Investigations in Botanical Contact Printing (Where the Light Meets the Trees; Thirteen Variations) explores the process of botanical contact printing on paper, culminating in a series of thirteen handmade artist books. Each of the thirteen books contains a poem from a collection of thirteen poems written by Alice Yousef. Every element of the book: materials, structure, calligraphed text, type of botanical contact print, sometimes the enclosure, responds to the poem, providing a visual interpretation of the written word. The completely different approaches to binding structure in this series intend to not only visually support the text, but also explore the possibilities of botanical contact print imagery in the book form.

Waste is a big problem in the textile industry; one area of waste is cut off selvedges from the weaving industry. This degree work in textile design questions the need and motivation to produce fully new textiles, choosing instead to use waste material in order to create sustainable design. The work aims to apply waste selvedges in a textile design context by using it in handweaving, as both warp and weft. This project also explores food waste as dyestuff, dyeing selvedge waste with it, achieving a large variety of colours. Using selvedge waste in both warp and weft, along with dyeing using food waste, brought many possibilities in both technique and aestethics, as well as expanding the sustainable perspective in textile design by challenging the use of waste from textile and food production. The result is three handwoven examples with varying expressions, created to bring inspiration for others to use waste selvedges as a material.

This work examines sustainable functions for another workwear. It argues fora culture shift within many fields: private, politically, global, local as well as infashion. The background is earth and human beings current situation whichneeds to be changed in order to create a sustainable living. This is understoodin the ecological, sociocultural and economical sustainable model and contextualixedfor agricultural workwear.The issue of construction methods in workwear is examined and understoodin relationship to the non-rationale and aesthetical function; the need to workand the need to dwell.New ideas of rationale function workwear is proposed which argues for theneed of a greater look upon sustainability and non-rationale ideas within thefield of current workwear.This includes:1. Construction methods for a. Greater movement, b. Fewer stretch pointswithin garments and c. Advanced vs. simplicity.2. Aesthetic forms exploring a. Aesthetic as sustainable, b.The two natures ofworking and dwelling spoken is terms of construction and empty space, c.Different cultures of old and new.3. Material: a. sustainable raw fibers as organic Hemp and Cotton b. Secondhand material as deadstock, surplus and waste, c. Performing materials fordifferent occasions4.Colour and structure: a. Bio-organic natural Indigo dyeing vats, b. Dyeingwith natural dyes as Madder, Brazil Wood and Acorns on cellulose basedmaterial, c. D.I.Y coating with Beewax, Flax Oil and Parafine, d. The spectrumof new/clean and patina of age/worn.which all are used as expressive research tools to understand different perspectivesof sustainable function for another workwear within a culture shift;the background of the past, the beauty of life and finally proposals for a futureseen as the ecological age. / Program: Modedesignutbildningen

This research was a minor field study that took place during eight weeks in Kathmandu, Nepal, with a research focus on the country’s dyeing industry. Methods like qualitative interviews, observation, and analyses through the connections to the UN’s sustainable development goals was used to meet the research aim and objectives. The objectives of the research were to clarify what areas that are slowing down and what areas are creating opportunities for sustainable development within the industry. To identify these areas could be one part of knowing how and where change has to be made to achieve a more sustainable dyeing industry in Nepal. There are mainly three different ways to work with dyeing in Nepal; AZO dyeing, AZO free dyeing, and natural dyeing. Each technique comes with different issues and benefits connected to them, some on a more socio-economic level and some health-related. The established industry is more or less a lawless industry, with an absence of knowledge about the connected environmental and health effects. Due to a rough history of poverty and natural disasters, the industry is until today neglected and the issues connected has not been prioritised.  Today the industry is driven by the market and at the same time anchored by governmental corruption and outdated methods, which makes it hard for the industry to build its value and to develop sustainably. This sector is connected to the UN’s sustainable development goals 4,6,9 &amp; 12 and their targets. However, today the industry awareness about the goals are low, and the lack of defined action in the government's plan for implementing the sustainable development goals states that they will not be a driving force towards a more sustainable dyeing industry. Awareness and customer demand is what is expected to move the industry towards a more sustainable future, according to the interviews. Nepal's dying industry does not have the bad reputation that other countries nearby have, which opens up for opportunities. But for the industry to be able to handle this opportunity, more accurate and a more in-depth research has to be made, to more clearly appreciate what the industry looks like today, since it is missing data. It would also mean that the government has to acknowledge the situation and clean up its act to make it easier for businesses to grow in a sustainable way. / <p>2018-06-08</p>

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Författarna har haft ett samarbete med Panduro Hobby i samband med deras årliga miljökampanj. Syftet med examensarbetet har varit att med hjälp av befintliga produktutvecklingsprocesser och livscykelanalyser (LCA) ta fram en hållbar textil produkt med växtfärgning. Tanken var att konsumenter sedan själva skall kunna ta fram och växtfärga denna hållbara textilprodukt. Miljömedvetenhet och hållbarhet inom textilindustrin är ett aktuellt ämne. Trots det saknar dagens konsumenter förståelse för textilindustrins påverkan på miljön och har bristande kunskap om textila material för att kunna göra miljövänliga val ute i handeln. Både konsumenter och företag uttrycker att de gärna vill bidra till en mer miljövänlig textilindustri men att de saknar kännedom, resurser och verktyg för att göra det. Därför valde författarna av examensarbetet att undersöka hur en hållbar textil produkt kan tas fram med hjälp av livscykelanalyser, produktutvecklingsmetoden Product Ideas Tree (PIT) samt växtfärgning. Alla steg under produktutvecklingsprocessen valdes ur miljöhänsyn och efter de förutsättningar som krävs för att göra en så miljövänlig textil produkt som möjligt. Resultatet av undersökningen blev en växtfärgad tygkasse i 100 % lin. Efter framtagningen av produkten gjordes en livscykelanalys benämnd MET-matris för att analysera produktens miljöpåfrestning. Matrisen konstaterade att produkten inte har avsevärda miljöbrister. Med examensarbetet och den framtagna produkten vill författarna uppmuntra konsumenter och företag till att fortsätta visa engagemang och intresse för förändringar som gynnar miljön med förhoppningen om att få fler att agera mer hållbart. / The authors have had a collaboration with Panduro Hobby in addition to their annual environmental sustainability campaign. The aim of the thesis has been to develop a sustainable textile product with natural dye using existing product development processes and Life Cycle Assessment (LCA). The idea was that consumers later on would be able to produce this sustainable textile product and dye it themselves. Environmental awareness and sustainability in the textile industry is a topical subject. Nevertheless many consumers lack sufficient knowledge of textile materials to make environmentally friendly choices in the commerce. Both consumers and businesses express that they would like to contribute to a more environmentally friendly textile industry, but that they lack the knowledge, resources and tools to do it. Therefore, the authors of the thesis chose to explore how a sustainable textile product may be produced with the help of Life Cycle Assessment and the product development method Product Ideas Tree (PIT). All steps in the product development process were carefully chosen with consideration to the environment and the circumstances required to make the textile product as sustainable as possible. The study resulted in the development of a canvas bag made out of 100% linen dyed it with natural dye. After the product development a Life Cycle Analysis, referred to as MET Matrix, was done to analyse the product's environmental strain. The matrix noted that the product does not have significant environmental burdens. With the thesis and the produced product the authors would like to encourage consumers and businesses to continue to show commitment and interest in changes that benefit the environment, with the hope of getting more people to act more sustainably.

This thesis explores the history of botany as a global collection-based science by tracing parallels between utopian traditions and botanical collecting, from their sixteenth-century beginnings to the present. A range of botanical collections, such as gardens, herbaria and classification systems, have played a central role in the struggle to discover a global or universal scientific order for the chaotic, diverse and locally shaped kingdom of plants. These collections and utopia intersect historically, and are characterised by the same epistemology of collecting: the creation of order through confined collecting spaces or “no-place.” They are manipulations of space and time. Between chaos and order, both seek to make a whole from – often unruly – parts.   The long history of botanical collecting is characterised by a degree of continuity of practice that is unusual in the sciences.  For instance, the basic technology of the herbarium – preserving plants by mounting and labelling dried specimens on paper – has been in use for almost five centuries, from sixteenth-century Italy to ongoing digitisation projects. The format of the compilation thesis is well-suited to handling the historiographical challenge of tracing continuity and discontinuity with such a long chronological scope.   The thesis is structured as a walled quadripartite garden, with the Kappa enclosing four research papers and an epilogue. The papers take a diachronic approach to explore different perspectives on botanical collections: botanical collecting in seventeenth-century Oxford, pressed plants in books that are not formally collections; and the digitisation of botanical collections. These accounts are all shaped by the world of books, text and publication, historically a male-dominated sphere. In order to acknowledge marginalisation of other groups and other ways of knowing plants, the epilogue is an explanation of an embroidered patchwork of plant-dyed fabric, which forms the cover of the thesis. / Denna avhandling behandlar historien om botanik som en global samlingsbaserad vetenskap genom att följa paralleller mellan utopiska traditioner och botaniskt samlande från dess början på femtonhundratalet till idag. Olika sorters botaniska samlingar, till exempel trädgårdar, herbarier och klassifikationssystem, har historiskt spelat en central roll i sökandet efter en global eller universell vetenskaplig ordning i växtrikets lokalt rotade och till synes kaotiska mångfald. Det finns historiska kopplingar mellan dessa botaniska samlingar och utopi, som båda även präglas av vad man kan kalla samlandets epistemologi: skapandet av ordning genom avgränsade samlingsutrymmen eller ”icke-platser”. De är manipulationer av tid och rum.   Det botaniska samlandets långa historia utmärks av en praktisk kontinuitet som är ovanlig inom naturvetenskapen. Herbariets grundläggande teknik att bevara växter genom att pressa, identifiera och montera dem på pappersark har varit i bruk i nästan fem sekel. Avhandlingen utnyttjar sammanläggningsformatet för att hantera den historiografiska utmaning det innebär att studera en så lång tidsperiod, genom att de ingående artiklarna behandlar skilda tidsepoker och disciplinära perspektiv samtidigt som de alla delar avhandlingens centrala tematik: ordnande genom avgränsade samlingsutrymmen.     Avhandlingens struktur är baserad på den muromgärdade fyrdelade trädgården, med kappan som inneslutande fyra artiklar och en epilog. Artiklarna är diakrona analyser av botaniska samlingar: om samlande i Oxford på sextonhundratalet, om pressade växter i böcker som inte formellt utgör del av samlingar, och om digitaliseringen av botaniska samlingar. Dessa sammanhang är alla formade i en värld av böcker, text och publicering – en värld som historiskt har dominerats av män. Epilogen belyser den marginalisering av andra grupper och deras kunskaper om växter som detta har inneburit, genom att förklara avhandlingens omslag, ett lapptäcksbroderi av växtfärgade tyger. / <p>QC 20171115</p> / Saving Nature: Conservation Technologies from the Biblical Ark to the Digital Archive