PROCESS

THE MATERIAL

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.

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.

THE MEDIUM / THE TECHNIQUE

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

INSPIRATION - TECHNIQUE

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.

Ying Gao instagram: livingpod

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.

Behnaz Farahi

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

INSPIRATION - FORM

LUCY McRAE

Lucy McRae is a British-Australian sci-fi artist, filmmaker, inventor & “body architect.” Her work speculates on the future of human existence, examining how the body, beauty, biotechnology & emotion intersect. Lucy works across media — installations, film, wearable & edible technologies — bridging science & imagination to provoke new perceptions of what it means to be human.

INSPIRATION - MATERIAL

KATRIN THORVALDSDOTTIR

Katrín Thorvaldsdottir is an Icelandic designer & researcher whose work explores the intersection of biomaterials, ecology, & experimental textile practices. Her research-driven approach focuses on seaweed &local resources, investigating how material processes can create new narratives around sustainability & place.

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.

ALBERTE BOJESEN

Alberte Holmø Bojesen is a designer & material researcher whose work explores seaweed as a regenerative, bio-based material through hands-on experimentation & ecocentric design practices. Her project SEAWEED DIALOGUES investigates how locally foraged kelp can be transformed into translucent, self-supporting vessels that invite a sensorial dialogue between material, form, & the human body.

Alberte Holmø Bojesen SEAWEED DIALOGUES distributeddesign.eu

I had the opportunity to exchange with Alberte Holmø Bojesen, who generously shared insights into her project SEAWEED DIALOGUES, including her material research process & approach to seaweed as an active design agent.

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.

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BIO PLASTIC PROCESS

Materials

• Algae (source material for alginate extraction)
• Sodium alginate powder
• Water
• Glycerine (plasticizer)

Tools & Equipment

• Hand blender (immersion blender)
• Measuring cup (ml scale)
• Precision scale (grams)
• Test tubes or small containers (for dried alginate slabs)
• Molds or casting surfaces (for casts)
• Spatula or spoon (for handling the mixture)
• Fan (for air circulation & faster, more even drying)
• Refrigerator (overnight resting)

• Microwave (short heating before casting)

• Ultra-low temperature freezer (−80 °C)

• Containers for freezing & storage

Step-by-Step Procedure for Alginate Extraction from Algae

Step	Procedure	Description / Purpose
1	Washing the algae	Removal of dirt, salts, & other impurities
2	Freezing the algae	The algae are stored for 48 hours at −80 °C in an ultra-low temperature freezer
3	Alginate separation	Due to the extreme cold, alginate separates from the algal structure
4	Material fractionation	Light green / whitish material: isolated alginate Dark green material: remaining algal biomass (de-alginated algal residual material)
5	Drying the alginate	The isolated alginate is dried
6	Formation of alginate slabs	After drying, the alginate forms solid “slabs”, which are stored in test tubes

Alginate–Glycerine Bioplastic Recipe

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Bioplastic: Alginate Drying Process

The drying time of alginate bioplastic strongly depends on the shape, thickness, & environmental conditions.

Typical drying times

• Thin layers / films (1–2 mm): 12–24 hours
• Thick casts / molds (≥ 5 mm): 2–5 days, sometimes longer

Factors affecting drying time

• Air humidity: high humidity → slower drying
• Temperature: warmer conditions (20–25 °C) → faster drying
• Air circulation: good airflow accelerates drying
• Glycerine content: more glycerine = longer drying time & higher flexibility
• Thickness: the most important factor

Tips for even drying

• Dry on smooth, non-absorbent surfaces (silicone, glass, PE foil)
• Avoid direct sunlight (may cause warping or cracking)
• Carefully turn pieces after ~24 hours if needed
• For workshops: use several thin layers instead of one thick cast

Step	Ingredient / Action	Amount	Notes
1	Water	100 ml	Base liquid
2	Sodium alginate	3 g	Adjust depending on desired thickness & stiffness
3	Substrate (wet)	0 - 25% g	Adds texture and structural variation
4	Glycerine	** 5 g**	Plasticizer for flexibility
5	Mixing	—	Mix thoroughly using magnetic stirrers until homogeneous
6	Casting	—	Pour into frames or molds
7	Drying	—	Air-dry until fully dry (1–5 days depending on thickness)

other option: - Leave the mixture overnight in the fridge to fully hydrate the alginate & remove air bubbles - Pre-heating Heat the mixture in the microwave for 10 seconds - then casting

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