Impacts of future climate on local water supply and demand – A socio-hydrological case study in the Nordic region

Study region Fårö island, part of Region Gotland, Sweden. Study focus Despite its importance for proactive planning and management, understanding of how future climate and socioeconomic trends may interact to influence water supply and demand at sub-regional scale remains limited for the Nordic region. We aim to close this knowledge gap by developing a combined social and hydrological simulation model for Fårö island in the Baltic Sea. We use multivariate Monte Carlo simulations to explore the effects of future climate scenarios (RCP4.5 and RCP8.5) on local groundwater supplies, and subsequent impacts on the housing sector, tourism sector, and municipal water supply system in the period 2020–2050. New hydrological insights for the region Our results suggest that groundwater storage will remain critically low in the coming 30 years, with a 60–70% probability of the groundwater head falling to lower levels than experienced in the past 60 years. Low water availability and widespread saltwater intrusion will constrain housing and tourism development by up to 11% and 30% respectively. To sustain growth, the tourist sector will become increasingly reliant on water from private wells, and supplementary water deliveries from neighboring regions will be required to meet water demand on the municipal grid.publishedVersio

Stability of the thermohaline circulation examined with a one-dimensional fluid loop

The Stommel box model elegantly demonstrates that the oceanic response to mixed boundary conditions, combining a temperature relaxation with a fixed salt flux forcing, is nonlinear owing to the so-called salt advection feedback. This nonlinearity produces a parameter range of bi-stability associated with hysteresis effects characterised by a fast thermally-driven mode and a slow salinity-driven mode. Here we investigate whether a similar dynamical behaviour can be found in the thermohaline loop model, a one-dimensional analogue of the box model. A semi-analytical method to compute possible steady states of the loop model is presented, followed by a linear stability analysis carried out for a large range of loop configurations. While the salt advection feedback is found as in the box model, a major difference is obtained for the fast mode: an oscillatory instability is observed near the turning point of the fast mode branch, such that the range of bi-stability is systematically reduced, or even removed, in some cases. The oscillatory instability originates from a salinity anomaly that grows exponentially as it turns around the loop, a situation that may occur only when the salinity torque is directed against the loop flow. Factors such as mixing intensity, the relative strength of thermal and haline forcings, the nonlinearity of the equation of state or the loop geometry can strongly affect the stability properties of the loop

The transformative cuts : new foundations in pattern cutting and approximations of the body

Fashion designers are presented with a range of different principles for pattern cutting, and interest in this area has grown rapidly over the past few years, due to both the publication of a number of works dealing with the subject in different ways, and the fact that a growing number of designers emphasise experimental pattern cutting in their practices. Although a range of principles and concepts for pattern cutting are presented from different per¬spectives, the main body of these systems, traditional as well as contemporary, are predominantly based on a quantified approximation of the body. As a consequence, the connection between existing theories for pattern construction and the dynamic expression and biomechanical func¬tion of the body are problematic.This work explores and proposes an alternative theory for pattern cutting, which unlike exist¬ing models takes as its point of origin the actual, variable body. As such, the research presented here is basic research. Instead of a static matrix of a non-moving body, the proposed model for cutting garments is based on a qualitative approximation of the body, visualised through balance lines and key biomechanical points. Based on some key principles found in works by Geneviève Sevin-Doering, the proposed model for cutting is developed through concrete experiments by cut¬ting and draping fabrics on live models. The proposed theory is an alternative principle for dressmaking, which challenges the fundamental relationship between dress, pattern making, and the body, opening up for new expressions in dress and functional possibilities for wearing

The transformative cuts : new foundations in pattern cutting and approximations of the body

Fashion designers are presented with a range of different principles for pattern cutting, and interest in this area has grown rapidly over the past few years, due to both the publication of a number of works dealing with the subject in different ways, and the fact that a growing number of designers emphasise experimental pattern cutting in their practices. Although a range of principles and concepts for pattern cutting are presented from different per¬spectives, the main body of these systems, traditional as well as contemporary, are predominantly based on a quantified approximation of the body. As a consequence, the connection between existing theories for pattern construction and the dynamic expression and biomechanical func¬tion of the body are problematic.This work explores and proposes an alternative theory for pattern cutting, which unlike exist¬ing models takes as its point of origin the actual, variable body. As such, the research presented here is basic research. Instead of a static matrix of a non-moving body, the proposed model for cutting garments is based on a qualitative approximation of the body, visualised through balance lines and key biomechanical points. Based on some key principles found in works by Geneviève Sevin-Doering, the proposed model for cutting is developed through concrete experiments by cut¬ting and draping fabrics on live models. The proposed theory is an alternative principle for dressmaking, which challenges the fundamental relationship between dress, pattern making, and the body, opening up for new expressions in dress and functional possibilities for wearing

Covers

Kan man förhålla sig till, och arbeta med, mode på samma sätt som musiker arbetar när de spelar in en skiva med covers? Tanken bakom Covers var att göra en kollektion med covers på andra konstnärer och designers som intresserade mig ur ett tillskärningsperspektiv

Mörk kostym

If the expression of the body is the focal point, and how this expression is transformed by dressing it in fabric, a more reflective study of the body from a dressmakers perspective might be meaningful for the development of new design methods. “Mörk kostym 2012” aspires to both challenge and preserve the art of tailoring. Challenge tailoring methodologically in construction, hence propose an alternative view upon the body, meanwhile preserve it by utilizing traditional methods of making.The jacket and the trousers are two examples, using the “La coupe en un seul morceau” method developed by French costumier Genevieve Sevin-Doering, here a piece of fabric is sculptured into a garment on a living body, from which a new logic is extracted proposing an alternative way of approaching the body while cutting garments.The theory is visualised in a number of gravity and balance lines on the body to initiate the work of cutting, draping and fitting garments from and certain points proposing where on the body to address the foundational cuts.These garments are cut from one single piece of fabric however the number of pieces composing the garments are of less significance. The one-piece principal can be compared to a beautiful proof in mathematics, or the simplest equation explaining a series of experiments, the proof could be written differently, in any number of pieces, but the simplicity expresses the theory more clear.Tack till Bauer skräddare i Stockholm för gott sammarbete

Covers

Kan man förhålla sig till, och arbeta med, mode på samma sätt som musiker arbetar när de spelar in en skiva med covers? Tanken bakom Covers var att göra en kollektion med covers på andra konstnärer och designers som intresserade mig ur ett tillskärningsperspektiv.Utsällningen visades på Röhsska museet i Göteborg fr.om. 16.2. 2010 t.o.m. 21.3. 2010

On the logic of pattern cutting : foundational cuts and approximations of the body

Fashion designers are presented with a range of different principles for pattern cutting and the interest in this area has grown rapidly over the past few years, both due to the publication of a number of works dealing with the subject in different ways and the fact that a growing number of designers emphasise cutting in their practices. Although a range of principles and concepts for pattern cutting are presented from different perspectives, the main body of these systems, traditional as well as contemporary, are predominately based on a quantified approximation of the body. As a consequence, the connection of existing models for pattern construction to the dynamic expression of the body or the biomechanic function of the body is problematic. This work explores and proposes an alternative model for pattern cutting that, unlike the existing models, takes as its point of origin the actual, variable body. As such, the research conducted here is basic research, aiming to identify fundamental principles in order to create alternative expression and functions. Instead of a static matrix of a non-moving body, the proposed model for cutting garments is based on a qualitative approximation of the body, visualised through balance lines and key biomechanic points. Based on some key principles found in the works by Geneviève Sevin-Doering, the proposed model for cutting is developed through concrete experiments by cutting and draping fabrics on live models. The result of a proposed model is an alternative principle for dressmaking that challenges the fundamental relationship between dress, pattern making and the body, opening up for new expressions in dress and functional possibilities for wearing

Mörk kostym

If the expression of the body is the focal point, and how this expression is transformed by dressing it in fabric, a more reflective study of the body from a dressmakers perspective might be meaningful for the development of new design methods. “Mörk kostym 2012” aspires to both challenge and preserve the art of tailoring. Challenge tailoring methodologically in construction, hence propose an alternative view upon the body, meanwhile preserve it by utilizing traditional methods of making.The jacket and the trousers are two examples, using the “La coupe en un seul morceau” method developed by French costumier Genevieve Sevin-Doering, here a piece of fabric is sculptured into a garment on a living body, from which a new logic is extracted proposing an alternative way of approaching the body while cutting garments.The theory is visualised in a number of gravity and balance lines on the body to initiate the work of cutting, draping and fitting garments from and certain points proposing where on the body to address the foundational cuts.These garments are cut from one single piece of fabric however the number of pieces composing the garments are of less significance. The one-piece principal can be compared to a beautiful proof in mathematics, or the simplest equation explaining a series of experiments, the proof could be written differently, in any number of pieces, but the simplicity expresses the theory more clear.Tack till Bauer skräddare i Stockholm för gott sammarbete

Kulturkalaset : mode på Götaplatsen

Modevisning på Götaplatsen, Göteborg augusti 200