b i o f a b r i c a t i o n¶

Biofabrication is revolutionizing the way we design, create, and interact with materials, offering sustainable and innovative solutions to contemporary challenges. This approach blends biology, technology, and design, enabling the cultivation of materials using living organisms such as bacteria, fungi, and algae. Its potential spans fields like fashion, medicine, and even space exploration, addressing ecological concerns while pushing creative boundaries.

An inspiring lecture from Cecilia Raspanti, a co-founder of Fabricademy, illuminated these possibilities, showcasing her groundbreaking work in material experimentation and sustainability. Her insights emphasized how biofabrication challenges conventional methods, fostering a new mindset where innovation harmonizes with nature—a concept deeply aligned with the principles of Fabricademy.

i n s p i r a t i o n¶

THE GROWING PAVILION – A BIO-BASED ARCHITECTURAL MARVEL

The Growing Pavilion, located at Floriade Expo in Almere, Netherlands, is a striking example of the potential of bio-based construction. Created by Biobased Creations in collaboration with the Dutch Design Foundation, this innovative structure was designed by Pascal Leboucq with concepts developed by Lucas De Man and Eric Klarenbeek.

The pavilion features materials like mycelium, agricultural waste, and other renewable resources, emphasizing both sustainability and the natural beauty of bio-based materials. Remarkably, the team spent several months cultivating the mycelium and other bio-based elements to bring this vision to life, showcasing the delicate interplay of time, care, and growth in biofabrication.

What makes this project so inspiring is the harmonious blend of artistry, science, and sustainability. The intricate use of bio-based materials transforms the pavilion into a living narrative about ecological responsibility and innovative design.

For creators, it’s a reminder of the boundless potential of working with organic materials—not just to craft sustainable structures but also to inspire a deeper connection with nature. The Growing Pavilion proves that architecture can simultaneously address environmental challenges and captivate the imagination, making it a shining example for those exploring biofabrication and eco-conscious design.

ELECTRIC SKIN – RESPONSIVE BACTERIAL DESIGN

Electric.Skin is a collaborative project developed by a collective of four women: Nada El Kharashi, Catherine Euale, Sequoia Fisher, and Paige Perillat-Piratoine. The project explores the potential of a new biomaterial that can generate electricity from the humidity in the air, using pili, the protein nanowires derived from Geobacter sulfurreducens.

Electric.Skin aims to create a radically sustainable future where electronics are not only functional but also growable and compostable, giving electronic devices a new materiality—complex, textured, and potentially even alive.

This concept of generating power from natural elements, such as humidity, could inspire our own work with biofabricated materials. Electric.Skin’s use of bacteria to create self-sustaining, responsive materials offers a fascinating vision for the future of design.

FOSSILATION – COLLABORATIVE LARGE-SCALE BIOPLASTIC INSTALLATION

Fossilation, presented at the Pompidou Centre during the Hors-Pistes Festival in 2021, exemplifies the collaborative potential of biofabrication. Developed by researchers and students from the Speculative Life Cluster Biolab, the project features a vast bioplastic membrane composed of photograms imprinted with electronic waste such as cables, screens, and peripherals.

Integrated with the Pompidou’s infrastructure, the installation responds dynamically to environmental changes like temperature fluctuations and energy flow, creating an interactive ecosystem.

This project is an inspiring example of how biofabricated materials can scale to create immersive installations. The collaborative process behind Fossilation also highlights the importance of combining diverse expertise to push creative boundaries. It suggests possibilities for integrating biofabrication into community-driven or site-specific projects that engage with local culture, history, and materials in meaningful ways.

SUZANNE LEE – BIOCOUTURE AND FASHION’S FUTURE

Suzanne Lee, founder of Biocouture, has pioneered the use of biofabricated materials in fashion, particularly bacterial cellulose. By growing textiles using microbes, Lee has created garments that are not only biodegradable but also challenge conventional textile production methods.

Her work explores how we can grow clothing rather than weave or stitch it, creating a system that minimizes waste and pollution.

Lee’s work could be especially inspiring for its potential to merge ancient traditions with cutting-edge science. Imagine blending the techniques of growing bacterial cellulose with Armenian textile artistry, creating pieces that are as rooted in tradition as they are futuristic. Her innovative approach to fashion encourages thinking about materials as a collaboration between humans and microbes, opening up opportunities to design beyond the limits of conventional craftsmanship.

DASHA PLESEN – MASTERING CONTROL OVER LIVING ORGANISMS

Dasha Plesen (whose nickname, meaning "mold" in Russian, reflects her deep connection to this medium) showcases the remarkable intersection of art, biology, and control. By carefully managing the growth of mold colonies, she transforms this naturally chaotic process into intricate, intentional designs.

Her ability to guide and shape living organisms demonstrates the extraordinary potential of biofabrication, where biology becomes a medium for creative expression. Through precise environmental manipulation—adjusting humidity, temperature, and light—Plesen creates dynamic, evolving artworks that blur the lines between human creativity and nature’s autonomy.

The act of controlling the growth of a living organism is profoundly inspiring because it highlights the delicate balance between precision and unpredictability.

Plesen’s work exemplifies the power of biofabrication to collaborate with life itself, turning organic processes into purposeful creations. It’s both humbling and exhilarating to realize that with the right knowledge and techniques, living organisms can be directed to create something entirely new. Her practice serves as a reminder of the harmony between science and artistry, offering creators a unique perspective on what it means to co-create with nature.

i n t o . t h e . w i l d¶

For this week, exploring and using the local wealth has been crucial. Erika and I decided to rediscover the biggest treasure of Dilijan—the forest. We set off on a hike to the Drunken Forest, which begins right from the center of town. The forest’s name comes from the unusual tilt of the trees, which seem to lean and sway as if "drunk" due to the shifting soil on the slopes.

From the lab, we took a few petri dishes, prepared agar-agar bases in them, and set out fully ready to collect samples. We searched for plants and organisms we could grow in the lab or use in biofabrication.

The beauty of the panoramas amazed us. We found algae, moss, lichens, pine cones, and mushrooms, and were reminded of the importance of appreciating nature and these moments of connection with it.

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

During the Fabricademy Bootcamp 2024, Anastasia Pistofidou introduced us to the fascinating world of biofabrication. We explored a variety of materials, including gelatin, agar-agar, alginate, and kombucha-based bacterial cellulose.

This hands-on experience was an incredible opportunity to learn the basics of creating biomaterials while experimenting with recipes and pushing the boundaries of what these materials can do. The collaborative environment of the bootcamp made it an inspiring space for creativity and innovation.

g e l a t i n e . b a s e d¶

c h a r c o a l . f o a m¶

One of the first materials I explored was a gelatin-based charcoal foam. The idea was to create a lightweight, spongy structure with activated charcoal for conductivity and additional glycerin for flexibility. A small amount of liquid soap was added to create a bubbly texture.

r e c i p e

15g gelatin
12g glycerin (increased for more elasticity)
10g activated charcoal powder
A few drops of liquid soap (for foaminess)
100ml water

The ingredients were heated and mixed thoroughly to dissolve, then poured into a mold. Drying was done using a fruit dryer over 12 hours, after in room temperature (°20–21C) over 24 hours, in November conditions.

o u t c o m e s

The foam dried into a soft, lightweight material with a porous, sponge-like texture. The charcoal gave it a dark color and some conductive potential, though not enough to act as a velostat in an analog soft pressure sensor.

Despite this, the experiment was a success in understanding how these ingredients interact and building a foundation for further material development.

b i o . c o n d u c t i v e¶

For this recipe, I wanted to explore the possibilities of embedding conductive materials in flexible gelatin-based bioplastic. Together with Fatemeh, a Fabricademy participant, we decided to test both conductive thread and conductive yarn to see how the material would behave and whether it could work as a stretch sensor.

r e c i p e

48 g gelatin
240 ml water
30 g glycerin (increased for more flexibility)
Yellow and blue coloring (resulting in a fresh green color)

The mixture was heated until fully dissolved and poured into the hoop divided into two sections with a plywood piece. Conductive thread was embedded in one half and conductive yarn in the other.

o u t c o m e s

The material dried over a few days, initially in a fruit dehydrator and then at room temperature. The final bioplastic was smooth, flexible, and retained its water-soluble nature, meaning it could be reheated to remove embedded materials.

Once dried, I tested the material using a multimeter to measure resistance changes. The conductive thread integrated well and showed potential as a flexible stretch sensor. However, the yarn's results were inconsistent, likely due to uneven embedding or weaker connections.

This experiment highlighted the adaptability of gelatin bioplastic, its reusability, and its potential for soft electronics, while also pointing out challenges in material integration.

b i o c o m p o s i t e . w i t h . w o o l¶

This experiment was inspired by the colorful wool yarns we dyed during the Biochromes week. I wanted to create a biocomposite that combined these vibrant yarns with gelatin, forming a new material with unique aesthetics and properties. The composition resembled a rug but wasn’t woven, offering an entirely different texture and form.

r e c i p e

85 g gelatin
400 ml water
45 g glycerin

process

Using scissors, I shredded the dyed wool yarns into small pieces and arranged them in a hoop, crafting a vibrant, unstructured pattern. For the bottom layer, I used a piece of pop-up plastic packaging to add a fun texture to the final piece.

Once the gelatin mixture had cooled slightly (to avoid damaging the plastic), I carefully poured it over the yarn composition. As the gelatin seeped into the fibers, the materials merged into something entirely new—not wool, not gelatin, but a fusion of both.

o u t c o m e s

After a few hours of drying in fresh air, I brought the piece home to continue drying in a cool spot away from direct heat. Due to the gelatin's thickness, the process took 3–4 days.

The final piece was stunning, especially when illuminated, as the light accentuated the vibrant colors and the interplay between the materials. This project demonstrated how biocomposites can transform familiar materials into entirely new sensory experiences, opening doors for further exploration in design and art.

a l g i n a t e . b a s e d¶

a l g i n a t e . a n d . c y a n o t y p e¶

For the experiment with alginate, I explored the potential of transparent bioplastic as a medium for cyanotype printing. Cyanotype is a photographic printing process that produces a distinctive blue color using light-sensitive chemicals. When exposed to UV light and then washed, the treated areas develop a rich, cyan hue, creating a stunning visual effect. Given alginate's water sensitivity and shrinking tendency during drying, it presented unique challenges and opportunities for this process.

r e c i p e

4 g alginate
200 ml water
8 g glycerin

p r o c e s s

Alginate is typically a cold-mix recipe, but I decided to heat and cook the ingredients together to observe any differences in the final material. Once the mixture was ready, I poured it into a hoop lined with waterproof faux leather as a base. After 12 hours in a dehydrator, the alginate formed a thin, transparent bioplastic layer.

Next, I prepared a cyanotype solution, a mixture of iron-based compounds, and carefully applied it to the bioplastic using a cotton pad. After arranging a composition on the surface, I exposed it to UV light for 10 minutes. The transformation was stunning—the light caused the treated areas to react chemically, producing vivid blue tones and turning the bioplastic into a dynamic piece of artwork.

o u t c o m e s

When rinsing the cyanotype to stop the chemical reaction, the alginate began to dissolve upon contact with water.

This could be attributed to several factors:

Cooking the alginate recipe, which might have altered its structure.
The thinness of the bioplastic layer, making it more fragile.
The prolonged exposure to UV light, potentially weakening the material.

Despite the challenges, the result was a delicate and visually captivating experiment. Combining alginate-based bioplastics with cyanotype printing opened up a fascinating intersection between materials science and art, showcasing the potential for innovative, eco-friendly creative mediums.

e l e c t r i c . a l g i n a t e¶

The idea behind this experiment was to push the boundaries of alginate-based materials by making them conductive. Inspired by previous trials, I wanted to see how incorporating salt and conductive threads would influence the material’s properties and potential applications. This project combined creativity and functionality, with an emphasis on testing electrical conductivity in bioplastics.

r e c i p e

200 ml water
6 g alginate
12 g glycerine (increased for flexibility)
20 g salt
Blue and Yellow pigments

p r o c e s s

I began by mixing all the ingredients and cooking the solution over low heat to dissolve the salt completely. Cooking isn’t typical for alginate-based recipes, but I wanted to ensure even distribution of the salt. Once the mixture reached the right consistency, I poured it into two separate hoops. For the first hoop, I left the material plain. For the second, I embedded silver-coated conductive threads into the alginate mixture.

The hoops were placed in the dehydrator for 17 hours. At this point, the materials were semi-dry but still pliable. I moved them to room temperature for continued drying, occasionally placing them back in the dehydrator to speed up the process.

r e s u l t

Both samples demonstrated excellent conductivity when tested with a multimeter. Adding small LEDs confirmed that both the plain material and the one with conductive threads could complete an electrical circuit.

Connecting the two pieces using crocodile clips showed that they worked seamlessly together, conducting electricity across the connection.

The most exciting discovery was using the materials to create a pressure sensor. Even after full drying, the piece with conductive threads retained its conductivity. This could be due to the glycerine content preventing complete drying and possibly the silver particles penetrating the biomaterial’s structure.

This experiment was a fantastic step forward in exploring the functional applications of bioplastics, proving that simple adjustments to the recipe can open up new possibilities.

a l g i n a t e . y a r n¶

For our final experiment, we decided to create alginate-based yarn, a project that allowed us to experiment with different textures and learn about the material's versatility. It was a collaborative effort, and my daughter Luce and her friend Sona joined in the fun, which added a playful element to the process.

r e c i p e

4g alginate
200 ml water
8g glycerine (to increase flexibility)
10% calcium chloride solution (for yarn hardening)

p r o c e s s

We began by mixing the water and alginate to create a smooth, thick solution. The addition of glycerine in the recipe was important for enhancing the flexibility of the yarn.

Once everything was thoroughly mixed, we carefully poured the alginate mixture into the 10% calcium chloride solution using a large syringe, allowing the threads to form. The calcium chloride caused the alginate to solidify almost instantly, turning the liquid into a gel-like thread.

My daughter and her friend had a great time helping with this part, eagerly watching as the alginate took form.

r e s u l t

After the threads had set in the solution, we let them dry for several hours. The drying process caused the yarns to lose their moisture, transforming them from a soft, gel-like texture into a firm, rigid form.

The final yarns were dry, not too flexible, but surprisingly strong. The yarns held their shape well and could be used for various creative projects.

Overall, the experiment was a success, and the kids had a blast participating in the creation of these unique bioplastics.

b i o p r i n t i n g¶

In addition to our work with bioplastics, we also explored the potential of creating materials suitable for 3D printing. This was a collaborative effort, and we focused on developing biocomposites using coffee leftovers, eggshells, agar-agar, and banana peels. We were especially excited about the possibility of hacking one of our 3D printers to turn it into a bioprinter in the future, allowing us to continue experimenting with these materials.

r e c i p e . 1: Coffee & Eggshell Biocomposite

150 ml water
4 tbsp coffee grounds (leftovers)
5 g eggshell powder
2g xanthan gum (to improve the viscosity for printing)

r e c i p e . 2: Agar-Agar & Banana Peel Biocomposite

200 ml water
10g agar-agar
70g banana peels (blended)
15g glycerine (for flexibility)
Blue pigment

p r o c e s s

For the coffee and eggshell biocomposite, we combined the water, coffee grounds, and eggshell powder. After heating the mixture, we added xanthan gum to increase its viscosity, which was important for making it thick enough for 3D printing.

For the agar-agar and banana peel recipe, we first blended the banana peels into a smooth paste and mixed them with the agar-agar solution, heating everything together. The glycerine was added to the agar-agar mixture to help increase its flexibility and prevent cracking.

r e s u l t

After both mixtures were prepared, we carefully cooled them to room temperature. Instead of using a 3D printer, we tested the materials by hand, using a syringe to carefully extrude the material in layers onto a surface, mimicking a 3D printing process.

Both biocomposites had interesting qualities. The coffee and eggshell mixture created a firm, slightly rough material, while the agar-agar and banana peel composite was more flexible and had a smooth texture.

When extruded by hand using the syringe, the banana peel and agar-agar mixture initially held its shape better and appeared more promising. However, after drying, the layers disassembled and didn’t maintain their integrity.

On the other hand, the coffee and eggshell material dried more organically, retaining more moisture and maintaining its shape. The main issue was fragility, as the coffee-based material was more brittle, but it still held its form better overall.

Although we couldn’t test these materials with a 3D printer, the hand-extrusion method gave us valuable insights into their potential. We are excited to continue experimenting with these materials and plan to hack one of our 3D printers into a bioprinter during Open Source Hardware week to refine and test these biocomposites further.

k o m b u c h a - g r o w n¶

I decided to grow a SCOBY (Symbiotic Culture of Bacteria and Yeast) using the beer recipe, as suggested by Anastasia Pistofidou.

r e c i p e

500 ml beer
500 ml water
100 g sugar
A small amount of vinegar
SCOBY (starter culture)

p r e p a r a t i o n

Before starting, I carefully prepared the SCOBY by washing it with lukewarm water to remove any residue from previous batches. This step is important to ensure a clean environment for the fermentation process. After washing, I set the SCOBY aside and proceeded with preparing the liquid.

p r o c e s s

First, I combined 500 ml of beer with 500 ml of water in a clean jar. Then, I heated the mixture slightly to dissolve 100 g of sugar, ensuring the sugar fully dissolved into the liquid. Once the beer and water mixture was heated, I used tissue paper or a spoon to gently remove any bubbles that had formed. This step is important to prevent the trapped air from interfering with the fermentation process.

After the bubbles were removed, I allowed the mixture to cool down to around room temperature (25°C). Once it had cooled, I added a small splash of vinegar to help balance the pH and encourage the growth of the SCOBY. Finally, I placed the SCOBY into the liquid.

result

The jar was then covered with a breathable cloth and placed in a warm, dark place (around 22°C) for fermentation. Over the next 10-14 days, the fermentation process took place, with the SCOBY forming a thin layer of bacterial cellulose on the surface of the liquid.

f i n a l . t h o u g h t s¶

Creating and growing my own materials has been a fascinating and rewarding experience. It’s not just about experimenting with different recipes; it’s about understanding the potential of natural resources and learning how to work with them in a practical, hands-on way. The process opens up new ways to approach material design, where the outcome is often unexpected and surprising. It’s a constant reminder of how much we can do with what’s around us, and how the boundaries of innovation are often shaped by our willingness to experiment and learn. For me, it’s a step toward sustainability, finding alternatives to conventional materials, and discovering new possibilities that can have a real impact on the way we create things. Working with biomaterials, from gelatin to kombucha, has shown me that there’s so much to explore and rethink when it comes to the materials we use every day.