This thesis consists of five scientific articles oriented towards capacity. Managing capacity constraints with associated delays is a big issue at new design as well as at trimming existing traffic facilities. In larger Swedish cities these challenges have become more and more important as a result of growing traffic demand due to rapid population increase.Models for estimating capacity and delay are available, but not many are calibrated for Swedish conditions due to the high effort required. This thesis documents development and calibration of new models for motorway links, entry and exit lanes and weaving areas and an developed space-time model with the ability to calculate queue length, delay, etc.The first article is focused on identifying weaknesses in the former Swedish capacity method for motorways, and development of new models overcoming these shortcomings. The development includes new models for jam density at queue, capacity in weaving areas and fundamental flow-density relationships for 15 different highway types for inclusion in the new Swedish capacity manual.The second article describes the development of a Swedish motorway space-time model to estimate travel times and queues in oversaturated conditions based on the American FREEVAL model in Highway Capacity Manual 2010 (HCM 2010). Calibration and validation of the model has been performed with data from the Motorway Control System (MCS) in Stockholm. A good correspondence was obtained for most cases, but further calibration and validation efforts are required for entry and exit lanes.The third article describes further development of the intersection model in the Swedish microscopic model “Rural Traffic Simulator (RuTSim). This is a continuation of the work documented in the author’s licentiate thesis published in 2002. The development focused on simulation of intersections using a new concept on lane use not included in the old RuTSim model. The model describes Swedish rural intersections with flared approaches providing a non-discreet lane use due to vehicle types in queue. New data for calibration and validation data was also generated. The validation results showed good correspondence between simulated and empirical delay results. The new intersection model is now implemented in RuTSim, providing new tools for estimation of capacity, delay and queue length already included in Swedish guidelines and capacity manuals/software (Capcal).The fourth article describes the development of a new capacity model for roadwork zones. Focus is on the resulting capacity of one lane due to several reduction factors. These factors include impacts of closed road shoulders, reduction of number of lanes, diversion of traffic to the opposite carriageway, commuting traffic, length of work zone, lane width and type of road work. The first two correction factors were successfully validated in a full-scale test on the E6 motorway in Gothenburg.The fifth article describes development and implementation of a new harmonization algorithm for MCS systems on motorways designed to increase bottleneck capacity and throughput. Two different models were developed, one of which was implemented in the existing MCS system on E4 Södertäljevägen south of Stockholm. Full-scale trials were carried out with a model based on trigger levels in terms of flow. The second model based on the difference in the variance of speed during two following time periods was tested offline also with very good results. / <p>QC 20160429</p>

As the world becomes increasingly aware of the need to better care for the environment, innovative business models are helping to counter the damage of the fast fashion system - a phenomenon in the fashion industry whereby production processes are expedited in order to get new trends to the market as quickly and cheaply as possible. Designing products with a focus on their renewability can shift the product-consumer relationship. The closed loop concept of a “circular economy” is emerging as a viable and promising solution to the current linear business model. This study explores the possibilities of a more mindful approach to systems of production and consumption through material explorations using plastic from water bottles, paper from old newspaper and magazines, and fabric leftovers from pattern making within a circular economy. It considers the generative and renewable approaches in redefining how fashion engages with the components and raw materials of the industry. The research demonstrates a circular approach to the production of hospitality accessories in an effort to develop new intersections between products, materials, and consumers. The accessories are designed using discarded, reformulated denim–an abundant and underutilized byproduct of the fashion industry­–to reduce waste that currently occurs every time hotel chains and airlines produce disposable giveaway products from new materials.

Fashion embodies what is accepted and valued in a given culture or society and empowers individuals by building self-confidence, enabling them to express themselves authentically through their bodies and garments. The gender binary, perpetuated by the mainstream fashion industry, marginalizes individuals who do not conform to it. In Rebelution 17, I utilize clothing design and photography to empower and liberate individuals who do not conform to the standards of beauty in regards to gender identity and acceptability. The finished works are featured in a Lookbook – a digital and physical collection of photographs used to market fashion – designed to promote awareness of gender-neutral fashion and deconstruct industry norms. Rebelution 17 can be viewed online at www.francescainocentes.com.

Le mémoire original s'accompagnait en annexe du livre-objet Le poids de l'oiseau sur la vitre. / Ce mémoire de maîtrise en recherche-création explore les modalités d’intégration d’éléments défiant, dans les romans dits hybrides, les conventions visuelles de la majeure partie du texte et participant à la construction du sens. Le poids de l’oiseau sur la vitre est un récit hybride qui suit le parcours d’une vieille femme revisitant un fragment du journal intime de sa jeunesse, écrit – ou imaginé – après la perte de son bébé. Un parcours qui est une seconde fuite car au fil des corrections et de la reconstruction du texte, elle tombe à nouveau dans le piège du mensonge. Confrontée à une surenchère du faux, elle réalisera que cette habitude de considérer la fiction comme un refuge équivaut à rester infidèle au passé, et ultimement à soi. L’essai associe Blankets de Craig Thompson, roman graphique au style composite, au roman hybride, et se consacre à l’étude de ses pages visuellement atypiques, cherchant à déterminer comment elles parviennent, malgré leur aspect divergent, à renforcer la cohésion et le caractère immersif de l’œuvre. / This practice-led M.A. thesis explores how in hybrid novels, the integration of elements defying the visual conventions of the majority of the text participate to their construction of meaning. In the hybrid narrative Le poids de l’oiseau sur la vitre, an elderly woman revisits her diary, written – or imagined – decades ago to shield her from the reality of her infant son’s death. At first intent on restoring the truth, she soon falls, through the many corrections she brings to the original text and her reconstruction of the book, into her habit of tweaking facts, realizing at last that giving in to this spiral of lies means cheating herself from the past and, ultimately, her future. The following essay likens Craig Thompson’s Blankets, a graphic novel whose structure dynamics are based upon the use of different styles and page layouts, to hybrid novels, and studies its most visually striking pages to determine how, despite their distinctive appearance, they enhance the novel’s cohesion and make it more immersive.

Artist Statement The organic patterns all around me are what intrigues and inspires my textile, glass, and painting compositions. I find beauty within the natural growth patterns of things both large and small. My work references the reverberated growth processes in living things from the macroscopic observation of a plant to the microscopic viewpoint of its cells. Like the beauty found within these organic configurations, my process begins with creating serendipitous marks with a reference to natural patterns. Then, I intuitively respond to what I see in front of me. As I work, I use repetitious lines and shapes and a vibrant, non-naturalistic color palette. My choices of colors are personally motivated, and the combinations and manipulations are intuitive. Pattern and color are both visual languages that affect individuals differently. While my use of both is in response to my own experiences, my works allow the viewer to respond and connect in their own way.

La vannerie en Bretagne n’avait pas à ce jour fait l’objet d’un travail d’ensemble. Elle y présente des singularités techniques et une grande diversité de types. Toutes les familles de vannerie sont présentes sur la zone d’étude. Les types définis « en matériaux élastiques » (bourdaine, osier, châtaignier) sont pour la première fois décrits dans leur ensemble et mis en perspective. Lors de la recherche, un corpus de plus d’une centaine d’objets, vanneries et outils, a été réuni. Le travail met en évidence l’existence de vanneries natives dont le périmètre géographique et des hypothèses quant à leur dynamique de diffusion ont été définis. Dans le cadre de cette étude, il a été élaboré un modèle classificatoire à vocation universelle prenant en compte la relation qu’entretient le fabricant avec le matériau. Le mode d’expertise s’est appuyé sur les doubles compétences techniques et universitaires de l’auteur. Des prolégomènes permettent de faire un point épistémologique et précisent les différentes traditions classificatoires de ce domaine technique. Par ailleurs, dans une démarche interdisciplinaire, les cartographies produites peuvent contribuer à la connaissance et la délimitation d’aires culturelles. Une présentation des matériaux utilisés dans cette région est détaillée en annexe. Elle met en exergue l’importance de la bourdaine dont l’usage régresse au profit de l’osier. / Basketry in Brittany has never been the prior subject of comprehensive study. Breton basketry exhibits both unique techniques and a great diversity of forms. Every family of basketry technique is represented within the study area. The types defined as “made of flexible materials” (buckthorn, wicker, chestnut) are for the first time here described in their entirety and put into perspective. In the course of research, a corpus of more than 100 objects, baskets and tools, was assembled. This study records the existence of native basket weaving traditions, for which the geographical boundaries are described, and hypotheses about the dynamics for their diffusion are defined. In the course of this study, a classification model has been developed for universal application, taking into account the relation of the basket weaver to the material. The author of this thesis draws on his double expertise as a craftsman and an academic researcher. The prolegomena permit epistemological synthesis and specify the different classification schools in this technical domain. Additionally, in interdisciplinary inquiry, the maps contribute to the recognition and the boundary definition of cultural exchange areas. A presentation of materials used in basketry in this region is detailed in the annex. It highlights the importance of the use of buckthorn, which has regressed, while the use of wicker has proportionally risen.

Trata-se de estudo de caso a partir da abordagem do design de superfícies têxteis sobre a tecelagem manual, baseada em corantes naturais do Cerrado, na região de Carmo de Rio Claro-FURNAS. Observa-se, nesse contexto, uma grande aplicação da tecnologia tradicional do tear manual aliado ao uso de fibras. Esse saber-fazer,transmitido oralmente, representa fração significativa da economia regional e, em grande medida, a identidade cultural nesse contexto. No entanto, observa-se a perda do conhecimento específico relacionado ao uso de corantes naturais baseado em vegetais do Cerrado, apesar de espécies existentes nesse contexto. Assim, como objetivo geral, pretende-se estudar e analisar os corantes naturais nativos dessa região e suas respectivas aplicações com vistas ao desenvolvimento dessa produção baseada em tecelagem manual, processo fundamental para a população da região e experiência importante como referência em políticas públicas locais e regionais / This is a case study from the design approach of textile surfaces on handloom weaving, natural dyes based in the Cerrado region of Carmo Rio Claro-FURNAS. It is observed that context a major application of traditional handloom technology coupled with the use of fibers.This know-how, transmitted orally, represents significant fraction of the regional economy and to a large extent, cultural identity in this context. However, there is the loss of specific knowledge related to the use of natural dyes based on the Cerrado vegetables, although extant species in this context. As general objective, we intend to study and analyze the natural dyes natives of this region and their applications with a view to developing this production based on manual weaving, a process critical to the region\'s population as a reference and important experience in local and regional public policies

Du ska väva sex stycken ängsliga, praktiska, opraktiska och fantastiska mattor! Mattorna ska berätta olika saker. Mattorna ska vara många och stora för att de ska ta plats, synas och höras, men det ska de skämmas för! Mattorna ska vävas snabbt, för att allt måste gå snabbt. Får frågan om jag vill att en ska tycka synd om mig? Det är det jag verkligen inte vill! Får se över hur jag formulerar mig. Men om jag säger, tyck inte synd om mig, lägger jag ord i munnen på mottagaren. Hur ska jag formulera att jag tycker att det är rätt att det är svårt, att mitt handlande leder till självhat. Självhat jag borde känna för att förändras. / Your will weave six anxious and amazing rugs! The rugs will speak about different things. They shall be many and big to take up space, be seen and heard but that they should be ashamed of! The rugs shall be woven fast, because everything have to be fast. Do I want people to feel sorry for me? That is what I really don’t want! Have to look over how I formulate myself. But if I say, don’t feel sorry for me, I put words in the mouth of the receiver. How am I to formulate that I think it is right that it is hard, that my behavior leads to self-hatred. Self-hatred that I should feel to change.

A presente pesquisa, denominada “A filha de Icário, Penélope bem-ajuizada: métis e kléos da rainha tecelã de Homero”, pretende averiguar de que maneira Penélope, personagem do épico homérico Odisseia, utiliza-se da tecelagem para articular sua astúcia e, assim, alcançar fama em sua comunidade. Considera-se Penélope como um paradigma, com o intento de realizar uma análise sobre as diferentes representações do feminino manifestas na Odisseia, de modo a refletir sobre possíveis correspondências entre a filha de Icário e demais personagens femininas retratadas na epopeia com os princípios formadores de comportamentos e práticas sociais relativas às mulheres gregas do século VIII a.C. Assume-se a prerrogativa de que a tecelagem de Penélope, ao ser efetuada com inteligência astuciosa, permite-lhe obter mais do que um tecido, na medida em que contribui para a propagação de sua fama. Reconhecendo o prestígio conferido pelos gregos aos poemas homéricos, ao privilegiarem-se os aportes teóricos do imaginário e da representação, torna-se possível verificar como Penélope e as demais personagens da Odisseia, concomitantemente, inspiravam e expressavam os principais atributos das mulheres gregas do explanado período histórico. / This research, named “Icarius’ daughter, well-behaved Penelope: métis and kléos of Homer’s weaver queen”, intends to verify how Penelope, the epic character of Homer’s Odyssey, makes use of weaving in order to articulate her craftiness and reach fame in her community. Penelope is considered a paradigm, so as to analyze the different representations of the feminine manifest in Odyssey. This is aimed in order to reflect on possible correspondences between Icarius’ daughter and the other feminine characters portrayed in the epic, with the principles that shape the behavior and social practices related to Greek women of the 8th century BC. The prerogative assumed is that Penelope’s weaving, by being made with cunning intelligence, allows her to obtain more than fabric and contributes to the propagation of her fame. Acknowledging the prestige conferred to Homeric poems by the Greeks, giving priority to theoretical approaches of the imaginary and representation, it is possible to verify how Penelope and the other characters in Odyssey, concomitantly inspired and expressed the main attributes of the Greek women of the referred historical period.

Ce travail est basé sur une approche pluridisciplinaire des sources antiques ; les informations issues des sources écrites, de l’iconographie, des outils de tissage et des fragments textiles conservés, sont comparées pour créer une image aussi complète que possible de l’activité textile en Attique de l’époque classique. Cette étude révèle une activité textile très soutenue, divisée entre l’espace domestique et l’espace artisanal, occupant un grand nombre d’hommes et de femmes. Les Grecs anciens avaient hérité d’une grande tradition textile et d’un savoir-faire qui, comparé à la bonne connaissance du milieu naturel environnant, leur permettait de faire des choix (de matière première, de techniques de fabrication et de techniques d’ennoblissement) pour arriver chaque fois au résultat désiré. Des différences de qualité aux matières premières, aux techniques de fabrication et d’ennoblissement, évoquées dans la littérature de l’époque, indiquent l’existence de textiles de différentes qualités, qui répondaient aux besoins de toutes les couches sociales. / This study examines the textile production in classical Attica with an interdisciplinary method, which combines information from the written sources, the classical iconography, the textile production tools and the classical textile remains, in order to establish the most complete image possible of the textile activity in the classical period. The sources inform us of an elaborate textile industry and a high specialization of the professional technicians working in this domain. The Greeks have inherited a great textile tradition and technical knowledge, which, combined to their familiarity with the natural environment made them to be able to choose between raw materials, production and embellishment techniques in order to achieve the desired result. Differences in the quality of the raw materials, the production and embellishment techniques, as references in the literature, suggest the production of a great variety of textiles of different qualities in order to respond to the needs of all social classes.