6. Computational Couture

Research & Ideation – Chaos Collection

The ideation phase of the Chaos collection began with an exploration of the fine line between disorder and structure. Inspired by natural phenomena like tangled roots, fractals, and fluid dynamics, I started questioning how chaos could be intentionally designed rather than feared or avoided.

I researched visual languages that express disruption—glitch art, deconstruction in architecture, and experimental fashion—searching for patterns within the unpredictable. I was especially drawn to the emotional tension these forms create: confusion, curiosity, and awe.

My sketches and mood boards reflect this duality—forms that feel uncontrolled but are thoughtfully balanced. I also looked into philosophical perspectives on chaos, from mythology to modern systems theory, aiming to translate these abstract concepts into physical design.

This research laid the foundation for using 3D printing not just as a tool, but as a medium that supports controlled unpredictability. The ideation process became a playground of experimentation, where failure and unpredictability were not obstacles, but key elements of creation.

"In this project, I also wanted to translate my concept of chaos by using random, irregular lines, and I achieved this by using the Rhino Grasshopper application."

"At the beginning, I didn't directly use the application. Instead, I conducted some research and drew inspiration from Pinterest. I also created experiments for other shapes, which I later developed using Grasshopper in Rhino."

References & Inspiration

This week, I continue developing my collection "Chaos"—a series inspired by the concept of organized chaos, where contrasting elements meet to create unexpected visual beauty. This collection blends randomness with precision, tradition with experimentation, and I’ve found 3D printing to be the perfect tool to embody this vision.

3D printing gives me unlimited freedom to turn my digital designs into tangible forms that go beyond the limitations of traditional crafts. It opens up new realms of creativity, allowing me to transform abstract ideas into three-dimensional objects that reflect the spirit of Chaos with a futuristic touch.

During this week, I will:

Design pieces inspired by organic chaos patterns and unconventional structures.

Experiment with different printable materials, such as bioplastics or recycled filaments, to reinforce the conceptual side of the collection.

Test various sizes and visual balances to stay aligned with the collection’s identity.

Document the entire process as part of the visual research.

3D printing is not just a production tool—it has become an essential part of the expressive language of "Chaos," helping turn concept into physical reality in a way that aligns with my vision of chaos as a conscious, aesthetic force.

• Two images side-by-side

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Let’s Get to Know the Software

Before I jump into the work, I have to talk about the tools—these are either going to be my best friends this week... or my worst enemies 🙃

Rhino3D

Super precise 3D modeling software. It’s big in architecture, industrial design, and fashion prototyping. Perfect when I need full control over form and detail.

-Grasshopper

This is where the real fun begins. A visual programming tool inside Rhino—great for parametric and generative designs. It looks scary at first, but once you get it, it feels like writing digital poetry ✨

Fusion 360

My go-to for polishing and prep before fabrication. Super helpful when I’m working on 3D printing or laser cutting. It helps me fine-tune everything and get the design production-ready.

Tools

• Grasshopper
• Rhino3D
• Ultimaker
• Fusion 360

Process and workflow

RAt the beginning, we dedicated a whole day with Ms. Claudia to learn how to use the "Kyoora" program, which specializes in designing graphics and settings suitable for printing. During this day, we delved into understanding the various tools and functions of the program and studied how to create designs appropriate for printing on fabrics. After that, we applied what we learned through a practical experience of printing directly on different types of fabric, which gave us a real opportunity to observe the results and gain valuable hands-on experience.

first print

At the beginning, I used the "Kaios" collection as inspiration, drawing from the circular shapes that I found very appealing. After that, I searched on YouTube and watched several tutorial videos about the "Rhino Grasshopper" program, which greatly helped me understand how to work with it easily. Thanks to these steps, I was able to design my own model in a more professional and smooth way.

Grasshopper totrial

Second: Export from Grasshopper to Rhino

Bake the Model into Rhino: Right-click on the desired component in Grasshopper and use the "Bake" function to transfer the geometry into Rhino.

Check the Model: In Rhino, inspect the model to ensure it's closed and ready for export as an STL file.

Third: Export to Cura

Export from Rhino:

Select the model in Rhino

Go to File → Export Selected

Choose STL format and select Binary with appropriate resolution

Open the STL in Cura: Launch Cura and drag your STL file into the workspace.

Fourth: Prepare Cura for Printing

Select the Correct Printer: Ensure you’ve selected the right printer (e.g., Ender 3 or Prusa).

Adjust Basic Settings:

Filament type PLA

Nozzle and bed temperature

Print speed

Infill percentage

Repair or Reposition if Needed: Use Cura’s built-in tools to repair or reposition the model if it’s unstable on the print bed.

Slice and Save G-code: Click "Slice," then save the G-code file to your SD card or USB stick.

Setting	Value
Nozzle Temperature	240°C
Bed Temperature	60°C
Print Speed	30 mm/s
First Layer Speed	20 mm/s
Retraction Distance	0–1 mm
Retraction Speed	15 mm/s
Cooling Fan	50%

Fifth: Printing

Insert the card into the printer, select the file, and start printing. Monitor the first layer to ensure proper adhesion.

However, the model did not work well and was full of errors. The main problem was that the size of the circles was too small, causing them not to stick properly to the bed. This significantly affected the quality of the work and the performance of the model. I also used two types of filament: first PLA, and then I tried using TPU.

Second prinnt

In the second experiment, I also worked with the help of another YouTube tutorial, but using a different technique. The design was once again inspired by the "Kaios" collection. In the end, I modified the model and adjusted the measurements to avoid repeating the same mistakes from the previous attempt.

My inspiration throughout this project stemmed from a deep interest in abstract and unpredictable forms—shapes that challenge order and symmetry. This led me to develop a new collection I recently created, titled "Chaos", which explores randomness, layered geometry, and organic disruptions in design. The "Chaos" collection reflects a deliberate departure from structured patterns, embracing instead the unexpected beauty of disorder. This concept strongly influenced both my modeling process in Grasshopper and the visual identity of the final printed objects.

Grasshopper totrial

Second: Export from Grasshopper to Rhino

Bake the Model into Rhino: Right-click on the desired component in Grasshopper and use the "Bake" function to transfer the geometry into Rhino.

Check the Model: In Rhino, inspect the model to ensure it's closed and ready for export as an STL file.

Third: Export to Cura

Export from Rhino:

Select the model in Rhino

Go to File → Export Selected

Choose STL format and select Binary with appropriate resolution

Open the STL in Cura: Launch Cura and drag your STL file into the workspace.

Setting	Value
Nozzle Temperature	220°C
Bed Temperature	50°C
Print Speed	25 mm/s
First Layer Speed	15 mm/s
Retraction Distance	0–1 mm
Retraction Speed	10 mm/s
Cooling Fan	40%

Fourth: Prepare Cura for Printing

Select the Correct Printer: Ensure you’ve selected the right printer (e.g., Ender 3 or Prusa).

Adjust Basic Settings:

Filament type PLA

Nozzle and bed temperature

Print speed

Infill percentage

Repair or Reposition if Needed: Use Cura’s built-in tools to repair or reposition the model if it’s unstable on the print bed.

Slice and Save G-code: Click "Slice," then save the G-code file to your SD card or USB stick.

Fifth: Printing

Insert the card into the printer, select the file, and start printing. Monitor the first layer to ensure proper adhesion.

In the second print, I was able to achieve successful results after learning from the mistakes of the first attempt. I carefully reviewed the design and adjusted the dimensions, then focused on fine-tuning the print settings based on what I had learned.

For this trial, I used TPU filament, a flexible material that requires precise settings to ensure a successful print—especially regarding temperature, speed, and cooling. I also used a Prusa printer, which provided high accuracy and stability during the printing process.

Thanks to these improvements, the final result was very satisfying. The design details appeared clearly, and the model adhered well to the printer bed without issues related to warping or detachment.

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Fabrication files

[1^]: File: 3d modelling of mannequin

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1. File: Laser cut sheets ↩

2. File: additional models ↩