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10. Textile Scaffold

Research

Crystalization Seizure by Roger Hiorns

Textile scaffolds are versatile structural fabrics used across a wide range of fields — from biodesign and material research to biomedical engineering, product design, architecture, and performance wear. Designed as foundational substrates, they provide a porous and flexible framework where new materials can grow, adhere, or be reinforced.

Their fibrous network acts as an anchor for biopolymers, gels,crystals, and composite materials, allowing these substances to penetrate, bond, or solidify within the textile architecture. Because textiles naturally offer flexibility, porosity, and mechanical strength, they become an ideal base for creating hybrid materials that blend softness and rigidity, organic and synthetic qualities.

In material experimentation, textile scaffolds often interact with polymers. When combined with biopolymers such as gelatin, alginate, chitosan, or starch-based blends, the scaffold enhances the material’s shape, durability, and surface behavior. These interactions lead to the formation of composites — hybrid materials generated when a polymer matrix binds to the textile structure. In these systems, the scaffold provides reinforcement while the polymer contributes rigidity, transparency, waterproofing, or other functional properties.

By merging fibers and polymers, textile composites unlock new possibilities for sustainable materials, experimental surfaces, and advanced applications across multiple disciplines.

eTextile crystallography by Rachel Freire and Melissa Coleman.

Seizure by Roger Hiorns Croft, L. The blue art of crystallization. Nature Chem 1, 522 (2009). https://doi.org/10.1038/nchem.379

Polymers

The word polymer comes from the Greek roots: * poly (πολύ) meaning “many” * meros (μέρος) meaning “parts” or “units”

Polymer literally means “made of many parts”, referring to its structure composed of numerous repeating units called monomers.

Polymers are large molecules formed by linking these monomers together into long chains. Because of their chain-like architecture, polymers can display a wide range of physical properties — from soft and flexible to rigid and strong.

Polymers can be:

  • Natural, such as cellulose, starch, chitosan, gelatin, or DNA
  • Synthetic, such as plastics, resins, silicones, or nylons

In material design and biodesign, polymers often act as a matrix: a continuous phase that coats, fills, or binds to other materials — such as textile scaffolds — to create hybrid structures. Their properties can be tuned through composition, additives, and processing methods, making them essential in fields ranging from biomedical engineering to experimental material research.

Composite

A composite is a material which is produced from two or more constituent materials with notably dissimilar chemical or physical properties and are merged to create a material with properties unlike the individual elements. Within the finished structure, the individual elements remain separate and distinct, distinguishing composites from mixtures and solid solutions. Composite materials with more than one distinct layer are called composite laminates.

Typical engineered composite materials are made up of a binding agent forming the matrix and a filler material (particulates or fibres) giving substance:

  • Concrete, reinforced concrete and masonry with cement, lime or mortar (which is itself a composite material) as a binder
  • Composite wood such as glulam and plywood with wood glue as a binder
  • Reinforced plastics, such as fiberglass and fibre-reinforced polymer with resin or thermoplastics as a binder
  • Ceramic matrix composites (composite ceramic and metal matrices)
  • Metal matrix composites
  • advanced composite materials, often first developed for spacecraft and aircraft applications.

Composite materials can be less expensive, lighter, stronger or more durable than common materials. Some are inspired by biological structures found in plants and animals. Robotic materials are composites that include sensing, actuation, computation, and communication components.

Source Wikipedia

Composite

Composite Taxonomy, Anastasia Pistofidou

Textile as scaffold means using a textile structure — whether woven, knitted, mesh, felt, or nonwoven — as a structural support for a biological or bio-based material.

Textiles can function as structural, functional, and transformative scaffolds in biomaterial design. Their intrinsic geometry, porosity, flexibility, and fiber composition allow them to act as active agents that shape, reinforce, and interact with the biomaterial, rather than serving as passive substrates.

Main Functions

Textile Function Process / Action Output / Material
HARDENER-Strength Impregnation with gelatin/starch bio-resin, Increases the solidity of the final material Leather molding, stiff composites
FORMWORK-Shape Used as membrane for shaping biomaterials Structural membranes for molds
COMPOSITE-Internal skeleton Reinforcement in bio-resins Higher-performance multimaterials
GROWTH SUPPORT Facilitates crystallization or biological development Crystallization, organic biocomposites, Hosts living materials
Textile as Hardened Material

When impregnated with bio-resins, textiles can be stiffened into semi-rigid or fully rigid structures.

➤ Example Composite"

Component Amount / Notes
Solvent Distilled water
Plasticizer Glycerine
Polymer Gelatin or starch
Pigment Spirulina or natural carbon
Scaffold Tulle, jute, linen, pine needles
Textile as Formwork

Textiles can behave as membranes for molds, shaping liquid biomaterials as they dry or cure. ➤ Usese

  • Creating structural membranes
  • Draped, tension-based or stretched geometries
  • Experimental casting and free-form surfaces

➤ Why it works

  • Capillarity helps distribute liquid biomaterials
  • Stretch + tension define controlled or unpredictable morphologies
Textile for Composites & Biocomposites

Textiles act as reinforcement layers, improving performance, strength, and flexibility.

➤ Benefits

  • Higher tensile strength
  • Reduced cracking
  • Multi-material interfaces
  • Light yet strong structures

➤ ➤ Example: Starch-Based Biocomposite

Component Amount
Solvent 60 mL distilled water
Plasticizer 5 g glycerine
Polymer 5 g potato starch
Pigment / Filler 5 g spirulina
Scaffold Leftover tulle
Textile as Structure for Growth

Textiles can be used as biological scaffolds, enabling growth, crystallization, deposition, or natural aggregation.

➤ Applications
  • Salt crystallization
  • Kombucha leather growth patterns
  • Mycelium-based materials
  • Biocomposites that mineralize or accumulate over time

➤ Why textiles work for growth - Provide anchor points - Porous structure allows fluid exchange - Capillarity spreads nutrients

Why Textile Is an Excellent Scaffold

Property Explanation
Porosity Enhances infiltration, controlled evaporation, and fiber anchoring
Structural hierarchy Macro/micro/nano scales → complex hybrid materials
Capillarity Textile absorbs and retains biogel
Flexibility Allows natural deformation and morphing
Biochemical compatibility Works with gelatin, agar, pectin, chitosan, mycelium, bacterial cellulose

🌿 Compatible Bio-Materials

Category Material Properties / Use / Feature
Protein-based Bioplastics Gelatin Bio-leather, membranes
Casein Rigid sheets, bio-leather
Polysaccharide-based Bioplastics Agar Translucent, rigid
Alginate Strong, resilient
Pectin Transparent, flexible
Starch Affordable, adaptable
Living Biomaterials Mycelium Colonizes fibers and strengthens them
Bacterial cellulose Grows around suspended textiles
Microalgae / yeasts Natural pigmentation
Natural Resins & Mineral Composites Gum arabic Rigid, translucent surfaces
Pine resin Natural waterproofing
Gypsum / lime + fibers Micro-textured surfaces

🛠️ Fabrication Techniques and Results

Technique Process Result / Characteristic
Casting Pour biogel onto textile and let dry. Membranes, panels, translucent surfaces.
Dip-Coating Immerse textile in biogel → squeeze → dry. Uniform, flexible, and resistant material.
Biological Laminates Alternating layers: textile → gel → textile. Rigid sheets, lightweight structural composites.
Moulding with Forms Textile placed over a mold (preferably wood), then impregnated with biogel. Use small molds (20×20 cm) and clamps for even pressure. Creation of specific shapes and controlled pressure.
Dry Morphing Biogel shrinks more than textile during drying. Natural curves, folds, torsions appear. Used for organic sculptures and architectural forms.
Textile for “Grown” Materials
— Mycelium Interacts with scaffold: Colonizes fibers, increases cohesion. Increased strength and cohesion.
— Bacterial Cellulose Interacts with scaffold: Grows around suspended textiles. Growth of a coating around the textile.
Applications/Advanced Research Areas
Application Materials Result
Reinforced bio-leather Cotton + gelatin/glycerine Soft but strong leather
Translucent lamps Tulle + pigmented agar Lightweight glowing membranes
Acoustic panels Jute + mycelium Self-supporting, sound-absorbing panels
Self-shaping sculptures Elastic textile + biogel Natural, organic 3D forms
Bio-grown skins Textile + SCOBY Strong semi-gloss sheets
Textiles as bioreactors Growing microbes, fungi, or plants directly on textile
Biomimetic composites Materials mimicking skin, shells, tendons Structurally advanced materials
Bio soft-robotics Textiles reacting to water, hydrogels, or humidity Movement and responsiveness based on environmental stimuli
Critical Factors
Factor Effect
Textile density Tighter weave → less gel infiltration
Humidity Too high → mold; too low → cracks
Drying time Key for stability and finish
Chemical compatibility Some gels do not adhere
Gel thickness Thick layers crack
Textile tension More tension → more rigidity
Common Problems & Solutions
Problem Cause Solution
Cracks Gel too thick Add glycerine, increase ventilation
Gel detaches Textile too smooth Use rough or natural fabrics
Mold Slow drying Ventilation, dehumidifier
Unpredictable deformation Uneven tension Use frames or clamps
Fragile edges Excessive shrinkage Laminates or perimeter reinforcements

References & Inspiration

Textile-scaffold-inspiration-moodboard

Textile scaffold Inspiration Moodboard by Carlotta Premazzi

  • Rootfull by Zena Holloway gp-award.com
  • Ernesto Neto
  • Christo & Jeanne-Claude. VALLEY CURTAIN, COLORADO
  • Heinz Isler
  • P-Wall Matsys Design https://www.matsys.design/p_wall-2009
  • CONDUCTIVE CRYSTALLIZED TEXTILES https://sandyhsieh.com/Conductive-Crystallized-Textiles
  • A sensory and experimental approach to materials, by MUUNA materialdriven.com
get inspired!

Overview material research outcomes

Process and workflow

RESIN E BIORESIN -TEXTILE COMPOSITE

Tools

Tools for Biofabricating Textile Scaffolds

  • 1️⃣ Preparation & Mixing 🌡️ Beakers, flasks, graduated cylinders 🌀 Stir bars 🔹 Glass rods, spatulas, mortar & pestle 🍹 Blenders 🧾 Funnels, sieves

  • 2️⃣ Heating & Temperature Control 🔥 Hot plates, heating mantles 💧 Water baths ♨️ Ovens / drying cabinets 🌱 Incubators (for fungi, bacteria, algae) 🌡️ Thermometers / thermal probes

  • 3️⃣ Casting, Molding & Shaping 🍥 Petri dishes, silicone molds 📏 Sheet casting frames 🖨️ 3D printers (bio-based filament) 💉 Extrusion tools / bio-ink syringes 🔨 Rolling pins / pressing plates

  • 4️⃣ Curing, Fermentation & Growth 🏠 Growth chambers / controlled environment boxes 🌡️ Humidity & temperature sensors 🧪 pH meters, hygrometers 🍶 Fermentation jars / vessels 🔪 Mycelium inoculation tools (scalpels, tweezers, loops)

  • 5️⃣ Drying & Finishing Drying racks 💨 Vacuum ovens, freeze-dryers Sanding tools / microplanes 🖌️ Brushes, rollers, sponges (coating/dyeing)

  • 6️⃣ Testing & Analysis ⚖️ Scales (analytical, balance) 📐 Calipers, micrometers 🧲 Texture analyzers, tensile testers 🔬 Microscopes 🌈 Spectrophotometers (color/pigment)

  • 7️⃣ Enhancing & Decoration 💥 Laser cutters / engravers 🖋️ Stencils, stamps, brushes 💦 Spray bottles (coatings/surface treatments) 🗜️ Presses (hot/cold for laminates)

  • 8️⃣ Safety & Hygiene 🧤 Gloves, masks, lab coats 🧼 Autoclave / sterilization equipment 🧴 Disinfectants, cleaning supplies

BIO BASED MATERIALS SCAFFOLD

Gelatin-Based Bio-Leather with Mesh Scaffold

PIC leather scaffold montage

🧪 Ingredients

Solvent: 50 mL distilled water Plasticizer: 5 g glycerine Polymer: 10 g gelatin powder Pigment / Filler: 5 g soot, 2 g cuttlefish Additive (Preservative): 5 mL white vinegar

🛠️ Tools
  • Glass beaker / lab goblet
  • Measuring scale
  • Bain-marie setup (Double boiler)
  • Stirring rod or spatula
  • Sanitized moulds / loops
📝 Recipe
  1. Measure the materials accurately.
  2. Choose and sanitize a mould/base; prepare the scaffold (if using).
  3. Mix all liquid ingredients, by order, together in the glass beaker (lab goblet).
  4. Cook in bain-marie (double boiler) – medium temperature (approx. 80ºC) for 10 min.
  5. Keep stirring until you notice a change in texture (it becomes viscous).
  6. Add filler (soot, cuttlefish) and keep stirring until evenly mixed.
  7. Pour the mixture into the desired moulds/base immediately.

Gelatin-Based Bio-Leather with Cotton Fabric Scaffold

PIC

🧪 Ingredients

Solvent: 50 mL distilled water Plasticizer: 5 g glycerine Polymer: 10 g gelatin powder Pigment / Filler: 5 g soot, 2 g cuttlefish Additive (Preservative): 5 mL white vinegar

🛠️ Tools
  • Glass beaker / lab goblet
  • Measuring scale
  • Bain-marie setup (Double boiler)
  • Stirring rod or spatula
  • Sanitized moulds / loops
📝 Recipe
  1. Measure the materials accurately.
  2. Choose and sanitize a mould/base; prepare the scaffold (if using).
  3. Mix all liquid ingredients, by order, together in the glass beaker (lab goblet).
  4. Cook in bain-marie (double boiler) – medium temperature (approx. 80ºC) for 10 min.
  5. Keep stirring until you notice a change in texture (it becomes viscous).
  6. Add filler (soot, cuttlefish) and keep stirring until evenly mixed.
  7. Pour the mixture into the desired moulds/base immediately.

Gelatin-Based Bio-Resin with Pine Neddle Scaffold

PIC bioresin-scaffold-montage Bioresin Scaffold by Carlotta Premazzi

🧪 Ingredients

Solvent: 48 mL distilled water Plasticizer: 16 g glycerine Polymer: 96 g gelatine Pigment / Filler: 5 g spirulina Scaffold: Pine Needles

🛠️ Tools
  • Glass beaker / lab goblet
  • Measuring scale
  • Bain-marie setup (Double boiler)
  • Stirring rod or spatula
  • Sanitized moulds / loops
📝 Recipe
  1. Measure the materials accurately.
  2. Choose and sanitize a mould/base; prepare the scaffold (if using).
  3. Mix all liquid ingredients, by order, together in the glass beaker (lab goblet).
  4. Cook in bain-marie (double boiler) – medium temperature (approx. 80ºC) for 10 min.
  5. Keep stirring until you notice a change in texture (it becomes viscous).
  6. Add filler (soot, cuttlefish) and keep stirring until evenly mixed.
  7. Pour the mixture into the desired moulds/base immediately.

Gelatin-Based Bio-Resin with Linen Scaffold

PIC bioresin-scaffold-montage Bioresin Scaffold by Carlotta Premazzi

🧪 Ingredients

Solvent: 48 mL distilled water Plasticizer: 16 g glycerine Polymer: 96 g gelatine Pigment / Filler: 5 g spirulina Scaffold: Linen

🛠️ Tools
  • Glass beaker / lab goblet
  • Measuring scale
  • Bain-marie setup (Double boiler)
  • Stirring rod or spatula
  • Sanitized moulds / loops
📝 Recipe
  1. Measure the materials accurately.
  2. Choose and sanitize a mould/base; prepare the scaffold (if using).
  3. Mix all liquid ingredients, by order, together in the glass beaker (lab goblet).
  4. Cook in bain-marie (double boiler) – medium temperature (approx. 80ºC) for 10 min.
  5. Keep stirring until you notice a change in texture (it becomes viscous).
  6. Add filler (soot, cuttlefish) and keep stirring until evenly mixed.
  7. Pour the mixture into the desired moulds/base immediately.

Gelatin-Based Bio-Resin with Juta Scaffold

PIC

🧪 Ingredients

Solvent: 48 mL distilled water Plasticizer: 16 g glycerine Polymer: 96 g gelatine Pigment / Filler: 5 g spirulina Scaffold: Juta

🛠️ Tools
  • Glass beaker / lab goblet
  • Measuring scale
  • Bain-marie setup (Double boiler)
  • Stirring rod or spatula
  • Sanitized moulds / loops
📝 Recipe
  1. Measure the materials accurately.
  2. Choose and sanitize a mould/base; prepare the scaffold (if using).
  3. Mix all liquid ingredients, by order, together in the glass beaker (lab goblet).
  4. Cook in bain-marie (double boiler) – medium temperature (approx. 80ºC) for 10 min.
  5. Keep stirring until you notice a change in texture (it becomes viscous).
  6. Add filler (soot, cuttlefish) and keep stirring until evenly mixed.
  7. Pour the mixture into the desired moulds/base immediately.

Starch-Based Biocomposite with with Tulle Scaffold

PIC Starch-Based Biocomposite with with Tulle Scaffold Starch-Based Biocomposite with with Tulle Scaffold by Carlotta Premazzi

🧪 Ingredients

Solvent: 60 mL distilled water Plasticizer: 5 g glycerine Polymer: 5 g potato starch Pigment / Filler: 5g spirulina Scaffold: leftover tulle

🛠️ Tools
  • Glass beaker / lab goblet
  • Measuring scale
  • Bain-marie setup (Double boiler)
  • Stirring rod or spatula
  • Sanitized moulds / loops
📝 Recipe
  1. Measure the materials accurately.
  2. Choose and sanitize a mould/base; prepare the scaffold (if using).
  3. Mix all liquid ingredients, by order, together in the glass beaker (lab goblet).
  4. Cook in bain-marie -low temperature (approx. 65ºC) for 5 min, keep stirring until you notice a change in texture
  5. Keep stirring until you notice a change in texture
  6. Add spirulina in the not hot mixture
  7. Pour the mixture into the desired moulds/base immediately.

FABRIC FORMWORK WITH CASTING

Build a Catenary Pottery Printer

Catenary Pottery Printer

What is a Catenary Pottery Printer - A machine that uses a suspended fabric to create ceramic forms.
- The fabric forms a catenary curve; slip (liquid clay) is poured over it.
- After drying, the fabric is removed, leaving a ceramic object.
- Parametric yet analog: the shape depends on anchor points, tension, and slip weight.

Catenary Pottery Printer by gt2p gt2p.com

Materials & Components
  1. Suspension Structure
  2. Frame: wood, metal, or PVC tubes.
  3. Anchors: hooks, screws, or adjustable points.

  4. Fabric: cotton, lycra, muslin, gauze.

  5. Slip (liquid clay)

  6. Clay mixed with water to the right viscosity.

  7. Optional: thickening agents.

  8. Filling System

  9. Bucket or tank for slip.
  10. Tubes, squeegees, or syringes to pour slip.

  11. Optional: suction system to remove excess slip.

  12. Adjustment Tools

  13. Mechanisms to move anchors and change tension.
  14. Weights to calibrate the catenary curve.

  15. Timer/monitor for drying.

  16. Post-Process

  17. Brushes, spatulas, ceramic tools.
  18. Ceramic kiln for bisque firing.
  19. Glaze (optional).
Step-by-Step Process
  1. Design the Project
  2. Draw a plan of the structure.

  3. Decide on frame size, number of anchor points, and fabric shape.

  4. Select Parts

  5. Gather frame materials, screws, hooks, and fabric.

  6. Mark Where to Drill

  7. Mark exact positions for screws or bolts on the frame.

  8. Assemble Everything

  9. Drill holes if needed and attach anchors.
  10. Fix the fabric to the anchors using screws or bolts.

  11. Adjust tension to create the desired catenary curve.

  12. Prepare the Slip

  13. Mix clay with water and thickening agents to desired viscosity.

  14. Pour the Slip

  15. Slowly pour slip over the suspended fabric.

  16. Let excess slip drain or remove with a tube/syringe.

  17. Drying

  18. Allow the object to dry partially until it holds its shape.

  19. Remove Fabric

  20. Carefully remove fabric to reveal the ceramic form.

  21. Finishing

  22. Refine edges and surfaces with tools.
  23. Bisque fire in a kiln, then glaze if desired.
Notes / Challenges
  • Shape depends on anchor placement and fabric tension.
  • Uneven drying may deform or crack the piece.
  • Each object will be unique due to analog process.
  • Strong and stable frame is crucial.
  • Kiln access needed for permanent ceramic objects.

Build a Catenary Pottery Printer Build a Catenary Pottery Printer at Biolab, Lisbon. Collective brief and work with Carlos Roques, we used cotton sheet and gypsum(calcium sulphate and sulphuric acid(H2So2))

CRYSTALIZATION

Textile as Scaffold through crystallization processes on natural waste textiles and on copper thread waste. The goal is to test how different fibres behave as structural supports for bio-based crystal growth.

ALUM CRYSTALS ON MESH

ALUM-MESH-001 Alum powder Crystalization Alum powder Crystalization by Carlotta Premazzi at Biolab, Lisbon.

COPPER SULPHATE CRYSTALS ON MESH

CU-SULF-MESH-001 Copper sulphate Crystalization Copper sulphate Crystalization by Carlotta Premazzi at Biolab, Lisbon.

Materials

Liquids

  • Tap water (hot: ~100°C)
  • Optional: dye bath
  • Colorants
  • Pigments
  • Spirulina powder
  • Turmeric
  • Charcoal powder
  • Bacteria ink

Crystallization Agents

  • Alum powder
  • Borax powder
  • Copper sulphate crystals
  • Salt
  • Sugar
Tools
  • Glass jars (wide mouth, 0.5 L)
  • Stove or kettle
  • Filter (coffee filter or fabric filter)
  • trings, thread or wires
  • Chopsticks / hanger bar
  • Scissors
  • Aluminium foil
Crystallization – General Method
  • Heat tap water to boiling or near-boiling temperature.
  • Optional: dissolve colorants in the water.
  • Add the mineral powder (alum, borax, copper sulphate…) until fully dissolved.
  • Filter to remove impurities.
  • Prepare your textile structure: tie it to a string or create a suspended form.
  • Immerse or hang the textile in the solution.
  • Cover the jar with aluminium foil (not sealed – air must circulate).
  • Leave the jar 12–24 hours in a dark and undisturbed place.
  • Check growth daily. Remove unwanted crystals from jar walls.
  • For longer experiments: re-feed solution by adding more saturated mix.
Environmental Variables
  • Understanding how environment affects crystal growth.
  • Cooling Down
  • Slow cooling → larger, more defined crystals
  • Fast cooling → fractures, irregular formations
  • Air Circulation
  • Needed for evaporation
  • Accelerates growth
  • Contamination Control
  • Keep solution covered
  • Remove accidental crystals from jar walls
  • Competition
  • Crystals growing on the jar will compete with the textile.

  • Remove them or re-filter the solution.

  • Step-by-Step Workflow

  • Textile Preparation
  • Select natural fibre
  • Create a 3D or planar structure
  • Wash and dry (to remove sizing)
  • Solution Preparation
  • Heat water
  • Add colorants (optional)
  • Dissolve crystal powder fully
  • Filter
  • Setup
  • Suspend textile with thread
  • Ensure it does not touch jar walls
  • Pour filtered solution
  • Cover with aluminium foil
  • Growth Phase
  • Rest 12–24h undisturbed
  • Observe morphology
  • Add seed crystals if needed
  • Drying
  • Remove textile slowly
  • Let air-dry completely

LEATHER MOLDING

Forming Leather in a Shell M/F Mold

Leather Seashell Mold Leather Seashell Mold by Carlotta Premazzi

To shape the bio-leather with precision, we start by creating a 3D scan of the reference object, capturing its exact geometry. Due to the complex curves of the shell, we performed several scans to ensure high fidelity.

The digital model was then adapted to meet our specific needs. This adaptation involved creating a perpendicular bridge connected to the base, matching the overall dimension of the shell.

This new digital model is then used to mill both the positive (male) and negative (female) mold shells using a CNC machine.

For the first mold piece, we used only the external part of the shell. To derive the second, corresponding mold piece, we offset the geometry by 1 mm. This 1 mm distance accounts for the material thickness and ensures the leather is pressed accurately without being overstretched or damaged, allowing the final form to be preserved without compromising the material's integrity.

These paired molds allow the bio-leather material to be pressed both evenly and accurately to achieve the desired three-dimensional form.

Before forming, the leather is prepared by soaking or thoroughly humidifying it. The moisture softens the fibers, making the material pliable and capable of adapting to complex shapes without cracking. Once the leather reaches the right level of flexibility, it is positioned between the male and female molds.

By pressing the two shells together, the leather is forced into the desired geometry, taking on the contours and volume of the scanned object. After drying completely inside or outside the mold, the leather stabilizes and permanently retains the new shape, resulting in a precise, clean, and professional finish. Ongoing process (waiting for de-mold)

3D Scan

Seashell Scan Seashell 3D Scan by Carlotta Premazzi, with Pedro Fablab Lisbon

Steps 3D scanning the seashell

  1. Object Preparation The seashell is placed on a stable (often rotating) platform so it can be captured from all angles. The background is kept dark or neutral to avoid reflections and visual noise.

  2. Scanner / Camera Setup A 3D scanner—likely a structured-light scanner, as suggested by the green light pattern—is positioned in front of the object. The scanning software (visible on the screen, “Shining 3D”) is set up to record the geometry of the shell.

  3. Data Acquisition As the platform rotates, the scanner projects light patterns and captures how they deform on the shell’s surface. Multiple passes ensure full coverage, including hidden or complex areas.

  4. Point Cloud / Mesh Visualization The software generates a point cloud representing the scanned surface. This point cloud is then converted into a 3D mesh, which appears on the computer screen in the shape of the seashell.

  5. Cleaning and Alignment The mesh is cleaned by removing noise, correcting small errors, and smoothing irregularities. The digital model is then aligned, oriented, and scaled if necessary.

  6. Exporting the 3D Model Once the scan is clean and complete, it is exported in a standard 3D format (e.g., .obj, .stl). This file can be used for further steps such as CNC milling, 3D printing, or creating molds.

Pecten jacobaeus Sea Shell made with Pedro at Fablab Lisbon. cpds on Sketchfab

CNC Milling

CNC CNC montage by Carlotta Premazzi, with Matias Fablab Lisbon

CNC Milling is a subtractive digital fabrication process where a computer-controlled spindle removes material from a block (wood, MDF, foam, plastics, aluminum, etc.) using rotating cutting tools.

It is commonly used for:
  • 2D and 3D prototypes
  • Molds and negatives (wood, resin, silicone, biocomposites)
  • Furniture and architectural panels
  • Mechanical components
  • Digital sculptures
  • Textured surfaces and reliefs
Compatible Materials
Material Type Examples Notes
Soft Materials MDF, plywood, high-density foam, PU foam, bio-foam Easy to mill; ideal for molds & prototyping
Hard Materials HDPE, PMMA, acrylic, POM, aluminum* Aluminum only on strong CNC machines
Not Recommended PVC Releases toxic fumes when milled
Required Equipment
Category Items
CNC Machine OUTPLAN, ShopBot, BZT, Stepcraft, Roland MDX, etc.
Cutting Tools Flat end mills, ball end mills, single/double flute bits
Machine Hardware Spindle/router, dust extractor, clamps or vacuum table
Software Fusion 360, Segmag, VCarve, RhinoCAM, FreeCAD Path
Accessories Screws, double-sided tape, sacrificial board, Allen keys
Types of End Mills
Type of Tool Uses Characteristics
Flat End Mill 2D cuts, pockets, contours Clean edges, flat surfaces
Ball End Mill 3D milling, molds, smooth reliefs Rounded tip → smooth finishing
Upcut Bit Deep cuts, fast chip removal Clean bottom, rougher top
Downcut Bit Wood, veneer, plywood Clean top surface, less chip removal
Single Flute Plastics, soft materials Prevents melting → better cooling
Double Flute General use Balanced finish & chip evacuation

CNC Milling1 CNC Milling2 CNC milling montage by Carlotta Premazzi, working with Matias Fablab Lisbon

CNC Workflow

1) Design or 3Dscan (Check above) 2D → Illustrator / Inkscape 3D → Fusion 360 / Rhino / Blender

2) Export Files 2D → DXF / SVG 3D → STL / STEP

3) CAM Programming

Inside the CAM software, set: * Tool selection * Feed rate (horizontal movement speed) * Spindle speed (RPM) * Pass depth (vertical step-down) * Step-over (for 3D finishing) Toolpaths: * Pocket (engravings / cavities) * Profile (cutting the contour) * Adaptive clearing * 3D roughing * 3D finishing

4) Generate G-code Export as: .nc .gcode .sbp (for ShopBot)

5) Machine Setup Secure the material with clamps, screws, or vacuum table Mount the correct end mill Set the origin (Zero) in: X, Y → front left corner Z → using the calibration plate or manually

6) Air Cut Run the toolpath without touching the material to check for errors.

7) Milling Start the job Monitor the noise, vibration, and chip evacuation Be ready to stop the machine in case of emergency

8) Cleaning & Finishing Vacuum dust Remove tabs Sand edges Seal or coat surfaces if needed

Basic Parameters
Material Spindle Speed (RPM) Feed Rate (mm/s) Pass Depth Step-over Notes
MDF / Wood 12,000–16,000 40–60 ½ tool diameter 40–60% Good for molds & furniture
Foam (HDU) 8,000–12,000 60–120 1 × tool diameter 50–70% Fast cutting, low resistance
Plastics (HDPE, PMMA) 10,000–14,000 20–40 ⅓ tool diameter 30–50% Use single-flute bits to avoid melting
Safety Rules
  • Wear protective goggles
  • Tie back long hair
  • Never leave the machine unattended
  • Keep hands away from the spindle
  • Stop immediately if you notice:
  • Strange noises
  • Excessive vibration
  • Burning smell
  • Broken end mill
Common Errors & Fixes
Problem Cause Solution
Burned edges RPM too high / feed too low Lower spindle speed or increase feed
Tool breakage Pass depth too large Reduce pass depth to ≤ ½ tool diameter
Rough surface Wrong bit or high step-over Use ball end mill + reduce step-over
Material lifting Poor clamping Add screws, stronger clamps, or vacuum table
Melting plastic Wrong tool or overheating Use single-flute bit + increase feed rate

Documenting and comparing experiments

TEST SERIE BIO-PLASTIC
Material pic Material name polymer plastifier filler emulsifier scaffold
SOOT BIO-LEATHER WITH MESH SCAFFOLD 10 g gelatin powder 5 g glycerine 5 g soot, 2g cuttlefish 50 mL distilled water mesh
BIO-PLASTIC WITH PINE NEEDLE SCAFFOLD 96 g gelatine 16 g glycerine 5 g spirulina 48 mL distilled water pine needle
BIO-RESIN WITH LINEN SCAFFOLD 96 g gelatine 16 g glycerine 5 g spirulina 48 mL distilled water Linen
BIO-RESIN WITH JUTA SCAFFOLD 96 g gelatine 16 g glycerine 5 g spirulina 48 mL distilled water Juta
STARCH BIO-PLASTIC WITH TULLE SCAFFOLD 5 g glycerine 5g spirulina 60 mL distilled water Tulle
ALUM CRYSTALS ON MESH biokelp powder 12 gr glycerol 100 ml rainbow dust 1 kg green soap a drop mesh
COPPER SULPHATE CRYSTALS ON MESH biokelp powder 12 gr glycerol 100 ml rainbow dust 1 kg green soap a drop
5 g glycerine mesh

Lecture on November 17th, 2025, Global Instructors: Anastasia Pistofidou, Local Instructors: Carlos Roque - Local Assistance on Concrete casting and 3D moulding; Carolina Delgado - Local Assistance on Composites and Crystallisation; Matias @FabLab - Local Assistance on CNC Milling

  • **Local Workshops
  • Build a Catenary Pottery Printer with Carlos Roque
  • Cristalization with Carolina Delgad
  • CNC and milling with Matias FabLab
🔗 References & Tutorials

Concept & Inspiration

Tools & Software

Student checklist

  • [ ] Document the process including the step-by-step instructions on software, machine, mold making, vaccum forming and textile composites
  • [ ] Upload your design and fabrication files, including the 3D model and CAM file when possible
  • [ ] Document at least 2 processes from design to prototyping, fabrication, materials used, document your achievements and unexpected outcomes
  • [ ] Make a stop motion of your crystal growth or use 3D modeling software to simulate your design (extra credit)