13. IMPLICATIONS & APPLICATIONS¶
INTRODUCTION¶
This assignment marks the beginning of developing the personal Final Project for the Fabricademy.
Building on the skills & knowledge gained throughout the program, the goal is to formulate a concept that reflects the relationships between technology, textile design, sustainability, & societal change.
The task requires understanding the implications of emerging materials, digital fabrication processes, & wearable technologies, & translating these insights into meaningful applications. As part of this process, participants are asked to document their project concept through sketches, artistic & scientific references, & relevant research materials. A central element of the assignment is the development of a personalised product–service system (PSS) that demonstrates how the concept can adapt to individual users & contexts. This includes mapping potential stakeholders & exploring personalisation on multiple levels, such as material, design, fabrication, interaction, or service. To expand the depth of the proposal, participants are encouraged to engage with potential users or target groups, gathering qualitative or quantitative insights to inform the project direction.
The final outcome suppost to be a founded & innovative proposal that will transition into the intensive development phase starting in January.
CONCEPT 1: "Ocean Breath — A Living Interface"¶
PRESENTATION SLIDES / PDF¶
IDEA & CONCEPT¶
"Ocean Breath — A Living Interface"¶
For this project, I will explore the intersection of WEARABLES & BIOFABRICATED MATERIALS through the use of Sargassum seaweed as both material & narrative medium.
SARGASSUM¶
Sargassum, a floating brown algae, has become a growing ecological challenge along the Caribbean coast of Mexico, where massive blooms disrupt marine ecosystems, tourism, & local livelihoods. At the same time, it holds untapped potential as a renewable, bio-based resource.
THE PROJECT¶
The project proposes a interactive instalation / body-worn, biofabricated structure derived from Sargassum, positioned on the torso—close to vital organs—as an interface between the human body & the ocean. The wearable reacts subtly to bodily data such as breath, heartbeat, or movement, translating internal rhythms into gentle motion, texture shifts, or light.
In doing so, the body becomes a temporary host for a marine material, blurring the boundaries between human physiology, digital systems, & oceanic life.
Sargassum exists in a state of contradiction: it is both pollutant & resource, both excess & opportunity.
By transforming it into a wearable artifact, the project reframes this invasive presence as a material for reflection, care, & regeneration. The softness, fragility, & organic irregularities of the biofabricated seaweed contrast with the precision of sensors, code, & digital fabrication, creating a dialogue between nature & technology rather than a hierarchy. At its core, the project questions how we relate to environmental crises when they are no longer distant, but physically present on our bodies. Wearing Sargassum close to the skin invites a slow, embodied awareness of oceanic systems, ecological imbalance, & our own biological rhythms. The digital layer does not dominate the material, but listens to it—amplifying its presence rather than controlling it. Ultimately, the project exists in the space between care & discomfort, technology & ecology, problem & potential. It suggests that new relationships with materials—especially those born from environmental excess—can emerge when we allow them to enter intimate, personal, & sensory spaces. The body becomes a site of negotiation, where digital systems, biofabricated matter, & environmental narratives intertwine.
Sargassum on the Mexican Caribbean Coast¶
Along the Mexican Caribbean coast—particularly in the Riviera Maya, including Cancún, Playa del Carmen, & Tulum—large quantities of Sargassum seaweed have been washing ashore for several years. These seasonal accumulations occur mainly from spring to autumn & are often associated with strong odors & visual pollution.
While Sargassum is a natural marine phenomenon, its increasing volume has turned it into a significant environmental, social, & economic challenge. The Mexican Navy & local authorities attempt to mitigate its impact through the use of floating barriers, monitoring systems, & large-scale collection efforts. Coastal areas such as Isla Mujeres & Cozumel are generally less affected due to their geographic position & ocean currents.
What is Sargassum?¶
Sargassum is a naturally occurring, free-floating brown algae that originates primarily from the Sargasso Sea in the Atlantic Ocean. Unlike other types of seaweed, it does not attach to the seafloor but drifts in large mats on the ocean surface.
Why does it arrive in Mexico?¶
Ocean currents & changing climatic conditions transport massive quantities of Sargassum from the Atlantic toward the Caribbean coast of Mexico, particularly during warmer months. Nutrient runoff, rising sea temperatures, & altered circulation patterns are believed to contribute to the increasing frequency & scale of these blooms.
Environmental & Social Impact¶
When Sargassum accumulates on beaches, it can block access to the sea, affect marine life, & release unpleasant odors as it decomposes. These conditions negatively impact tourism, swimming activities, & the overall coastal landscape, while also placing pressure on local communities & ecosystems.
Seasonality¶
Sargassum influxes occur primarily between April/May & August/September, though their intensity & timing remain highly unpredictable from year to year.
Current Mitigation Measures¶
- Floating barriers: Installed by the Mexican Navy & local initiatives to prevent Sargassum from reaching the shoreline.
- Collection efforts: Manual & mechanical removal on beaches, as well as offshore collection using specialized vessels.
- Monitoring systems: Ongoing observation & forecasting of Sargassum blooms to enable faster & more coordinated responses.
Why Combining WEARABLES & BIOFABRICATED MATERIALS¶
Based on my personal interests & professional background, I have been working in an interdisciplinary manner at the intersection of design, material research, & sustainable systems for several years. Many of my previous projects—including my bachelor thesis—focus on BIOFABRICATED MATERIALS, circular material processes, & new material narratives. In addition, I have designed & facilitated workshops on these topics. For this reason, I already have a solid foundation in the field of BIOFABRICATED MATERIALS, & I see this assignment as an opportunity to further deepen, critically reflect on, & expand this knowledge.
At the same time, it was important for me to connect & integrate the first part of the Fabricademy: the 13 Assignments into a shared project framework.
BIOFABRICATED MATERIALS as a Foundation¶
Biomaterials are materials derived from biological sources such as plants, algae, fungi, microorganisms, minerals, or animal-based components. They can exist in their raw, natural state or be chemically processed & designed to achieve specific properties such as texture, strength, or flexibility.
A key learning objective of this assignment is to explore both crafted & grown materials, understanding living matter as an active design medium. This perspective shifts the role of the designer—from a consumer of materials to a co-creator working alongside natural processes.
FABRICATION as an Expanded Design Practice¶
In the context of biofabrication, the term fabrication extends beyond traditional making & includes a wide range of processes—from hands-on techniques such as casting, extruding, & molding to digital fabrication methods, as well as biological growth processes like cultivating algae, mycelium, or bacteria.
The assignment connects research, experimentation, documentation, & presentation, fostering a deeper understanding of how materials can be designed, grown, transformed, & reimagined. It also supports a necessary shift in material narratives—from linear production models toward regenerative & circular systems in which waste becomes a resource.
Why WEARABLES as an Overarching Theme¶
Precisely because I feel confident working with biofabricated materials, I consciously chose WEARABLES as the overarching theme for my Final Project. Wearables represent both a conceptual & technical challenge, as they introduce the human body directly into the design process & create intimate relationships between material, technology, & embodiment. Wearables extend textiles beyond their aesthetic function, enabling interaction through light, movement, haptic feedback, or sensory responses. Operating at the intersection of intimacy, technology, & perception, they offer a compelling space for exploration—particularly when combined with living or biofabricated materials.
By merging WEARABLES & BIOFABRICATED MATERIALS, I aim to explore how ecological materials can function not only as passive substances but as body-centered, meaning-carrying interfaces. The project is conceived as an open system in which material research, the human body, the environment, &—@ a later stage—technological layers enter into dialogue.
This combination allows me to strategically build on existing expertise while intentionally stepping into new design territory. It forms the conceptual foundation of my Final Project & guides its further development in the 2. phase of the Fabricademy.
PREVIOUS WORK: WEARABLES¶
Anemone Reef on the Chest OceanHeart / Heartreef¶
This project builds directly on my previous work developed during the Wearables assignment & adapts its conceptual foundation for the Final Project. In the earlier assignment, I explored the idea of a body-worn, marine-inspired organism through the project Anemone Reef on the Chest, focusing on movement, light, & technological responsiveness as a way to translate biological rhythms into a wearable form.
For the Final Project, this concept is reinterpreted through a material-first approach. While the wearable logic & body placement remain central, the focus shifts from technological responsiveness toward biofabricated materials & their sensory & narrative relationship to the body. The technological layer is intentionally reduced or postponed, allowing the material itself to become the primary medium of exploration.
The Wearables assignment thus serves as a conceptual reference, providing continuity while opening space for new questions around materiality, sustainability, & ecological context.
INSPIRATION¶
www.aalto.fi - seaweed as a material Alberte Holmø Bojesen Katrín Thorvaldsdottir
JULIA LOHNMANN - DEPARTMENT OF SEAWEED¶
Julia Lohmann is a German-born designer, researcher & educator whose work interrogates our material relationships with nature.
She explores the potential of seaweed as a sustainable, regenerative material. Through her platform Department of Seaweed, she develops ways to craft, shape, & design with algae — creating translucent, leather-like surfaces & sculptural forms. Her work redefines the relationship between humans & marine ecosystems, inviting collaboration with nature rather than extraction from it.
YING GAO¶
Ying Gao is a Montreal-based fashion designer & professor whose experimental work blends fashion, product design, & media technology. Exhibited internationally & featured in major publications like Vogue & The New York Times, her designs explore clothing as a responsive, transitional space shaped by social & urban environments.
LISA JIANG¶
Fashion & Illustration
Lisa Jiang is a London-based fashion designer & illustrator specializing in wearable kinetics — fashion that integrates movement, structure, & dynamic form. She studied Fashion Design Womenswear at the renowned Central Saint Martins & has since been developing innovative concepts at the intersection of fashion, technology, & performance.
I met Lisa during my internship at Iris van Herpen in Amsterdam.
Instagram: Lisa Jiang www.lisajiang.co.uk
BEHNAZ FARAHI¶
Behnaz Farahi is an Iranian-American architect & designer known for her interactive wearable technologies. such as a 3D-printed garment that responds to the viewer’s gaze by opening & closing its surface — exploring the relationship between technology, perception, & the body.
CASEY CURRAN¶
Casey Curran is an artist known for his intricate hand-powered kinetic sculptures that explore the hidden structures of nature & existence. His works animate delicate systems of flora & fauna, inviting viewers to activate & experience them. Combining ornate craftsmanship with precise mechanics, his sculptures reflect themes of pattern, chaos, & emergence.
Curran has also collaborated with Iris van Herpen, creating kinetic elements for her haute couture collections, where his mechanical artistry merges seamlessly with her experimental fashion design.
www.caseycurran.com Instagram: Casey Curran
PROJECTS & SUPPLIERS¶
Once I had defined the topic of my final project, I conducted targeted research into manufacturers, startups, & research groups working with Sargassum & seaweed-based materials, with a particular focus on Mexico.
In total, I reached out via 18 emails to request information, explore potential material samples, & inquire about possible small-scale collaborations to support the material research & prototyping phase of my project.
such as: SMARTFIBER - SEACELL SEACELL™ is an innovative, sustainable textile fiber developed by SMARTFIBER AG that combines natural brown seaweed with a cellulosic fiber. The seaweed is permanently embedded into the fiber through a patented, low-emission process, preserving its natural components such as minerals, vitamins, & antioxidants.
The fiber is produced in a closed-loop manufacturing system, is biodegradable, & is characterized by high skin compatibility, breathability, & moisture management. SEACELL™ can be spun or blended with other fibers & is suitable for a wide range of textile applications—from yarns & knitted fabrics to woven textiles, non-wovens, & functional, skin-contact materials.
CARBONWAVE Carbonwave is a materials innovation company focused on transforming Sargassum seaweed into high-value, bio-based materials. By upcycling excess seaweed collected from coastal regions, Carbonwave develops sustainable alternatives for applications ranging from packaging & textiles to bioplastics, positioning Sargassum as a regenerative resource within circular material systems.
BIOPLASTER RESEARCH Bioplaster Research is an interdisciplinary research platform focused on the development & exploration of bio-based & biodegradable plastics, combining material research, experimentation, & open knowledge sharing to advance sustainable material alternatives.
THE PROJECT¶
5 W's¶
WHY¶
“Turning necessity into opportunity.”¶
Rather than viewing Sargassum solely as an ecological nuisance, this project understands the algae as a versatile, bio-based resource. Through its material & design-driven translation, the project aims to raise awareness of the underlying environmental issue while opening up a new perspective on excess, waste, & value creation.
WHAT¶
Wearables + Biofabrication¶
Development of a small collection of biofabricated, interactive objects based on Sargassum that can function both as body-worn accessories & as an interactive spatial installation. The works operate at the intersection of material research, bodily proximity, & spatial experience, exploring how marine biomaterials can act as meaning-carrying interfaces.
WHO¶
Laura Muth¶
Designer with a multidisciplinary background in material research, biofabrication, & sustainable systems, combining existing expertise with new approaches from the field of wearables.
WHEN*¶
January – March¶
January: Research, planning, material exploration
February: Biofabrication, prototyping, concept validation
March: Final prototypes, storytelling, presentation
WHERE¶
Mexico – IBERO / IDIT¶
The choice of project focus is closely linked to my location. The Fabricademy in Mexico provides not only the institutional framework but also a direct connection to the Sargassum issue along the Mexican Caribbean coast, which serves as the real-world starting point for the project.
WHOM / TARGET / STAKEHOLDER GROUP¶
The project operates at the intersection of object, wearable, installation, & research format.
Accordingly, it addresses multiple layers of target groups—not only “users,” but also actors within a broader system.
Primary¶
Exhibition visitors / wearers Design & art students
Secondary¶
Material researchers Cultural institutions Sustainability organizations
Local¶
Coastal communities (Mexico) Academic institutions (IBERO / Fabricademy)
Systemic¶
Design discourse Future material practices
MORE QUESTIONS THEN ANSWERS¶
RELEVANCE¶
Zukunftsinstitut - Megatrends¶
The Zukunftsinstitut is a leading European think tank for future studies, known for its Megatrend Map, which identifies long-term societal, cultural, & economic transformations shaping the future. These megatrends provide a systemic framework to understand complex changes beyond short-term trends.
Positioning this project within selected megatrends—such as Ecological Intelligence, Knowledge Culture, & Identity Dynamics—helps contextualize the work within broader societal shifts. It highlights the relevance of biofabricated materials, embodied environmental awareness, & research-based design practices as part of a larger transformation toward regenerative, responsible futures.
PROJECT PLAN¶
From January to March 2026
08/01/2026 - Clase Local
13/01/26 - Clase global
Presentación: 01 PPD. Review on Planning/Process/Workflow: Gantt - Planning, Electronics, Custom tools and BOM
20/01/2026 - Clase Local
27/01/26 - Clase global
Presentación: 02 PPD. Focus Groups - Mentoring sessions
03/02/2026 - Clase Local
10/02/26 - 12/02/26 Clase global do
Presentación: 03 PPD. Mid Term Presentations
17/02/2026 - Clase Local
23/02/26 - 26/02/26 Clase global
Presentación: 04 PPD. Focus Groups - Mentoring sessions
03/03/2026 - Clase Local
08/03/26 - 11/03/26 Clase global
Presentación: 05 PPD. Review on Storytelling & final prototype
17/03/2026 - Clase Local
24/03/26 - 27/03/26
Presentación: 06 PPD. Final Project Presentations
PROJECT MANAGEMENT¶
beginning with the end in mind¶
DESIGN THINKING MODEL¶
CONCEPT VISULATION¶
MINDMANP¶
MOODBOARDs¶
COMPONANDS¶
CONCEPT 2: MUSE LAB - Pop-Up Material Lab¶
LINKs:¶
youtube: MUSE LAB – Pop-Up Material Lab : 02:26 min
youtube: MUSE LAB – Pop-Up Material Lab : 0:34 min
"MUSE LAB – Pop-Up Material Lab¶
Space for Multisensory & Creative Exploration
Imagine a space that moves — not bound by walls, but unfolding wherever curiosity arises. A space where learning begins with the hands, where materials tell stories, & creativity grows through shared experience. MUSE LAB is more than a place — it’s a living resonance of exploration & connection.
In many design & educational contexts, access to materials & experimentation is limited. MUSE LAB responds to this by creating a mobile, modular material laboratory — a pop-up environment that brings multisensory learning directly to universities, companies, & communities. It enables people to smell, taste, her, see and feel design — to learn through making.
Each module can be rearranged & adapted — a flexible system fostering collaboration, sustainability, & creativity. Colors, sounds, & textures become tools of imagination, transforming abstract knowledge into tangible understanding. It’s design education that connects head, hand, & heart.
MUSE LAB is more than a workshop — it’s a catalyst for change.
A space where material, design, & education come together to shape a more creative & conscious future.It encourages solidarity, empathy, & responsibility.
MUSE LAB — a space for multisensory exploration & creative learning."