6. Computational Couture¶
Figure 1: Different samples of 3D print / Caress of Gaze
Research & Ideation¶
Behnaz Farahi's work blends architecture, interaction design, and fashion, as demonstrated in her 3D-printed garment Caress of the Gaze. This innovative piece is designed to respond to the wearer's environment through a fascinating interactive feature. The garment incorporates sensors that detect when someone is staring at the wearer. Upon detecting this gaze, the garment reacts by moving in response, creating an interactive, dynamic experience. The piece explores themes of privacy, attention, and personal space, reflecting Farahi's interest in how technology can engage with the human body and social interactions. By using 3D printing, Farahi is able to create complex, responsive designs that push the boundaries of both fashion and interaction design, offering a new way to think about garments as more than just static objects but as responsive, living parts of a person's experience.
Figure 2: Behnaz Farahi / Caress of Gaze retrieved from Behnaz Farahi
References & Inspiration¶
Ganit Goldstein's work focuses on creating personalized and sustainable garments by combining 3D printing and embroidery. Her process involves using a 360-degree body scanner to obtain an accurate representation of the body, allowing the garments to be fully custom-made. She utilizes multicolor 3D printing to produce intricate and detailed pieces, merging advanced technologies with traditional techniques like embroidery. Her collection "WeAreAble" is an innovative proposal that challenges fast fashion by focusing on creating zero-waste clothing using recycled materials, promoting sustainability in the fashion industry. Additionally, her work is influenced by traditional weaving techniques, such as ikat, integrating them into her futuristic designs.
Figure 3: Goldstein / WeareAble retrieved from Ganit Goldtein
Anouk Wipprecht's work integrates technology and fashion in a groundbreaking way, as demonstrated in her 3D-printed fashion collection for Audi. The collection features garments embedded with advanced technological elements, such as parking sensors and headlights. These sensors allow the garments to respond to the wearer's environment, providing interactive and functional designs. For example, the pieces can light up or react when the wearer is near an object or person, mimicking the way cars' parking sensors and headlights function. This innovative fusion of fashion and technology explores the future of wearable tech, highlighting how 3D printing can be used to create not only visually striking but also interactive and functional fashion pieces. The collection emphasizes the potential for technology to enhance personal expression and provide new functionalities within the realm of design.
Figure 4: Wipprecht / Synapse Dress retrieved from Anouk Wipprecht
Figure 5: Wipprecht / Spider retrieved from Anouk Wipprecht
References¶
Tools¶
Process and Workflow¶
Creating a Voronoi Model in Rhino¶
When I worked on generating a Voronoi pattern in Rhino, I approached it not just as a visual exercise, but as a way to explore how geometry can respond to fabrication constraints, especially in a FabLab context and with 3D printing in mind. I started by understanding the logic behind the Voronoi diagram: instead of drawing shapes manually, I was defining a system where a surface is divided based on proximity to a set of points. Each cell represents the area closest to one point, and that simple rule produces surprisingly complex and organic patterns.
To build this, I moved into Grasshopper and began with a base surface, usually a rectangle to define my working area. From there, I used a point distribution strategy to populate the surface, controlling how dense or sparse the pattern would be. This step became critical, because it directly affects not only the visual outcome but also the structural behavior and material use.
Once I generated the Voronoi cells, I realized that the raw output is rarely ready for fabrication. I had to trim the geometry to fit within my boundary, clean up curves, and sometimes explode and reorganize elements to gain more control. Applying offsets was another key step, since I needed to give thickness to the lines—otherwise, the geometry wouldn't translate into a printable object.
What became clear throughout the process is that it's not really about following a sequence of commands, but about understanding how each parameter influences the result. By adjusting point distribution, spacing, and thickness, I could move from a purely aesthetic pattern to something that actually works in a physical context. Without that level of control, the design might look interesting on screen but fail when brought into the real world.
Ultimaker Cura Guide for FabLab Use¶
When I began testing print quality, wall thickness, and infill, I started by setting everything up in Ultimaker Cura, making sure I was working with the correct printer profile so the settings actually matched the machine I was using. I chose PLA as the base material since it's reliable and easy to work with for calibration tests, and then imported a simple test model—either a calibration cube or a small piece with flat surfaces and defined walls. Starting with something simple helped me focus on how each parameter affected the result, rather than getting distracted by complex geometry too early in the process.
Test 1: Print Quality (Layer Height)¶
To evaluate print quality and efficiency in Ultimaker Cura, I tested two layer heights: 0.2 mm and 0.4 mm. The 0.2 mm setting produced smoother surfaces and better detail but took longer to print, while 0.4 mm was much faster with more visible layers. Considering surface quality, edge definition, and print time, I chose 0.4 mm as it offers a good balance for functional prototypes.
Test 2: Wall Thickness¶
To assess structural strength and edge quality in Ultimaker Cura, I tested two wall thickness settings: 0.2 mm and 0.4 mm. The thinner walls at 0.2 mm were too flexible and lacked structural resistance, while 0.4 mm provided better rigidity and more consistent wall formation. Evaluating flexibility, wall integrity, and layer bonding, I found that 0.4 mm offered a more reliable and durable result.
Test 3: Infill Density¶
To balance weight, strength, and material usage in Ultimaker Cura, I tested a low infill density of 3%. This setting produced a very lightweight piece, but with minimal internal support, making it less suitable for parts that require structural strength.
- Infill = 5% – Better internal support, still material-efficient.
I evaluated the infill test in Ultimaker Cura by focusing on structural rigidity, overall weight, and material consumption. With a very low infill like 3%, the piece was extremely lightweight and efficient in terms of material use, but it lacked the rigidity needed for more demanding applications, making it suitable only for non-structural or visual prototypes.
Final Selected Parameters¶
After testing and comparison, the following parameters were chosen:
| Parameter | Value |
|---|---|
| Layer Height (Quality) | 0.4 mm |
| Wall Thickness | 0.5 mm |
| Infill Density | 5% |
Printer Preparation Guide¶
1. General Printer Inspection (Before Printing)¶
Before starting any calibration or print, I make sure the printer is actually in good working condition, because skipping this step usually leads to errors that have nothing to do with slicer settings. I begin by placing the machine on a flat, stable surface and checking the general mechanics: belts need to be properly tensioned—not too loose, not too tight—and the axes should move smoothly without resistance. I also take a moment to look at the rods or rails to ensure they're clean and free of debris.
Then I move to the hotend and nozzle, making sure there's no burnt filament buildup that could affect extrusion. If I notice any clogging or irregular flow, I clean the nozzle, sometimes doing a cold pull to remove residue. After that, I check the filament itself and the extruder: the material should feed smoothly, without brittleness or moisture issues, and the extruder gear needs to be clean and gripping properly, without slipping.
Finally, I prepare the print bed. I clean it with isopropyl alcohol—especially when working with PLA—and avoid touching it afterward to prevent oils from affecting adhesion. I also verify that the build plate is firmly in place and not warped. Taking a few minutes to go through all of this saves a lot of time later, because it isolates problems before they show up in the print.
2. Preheating (Critical Step)¶
Before calibration, heat the printer to operating temperature:
- Nozzle: 200 °C (PLA)
- Bed: 75 °C
3. Bed Leveling¶
I start by homing the printer using Auto Home, making sure the nozzle moves correctly without scraping the bed. This helps confirm that the machine is properly aligned. Then I proceed with manual bed leveling using the paper method, adjusting the distance until I feel slight resistance—enough for good adhesion, but without the nozzle pressing too hard against the surface.
Required Material: Standard printer paper (80 g/m²)
For manual bed leveling, I move the nozzle to each corner of the bed one by one—starting with the front-left—and place a sheet of paper between the nozzle and the surface. At each point, I adjust the leveling knob until the paper slides with slight resistance, not too loose and not completely stuck. I repeat this same adjustment in the front-right, rear-right, and rear-left corners, keeping the feeling consistent across all points. After that, I check the center of the bed to confirm the height is even; if it feels too tight or too loose, I go through the whole cycle again. In practice, it usually takes two or three full passes to get a properly leveled bed.
4. Insert Memory Card¶
Before starting the print, I insert the SD or microSD card into the printer while it's idle, either on or off. I make sure it's fully seated in the slot and not loose, since a poor connection can cause the file not to load or interrupt the print.
5. Select File¶
Once the memory card is inserted, I go to the printer's screen and navigate to the print menu—usually labeled Print, Print from SD, or Media. From there, I browse the list of files on the card and select the corresponding .gcode file to start the job.
6. Start the Print¶
Common Issues and Solutions¶
| Issue | Possible Cause | Solution |
|---|---|---|
| Poor adhesion | Nozzle too high | Lower Z |
| Bed scratching | Nozzle too low | Raise Z |
| Uneven lines | Bed not level | Re-level bed |
| Rough first layer | Excess pressure | Adjust Z-offset |
| --- |