With the technological progress of materials science, the palette of colours with which to print on textiles has expanded beyond those with previously known properties and expressions to a new generation, with more advanced functionality and expressive properties. This new range of colours is characterised by their ability when printed on textiles to change colour in relation to external factors and internal programmes; for example, leuco dye-based thermochromic inks generally change colour in response to temperature fluctuations. This research explores the design properties and potentials of leuco dye-based thermochromic inks printed on textiles, with regard to creating a wider range of colour-changing effects for textile applications. The significance of this for textile design is related to the development of a methodology for designing dynamic surface patterns. The research was conducted by creating a series of design experiments using leuco dye-based thermochromic inks, which resulted in different recipes and methods, along with a pedagogical tool. The results highlighted the diverse colour-changing properties of leuco dye-based thermochromic inks, which have the potential to create more complex patterns on textiles. The outcome of this research proposes a foundation for textile designers with which to approach new ways of thinking and designing.

Hospital-acquired infections are to date a major challenge in the patient safety. The proliferation of pathogens such as Staphylococcus aureus, Escherichia coli and Klebsiella pneumoniae is often reported in connection with textiles, which represent a significant source of transmission. This leads most often to the contamination and cross-contamination of the hospitalized patient and the hospital staff. A promising approach and the immediate objective of this research is the application of probiotics to a textile fabric. They provide preliminary evidence in being able to inhibit pathogenic bacteria growth through their competitive mechanism. During this study, screen-printing was used as a method to apply probiotics on a polyester fabric. The viability of probiotics on the fabric was evaluated in the agar plate test method. Samples that exhibited a growth of grown out colonies were further tested regarding their efficacy towards the abovementioned pathogens. This was determined in a competition test, that included the individually inoculation of the samples with the different bacteria strains. Contact-angle measurements and abrasion resistance as well as the durability were tested in order to investigate the applicability of the fabric and scanning electron microscope images were taken to detect probiotics and to evaluate the quality of the print on the fabric. Major findings included that probiotics were able to survive on the polyester fabric and that these viable probiotics are further successful in the growth inhibition of pathogenic bacteria. Thereby their efficacy against pathogens is related to the viability the probiotics. As neither the probiotics used in this study, nor the other ingredients are considered as hazardous, this process is environment-friendly. This work increases the understanding of probiotics mechanism and their survival and competition behaviour on a textile material. It opens a way in the reduction of hospital-acquired infections through the beneficial effects of probiotics.

The title of my thesis is appropriately borrowed from a romance novel title, as my work proposes to mine the content, design and culture of romance novels and other erotic texts in order to excavate my own queer romance narrative. The body of work includes large-scale drawings of “stand-in boyfriends” stolen from romance novel covers, pieced fabric text works based on the titles of erotic texts, and a couch covered in erotic reading material. Drawing attention to the ubiquity of heterosexualized images and texts by deconstructing them, my work critically questions larger social constructions of normality and deviance, pleasure and disturbance, and high and low culture, as they pertain to ideas of love, romance and sexuality.

Through my art process and material selection, I investigate how interior spaces long to accumulate memories and possessions. I am interested in encroaching floor to ceiling build-up of collected goods kept in the homes of individuals unable to discard or part with possessions. These individual’s daily movements through their space and their denial of the surrounding mass informs my work. My work is larger than human scale, made of multiple units, and dense; yet understated by the subtle use of color and repeated materials. When I make an installation it often begins with creating a wall or a floor that delineates itself from the actual architecture of a room. I procure discarded domestic fragments such as carpet, shingles, and blinds. I select one material for each project to emphasize excessive quantities. I seek out donated goods and trash piles, heaps on the edge of consumer waste. The sourcing of these materials is serendipitous. I elevate these mundane materials by taking them out of their original context. The cycle of regeneration moves from material to “art object” back to material again as the work is displayed and dispersed back into the cycle of waste. In this thesis I will discuss how through my process and materials, I investigate interior spaces where memory and possessions accumulate.

The catalyst for the urban growth of Skipton during the formative period of the modern town between 1865 and 1914 was indigenous investment and organisational change in cotton textiles in the aftermath of the Cotton Famine. Railway investment also played an important, although lesser part. The process was facilitated notably by the relaxation of policy on land tenure by the principal landowner and by the work of a well managed local authority. The resulting net in-migration, along with the internal redistribution of population necessitated by the extension of commercial and other services in the town centre, was accommodated by house building in clusters which were either aligned with or removed from the main factory sites. This gave rise to a distinctive pattern of social and spatial segregation, the distribution of which was governed principally by the need for factories to have access to water supplies for steam raising and condensing. Thus the canal corridor beyond the existing built-up area was subject to textile colonisation while wholly residential development was more closely associated with existing high status housing elsewhere. The study considers the processes involved in creating this pattern of development with particular reference to the values and activities of the principal decision-makers. It also discusses the resultant shift in power and influence from the principal landowner to the local authority and to industrial and commercial interests which increasingly were based outside the town. Arising from this a model of urban growth is proposed and tested against neighbouring small textile towns.

El arte textil, para Perú y el del mundo, es considerado patrimonio de la humanidad. Desafortunadamente, en nuestro país se ha visto afectado por el ¨boom¨ turístico y el crecimiento económico. Cusco, no es la excepción. El crecimiento descontrolado de las ciudades y la fácil accesibilidad hacia estos pueblos es suficiente para perder nuestra esencia vernácula. Por esa razón, se planteó un centro turístico, compuesto de un Centro Textil y otros programas arquitectónicos complementarios. Buscando así lograr, por medio de la arquitectura, darle valor al arte textil, la identidad vernácula y lograr acercar el turismo al proceso productivo de los tejedores, con el fin de fomentar la difusión de la textilería altoandina. / Textile art, for Peru and the world, is considered as a World heritage. Unfortunately, in our country it has been affected by the tourist increase and economic growth. Cusco, is not the exception. The uncontrolled growth of cities and the easy accessibility to these towns is enough to lose our vernacular essence. For that reason, a Tourist Center was designed, consisting of a Textile Center and other complementary architectural programs. Seeking to achieve, through architecture, give value to textile art, vernacular identity and bring tourism closer to the production process of the weavers, in order to promote the diffusion of high-Andean textiles. / Tesis

A tapeçaria é uma das formas mais antigas de tecelagem. Esse tipo de tecido possibilita a criação de imagens complexas e suas técnicas e origem são um grande mistério na história geral. A produção têxtil no Peru vem de por volta de 8000 anos a. C. e ao longo da história da região, diferentes culturas desenvolveram a tecnologia têxtil até a chegar à tecnologia manual que temos hoje. As culturas Moche e Chimú viveram na costa norte peruana e desenvolveram técnicas de tecelagem, dentre elas a tapeçaria, que são realizadas até hoje no país, com desenhos antigos e desenhos novos. Os objetivos deste estudo foram: investigar a manufatura de tapeçarias dos séculos XIII à XVI no Peru, distinguindo entre as culturas Mochica e Chimú; demonstrar como a tecnologia manual da produção têxtil, foi empregada nas artes têxteis de Elena Izcue e nas tapeçarias de Maximo Laura, mostrando uma continuidade do povo peruano em usar a mesma temática de seus ancestrais e demonstrar como as técnicas ancestrais são usadas hoje para manter comunidades que permanecem utilizando elementos culturais tradicionais e como eles utilizam a manufatura para permanecer com uma identidade cultural e agregar valor aos têxteis produzidos no Peru. Foi realizada uma pesquisa documental e visitas de campo nos sítios arqueológicos e eventos utilizados para manter as técnicas ancestrais ativas. A revisão bibliográfica gerou uma discussão que possibilitou a comparação entre as duas culturas, que apesar de semelhantes em seus desenhos tinham diferenças nas técnicas para produção têxtil, a comparação de Elena Izcue e Maximo Laura no uso dos motivos pré-colombianos em suas obras e a demonstração, através de teóricos clássicos dos estudos culturais, de que as técnicas tradicionais de manufatura têxtil são uma forma de identidade cultural. Foi possível concluir que as atividades tradicionais são uma forma de manter o modo de vida dos povos que vivem em comunidades interioranas e que ainda hoje preservam os rituais e tradições de seus antepassados; que a identidade cultura peruana está atrelada a atividade de produção têxtil manual / Tapestry is one of the oldest forms of weaving. This type of fabric enables the creation of complex images. Their techniques, and origin, are a great mystery in general history. The textile production in Peru comes from around 8000 years a. C. and throughout the history of the region, different cultures have developed the textile technology until the manual technology that we have today. The Moche and Chimú cultures lived on the northern Peruvian coast and developed weaving techniques, among them tapestry, which are held until today in the country, with old designs and new designs. The objectives of this study were: to investigate the manufacture of tapestries from the 13th to 16th centuries in Peru, distinguishing between the Mochica and Chimú culture; demonstrate how the manual technology of textile production was used in the textile arts of Elena Izcue and in the tapestries of Maximo Laura, showing a continuity of the Peruvian people in using the same theme of their ancestors and demonstrating how the ancestral techniques are used today to maintain communities who remain using traditional cultural elements and how they use manufacturing to remain with a cultural identity and add value to the textiles produced in Peru. Documentary research and field visits were carried out at the archaeological sites and events used to keep the ancestral techniques active. The literature review generated a discussion that allowed the comparison between the two cultures, which although similar in their drawings had differences in techniques for textile production, the comparison of Elena Izcue and Maximo Laura in the use of pre-Columbian motifs in their works and the demonstration, through classical cultural studies theorists, that traditional textile manufacturing techniques are a form of cultural identity. It was possible to conclude that traditional activities are a way of maintaining the way of life of the peoples who live in interior communities and who still today preserve the rituals and traditions of their ancestors; that the Peruvian identity is linked to the activity of manual textile production

Nos últimos anos no Brasil, instituições como o Instituto Nacional de Câncer José Alencar Gomes da Silva e o Ministério da Saúde, reportaram o aumento de casos de câncer de pele. O câncer de pele é uma das doenças mais comuns a nível mundial e pode estar relacionado à exposição à radiação ultravioleta (UV). O objetivo do presente trabalho foi realizar a funcionalização de tecidos sarja 100% algodão com nanopartículas (NPs) de óxido de zinco (ZnO), as quais possuem propriedades para aplicação como protetor solar, melhorando desta forma as características de proteção à radiação UV do algodão. As NPs de ZnO foram sintetizadas pelo processo de precipitação, empregando nitrato de zinco hexahidratado (Zn(NO3)2.6H2O) e hidróxido de sódio (NaOH). A síntese in situ das NPs de ZnO sobre os tecidos foi realizada por meio do processo de esgotamento, usando o equipamento de tingimento têxtil HT (High Temperature). Para este processo foram utilizadas diferentes concentrações de Zn(NO3)2.6H2O (2, 5, 8 e 10% sobre a massa do tecido) e NaOH (0,7; 1,6; 2,5 e 3,0 g/L), respectivamente. A avaliação do fator de proteção UV (FPU) e os testes de resistência à lavagem dos tecidos foram realizados segundo normas as AATCC 183:2004 e AATCC 61:1996, respectivamente. Foram promovidas também aplicações de resinas têxteis comerciais sobre os tecidos funcionalizados e determinação das propriedades físicas. Além disso, foram realizadas caracterizações de vibração molecular, estruturais e morfológicas das NPs de ZnO e para os tecidos funcionalizados foram efetuadas caracterizações estruturais, morfológicas e térmicas. Os resultados mostraram que tanto as NPs de ZnO como as sintetizadas in situ sobre os tecidos apresentaram estrutura cristalina hexagonal wurtzite. As NPs de ZnO mostraram uma morfologia de estrela com pontas muito protuberantes enquanto que as NPs sintetizadas no tecido apresentaram morfologia similar, mas com pontas pequenas. Para todas as concentrações de nitrato de zinco estudadas, antes e após as 20 lavagens, o FPU dos tecidos funcionalizados com NPs de ZnO tiveram categoria de proteção UV entre boa e excelente / In Brazil, institutions such as the José Alencar Gomes da Silva National Cancer Institute (INCA) and the Brazilian Ministry of Health reported increase and appearance of new types of cancer in recent years. Skin cancer is the most common type of disease worldwide and generally might be related to the exposure of the skin to ultraviolet (UV) radiation generated by the sun. The objective of this work was to perform the functionalization of 100% cotton woven fabrics with zinc oxide (ZnO) nanoparticles (NPs), which has interesting properties for applications as solar protector, thus improving the protection characteristics of cotton against UV radiation. ZnO NPs were synthesized by the precipitation process using zinc nitrate hexahydrate (Zn(NO3)2.6H2O) and sodium hydroxide (NaOH). In situ synthesis of ZnO NPs onto the fabric was carried out via exhaust dyeing method, using the textile High Temperature (HT) dyeing machine. For this process, different concentrations of Zn(NO3)2.6H2O (2, 5, 8 and 10% on the weight of fabric) and NaOH (0.7, 1.6, 2.5 and 3.0 g/L) were used. The evaluation of UV protection factor (UPF) and wash durability tests were performed according to AATCC 183:2004 and AATCC 61:1996 standards, respectively. Commercial textile resins applications onto functionalized fabrics and determination of physical properties were also performed. In addition, molecular, structural and morphological characterizations of ZnO NPs were carried out and structural, morphological and thermal analyzes were performed for functionalized fabric. The results showed that both ZnO NPs and those in situ synthesized onto the fabric, exhibited wurtzite hexagonal crystalline structure. The ZnO NPs displayed a star-like morphology with very pronounce tips, while the NPs onto the fabric had a similar morphology but with small tips. For all concentrations of zinc nitrate studied, before and after 20 cycles washing, the UPF of cotton fabrics functionalized with ZnO NPs had an UV-protection category between good to excellent

Den 5 juni 2012 vaknade jag förlamad och i det ögonblicket blev min kropp min fiende. Jag har inte kunnat lita på den sedan dess. Jag är rädd att den kommer svika mig igen. Jag känner mig fast i den, men samtidigt alienerad av den. Nu är det dags att försonas, hitta frid. Friden försöker jag hitta genom ull, ull är säkert, den påminner mig om min mamma och den påminner mig om Island. Ull betyder hem. I mitt arbete vill jag konfrontera min rädsla, alienation från min kropp och förhoppningsvis se det vackra i den till slut. Jag vill skapa en plats där jag känner mig omgiven av min egen kropp, där jag kan titta på den, röra vid den och se att den inte är lika skrämmande som jag trodde. / On 5th June 2012, I woke up paralysed and in that moment my body became my enemy. I haven’t been able to trust it ever since. I’m afraid it might betray me again. I feel stuck inside it, and yet, I feel alienated from it. Now it’s time to reconcile, find peace. I’ll try to find this peace through wool, because wool is safe. It reminds me of my mom and reminds me of Iceland. Wool means home. In this project I want to confront my fear, the alienation from my body, and hopefully find beauty in it. I want to create a place where I feel as if I am surrounded by my own body, where I can look at it, touch it, and see that it’s not as frightening as I thought / <p>Healing through craft</p>

D.L. A 1080-2007