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. Her work speaks to a future where garments adapt to the wearer’s body and surroundings, bringing a sculptural quality to fashion that feels as personal as it is avant-garde. 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. Computational design here feels less like a tool and more like a new language for expressing the interplay between material, form, and imagination.

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.

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.

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.

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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.

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.

PLA vs TPU

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.