NOT ANOTHER SPACE SUIT

114 Pages·2016·33.18 MB·English

Virginia Commonwealth University
VCU Scholars Compass
Theses and Dissertations Graduate School
2013
NOT ANOTHER SPACE SUIT: Fusing
Technology and Indigenous Solutions To Facilitate
Thermal Comfort
Alia Khairat
Virginia Commonwealth University
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Not aNother
space suit
Fusing Technology and indigenous
soluTions To FaciliTaTe Thermal comForT
alia KhairaT
Thesis projecT | may 2013
submiTTed To The FaculTy oF The masTer oF Fine arTs in design
sTudies oF Virginia commonwealTh uniVersiTy in QaTar in
parTial FulFillmenT For The degree, masTer oF Fine arTs in
design sTudies.
Not aNother space suit
Fusing Technology and Indigenous Solutions
to Facilitate Thermal Comfort
Alia Khairat
© 2013 by Alia Khairat, Doha, Qatar. All rights reserved.

SignatureS page

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Approval certificate for Alia Khairat for the thesis project entitled Not Another Space Suit. Submitted to the faculty of the Master of Fine Arts in Design Studies e p
of Virginia Commonwealth University in Qatar in partial fulfillment for the degree, Master of Fine Arts in Design Studies. atur
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Alia Khairat, BFA in Graphic (Cartoon Animation and Book Illustration), Helwan University, 1992.
Virginia Commonwealth University in Qatar, Doha Qatar, May 2013
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Dr. Thomas Modeen, Primary Advisor, Assistant Professor Michael Wirtz, Reader, Head, Research and Library Technology, Assistant Professor
Master of Fine Arts in Design Studies Library and Master of Fine Arts in Design Studies
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Sandra Wilkins, Secondary Advisor, Chair of Fashion Design, Associate Professor Pornprapha Phatanateacha, Associate Director
Fashion Design Master of Fine Arts in Design Studies
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Richard Lombard, Secondary Advisor, Materials Curator, Assistant Professor Allyson Vanstone, Dean
Master of Fine Arts in Design Studies Virginia Commonwealth University in Qatar
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Dr. Khaled Saoud, Secondary Advisor, Assistant Professor Dr. F. Douglas Boudinot, Dean, School of Graduate Studies
Liberal Arts and Science Virginia Commonwealth University
v i Not Another Space Suit - Alia Khairat Not Another Space Suit - Alia Khairat vii
abStract

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Unseen, unheard and unconsidered, Qatar’s migrant worker population is KeyWORDS str
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building one of the richest countries in the world. They labor in Qatar’s high Superhero, concept suit, critical design, thermal comfort,
heat index1 climate, which is coincidentally comparable to an Oriental sauna, thermoregulation, heat stress, indigenous clothing systems,
wearing the most rudimentary of clothes. Working up to 60 hours a week, Bedouin, technical textiles, intelligent textiles, elementary
migrant workers fall victim to heat stress and dozens are hospitalized daily, occupations, Qatar.
starting as early as March and increasing in numbers during the peak months
of June to August.
Since clothes are essentially a “second skin,” affecting the rate and efficiency
with which heat is exchanged between the body and its surroundings, a
concept garment was designed to improve thermal comfort. Low-tech,
indigenous heat-management systems are combined with new technologies
and knowledge of human physiology to design a two-layer suit that aims to
optimize heat exchange mechanisms. The suit enhances radiation, convection
and evaporation by having a snug-fitting inner wicking layer and a loose-cut
outer shell, and by using strategically placed vents, perforations, and Phase
Change Material (PCM) packs.
Using fiction as a medium of social commentary and critical design, the
concept suit borrows from the superhero aesthetic to present the migrant
worker in a new light. The suit denotes power, symbolizing the superhuman
feat these workers perform and their true worth to the economy. Its aesthetic
Figure 1. Gardener wearing
and function aim to improve worker morale and performance. new style face cover.
Al Rayan Park, Doha,
Mapping, scoping and primary and secondary qualitative and quantitative Qatar. November 12,
2011, 1:00pm. Average
research have been used throughout the design process. This is in addition
temperature 27°C, average
to an ethnographic study, field observations, material explorations, body
humidity 59%, heat index
storming and experimentation. 28 (caution).
1 The term “heat index” will be explained briefly in the following section.
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table of contentS

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vii signaTures page 33 precedeNts nt
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36 Brief retrospect of work wear of c
ix absTracT 40 Reality fiction e
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42 Clothes for heat Ta
xi Table oF conTenTs 74 Materials for heat
ix Table oF Figures 85 desigN process
87 Problem definition & scope
xv Table oF charTs
93 Research
100 Synthesis
xv Table oF Tables
104 Concept generation
129 Mockups, more sketching and a prototype
xvii acKnowledgemenTs
144 The concept suit
3 iNtroductioN
155 the exhibitioN
11 coNtext
169 coNclusioN
15 Clothing and self-worth
16 The nature of heat
177 appendices
18 Climate in Doha, Qatar
20 Heat exchange
199 bibliography
21 Heat and the human body
28 Second skin
30 Heat management in Qatar
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table of figureS

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viii Figure 1. Gardener wearing new style face cover 46 Figure 27. Omani man, 1945-1950. 65 Figure 55. Head gear (ski-mask) worn by gardener 95 Figure 83. Recording temperatures. g
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46 Figure 28. Iraqi man, 1860-1890. 65 Figure 56. Gardener wearing ski-mask face cover. 97 Figure 84. Comparison of all the swatches’ inner and outer temperatures. of
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14 Figure 2. Worker. North Duhail, Doha, Qatar. 48 Figure 29. Jordanian man, 1940’s. 65 Figure 57. education City, Doha, Qatar. 97 Figure 85. Inner swatches’ temperatures. bl
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17 Figure 3. Heat index chart. 48 Figure 30. Pashtun man. 65 Figure 58. Foam sunshade. 97 Figure 86. Outer swatches’ temperatures. T
17 Figure 4. List of significant temperatures. 50 Figure 31. Tuareg girls wearing dry-dyed indigo clothes, Mali. 65 Figure 59. (Pharaonic) Nemes-style towel head cover. 99 Figure 87. Cargo pockets, mesh fabric on the sides, utility pocket on the sleeve.
19 Figure 5. West Bay area, Doha, Qatar. 51 Figure 32. Tuareg man wearing tunic and serwal. 65 Figure 60. Construction worker wearing new style face cover. 99 Figure 88. Close-up of cargo pocket.
20 Figure 6. How the body core reacts to heat. 51 Figure 33. Tuareg man from Mali wearing boubou and serwal. 68 Figure 61. Workers outside education City’s LAS building. 99 Figure 89. Uniform has open access (Velcro) to pants worn underneath.
21 Figure 7. Three zones through which heat is exchanged. 52 Figure 34. The jellaba worn with hood. 73 Figure 62. The contemporary thobe, ghotra and agal. 99 Figure 90. Uniform has open access with a metal snap.
22 Figure 8. Body’s sweat glands. 52 Figure 35. The jellaba worn without hood. 73 Figure 63. The contemporary bisht. 99 Figure 91. Raglan sleeve.
26 Figure 9. Heat injury patients, HMC emergency Ward in 2011. 54 Figure 36. Common garment worn in Mali 75 Figure 64. Women’s veil or taritat, northeastern Middle Atlas, Morocco. 99 Figure 92. Zipper opens from both sides.
26 Figure 10. Heat injury patients, HMC emergency Ward in 2010. 54 Figure 37. Local man wearing boubou from Niger. 75 Figure 65. Detail of taritat or veil. 99 Figure 93. Pleated back seam and pleats at the waist.
27 Figure 11. Severe heat stress cases, HMC in 2011. 55 Figure 38. Ancient egyptian winter tunic. 70 Figure 66 Sketch of how a migrant worker might use kohl. 99 Figure 94. Close-up of pleated back seam.
27 Figure 12. Severe cases for 2010. 55 Figure 39. Ancient egyptian pleats. 78 Figure 67. Himba girl. 99 Figure 95-97. Close-up of stretched waist pleats.
27 Figure 13. Severe cases for 2009. 55 Figure 40. Traditional egyptian galabiya. 78 Figure 68. Grinding red ochre to make otjize paste. 99 Figure 98. elastic band that lines the waist pleats.
29 Figures 14. Most common work positions. 55 Figure 41. Traditional Sudanese jalabiya. 81 Figure 69. Pre-cool Nike Ice-Vest. 101 Figure 99. Mood board to synthesize the gestalt of the ethnographic study.
57 Figure 42. Afar from east ethiopia/Djibouti. 83 Figure 70. ergodyne PCM cooling vest bought as a sample. 102 Figure 100. Mood board that gathers all the different elements of research.
37 Figure 15. The block cut of the galabiya. 57 Figure 43. Afar from ethiopia wearing a Western shirt under the shawl. 83 Figure 71. Frozen ergodyne PCM pack. 103 Figure 101. Main concepts used from the ethnographic study.
38 Figure 16. The “tuta,” futurist Italian designer ernesto Thayaht. 57 Figure 44. Somali man. 103 Figure 105. Summary of the three focus areas of the project.
39 Figure 17. Work wear, Russian constructivist Alexander Rodchenko. 58 Figure 45. Leather head band. 87 Figure 72. A graphic organizer illustrating “what” the thesis is. 104 Figure 103. Silhouettes inspired by traditional desert clothes.
40 Figure 18. The Graphic Body. Moschino by Rossella Jardini for A/W 2006- 2007. 59 Figure 46. San Bushman of the Kalahari Desert wearing a leather loincloth. 88-89 Figure 73. The first mind map made in September 2011. 105 Figure 104. Silhouette inspired by an image of a migrant worker’s silhouette.
41 Figure 19. The Muscular Body. Naoki Takizawa for Issey Miyake S/S 2001. 60 Figure 47. Wilfred Thesiger wearing Omani clothes 1945-1950. 91 Figure 74. This mind map organizes the different thesis concepts. 105 Figure 105. Series of silhouette permutations.
41 Figure 20. The Armored Body. Pierre Cardin for S/S 1994. 62 Figure 48. Preparing the “Ptolomy” cold suit. 92 Figure 75. The process of applying the henna to the fabric. 106 Figure 106. Wind tower cooling system.
41 Figure 21. The Aerodynamic Body. Swift Suit by Nike launched in 2002. 62 Figure 49. Wearing the “Ptolomy” inside the Naica Caves. 94 Figure 76-77. Set up of henna experiment. 106 Figure 107. Badgheer: perforated panels and horizontal vents.
41 Figure 22. The Mutant Body. As Four in 2003. 62 Figure 50. The short, light jacket designed by the Mexican team. 94 Figure 78. The bulb placed 10 centimeters away from the swatch. 107 Figure 108. Clothing structure adapted from traditional Gulf architecture.
43 Figure 23. Overview of the costumes of indigenous desert people. 62 Figure 51. Inside the Naica caves wearing the light ice jacket. 94 Figure 79. Two thermometers placed on either side of the swatch. 108 Figure 109. Beijing National Aquatic Centers or the “Water Cube.”
45 Figure 24. The empty Quarter. 63 Figure 52. Fourteen NASA astronauts in Nevada in January 1964. 94 Figure 80. Temperature recorded every 2 minutes. 109 Figure 110. Sketch of the first “Water Cube”-inspired turban design.
46 Figure 25. Bedouin man. 64 Figure 53. A worker wearing the traditional T-shirt headdress. 94 Figure 81. Black henna swatch. 109 Figure 111. Different ways to wrap the cooling turban.
46 Figure 26. Bedouin man from the Levant region. 65 Figure 54. Head gear (scarf) worn by gardener. 94 Figure 82. Original red henna swatch. 110 Figure 112. My son modeling the different ways workers wear the T-shirt.
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table of chartS

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111 Figure 113. Body storming. 130 Figure 143. Draping the front of the third mockup. 145 Figure 176. An attempt to place patterns to minimize fabric waste. 179 Chart 1. Age. ch
112 Figure 114. Variations of the T-shirt head cover. 130 Figure 144. Draping the back of the third mockup . 146 Figure 177. Three different views of the concept suit. 179 Chart 2. Nationality. e of
113 Figure 115. T-shirt permutations. 131 Figure 145. Draping the front of the fourth mockup. 146 Figure 178. Bulging six pack. 180 Chart 3. Occupation. abl
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113 Figure 116. T-shirt permutations that were the origins of the final T-shirt design. 131 Figure 146. Draping the back of the fourth mockup. 146 Figure 179. Detail of perforated back panel. 181 Chart 4. Number of work clothes workers already have.
114 Figure 117. Making process of the first T-shirt mockup. 132 Figure 147 and 148. Testing the mockup for mobility. 146 Figure 180. Side opening and pleats at the waist. 181 Chart 5. Number of work clothes received by workers yearly.
115 Figure 118. The first T-shirt mockup worn covering the head. 133 Figure 149. Sketch of the T-shirt with compartments to hold PCM packs. 146 Figures 181 Waist pleats. 182 Chart 6a. Clothes worn under uniform (by type).
115 Figure 119. The T-shirt mockup with the head cover off. 133 Figure 150. Sketch of the adjustable face cover. 146 Figure 182. Detail of face cover and front opening with Velcro. 183 Chart 6b. Clothes worn under uniform (garment combinations).
116 Figure 120. Juxtaposition of pleats and desert dunes. 134 Figure 151. T-shirt mockup with the face cover to the front (covering the face). 146 Figure 183. Detail of under arm gusset. 184 Chart 7. The types of clothes workers are given.
117 Figure 121. The Taichung Convention Center (MAD Architects n.d.). 134 Figure 152. The T-shirt with the face cover pushed back. 146 Figure 184. Detail of crotch region gusset. 185-190 Chart 8. Number of garments received by type.
117 Figure 122. Detail of pleats in worker’s coverall found in Qatari market. 135 Figure 153. Different views of the T-shirt (inner layer of concept suit). 148-149 Figure 185. The concept suit. 191 Chart 9. Number of times clothes are washed weekly.
117 Figure 123. elbow pleats on concept suit. 136 Figure 154. The original sketch next to the mockup before adjustments. 150-151 Figure 186. Different views of the concept suit. 191 Chart 10. How many workers shower before work.
117 Figure 124. Pleats used as venetian blinds. 136 Figure 155. Back view of mockup while adjustments were being made. 152 Figures 187. The Inner T-shirt layer with cooling pack inserts. 192 Chart 11. Number of showers taken per week.
117 Figure 125. Using expanding and retracting quality of pleats for head cover. 136 Figures 156 and 157. Front view of mockup before adjustments. 152 Figure 188. The Inner T-shirt layer. Notice henna on wrists 192 Chart 12. Number of workers who travel in air-conditioned transportation.
117 Figure 126. Pleats to facilitate motion. 136 Figure 158. Front flap added by tailor. 153 Figure 189. Henna spots on the neck. 193 Chart 13. Amount of water drunk at work.
118 Figure 127. Permutations of the thermoregulation jacket. 136 Figures 159 and 160. The back flap.
119 Figure 128. Thermoregulation jacket with cooling features. 137 Figure 161. The mockup after adjustments. The crotch was made too high. 156-157 Figure 190. Thesis exhibition wall.
119 Figure 129. Attempted mockup inspired by North African block-cut. 138 Figure 162. Pattern for pleats located in elbow and knee areas. 159 Figure 191. Panels that lined the bottom third of the exhibition wall. table of tableS
120-121 Figure 130. Three key words mind map. 138 Figure 163. Circular thermochromic insert at the center of the chest. 160-163 Figure 192. exhibition set up.
122-123 Figure 131. Three key words mood board. 140 Figure 164. Rectangular thermochromic patches on the side. 164 Figure 193. Panel one: The bland, monotone, life-size migrant worker.
124 Figure 132. Fashion and superhero Inspirations. 140 Figure 165. Thermochromic fabric. 164 Figure 194. Panel two: “Sweat glands and pulse points.”
124 Figure 133. The first attempt at thermoregulatory, heroic suit. 140 Figure 166. Nansulate® Translucent clear thermal and mold resistant coating. 165 Figure 195. Pane three: Gulf architecture-inspired “vents and perforations. 194 Table 1. Inner temperatures.
125 Figure 134. Heroic suit featuring gussets and a low crotch. 140 Figure 167. Liquid Glass resin. 165 Figure 196. Panel four: “The turban” inspired from the Tuareg tribe. 194 Table 2. Outer temperatures.
125 Figure 135 and 136. Permutations of the super hero concept suit. 140 Figures 168, 169 and 170. Testing the sealed thermochromic fabric. 165 Figure 197. Panel five: The cooling, wicking T-shirt. 195 Table 3. Inner and outer temperatures.
125 Figure 137. Back view of the super hero concept suit. 141 Figure 171. Placement options for the water bottles. 166 Figure 198. Panel six: Masculine, but loose hero form.
126 Figure 138. The gemsbok or gemsbuck. 142 Figure 172. Placement of pockets in mockup number two. 166 Figure 199. Panel seven: Hydration.
126 Figure 139 and 140. Suits that mimic desert animals. 142 Figure 173. Mockup number two. 166 Figure 200. Panel eight: The superhero.
127 Figure 141. Zipper mob. 143 Figure 174. Third mockup.
128 Figure 142. The suit. 145 Figure 175. Orange top stitching. 196-197 Figure 201. Material samples.
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