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Welcome to Textile as Scaffold week, where fabrics become the heroes of design, innovation, and a bit of mad science! This week, we’ll take textiles on a wild ride, turning them into structural wonders and artistic playgrounds. Whether you're transforming soft fibers into strong composites, sculpting with CNC 3D milling, or growing shimmering crystals on unexpected surfaces, it’s all about pushing the limits of what textiles can do.
We’ll also dive into leather molding to explore its squishy-to-sculptural potential and experiment with materials that grow, stretch, and surprise. Think of it as a playground where technology, art, and alchemy collide. Get ready to stretch your imagination (and some fabric) as we uncover how textiles can become the backbone of groundbreaking creations!
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KAREN MARGOLIS: MAPPING THE INVISIBLE THROUGH CRYSTALLIZATION
Karen Margolis inspires with her ability to bridge the worlds of science and emotion through art. Her work often focuses on the invisible connections that define human experience—thoughts, memories, and neural pathways. By incorporating crystallization into her creative process, Margolis transforms these intangible ideas into physical, intricate forms. Her pieces often begin as delicate, hand-drawn maps, which she enhances with crystals to bring dimension and depth, representing the beauty and fragility of mental landscapes.
Margolis uses crystallization not just as a decorative process but as a conceptual tool, allowing natural growth patterns to interact with her artistic vision. The crystals mimic organic structures, blurring the lines between control and chaos. This interplay of order and unpredictability is a significant source of inspiration, showcasing how a scientific process can illuminate deeply personal themes in art.
ALICE POTTS: BIOCRYSTALS THAT WEAR YOUR STORY
Alice Potts is a visionary in biofabrication, transforming bodily processes into wearable art through her innovative use of crystallization. She collects sweat, tears, and even urine from the body, harnessing their natural salts and minerals as a foundation for crystal growth. Each fluid contributes unique compositions, resulting in crystals with distinct colors, textures, and structures.
This process turns something as intimate and human as bodily fluids into extraordinary, sustainable art pieces that reflect individuality and celebrate the connection between biology and design. Potts’ work not only pushes the boundaries of wearable art but also offers a glimpse into the future of fashion where natural processes and cutting-edge creativity intersect.
Her ability to collaborate with major brands amplifies her impact, blending her techniques with global fashion icons like Gucci, Alexander McQueen, and Adidas. These partnerships integrate her bio-crystallization methods into both luxury and streetwear, redefining how materials are used in design. Potts’ innovative approach inspires by proving that fashion can be deeply personal, environmentally conscious, and conceptually groundbreaking all at once. Her work embodies a new era where art, science, and sustainability meet to reshape the possibilities of textiles and wearable technology.
VLIEGER & VANDAM: FUN WITH LEATHER
Vlieger & Vandam is also renowned for their playful and provocative approach to leather design, particularly with their Guardian Angel series of bags, which feature bold, unexpected shapes like knives and guns molded into the leather. These bags are more than just accessories; they challenge traditional notions of fashion and functionality. The designs incorporate sharp, edgy details that evoke strong emotions and raise questions about society, protection, and violence, all while being entirely wearable. The knife or gun shapes are intricately crafted in leather, allowing these otherwise dangerous objects to be transformed into fashion statements that provoke thought and conversation.
The bags play with the idea of blending everyday functionality with objects typically associated with danger, offering a playful critique of modern life. Their work inspires me by proving that design can be both serious and fun, challenging conventions while making a statement about identity, culture, and the materials we choose to engage with.
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My CNC milling adventure during Fab Academy 2023 was nothing short of thrilling. Armed with the ShopBot PRS Alpha at Fab Lab Armenia and a head full of ideas, I dove into the challenge of creating a music stand for my violin-playing daughter. After a whirlwind of brainstorming, safety training, and design tweaks, I finally settled on my project—because who doesn’t love combining art with function? With VCarve Pro software in hand and plywood on the table, I embarked on a journey of turning flat wood into something fabulous, complete with laser-cut floral decorations to give it a charming twist.
Of course, the process wasn’t all smooth sailing. From discovering a misaligned spindle to reworking pieces that didn’t quite fit, there were plenty of moments that tested my patience and problem-solving skills. But nothing beats the joy of seeing your design come to life, especially when your curious kid is right beside you, mimicking your every move. In the end, we had not just a beautiful music stand but also a shared experience that made the journey even more meaningful—and a workspace full of sawdust that told the story of a job well done!
My experience with 3D CNC milling was a deep dive into digital fabrication and materials exploration. For the milling, I used FreeCAD to design a precise two-part mold for a flying saucer, carefully adjusting draft angles and scaling for the wax material. Generating G-code through Mods, I faced challenges like scaling errors and surface imperfections, which I resolved by fine-tuning stepover values and mesh settings, ultimately achieving smooth mold surfaces using the Roland SRM-20 CNC machine.
In the casting phase, I worked with Babbitt metal, melting it to a precise temperature in the VULCAN A-550 oven. Despite initial issues with air pockets and a narrow injection hole, I successfully created a metal saucer by modifying the mold.
For the bioplastic, I experimented with a recipe inspired by Fabricademy, adding creative elements like pencil shavings for a cosmic touch. These experiences expanded my skills in working with diverse materials and reinforced the value of adaptability and problem-solving in fabrication.
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During the Fabricademy Bootcamp 2024, I had the chance to take part in a leather and Kombucha (bacterial cellulose) workshop led by Anastasia Pistofidou. It was a truly inspiring experience that introduced me to the world of leather molding. Before the workshop, the Fab Lab Armenia team prepared custom molds using the CNC milling machine, which we later used for shaping the leather. Throughout the session, we explored the full process—from preparing the leather and understanding its behavior to molding techniques and post-processing. It was a beautiful and hands-on experience that deepened my appreciation for both traditional craftsmanship and bio-based materials.
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For this week’s exploration in leather molding, I began by revisiting and building upon the techniques I had learned during the Fabricademy Bootcamp 2024. My first experiment involved creating a two-layered leather piece. I laser cut a decorative top layer with a specific pattern and then molded it together with a base layer using the CNC-milled forms we had previously prepared at Fab Lab Armenia. This technique allowed me to combine digital precision with traditional molding, resulting in a beautifully textured, multi-dimensional piece. The laser-cut design added visual depth while the molding process gave it structural volume.
In my second experiment, I focused on achieving a more rigid and precisely formed result. I used the shock method, boiling the leather for about 2–3 minutes after soaking it in cold water. As soon as the leather became soft and pliable, I pressed it firmly into the form and left it to dry for 4–5 days. The extended drying time helped the leather retain its new shape very precisely, and the final piece came out quite solid and stable, almost like a cast object.
Both methods offered valuable insights into how temperature and time affect the material’s behavior. The two-layer molding allowed for artistic expression and surface experimentation, while the boiling and long-form drying method gave me strong, well-defined shapes suitable for functional or wearable pieces. Repeating these steps from the Bootcamp helped reinforce the process—from material preparation to molding and finishing—and gave me more confidence in handling and shaping leather with purpose.
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To mold the kombucha mother (SCOBY), the first step is to carefully rinse the fresh culture with cold water to remove any residual fermentation liquid. After cleaning, the SCOBY is gently patted dry with a paper towel and trimmed to the approximate shape of the mold. It's important to remove any thick or uneven edges to ensure a consistent form. Once prepared, the SCOBY is laid onto the mold - CNC-milled forms, and pressed to follow the shape. To help it stay in position, breathable fabric or mesh may be used to hold it down, allowing air circulation while it dries.
During the drying process, the SCOBY—originally more than 20 mm thick—shrinks significantly. Since bacterial cellulose contains around 98% water, the evaporation of moisture causes it to condense into a smooth, thin film just 0.3 mm thick. This dramatic transformation reveals the incredibly water-rich nature of the material. What remains is pure bacterial cellulose, a sustainable and biodegradable material. Depending on how it is treated and processed, it is possible to create either leather-like materials or paper-like sheets, opening up a wide range of possibilities for use in design, fashion, and creative experimentation.
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Gata patterns in Armenia are deeply rooted in tradition, with each region developing its own symbolic motifs carved into the surface of this beloved pastry. These decorations often include sun-like shapes, diamonds, or intricate braids, all created by hand using knives or wooden stamps. Beyond aesthetics, they carry cultural meanings and represent celebration, care, and heritage, turning each pastry into a small piece of folk art.
In my experiment, I took a contemporary approach by reinterpreting the idea of gata decoration through parametric design using Beegraphy. Instead of replicating traditional motifs, I aimed to create a modern, abstract pattern inspired by the rhythm and symmetry found in gata but free from its historical forms. I developed a parametric model where the design could shift, grow, and evolve based on input values—allowing me to play with density, direction, and scale in a way that traditional tools can’t. This gave me a flexible system to design something entirely new, yet still connected to the spirit of ornamentation and structure in Armenian gata.
Through this method, I explored how digital fabrication and parametric thinking could open new ways of expressing cultural references in modern design. I imagined these patterns being used not only for pastries but also for embossing materials like molded leather or kombucha cellulose, or even in jewelry and textile design—where tradition is not imitated but reimagined.
However, I encountered a technical difficulty when trying to export the file from Beegraphy. I tried several methods to troubleshoot—simplifying the geometry, changing export settings, and even adjusting node structures—but none of them worked. I suspect the model may have been too complex or too heavy to process. It remains an unsolved issue that I plan to revisit, perhaps with a more optimized version of the design.
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After my first unsuccessful attempt to create a leather mold using Beegraphy, I decided to switch to FreeCAD, a software I started exploring during Fab Academy. Since all of our existing molds in the lab had rectangular shapes, I wanted to create something different—a circular mold. I created a new body and sketched the design in the Part Design Workbench. Using the Revolution tool, I rotated the sketch 360 degrees, forming a symmetrical and elegant mold. I especially liked the pattern because it reminded me of ripples on a lake surface when a stone is thrown in. To create the second half of the mold, I used the Cut operation from Boolean tools. Everything was looking great and well-shaped!
Initially, I tried to generate the G-code using Mods, a browser-based software we often use. While Mods is simple and quick, it doesn't offer much freedom for customization, especially when it comes to fine-tuning toolpaths or milling depth. You can find more about my experience with Mods in my Fab Academy documentation – here. Eventually, with the help of Mkhitar Evoyan, Fab Lab Armenia engineer, I exported the file to Fusion 360 and successfully generated the G-code from there.
As I already had some experience working with the CNC machine, I felt quite confident in setting up the milling process. I used our ShopBot CNC and chose 17 mm plywood for its solid texture and good machinability—perfect for a durable mold. To ensure precision and surface quality, I applied a two-level milling strategy: first, a rough cut with a large flat end mill to quickly remove the excess material, and then a finish cut with a finer tool to capture all the detailed shapes and curves of the design. This two-step milling method preserved the soft wave-like form and made the mold both aesthetic and functional.
Before starting the job, I went through all necessary safety checks, wearing protective glasses and securing the material tightly to the CNC bed. I carefully zeroed the Z-axis using the ShopBot’s touch plate and verified the X and Y origins as well. Once everything was adjusted properly, I launched the job and monitored it closely throughout the process. The final result was very satisfying and felt like a true upgrade compared to my earlier molds—ready to be tested with leather molding!
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As part of my material experimentation, I explored crystallization using calcium chloride. I prepared the solution by mixing 1 part calcium chloride powder with 2 parts hot water, stirring until fully dissolved. To give a unique look, I added a few drops of purple pigment, which gave the crystals a soft, magical tint as they formed. I partly submerged it into the solution, making sure it didn’t touch the bottom of the jar to allow crystals to grow freely around the exposed areas. For the base, I used a PLA 3D-printed lace structure as a porous skeleton to support crystal growth.
The result was truly beautiful: shiny, intricate crystals grew evenly across the lace, creating a stunning mix of color, texture, and structure.
In a parallel test, I explored the interaction between crystallization and electronics. I created a simple LED chain using conductive threads, connecting three LEDs one after another with short strands of conductive thread.
After two weeks in the crystallizing bath, the results were absolutely fascinating. Crystals had formed along the threads and LEDs, making it look like the components were embedded inside a delicate frost. But the most surprising part was that the circuit still worked.
This experiment revealed an exciting intersection of material growth and working electronics, showing how even after prolonged exposure to the crystallization process, conductivity and function can remain intact.