10. Textile Scaffold¶

Global lecture with Anastasia Pistofidou

Assignment¶

-Produce small samples of textile composite. Compare and document their qualities.

-Design and create a fabric formwork to cast concrete or liquid marble into it.

-Design and create a scaffold of fibers to grow crystals on it

-Design and CNC mill a mold.

-Design and create a fabric composite deriving from a 3D mold.

-Design and create your own textile scaffold with an alternative technique of your choice.

References & Inspiration¶

Inspiration Board by Berrak Zeynep Okyar

Process¶

CNC Milling¶

Cnc milling machine , Fablab Lisbon & Biolab Lisbon

CNC Milling – Technical Report and Work Notes

Location: Lisbon FabLab

Team: Matias (FabLab), Me

Material: Grey MDF, 25 × 25 cm

Work Days: 20 november Thursday Preparation, 21 November Friday Execution

CNC-Based MDF Mold Production Process¶

1-A 3D mold model is designed according to the requirements of the final part.

2-The model is machined onto MDF using a CNC router to create the mold.

3-The finished MDF mold is combined with film, fabric, or other material layers.

4-The layered structure is compressed under a press.

5-The piece is left to cure and take its final form over the designated drying period.

CNC Preparation and Workflow¶

Material Preparation and Workholding by Matias - FABLAB LISBON

On Thursday, I completed the initial preparation for the CNC milling process. This included reviewing the 3D model, confirming the material measurements, checking compatibility for milling, and preparing the files for toolpath generation. I examined the geometry for milling constraints such as overhangs, internal surfaces, and surface continuity to determine appropriate roughing and finishing strategies.

On Friday, I worked together with Matias from the Lisbon FabLab team. He guided me through the entire CNC milling process step by step, explaining the correct workflow, the technical considerations, and the safety requirements. His guidance was crucial for understanding how to operate the machine properly and avoid common machining errors.

We used grey MDF and processed a 25 × 25 cm section of the board. The material was secured onto the CNC bed using double-sided tape and wooden blocks to prevent movement during machining.

Safety and Personal Protective Equipment¶

Before starting, all mandatory personal protective equipment was worn, including a protective dust mask, safety glasses, and hearing protection. Hair was tied back and no loose accessories or clothing were allowed near the machine.

The CNC bed was cleaned to remove loose dust or debris that could interfere with the sensor or the cutting path. The dust extraction system was switched on and confirmed to be functioning. The main power to the CNC machine was enabled without engaging the spindle yet. SoftBot was launched to confirm the machine coordinates.

The tool previously mounted on the spindle was removed using the appropriate wrench, and the correct 5 mm endmill was installed. Even if a tool appears already set from a previous session, it must always be checked again, since another user may have changed it.

Technical Notes on CNC Milling¶

CNC milling operates along the X, Y, and Z axes based on G-code commands generated from CAM software. Critical machining variables include spindle speed (RPM), feed rate, plunge rate, step-down depth, chip load, and tool geometry.

For MDF, a suitable combination of spindle speed and feed rate is necessary to avoid burning the fiber or generating excessive vibration. A flute endmill is appropriate for both roughing and finishing operations, producing cleaner edges due to MDF’s homogeneous structure.

Tool selection directly affects accuracy and quality. Smaller tools allow for finer detail but are more fragile. Proper step-down depth prevents tool deflection, chatter, and overload on the spindle.

Material Preparation and Workholding¶

Grey MDF tends to produce fine dust, making dust extraction and a protective mask essential. Proper workholding is one of the most critical factors in avoiding machining failure. The material was placed flat on the CNC bed, aligned carefully, and secured using both double-sided tape and wooden side blocks. Any movement during machining can cause tool breakage or inaccurate cuts.

Machine Setup and Zeroing¶

Machine Setup and Zeroing by Matias - FABLAB LISBON

Matias demonstrated the correct method for setting Machine Zero and Job Zero. A metal reference plate was used for automatic Z-home calibration, which results in an intentional offset due to the plate’s thickness. After that, the job’s X, Y, and Z zero points were manually set based on the corner of the MDF piece. A photo of the zero location was taken for reference in case the job needed to be restarted.

Stl File and Machining Process¶

Once the spindle and dust extractor were turned on, the toolpath file was imported into SoftBot. The roughing pass was loaded first, followed by the finishing pass. Matias emphasized watching for irregular noises, incorrect vibrations, or signs of tool overload. If anything looked unusual, the Pause function could be used. The emergency stop would shut down the machine fully but reset all job settings.

MDF moulds, Berrak Zeynep Okyar

Depth Adjustments and Troubleshooting¶

Depth Adjustments and Troubleshooting by Berrak Zeynep Okyar

During machining, we discovered an inconsistency in the depth settings relative to the MDF thickness and the design. Together with Matias, we corrected the depth values three separate times. Each time, we regenerated and reloaded the toolpath, ensuring that the cut depth matched both the material and the model specifications. This repetitive refinement was essential for achieving an accurate result and preventing damage to the tool or the material.

This process reinforced the importance of verifying depth values during CAM preparation, especially when switching between roughing and finishing passes.

Final Outcome and Skills Gained¶

Results by Berrak Zeynep Okyar

Through this work, I gained practical experience in:

Correct toolpath strategy (roughing before finishing)

Understanding material behavior, especially MDF

Setting and verifying Job Zero

Using the metal plate for Z-home calibration

Tool selection based on geometry and material

Securing the workpiece properly to avoid shifting

Recognizing signs of incorrect cut depth or feed rate

Following safety protocols and professional FabLab standards

Working directly with Matias provided both theoretical knowledge and practical insight, making the entire CNC workflow clearer, safer, and more controlled.

Alum Crystalization¶

Alum Crystal Photo by Berrak Zeynep Okyar

Alum (potassium aluminum sulfate) is a mineral salt that dissolves easily in hot water.

When the solution cools or slowly evaporates, the alum comes out of the water again and forms geometric, glass-like crystals.

Alum crystals are:

Clear or colored (if you add dyes)

Safe to handle (but not edible)

Very regular and shiny in shape

The process works through solution → cooling → crystallization.

Step-by-Step Instructions¶

Materials

500 ml hot tap water

60 g alum powder (potassium aluminum sulfate)

Fibres, string, cotton net, etc.

Glass container

Stick or hanger (chopsticks, thread holder, etc.)

Filter (coffee filter works)

Aluminum foil

(Optional) Colorants – ink or food dye

Resting time: 1–24 hours, 48 hours

Steps¶

1.Heat the Water

Use hot tap water.

(Important: alum dissolves better in hot water.)

2.(Optional) Add Colorants

If you want colored crystals, add a few drops of ink or food coloring.

3.Add and Dissolve the Alum

Pour 60 g of alum into the hot water and stir until it is completely dissolved.

Make sure no grains remain.

4.Filter the Solution

Filter the mixture to remove any undissolved particles.

This helps the crystals grow clear and clean.

5.Prepare the Object

Soak the fibre, string, cotton net, or any object you want the crystals to grow on.

6.Suspend the Object

Hang the object in the glass container so it stays suspended in the solution.

Use a chopstick or hanger across the top of the jar.

7.Cover the Container

Cover the top with aluminum foil to prevent dust and control evaporation.

8.Let It Rest

Place the container in a dark, undisturbed place.

Do not move or shake it.

9.Growth Time

1 hour: small seed crystals

4 hours: medium crystals

12–24 hours: large, well-formed crystals

The longer it rests, the bigger the crystals become.

Catenary Pottery Printer¶

Great Things to People (gt2P) is a design group based in Santiago, Chile, that are known for their organic forms and integrated design projects. One of their recent experiments however, is a machine prototype called ‘‘Less: No.1 Catenary Pottery Printer (CPP)’’, a device which allows for beautiful porcelain objects to be created in a catenary mould made out of fabric. Inspired by advanced design software, gt2P studio wanted to move parametric design away from its usual computer-driven environment, and combine it with traditional crafting techniques.

Introduction¶

The Catenary Pottery Printer is an analog–parametric system that produces ceramic forms by using the catenary curve generated by a piece of fabric suspended under gravity. Slip (liquid clay) is poured onto the fabric surface; once it partially dries, the fabric is removed, revealing a three-dimensional ceramic form.

This project was carried out at Biolab–Lisbon in collaboration with Carlos Roques, Berrak Zeynep Okyar,Carlotta Premazzi, and Ndeyfatou Ceesay.

Materials¶

Structural Materials:

Recycled wooden frame

Screws, hooks, connection elements

Adjustable tension mechanisms

Forming and Casting Materials:

Blue cotton fabric

Slip (liquid clay)

Gypsum (CaSO₄·2H₂O)

Finishing Tools and Equipment:

Spatulas, brushes, trimming tools

Drying control equipment

Ceramic kiln (bisque and glaze firing)

Production Process¶

Recatenary Printer by Berrak Zeynep Okyar, Carlotta Premazzi, with Carlos Roque Biolab Lisbon

Design Phase

Define the overall frame dimensions according to the desired ceramic form.

Plan the configuration and positions of the anchor points to control the fabric’s shape. Select the type, size, and color of the fabric (blue cotton in this project) based on flexibility and stability requirements.

Assembly Phase

Assemble the recycled wooden components to construct the frame. Drill holes and install hooks or attachment points for the fabric. Secure the blue cotton fabric onto the frame. Adjust the fabric tension and anchor positions to form the intended catenary curve.

Slip Preparation

Mix clay and water to achieve a smooth, pourable consistency. Adjust the viscosity with additives if necessary. Filter the mixture to remove lumps and ensure uniform texture.

Casting Phase

Slowly pour the slip onto the suspended fabric to allow it to naturally form around the curve. Let excess slip drain or remove it carefully using a syringe or tube. Allow the form to partially harden until it reaches a semi-rigid state suitable for handling.

Recatenary Printer by Berrak Zeynep Okyar, Carlotta Premazzi, with Carlos Roque Biolab Lisbon

Drying and Fabric Removal

Remove the fabric carefully once the slip has gained sufficient structural stability. Trim and refine edges and surfaces using appropriate ceramic tools.

Firing and Final Processing

Perform bisque firing in a ceramic kiln. Optionally apply glaze for finishing. Conduct a second firing to complete the ceramic process.

Recatenary Printer by Berrak Zeynep Okyar, Carlotta Premazzi, with Carlos Roque Biolab Lisbon

Technical Notes¶

The form is determined by anchor placement, fabric tension, and slip weight.

Using recycled materials supports sustainability.

The blue cotton fabric provided a stable and controllable catenary curve.

The drying stage directly affects structural stability.

Due to the analog nature of the method, each outcome is unique.

Conclusion¶

This project demonstrates the potential of a Catenary Pottery Printer constructed using recycled wooden elements and blue cotton fabric for experimental ceramic production. Conducted at Biolab–Lisbon with Carlos Roques, Carlotta Premazzi, and Ndeyfatou Ceesay, the project represents a successful blend of analog fabrication and parametric control.

I will upload without fabric when it dried

Ingredients & Recipes¶

Prepare this recipe ¹ by collecting the ingredients necessary, to be found in the list below:

=== "ingredients"

    * 16 gr glicerine
    * 96 gr gelatine
    * 0,60 gr Carbon
    * 480 ml distilled water



=== recipe- Bioresin

    * measure - measure - measure
    * add, combine, mix..
    * simmer, cook, boil, freeze, burn, crush...
    * mix, smash, stack, overlay..
    * cast, pour, press..
    * dry, aereate, dehydrate..
    * remove, peel, unmold..
    * finishing touches

Documenting and comparing experiments¶

TEST SERIE BIO-PLASTIC¶

Material name	polymer	plastifier	filler	emulsifier
bio-resin	-	glycerol 16 gr	gelatine 96 gr	0,60 gr Carbon
bio-leather	biokelp powder 12 gr	glycerol 100 ml	rainbow dust 1 kg	green soap a drop
bio-rainbow	biokelp powder 12 gr	glycerol 100 ml	rainbow dust 1 kg	green soap a drop

RESULTS¶

Two ways of showcasing and comparing results with images below

On the left an image of a sample made by xxx with xxx. The dye is more xxx. On the right, an image of a sample made by xxx with xxx and xxx. Here the dye is more xxx.

---¶

Recipes¶

recipe: salmon skin fish-leather ↩