3. Circular Open Source Fashion

✂︎Research & Ideation✂︎

This week we are thinking about circular approaches to design by using modularity. Coming into this week, I am excited about how I could use this in my practice to reduce waste material or create sculptural outcomes that are easier to store, repair and reconfigure.

I collected some images of repeating motifs, tesselation and interlocking modules I liked. Getting my head around designing modules seemed very daunting, as I was really bad at geometry at school. I didn't want to go into the prototyping sessions with complicated ideas. I simply knew I wanted to draw from tesselation in nature and probably create a more sculptural outcome than a garment.

1. MATIJA ČOP, 2012.-Thinking about creating sculptural structures.
2. Unknown-Exploring botanical motifs.
3. Micheal Chilton, Gleaming and Sparkling, 1978-Image made of distorted modules.
4. Brigette Koch- Using Organic shapes in modules.
5. Noriaki Kurokawa, Toshiba IHI, 1970.
6. Andrea Russo, Oragami- How modules can come together.
7. Alice Channer- folding images.
8. Office MMK, BreaZea- sculptural outcomes.
9. Antoni Gaudi, Casa Vicens
10. Cast Ant Nest.-repeating patterns in nature.

✙Documentation Workflow✙

This week we needed to:

• Experiment with paper prototypes to create a unique module and interlocking joint using Cricut
• Transfer this into Rhino 8 and create a digital file to be lazercut.
• Make test pieces with the lasercutter and decide on a fabric to use.
• Assemble to create a final outcome.

Assignment Criteria: Week 3

• Design and prototype with paper and scissors modular configurations and locking connections. Document the paper prototypes

• Run tests of laser cutting of your designs in fabric and document the parameters for the chosen fabric. Design and Document the process

• Laser cut the modules

• Create a modular or seamless garment, showing that the connection is well designed and holds the pull/stretch of a garment

• Document the assembly process and tests.

• Upload the open source file in pdf, in correct scale with 1-5 pictures at (https://oscircularfashion.com) (preferably in white background) The files should be accompanied by a list of materials that can be used, pictures of the final piece, various configurations and pictures of detail of assembling or special parameters to be considered

• EXTRA POINT Submit some of the modules to the analog or digital material library of the lab (20x20cm approx.)

Top Tip!!!

1. In Fabric stores they rip your fabric to measure instead of cut it. Expect this and do not squeal in shock.

Inspiration!!!

• The most beautiful outcome and zero waste design Surzhana Radnaeva

• For sculptural approach Loana Flores

• For use of material- Stephanie Johnson

Tools

• Rhino 8
• Adobe Illustrator
• Inkscape
• Cricut
• Lightburn
• Laser Cutter
• CR- Scan Ferret 3D Scanner from Creality.

⌬Paper Prototypes⌬

We got started with 2D design using grid paper, rulers and a machine called Cricut. We tested and explored how we could make interlocking modules with strong joints.

I initially was quite confused and had made some interlocking parts the night before that did not tesselate nor did they consider how to reduce waste.

So I changed my approach and instead started with one of the 3 basic tesselating shapes (hexagon, triangle and square): the Hexagon. I was interested in this shape as it is often seen in nature in structures created by insects and flowers.

¹

Illustration by Chanjuan Chen[^1]

²

Honeycomb

In order to create a joint between the shapes you have to have a female and male module.

However, with a hexagon you need both female and male parts to be in a single module. My first decision was to decide whether to put all the female parts on one side of the Hexagon and male on the other, or whether it was better to alternate.

It was quick and easy to test this out using Rhino and Cricut.

We first created a Rhino sketch of the two options^. I saved this file as an .svg to upload into the cricut software. Cricut is a very intuitive and easy machine to use.

You simply upload the file, attach your document and then adjust factors such as size, cutting pressure and material type.

It is a very rough way to do things and there was a lot of tearing from the machine which made my prototypes weak and untidy. However, it allowed me to get going very easily. Below are the two tests:

Above: Test of alternating M/F parts. Below: One side M, one side F

Although, the aesthetic outcome was very similar. The M/F/M/F/M/F hexagon was much easier to build than the MMM/FFF hexagons are there wasn't a specific orientation each piece had to be, in order to connect them correctly.

Now that my modules connected seamlessly, I wanted to play with the Hexagon shape and get away from the harsh geometry of it by introduce some more organic and complex elements to the design.

This needed the use of new commands learnt in Rhino such as Trim, Offset and Extension as well as working with curves and rotation.

In the screenshot below I have included the different steps taken to reach the final module design:

1. The inner and outer hexagon were rotated to create more complexity in the overall shape:

1. Curves were added to the outer hexagon to create more organic shapes and texture to the flaps:

1. The inner Hexagon was significantly off set to create smaller middle sections and longer flaps to give texture:

By the end of the paper prototyping session, I was sure that the final module was the one I wanted to proceed with. The final dxf file for the module is here: ⁴ However, I wanted to do something with the space in the middle of the Hexagons.

Micheal Chilton, Gleaming and Sparkling, 1974.

I was inspired by this painting by Mike Chilton to explore the idea of creating cut outs from each module that change size across the whole. I had been thinking a lot about Emergence, and the idea that the pattern of the peice would come together once all the parts were assembled excited me.

Here is my visualisation of the effect in Rhino:

⌾Grasshopper Adventures⌾

I explained my vision for the piece to Asli and she helped me create a Grasshopper definition which would help me to generate a pattern for the pieces I'd like to cut out from the modules.

My final Grasshopper Definition is available to download here:⁶

Grasshopper 3D is a visual programming language that runs out of Rhinoceros 3D and gives it capabilities as a parametric modelling tool.

I wanted to use it to create a generative algorithm that would plot a shape at the center of all my modules but also allow me to control their size in relation to their distance from specific control points I would plot on the grid.

We did this by using a Hexagrid to generate a grid of hexagons. We could generate the plane, dimensions of the hexagon as well as controlling the X and Y extents to select how may rows and coloumns of hexagons I had.

Then we created a curves and plotted them at the center of each hexagon.

I played around with different curves, but eventually decided to use an offset version of the module shape itself to create a sense of depth. I set this as the curve input for the defintion and chose 4 points which would decide my pattern.

Then we could start playing with the different sliders in the definition. I was able to control the amount of modules I had through the Extent X and Extent Y sliders. I used the Domain start and end sliders to control how big the cut outs would be in relation to their distance from the 4 control points. I could also set the max and min sizes they could be for this so that they did not exceed the space in the center of my module.

I have created a short video to show what the definition does:

The settings I used to create an instance were:

Extent X: 13
Extent Y: 13
Domain Start 0.050
Domain End: 0.280
B: 400

I came to these decisions by working out the size and shape I wanted my piece to be. I had decided I wanted to make a large hanging that could be hung infront of a window or light, so that as the light passes through the parametric pattern in showcased. I decided the size of the peice and then set the scale and control points accordingly for the most asthetically pleasing and intricate effect:

This file is available to down load here: ⁵

⏧Tagging⏧

I also had to add components to the algorithmn to tag each hexagon with a number. This was so I could assemble the pieces in the right order to create the pattern.

1. We used the List Length component to determine the number of hexagons generated by the hexagrid e.g 1-20 depending on how the Extent X and Y are changed.

2. Then I used the Series to count these numbers and set the step count to go up by a step of 1.

3. Finally, the Text Nautilus Plugin helped me tether the text to the hexagon. This plugin puts the text at the center of the module. I didn't want this as I didn't want the numbers to be visible in the final piece. We added the Unit Y and Move component to put the numbers in the top section of the hexagon where it would be hidden by the overlaps. Here is an image

✘Preparing and Nesting the File✘

The IMPORTANT next step is taking what grasshopper is generating and making it real. By Baking you bring what you have created back into Rhino as an object you can manipulate.

It is important to bake each component on a different layers. You will see that the baked object goes from red (grasshopper) to different colours:

Then you can make sure you reduce as much waste as possible by nesting your modules. I did this by drawing the dimensions of my material as a rectangle (taking into consideration the max. length of the lasercut bed) and then creating a 1cm margin. I then moved the modules to fit inside the rectangle.

Finally, you need to make sure that there are no duplicate lines where the different modules overlap. You can do this by using the command Make 2D:

Once this is done you can export your selected object and save as an .svg file to take to the laser cutter. I have linked mine in the footnote below. ³

✁Test Cut✁

Next we tested our lasercut files on scrap fabric in the lab. I used a thin black cotton because I wanted the fabric to be slightly translucent so you could see the patterns that form with the overlapping material:

I tested a small section of my hanging with these settings:

ENGRAVE: 
Speed:200
Max Power: 13.00
Min Power: 13.00

CUT: 
Speed:200
Max Power: 18.00
Min Power: 18.00

This worked really well and my pieces cut nicely. Unfortunately, the material is so thin that the engrave was too powerful and just cut through. We tried it on speed 100 but this missed some some curves and made the numbers hard to read. I decided to go with the original settings.

I joined the test pieces that evening and was very happy with the results:

Fabric shopping

The following day we went to the fabric store to get some material similar to the test peice I had found in the lab. I have no previous experience with fabrics so this was a scary and complicated process for me. Luckily I had Carolina to guide me! We showed my test peice to the assistant and told her that we needed natural fibres for laser cutting. She pointed us in the direction of a thin black fabric that was a cotton/tencel mix. I chose this as it was slightly thicker than my test fabric that I was afraid would tear and not have good structural quality.

Lasercutting

I uploaded my file as an .svg into lightburn and set my settings to those I used in my test peice after doing a small test on this slightly different fabric.

I ensured that the order of cutting worked from inside the module to the outside border and focused the laser to the thickness of the new material.

After completeing my lasercut checklist, I proceeded with the cut:

The cut went very well and I managed to collect all 168 of my pieces ready for assembly.

⌰Assembly⌰

I knew this was going to be a loooooong assembly process so the first thing I did was order my pieces, slice any fraying or uncut bits and checked everything was in order:

Then I wanted to experiment with creating a garment before I constructed the hanging I designed. The wonderful thing about the modules is that they can be reused and repurposed in many ways and I wanted to explore the possibility of making a top:

I was really happy with the affect of the modules and the way it created a really nice soft neckline. Experimenting with the see through quality of the textile was fun and creating a gradient that hid and showed parts of the body was really cool. However, the fabric was too thin and slippery to hold the straps for long. The modules work best when secured on all 6 sides, so they did not lend themselves to being in anything but a grid formation. In the future I will know that material choice is everything and it is important to test the joints with a certain amount of weight to see if it will hold many peices together structurally.

♛Outcome♛

Finally I got to constructing my intended design. A large, rectangular peice I intended to hang above my window. I followed my initial rhino blueprint and constructed for 4 hours.

The pattern looks amazing and I am so happy with the shape and size of the cut outs. The texture given by the flaps is great, but was better in my first test. I think a lighter but stiffer fabric like 100% cotton would be better. Alternatively, I would use a very thick fabric such as felt and sacrifice the translucency.

Unfortunately, this also would be more suitable for structural integrity. I had an impossible task trying to get this to hang. Although I love the thinner fabric, the weight of the entire piece rests on the top few rows of modules, that are not attached on all 6 sides to other modules. They were very weak and were falling apart a lot when I tried to hang it. I think my choice of material was very wrong, and I would have benefitted from a thicker, stiffer material- even if it did effect the flow of the piece!

Because of this I was unable to get any good images of it hanging before it began to pull apart. A few more prototypes are probably necessary!

If I were to do this again I would definitely use a stiffer material and make the joints even tighter to accomodate this weight. I also might have some complete modules at the top as they need to be stronger and less likely to strecth.

Overall, this was a great experiment and I learnt so much from the process. I am excited to see how I can incorperate modularity in future projects and perhaps come back to this one!

I have uploaded the finished project and necessary files to os circular fashion.

Fabrication files and footnotes

---

1. File: Image by Chanjuan Chen ↩

2. File: Honeycomb ↩

3. File:Laser cut file Part 1 as PDF and Laser cut file Part 2 as PDF ↩

4. File:Single module as .DXF ↩

5. File:Full Design .svg file ↩

6. File: The Grasshopper Definition File ↩