Modules¶
This chapter explores the concept and development of biodegradable plant pots integrated directly into the garment. Far from traditional containers, these pots are sewn or attached to the dress, becoming both functional and symbolic components of the design. Each pot acts as a living module, designed to hold soil or a growing substrate, allowing flowers and plants to grow from the garment itself, transforming the piece into a living ecosystem.
These biodegradable pots are more than containers; they are sculptural modules, each uniquely crafted to reflect and represent different systems of the human body. As introduced in the Garment Design chapter, there are six distinct module types, each corresponding to a vital system: nervous, cardiovascular, respiratory, digestive, reproductive, and urinary.
Designed using parametric design tools, each module adapts to the organic shape of the body while also responding to the needs of the plant. The use of biodegradable materials ensures that the modules eventually return to the Earth, reinforcing the garment’s relationship with natural cycles of growth, decay, and renewal.
Concept¶
The biodegradable pots are not only functional growing spaces; they serve as poetic vessels that connect the human body to the natural world. Their placement on the garment is not random—they are designed to align with specific bodily systems, turning the wearer into both caretaker and symbolic representation of ecological interdependence.
Each module represents one of six body systems: nervous, cardiovascular, respiratory, digestive, reproductive, and urinary. These are the systems that keep us alive—processing, connecting, cleansing, regenerating. By assigning a plant to grow from each system, the garment transforms the body into a nurturing ecosystem, blurring the line between biology and botany, between the human and the plant.
The design of each module was developed through a parametric design approach, inspired by the venation patterns found in leaves. These natural branching structures guide the shape of the pots, creating organic and intricate forms that echo the way nutrients flow through a plant. This connection between botanical systems and body systems reinforces the symbiosis at the core of the garment. The modules are intentionally unique, each one shaped slightly differently, reflecting the diversity and irregular beauty found in both the human body and the plant world.
Parametric design¶
To bring the biodegradable modules to life, I worked with the parametric design software Grasshopper, a powerful visual programming tool integrated with Rhino. As mentioned earlier, the pattern for the modules was inspired by the venation of leaves, the intricate, branching structures that distribute nutrients and water throughout a plant. This natural system offered not only a conceptual base but also a visually rich and functional geometry for the modules.
The design process began with basic outline sketches created in Adobe Illustrator, where I established the silhouette and scale of each module. Once the outlines were defined, I imported them into Grasshopper to build the inner pattern structure.
To achieve the complex venation-inspired geometry, I used a plugin called Parakeet, a versatile toolset within Grasshopper that allows for the generation of sophisticated parametric patterns. Parakeet offers a wide range of generative design options, and by adjusting its parameters, I was able to customize the pattern density, flow, and direction to reflect both the anatomical inspiration and the needs of each module.
You con download the plug in here
First experimentation¶
My first concept to create the biodegradable pots was to create a biomass that would be later 3D printed. The idea was to biocreate a sustainable material that could be extruded using a clay 3D printer, allowing the parametric designs made in Grasshopper to take physical form with precision of such a machine.
The goal from the beginning was to develop a fully biodegradable medium, capable of holding seeds and supporting plant life while also being shaped into unique modules inspired by leaf venation patterns.
To bring this concept into reality, the first step was to prepare the biomass, a mixture that could be loaded into and extruded by a clay 3D printer. This initial recipe focused on natural waste-based ingredients, combining eggshells for their calcium-rich content and eucalyptus bark, which brought fibrous structure and botanical symbolism tied to the broader project themes. Together, these elements formed the base of a biodegradable, printable material with both texture and integrity.
Recipes¶
Preparing the ingredients for the recipes
- Firts attempt
Water: 100ml Xantam Gum: 4gr Eggshell powder: 58gr Eucalyptus powder: 7gr
This recipe turned out to be a little too hard, but it still was a great result.
- Making it more flexible
Water: 50ml Xantam Gum: 2gr Glycerin: 2ml Eggshell powder: 28gr Eucalyptus powder: 5gr
This recipe did not turn out in the end, since it got mold before it could dry because of the glycerin.
- Colored biomass
During this experiment I found out that once the hibiscus pigment is mixed in with eggshell it turns from its natural pink color to a more muted grey. This is because of the calcium on the egghsells that modifies the pigment. Because of this, the recipe was not good for use.
Water: 50ml (infused with hibiscus) Xantam Gum: 2gr Eggshell powder: 28gr Eucalyptus powder: 5gr
- Colored biomass 2
Water: 50ml (infused with purple cabbage)
Xantam Gum: 2gr
Eggshell powder: 33gr
Water: 50ml (infused with purple cabbage)
Xantam Gum: 2gr
Eucalyptus powder: 33gr
For this experiment I tried two different recipes. For the first experiment only the eggshell was used as a filler for the biomass. And for the second experiment only the eculyptus bark was used. Using the powders sepparetly turned out into a beautiful color palette.
Outcome¶
After several rounds of experimentation and careful formulation, I finally found a biomass recipe that had the perfect consistency for extrusion. It held its form, responded well to manipulation, and seemed like an ideal medium for creating the biodegradable pots I envisioned. With the material ready, the next step was moving towards fabrication.
I prepared the parametric designs in Grasshopper and exported them into Ultimaker Cura, the slicing program needed to communicate with the clay 3D printer. Everything seemed ready: the material, the designs, the machine.
However, once the files were uploaded to Ultimaker Cura, an unexpected problem emerged. The files were too intricate, the detailed venation-inspired structures that worked so beautifully in theory proved too complex for both the 3D printer and the extruded biomass to handle. The layers collapsed, the shapes lost definition, and the final printed forms became unrecognizable. The fine details that were so central to the aesthetic and conceptual value of the project simply could not be achieved with the current tools and material.
It was a frustrating and disheartening moment. Preparing the biomass had been a long and demanding process, and seeing the designs fail during the printing stage highlighted the gap between digital precision and material reality.
Rather than forcing a flawed outcome, it became clear that it was time to rethink the entire approach to the biodegradable pots. This setback pushed the project into a new, more adaptable phase. One where the material, the method, and the meaning would have to align differently to achieve the original vision.
Final experimentation¶
After facing the limitations of 3D printing with a natural biomass, it was time to change direction while still staying true to the core values of the project: biofabrication, precision, and nature integration.
I still wanted the biodegradable pots to be natural-based, but I needed a new fabrication method that would respect the intricate designs inspired by venation patterns. Instead of focusing on 3D printing, a new idea was to use bioplastics and laser cutting technology.
The concept was to fabricate molds for the pots, cut precisely with a laser cutter using the Grasshopper designs. This approach would maintain the delicacy and complexity of the original modules while solving the collapse issues faced during 3D extrusion. Once the molds were ready, natural-based bioplastic could be poured into them, taking the shape with high fidelity.
This new method offered greater flexibility: if a pot didn’t form perfectly, it could simply be remade without needing to restart the whole fabrication process from zero. It brought an adaptable and modular quality to the production, matching the evolving and organic spirit of the garment.
Shifting to bioplastics and laser-cut molds preserved the connection to nature while enhancing technical precision, a perfect reflection of the balance between the natural and the digital that defines the project.
Biosilicone¶
The next step was to create the biosilicone, a natural, flexible material that would form the biodegradable pots. The recipe was simple but effective, composed of gelatin, water, and glycerin and cooked like any other bioplastic (heat all the ingredients in a pot)
33% water
33% gelatin
33% glycerin
1 drop of natural preservative
Once the basic formula was working and the consistency of the biosilicone was satisfactory, the focus shifted to coloring the material to reflect the organic and botanical language of the overall project.
The first approach involved using food coloring. Although it was easy to apply, the resulting colors felt too artificial and disconnected from the tone and palette of the project. They lacked the subtlety and rawness that defined the rest of the design.
To stay aligned with the project’s sustainable and nature-rooted concept, I turned to the leftover dye bath water used previously to dye the fabric of the dress (the logwood-based dye). This solution not only integrated the concept more cohesively but also introduced a cyclical element, reusing material from another phase of the process.
However, this method presented a new challenge: logwood is sensitive to pH levels, and the gelatin in the biosilicone recipe lowered the pH, turning the originally deep violet dye into a yellow tone. To counteract this, I added a small amount of sodium carbonate to neutralize the pH and restore the original hue. This subtle chemical adjustment brought the color closer to the desired shade and opened up new possibilities.
As part of this experimentation, I also tested the effect of citric acid directly in the mold. Sprinkling it into the biosilicone before it set created a spotted, organic pattern, further enhancing the visual texture and echoing the natural variations found in flora.
Molds¶
With the decision to shift toward bioplastic casting and the biosilicone ready, the next step was to prepare the molds. Since these molds needed to be reusable and durable, I had to find a material that could withstand both the heat of the bioplastic and the pressure of repeated use. Two main materials were tested: methacrylate (acrylic) and wood.
The first test was done with methacrylate, using a 1 cm thick plastic sheet. After adjusting the parameters on the laser cutter, I engraved and cut the design. The results were promising: the precision of the engraving was excellent, the biosilicone could be poured into the mold without melting the plastic, and the design held its shape. Some minor tweaks were needed, but overall, methacrylate proved to be a strong candidate.
Curious to explore alternatives, I also tested wood as a mold material. This choice quickly revealed two major issues:
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Burn residue from the laser cutting process remained on the surface of the wood. These fragments stuck to the biosilicone when poured, damaging the clarity and quality of the final form.
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The wood altered the pH level of the biosilicone dye, changing the color from its intended violet to an unexpected yellow.
With these results, the choice was clear: methacrylate offered better precision, reusability, and stability.
To reduce material use and remain sustainable, I sourced scrap acrylic pieces from the laser workshop. A 5mm thickness was chosen for the final molds, thin enough to be cut efficiently, yet thick enough to hold the engraved detail.
After final parameter adjustments on the laser cutter, the molds were ready.
Final paramteres for the laser cutter
Speed: 500 mm/s
Min. power: 30
Max. power: 35
Run 5 times to obatin the perfect depth
