can be concluded that bioplastic can play a role in becomes a desirable material steering textile design towards a more sustainable future in the textile design field. Furthermore, give handwoven materials new aesthetics by producing unique structures and tactile features.

Woven Light Interference looks into the light and colour phenomenon interference in a textile design context. This is done by introducing dichroic filters to design structures and patterns when weaving. The experimental design research methodology was used to explore dichroic filters’ design possibility and potential, using a textile weaving technique for a spatial context. The final result is visually presented in a collection consisting of six woven textiles that have multiple expressions with internal and external effects. Together, they propose new methods of working with light and colour in the textile design, without incorporating electronics or being connected to wires, but rather change depending on the existing ambient light of a space.

Mining is the primary method through which modern society obtains the minerals needed to fuel the global economy, provide for modern energy requirements, and support the built environment. Presently, mining accounts for nearly 1% of the global ice-free land surface, with a dramatic increase anticipated in the coming decades. Mining permanently changes and often destroys the pre-existing topography, hydrology, and ecology of the ground, and efforts to reclaim mining landscapes—with the aim of encouraging reforestation and soil replenishment—are often unsuccessful, rendering the land of abandoned mines both unusable and uninhabitable. This thesis addresses the current state of mining in the Democratic Republic of the Congo (DRC) and focuses specifically on a cobalt and copper mining complex within and adjacent to the town of Kolwezi. This is a complex site that is crucial for the global transition to renewable energy, and yet contains many of the climate and social injustices currently implicit with mining. This research formulates a novel model of mine reclamation for the landscapes of Kolwezi, and, in the process, introduces new options for the symbiosis of extraction and inhabitation: the results of which will challenge many of the existing narratives within architecture. This model is guided by concepts of geologic and deep time, with an emphasis on long-term holistic solutions and uses the opportunity of building in terraformed land as a practice to invert traditional relationships of vertical space and hierarchy. Finally, this thesis works to create an alternative design for living, one that accounts for our outsized impact on planetary ecologies, ultimately redesigning and restructuring our relationships to our sacred ground.

I weave figurative tapestries, working with themes regarding our relationship to the wild, both in nature and ourselves. I dye my yarns with mushrooms and plants I pick in the forest. I go through this trouble because I want the material to carry a story within itself, I see it as giving it life. This method makes the work divided in three main steps: the foraging, the dyeing, and the weaving.

In this paper I am exploring why I am drawn to such labour intensive craft as weaving. In a wider perspective I ask what place slow craft has in our post industrial society. I try to find the meaning of slowness and monotonous work. I do this by repeatedly working with the circle as a motif in my weaves. By growing my own pigments to dye with I examine differ- ent kinds of slow processes. I investigate the meaning embedded in the finished weaves. I come to understand how I use weaving as a way of thinking.

This thesis explores the evidence for handweaving in antebellum Washington County, Tennessee. The author examines probate inventories, wills, store ledgers, and census and tax materials to determine the identities of the weavers, the equipment and raw materials available to them, and the kinds of textiles that women wove. The author discusses the reasons many women continued to weave cloth at home although commercially woven textiles were available in local stores. The author concludes that many of Washington County's antebellum weavers wove as a contribution to the country goods the family bartered at the local store. Others may have been responding to an ethnic or family tradition or seeking an outlet for creative expression. For many, a combination of factors influenced them to weave. By adding to our understanding of women's household activities in East Tennessee, this study adds to the history of the wider Appalachian region.

This work places itself in the field of textile design, weaving and exploring the design of changeable expressions in textiles. The intention of this work is to design three textiles that interact with the environment in outdoor spaces to achieve changeable expressions. Weaving is chosen as a technique because of the possibility to achieve different qualities in the same piece of fabric. The material, structure and density in the weave determine the interaction between the textile and the external factors, such as wind and light. The parameters make the various parts of the textile react in different ways, for example, the looser the threads are attached in the weave, the more they move in the wind. The interaction between the surroundings and the material causes the textile to change expression in terms of color, pattern, and transparency. The textiles provide an interactive element to an outside space, where it can be used as either a decorative piece of with a functional purpose as room dividers. The project opens up to utilize the textile responsiveness to external forces in design, to create dynamic textiles which change in appearence.

While weaving maneuvers occur on every type of roadway, most studies have focused on freeway maneuvers. Weaving occurring on non-freeway facilities, such as arterial streets, can cause significant operational problems. Arterial streets weaving typically occur when vehicles coming from a side street at an upstream intersection attempt to enter the main street from one side to reach access points on the opposite site at a downstream intersection by crossing one or more lanes. This dissertation investigates the type of problems occurring on arterial streets due to the weaving movements and recommends a new design to alleviate weaving on arterial streets. Firstly, the dissertation examined the different weaving movements occurring between two close-spaced intersections at two sites in Florida and explained the breakdown conditions caused by the weaving movements at the two sites. Secondly, the dissertation proposed a new design, Right Turn Split (RTS), to alleviate the delay caused by the weaving movements. The new design proposed separating the worst weaving movement entering the arterial from the other movements and providing a separate path for this movement. The new method is easy to implement and does not require much right of way. Thirdly, the dissertation compared two microscopic models, SimTraffic and VISSIM, to choose the most suitable model to be used to study the operational benefits of the RTS design. Based on the results of the comparison, it was decided to use SimTraffic for the analysis. Fourthly, the dissertation proposed a new calibration and validation procedure for microscopic simulation models. The procedure was applied on SimTraffic using the traffic data from the two studied sites. The proposed procedure appeared to be properly calibrating and validating the SimTraffic simulation model. Finally, the calibrated and validated model was used to study the operational benefits of the RTS design. Using a wide range of geometric and volume conditions, 729 before and after pairs were created to compare the delay of similar scenarios before and after applying the RTS design. The results were analyzed graphically and statistically. The findings of the analysis showed that the RTS design provided lower delay on the arterial street than the original conditions.

This project places itself in the area of Textile Design, relief patterns and weaving. The project drives from an interest of not taking design so seriously, letting it be playful and maybe slightly meaningless, in terms of functionality. This design is not something that is needed, neither a problem-solving design. Rather, the intention is to investigate how the design would be saturated in a context where it would be something unpractical and extra. Extra as something that is not necessary. With the aim of the project is to explore texture and volume by designing tactile relief patterns through the combination of Jacquard weaving and hand painting. The process consists of experimenting in the Jacquard: weaving in undyed yarns to create form through bindings and material. The woven textiles are then painted with a mix of pigment and water to highlight or distort the form of the weave. The outcome of the study is a collection of several pieces, where volume, texture, and tactile patterns are explored. This work contributes to the field of textile design by displaying a possibility to use a hands-on step in the Jaquard process, as well as the appearance of the hand: aquarelle look and a clear hand brush that is not possible using dyed yarns.