Sculptural Textiles is a material investigation exploring sculptural possibilities for machine woven textiles. Two important factors are yarn combinations and textile construction, and how these two together can result in fabrics that can be manipulated by hand into shapes and thus adaptable to various settings. The essence of this project is in the meeting between contrasts such as shiny-dull, elastic-stiff, transparent-opaque, natural and synthetic and how these meetings can create sculptural qualities. The project is aiming to create a range of sculptural textiles as well as being an exploration in material. Construction and density are tools to bring forth the beauty and function of the materials. The result is a range of textiles showing that small changes in material and construction can lead to different sculptural characteristics.

This degree work is about the exploration of the stretch in textile materials by using cartridge pleats as a method to create weight and thereby create tension. Through research in materials and stretch fabrics versus heavier woven textiles the work strives for expressions in movement as well as new ways of combining lightness and weight. / Program: Modedesignutbildningen

It all started with a thought of one single colour; the colour red. The idea of building a collection from one colour was frighten- ing and intriguing at the same time. It was frightening because I didn’t know if it was enough to build a whole collection on only one colour, but the possibility to find other expressions arouse my curiosity. But why red? I find that this colour, of all colours, has the deepest range of shades. With red ink and my fingers as tools I created an ab- stract sketch to refer to. When the differ- ent shades come together it creates a great vivid expression of the whole picture. I am not interested in one shade alone, it is the interaction between two or more which are interesting. / Program: Modedesignutbildningen

O vestuário, tem seu mercado predominantemente norteado por tendências e diferenciais agrega- dos ao produto. Na confecção, estas variáveis são aplicadas ao material têxtil, em sua construção, não tanto nas qualidades internas, mas na aparência. Arranjos sistemáticos na superfície têxtil promovem qualidades táteis e visuais. A textura plissada e sua beleza atemporal é objeto deste estudo. A proposição é percorrer o trabalho histórico para o levantamento das técnicas de produção artesanais e semi-industriais. A partir destas, sistematizar seus conceitos, técnicas e materiais que as reproduzam. Assim, prover aos profissionais e artesãos, conhecimento acessível para o uso em seus serviços e produtos. Artesãos que tem cultuado a arte têxtil a gerações, unem-se à indústria para potencializar suas obras. Artesanalmente, os plissados podem ser reproduzidos a partir de simples materiais de costura domésticos. Os tipos de plissados vão desde os clássicos até os mais elaborados; dos geométricos como os do tipo faca, os orgânicos como os do tipo shibori aos sofisticados como as tesselações. A plissarem semi-industrial, feita com a utilização de fôrmas de papelão permite a reprodução a partir de um padrão. Todos os interessados podem fazer a criação de seus próprios padrões e fôrmas de plissagem com os conceitos de design de superfície e os princípios da dobradura. / The clothing has its market predominantly guided by trends and added differentials to the product. In the making, these variables are applied to the textiles in its construction, not so much in inner qualities, but in appearance. Systematic arrangements in the textile surface promote tactile and visual qualities. The pleated texture and its timeless beauty is the subject of this work. The proposition is going through the historical data to survey the handmade and semi-industrial production techniques. From these, systematizing their concepts, techniques and materials to reproduce them. Thus provide professionals and artisans, knowledge accessible for use in your services and products. Artisans who have worshiped the textile art through generations unite in partnership to the industry to enhance their work. Handmade, the pleats can be done with simple household sewing materials. The pleat types range from the classics to the most elaborate; from geometric as knife type and organic as shibori to sophisticated as tessellations. The semi-industrial pleats are made by the use of cardboard molds by which patterns follows chosen standards. Everyone can create an own pattern and pleating molds based on surface design concepts and principles of folding.

O vestuário, tem seu mercado predominantemente norteado por tendências e diferenciais agrega- dos ao produto. Na confecção, estas variáveis são aplicadas ao material têxtil, em sua construção, não tanto nas qualidades internas, mas na aparência. Arranjos sistemáticos na superfície têxtil promovem qualidades táteis e visuais. A textura plissada e sua beleza atemporal é objeto deste estudo. A proposição é percorrer o trabalho histórico para o levantamento das técnicas de produção artesanais e semi-industriais. A partir destas, sistematizar seus conceitos, técnicas e materiais que as reproduzam. Assim, prover aos profissionais e artesãos, conhecimento acessível para o uso em seus serviços e produtos. Artesãos que tem cultuado a arte têxtil a gerações, unem-se à indústria para potencializar suas obras. Artesanalmente, os plissados podem ser reproduzidos a partir de simples materiais de costura domésticos. Os tipos de plissados vão desde os clássicos até os mais elaborados; dos geométricos como os do tipo faca, os orgânicos como os do tipo shibori aos sofisticados como as tesselações. A plissarem semi-industrial, feita com a utilização de fôrmas de papelão permite a reprodução a partir de um padrão. Todos os interessados podem fazer a criação de seus próprios padrões e fôrmas de plissagem com os conceitos de design de superfície e os princípios da dobradura. / The clothing has its market predominantly guided by trends and added differentials to the product. In the making, these variables are applied to the textiles in its construction, not so much in inner qualities, but in appearance. Systematic arrangements in the textile surface promote tactile and visual qualities. The pleated texture and its timeless beauty is the subject of this work. The proposition is going through the historical data to survey the handmade and semi-industrial production techniques. From these, systematizing their concepts, techniques and materials to reproduce them. Thus provide professionals and artisans, knowledge accessible for use in your services and products. Artisans who have worshiped the textile art through generations unite in partnership to the industry to enhance their work. Handmade, the pleats can be done with simple household sewing materials. The pleat types range from the classics to the most elaborate; from geometric as knife type and organic as shibori to sophisticated as tessellations. The semi-industrial pleats are made by the use of cardboard molds by which patterns follows chosen standards. Everyone can create an own pattern and pleating molds based on surface design concepts and principles of folding.

This work introduces usable, washable garments made from woven and knitted paper to the field of fashion. With the rise of mass production and over consumption, the value of clothes and textiles decreases, and the pollution from non-renewable materials increases. By utilizing paper in clothes as a new sustainable textile alternative, working with the aesthetics of pleats to elongate the body, and the transformative effects of the corset to build and shape the body, displacing the gender, to work with androgyny as a way to showcase the finish work reference historical gender normatives in Buddhist art. This work depicts a collection with emphasis on the body (wearer of clothing and social construction) and construction (which uses the body and tradition), tradition (expectation and displacement) whilst also working with future issues of sustainability using exclusively paper textile.

Les ballons pressurisés développés par le CNES sont des structures de 8,5 à 12 m de diamètre, qui permettent d’emmener dans la stratosphère des équipements scientifiques pour effectuer des expériences de longue durée. La durée de vie de ces ballons est conditionnée par leur comportement mécanique et notamment le comportement en fluage qui s’il est trop marqué, peut engendrer un changement d’altitude se traduisant alors par une augmentation importante de la contrainte dans la membrane. On observe aussi des défaillances des ballons au cours de leur lancement ou après une brève phase de vol (2 à 24 heures). Afin de mieux comprendre le comportement en vol des ballons, le CNES a mis en place depuis plusieurs années un programme de recherche portant sur l’étude du comportement mécanique de ces structures et des films polymères qui les compose. Il s’est intéressé notamment à l’étude expérimentale et à la modélisation du comportement mécanique en fluage des ballons pressurisés. Plusieurs résultats ont été obtenus permettant de prévoir l’évolution dimensionnelle des ballons suite au phénomène de fluage. En revanche le comportement à la rupture de ces films polymère a été très peu étudié de même que les phénomènes supposés à l’origine de la perte de caractéristiques des films polymères constitutifs des ballons. Les travaux engagés durant cette thèse visent à étudier, quantifier et comprendre les mécanismes d’endommagement amenant la rupture prématurée des ballons. Cet endommagement a deux origines supposées ; d’une part des plis dits simples et triples occasionnés par le stockage, la manipulation et le déploiement des ballons et d’autre part l’endommagement de fluage. / The super-pressure balloons developed by CNES are a great challenge in scientific ballooning. Whatever the balloon type considered (spherical, pumpkin...), it is necessary to have good knowledge of the mechanical behavior of the envelope regarding to the flight level and the lifespan of the balloon. It appears during the working stages of the super pressure balloons that these last can exploded prematurely in the course of the first hours of flight. For this reason CNES and LGP are carrying out research programs about experimentations and modelling in order to predict a good stability of the balloons flight and guarantee a life time in adequacy with the technical requirement. This study deals with multilayered polymeric film damage which induce balloons failure. These experimental and numerical study aims, are a better understanding and predicting of the damage mechanisms bringing the premature explosion of balloons. The following damages phenomena have different origins. The firsts are simple and triple wrinkles owed during the process and the stocking stages of the balloons. The second damage phenomenon is associated to the creep of the polymeric film during the flight of the balloon. The first experimental results we present in this paper, concern the mechanical characterization of three different damage phenomena. The severe damage induced by the wrinkles of the film involves a significant loss of mechanical properties. In a second part the theoretical study, concerns the choice and the development of a non linear viscoelastic coupled damage behavior model in a finite element code.

This work places itself in the field of woven textile design and the lenticular effect in a spatial context. The lenticular effect refers to a ribbed surface structure which changes appearance depending on from which angle it is viewed. The aim is to combine woven pleats with colours and patterns to create a lenticular effect. Bindings, patterns and colours have been investigated in both handweaving and jacquard weaving. Three suggestions for a woven, pleated, shifting textile have been developed. The three tracks are a colour shift and gradient with a surface structure, a pattern shift taking place across all sides of a pleat and a jacquard pattern hidden between the pleats. By creating a textile which shifts as it is viewed from different angles and distances, the motive is to encourage movement around the woven piece, broaden the possible uses of woven textiles and invite the viewer to take a closer look at the woven structure.

The word endogenic means growing or proceeding from within, it is commonly used to describe the process of tectonic movement and earth crust formation caused by the extrusion of magmatic material. My project is a metaphorical exploration of the geological term “endogenic process” as well as an exploration of a design approach based on the term.The work explores soft form-bearing structures and textile bodies that contrast in relation to the hard framework of the rectangular room. It touches on material hierarchies in the living environment and the field of spatial design. The research explores the relationship between interior bodies and spatial frameworks. It aims to highlight the importance of the subject within the framework of the rectangular space that divides the interior of most buildings. My work involves exploring the endogenic process as a way of relating to the creative process and through the use of soft structures and drapery creating furniture that engages people with the spatial framework of the rectangular room. It is an exploration of spatial furniture that constitutes a connection and physical involvement between bodies and space, a kind of furniture providing a multiplicity of possibilities.