c o m p u t a t i o n a l . c o u t u r e

This week at Fabricademy, we’re immersed in computational design—a journey that shifts the creative process from hand to code, merging digital precision with the tactile world of textiles. My fascination with computational design lies in its ability to shape fabric into unexpected dimensions, creating patterns and textures that feel alive, organic, and wholly unique. It’s an approach that goes beyond mere decoration; with each algorithm, we’re adding structure, depth, and movement to textiles, transforming them into something closer to wearable art than traditional cloth.

The lecture on computational couture by Julia Koerner was a vivid spark, a look into a world where fashion meets architecture through code. Known for her iconic, nature-inspired 3D-printed pieces, Koerner showed how digital algorithms can conjure intricate, lifelike forms that challenge the limitations of fabric. Inspired by her vision, I’m eager to experiment this week with merging computational design and textile printing, tapping into the potential of 3D printing as a medium for dynamic, boundary-pushing creations. We explored:

• Stereolithography (SLA) uses a UV laser to solidify layers of liquid resin, gradually building a three-dimensional object from the bottom up. The laser carefully maps each layer of the design onto the resin, which hardens as the platform shifts downward for each new layer. This approach produces highly detailed and smooth results, making it a preferred choice for fields like jewelry making, dental modeling, and intricate prototyping.

• PolyJet is an advanced 3D printing technique that precisely jets and immediately cures liquid photopolymers with UV light, layer by layer. This approach allows for an impressive range of material combinations, enabling different colors, textures, and properties—such as flexibility, rigidity, and transparency—to be integrated within a single model. Ideal for creating complex prototypes and highly detailed medical models, PolyJet technology is known for its smooth surface quality and accuracy, reducing the need for extensive post-processing. Its ability to produce intricate, multi-material parts makes it particularly valuable for designers and engineers working on sophisticated prototypes and functional testing.

• Selective Laser Sintering (SLS) is an advanced 3D printing process where a high-powered laser precisely fuses layers of powdered material, like nylon or metal, into a solid structure. The laser selectively sinters each cross-section of the object from the powder bed, layer by layer, without needing support structures, which makes it ideal for creating durable, complex parts with intricate geometries. SLS is widely used in industrial applications due to its strength and design flexibility.

• Fused Deposition Modeling (FDM) is a widely-used 3D printing method that builds objects by melting thermoplastic filament and extruding it through a nozzle, layer by layer. The material bonds to the previous layer as it cools, allowing for cost-effective production of parts from common plastics like PLA and ABS. While it's popular for prototyping and functional parts, FDM may require sanding or smoothing for a refined surface finish.

• Fused Filament Fabrication (FFF) is similar to FDM, using heated nozzles to extrude melted thermoplastic filament in layers. FFF is commonly seen in consumer-grade and hobbyist 3D printers, making it an accessible option for personal and educational use. It supports various materials, including PLA, ABS, TPU, allowing users to create functional objects or prototypes at a relatively low cost, though detailed finishing may be necessary for smoother results.

i n s p i r a t i o n

GANIT GOLDSTEIN

I discovered Ganit Goldstein’s work while researching advanced techniques in 3D fabrication, and her innovative designs sparked my passion when I first joined the Fab Lab. Her ability to blend computational design with wearable technology captivated me, showing how complex patterns can be transformed into beautiful textiles. This exploration opened my eyes to the potential of fabric as a medium that carries not just aesthetic value but also interacts meaningfully with its environment and the wearer.

Goldstein’s work inspired me to think about how we could achieve similar creative outcomes within the limitations of our Fab Lab. Even without access to high-tech resources, I realized we could still use simple tools like 3D printers and textile printers to create exciting designs that reflect her spirit of experimentation. This challenge to adapt and innovate fuels my enthusiasm for computational design, pushing me to explore new ideas and boundaries despite any constraints we may face.

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ANOUK WIPPRECHT

Anouk Wipprecht inspires me deeply with her pioneering blend of fashion and technology, showcasing how clothing can transcend its conventional boundaries. Her creations, like the Spider Dress, exemplify this idea by using sensors to detect proximity and respond to the wearer’s movements, creating an interaction that is both mesmerizing and functional.

Wipprecht’s innovative spirit motivates me to explore the integration of flexible sensors and soft circuits in my own work. By embracing this intersection of design and technology, I feel encouraged to reimagine the possibilities of wearable art, transforming garments into interactive experiences that engage both the wearer and the audience.

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BEHNAZ FARAHI

Behnaz Farahi's work beautifully bridges the worlds of architecture, fashion, and technology, creating immersive experiences that challenge our understanding of both material and narrative. Her innovative use of responsive materials invites viewers to interact with design in new ways, making the invisible forces of technology visible. By focusing on the relationship between the body and its environment, Farahi's projects explore how our interactions with technology can shape our identities and experiences. Through her work, she encourages us to rethink the boundaries between the digital and the physical, revealing how design can serve as a platform for critical dialogue.

Farahi’s work exemplifies this shift, highlighting that design should not only prioritize function and aesthetics but also foster inclusivity and meaningful storytelling. This focus allows us to question not only what technology can do but also what it should do. By foregrounding the importance of diverse perspectives, Farahi reminds us of our responsibility as creators to connect, empower, and elevate voices that are often overlooked, ensuring that the narratives behind our designs resonate with a wider audience.

p r e v i o u s . e x p e r i e n c e

My first experience with 3D printing on textiles was in Fab Academy - a mix of experimentation and discovery, blending techniques to create both structured designs and flexible, movable parts. I began with a simple yet striking idea: to print spikes onto a leather-like textile, inspired by the edgy aesthetic of rock-metal fashion. I designed several cone shapes in FreeCAD and then converted them into meshes, which allowed me to visualize and print multiple shapes directly onto fabric. This initial step, though exciting, revealed some critical learning points, particularly about the importance of stabilizing fabric surfaces and calibrating the Z-axis before printing.

In my early attempts, the spikes were small and somewhat subtle on the textile surface. This wasn’t solely a size issue but also related to Z-axis calibration. My first alignment didn’t account for the fabric’s height, making the printing less secure, so I manually adjusted the Z-axis to adapt to the thickness of the fabric. Attaching the fabric to the work surface posed another challenge since it stretched, and without complete stability, the spikes had uneven finishes and easily detached. I tried adding a raft, which improved the adhesion but resulted in textures that were more rigid and less effective on slippery fabrics.

For my next attempt, I switched to a linen-cotton blend, which offered better traction for attachment and adhesion. I also created a new geometric design, a small triangle, and replicated it to create a textured mosaic pattern across the textile. Interestingly, during printing, my MakerBot slicer generated an unexpected line connecting all shapes in the design. This feature wasn’t visible in the slicer preview, adding an accidental artistic element to the piece.

I also explored 3D-printed flexibility by creating interconnected joints with torus shapes that allowed the structure to move. Using FreeCAD’s Draft workbench, I generated polar arrays of rings around each torus, creating intricate models that could flex and shift without requiring support structures during printing. This experiment allowed me to print larger designs that flowed and moved naturally on the textile, blending functionality and visual appeal.

The interplay between printed plastic and textile flexibility resulted in unique, wearable art with a balance of structure and softness, showcasing the potential of textile-integrated 3D printing in fashion.

c i r c u l a r . c o m p u t a t i o n

To bring my circular fashion concept into 3D form, I first made adjustments to my design in CorelDRAW, refining the shapes and patterns with precision.

Once I was satisfied with the layout, I imported these shapes into Blender, where I extruded them, adding depth and dimension to transform the design from flat shapes into a fully realized, wearable object.

I started by importing my SVG file into Blender through File > Import > Scalable Vector Graphics (.svg). Once the design loaded into the viewport, it appeared as curves. I selected these curves and navigated to the Object Data Properties panel (the one with the curve icon). Under the Geometry section, I adjusted the Extrude value to give the design depth, transforming it into a 3D object. To enhance the look, I played with the Bevel settings to create smooth, rounded edges. Once satisfied, I converted the curves into a mesh by pressing F3, typing Convert to Mesh, and selecting the option. This allowed me to further refine the model using Blender’s modeling tools, preparing it for materials, textures, or 3D printing.

For the printing material, I chose TPU filament, which brought a unique balance of strength and flexibility to the project. Working with TPU requires careful calibration, as its flexible nature can sometimes make it challenging to print evenly. Through trial and adjustment, I found the right print settings to produce smooth, durable components that maintained the design’s intricate details.

p l a . v s . t p u

PLA (Polylactic Acid) and TPU (Thermoplastic Polyurethane) are two commonly used filaments in 3D printing, each with unique properties that suit different types of projects and applications.

PLA is a biodegradable plastic derived from renewable resources like cornstarch or sugarcane, making it one of the most environmentally friendly 3D printing materials available. It’s known for its rigidity, ease of use, and ability to hold sharp, intricate details in printed objects. PLA’s stiffness makes it ideal for creating strong, precise structures, but it’s also more brittle compared to TPU and can crack under stress. It prints well at lower temperatures (typically between 180–220°C) and doesn’t require a heated bed, making it beginner-friendly and compatible with most basic 3D printers. PLA is well-suited for prototypes, decorative items, and projects that don’t need to withstand mechanical stress or repeated movement.

TPU, on the other hand, is a flexible, rubber-like material with excellent elasticity, ideal for applications requiring durability, flexibility, and resilience. TPU’s flexibility allows it to bend and stretch under force without breaking, making it perfect for wearable items, phone cases, and any other project that requires adaptability. However, TPU is more challenging to print than PLA due to its soft texture, which can cause issues with filament feeding if the printer isn’t optimized for flexible materials. TPU requires a slightly higher printing temperature (between 220–250°C) and often benefits from a heated bed to prevent warping. It also generally prints at slower speeds to ensure consistent layer bonding.

The result exceeded my expectations.

Now it's time to assemble the two components. The advantage of this modular design is its flexibility—you can assemble and disassemble the modules however you like. It can become part of a dress, a bracelet, other jewelry, or even a bag.

n e w . t o o l - b e e g r a p h y

b e g i n n i n g

Beegraphy is an innovative Armenian company that provides a unique platform for creating parametric designs entirely online. Parametric design is a powerful approach to modeling that uses parameters and algorithms to generate flexible, adaptable models. Instead of static, fixed shapes, parametric designs can be adjusted dynamically by changing input values, making this method ideal for creating customizable objects. Beegraphy stands out by bringing this advanced design technique to the cloud, making it accessible to anyone with an internet connection. It is particularly suited for architecture, product design, jewelry, and any project that benefits from modularity and precision.

When I first started exploring Beegraphy, I turned to YouTube tutorials for guidance—not to follow them step-by-step but to understand the underlying logic of parametric design. This approach gave me the confidence to experiment and create my own designs, exploring how changing parameters could reshape my models in real-time.

It wasn’t an easy journey, as parametric design requires a different mindset compared to traditional modeling. The process felt like solving a puzzle, and I realized I needed more time and practice to fully master it. Still, the ability to create dynamic, adaptable models was both challenging and rewarding, opening up endless possibilities for creativity.

One critical feature I discovered is the 'Export STL' component. To export a model for 3D printing or use in other software, you must add this component to your design. It’s an essential step in the parametric workflow, allowing you to transition seamlessly from digital creation to real-world application. This emphasizes how parametric design not only offers flexibility in creation but also bridges the gap between virtual models and tangible results.

d e s i g h . a n d . p r i n t

To create my second design, I found inspiration in another YouTube tutorial. In this video, Jose Luis demonstrated modeling the Berlin Holocaust Memorial using BeeGraphy, a 3D modeling software. He explained how to build a grid of points, create rectangles, and apply extrusions to represent the Memorial's structure. He also showed how to modulate the wave strength and amplitude to achieve the desired effect.

Using the logic and formulas from his demonstration, I adapted the concepts to design my own unique model, which I planned to print on textile. This process helped me see how parametric design principles could be applied in creative and versatile ways.

After setting up the parameters in BeeGraphy, I exported the design as an .stl file and chose a dark blue felt as the base material for the print. To create a striking effect, I decided to print the design using multicolor PLA filament. Before starting the print, I carefully adjusted the parameters in Cura to suit PLA, including setting the nozzle temperature to 200–210°C and the bed temperature to 60°C. I also set the layer height to 0.2 mm for good detail and a moderate print speed of around 50 mm/s to ensure precision on the felt surface.

One of the most critical steps was leveling the print bed. Adding felt to the bed introduces a slight variation in height, which can significantly impact the print quality if not accounted for. I manually leveled the bed to ensure the nozzle was at the correct height relative to the felt, avoiding any chance of the nozzle dragging or the print failing. Proper bed leveling is crucial when working with unconventional materials like felt, as it ensures consistent extrusion and adhesion without damaging the fabric or the design. With these settings in place, the print turned out beautifully, with vibrant colors standing out against the soft felt backdrop.

p l a s t i c . l a c e

To prepare the lace photo for 3D printing, I began by editing it in CorelDRAW to create a clean SVG file. I imported the photo and used the Bitmap Trace feature to convert the image into vector paths. After adjusting the threshold and smoothing settings, I carefully cleaned up the paths to remove any unwanted details and ensure the design had clear, well-defined edges. Once the lace pattern was refined, I saved the file as an SVG, making it ready for further processing in the 3D printing workflow.

Next, I dragged and dropped the SVG file into Cura to set up the print parameters. The goal was to print the design onto a 2-axis stretchable Lycra fabric using two types of TPU filament: one transparent and the other yellow. I carefully adjusted the layer height to 0.2 mm for optimal detail and set a moderate print speed of 30 mm/s to ensure precise filament deposition on the stretchy fabric.

During the printing process, I stopped the printer midway to switch the filament. The first half of the design was printed in transparent TPU, creating a subtle and flexible base layer. Then, I loaded the yellow TPU to complete the rest of the pattern, adding a vibrant contrast to the finished piece. This technique of mid-process filament swapping allowed for a unique dual-tone effect, making the design stand out while maintaining the Lycra's stretchable properties.

The result was a dynamic and functional printed lace that combined aesthetics and flexibility.

f i n a l . t h o u g h t s

Computational couture, especially through 3D printing with flexible materials and designs, opens up exciting possibilities for both Fab Labs and fashion. In Fab Labs, it allows for hands-on exploration of printing directly onto textiles or creating flexible, wearable components that adapt to the body’s movement. This fusion of technology and textiles is invaluable for pushing the boundaries of what can be made, enabling intricate, customized designs that integrate seamlessly with fabrics. For fashion, it introduces new levels of creativity and functionality, from stretchable garments to modular accessories, while reducing waste through precise, on-demand production. This approach not only redefines how we think about making but also expands the horizons for sustainable, innovative, and dynamic fashion solutions.

f i l e s

Download Computational Shapes (.stl)

Download Hexagon Shapes (.stl)

Download TPU Lace (.gcode)