Heterotopia by Eduardo Loreto by Eduardo Loreto Parra

HE TE 1

RO TO

PIA a journey into the biofabrication By EDUARDO LORETO

Dedicated to everyone who belived in me and supported my endeavours to make my dreams come true.

IN DEX

Keep it simple and explore

Content Introduccion Biowaste Phytoremediation HeavyMetalRevcovery Heterotopia Pigments Molds Biofabrication Biomass Gelatine Glycerin Process Tips PrimaryRecipe Latex Medium Hard Ink Waterproof Hibrid LipGloss Blusher EyeShadow Modules TechniquesHeterotopia ReliefPrinting ScreenPrinting Products Cosmetics Bag Jacket Conclusion Bio Bibliography

7 13 15 17 18 22 30 34 36 38 37 40 42 45 47 49 51 53 55 59 61 63 65 69 80 84 98 108 112 114 118 124 128 130

IN TRO DUC TION

Keep it simple and explore

This book is a condensed expression of the art of creation and the joy of making, which reflects my exploration process and will unobtrusively encourage you to join it. My mission with this book is to show my journey of material discovery and enable you to express yourself with Biofabrication, Biochromes, and textile combinations by equipping you with the necessary skills and knowledge to join the renaissance of sewing. Today is a great time for makers and the conditions are going to become even better as more of us will retrieve our needles and will demand dressmaking to be recognized as an elusive, respectable skill. It is not the finished work that gives the Maker the enjoyment of art, but rather the art in itself, the process of exploration and the action of creating it. Biofabrication is the essence where art, science, and design come together and go hand in hand as a single ephemeral artistic essence, which means that each product has a limited time and is not designed to last forever. Thus we are obliged to be responsible for its recycling and be more aware of the planet and the limitations of the available natural resources. Biofabricator is a very contrasting way of product fabrication. De jure you perform in a way that you are aware of the fragile equilibrium in the world around you and the shortness of the resources. This forces you to work harder and to be more ingenious. Additionally, the organic practices of obtaining commodities for material production allow you to embrace the imperfections and make them your own indeed and enrich your work. For the biomanufacturer, such ephemerality and, for the most part, the entirety of imperfections makes the idea so powerful and, after all, so contagious. The purpose is not to be technically perfect, but rather to accept the things that make us human and then share that humanity with others. For those of you who believe in art, nature, and beauty, they will win eventually.

Our W

Transparency is beautiful

Knowledge, information, honesty The three things transforming industry BRANDS DON’T EVEN KNOW WHO MAKES THEIR CLOTHES. Too many fashion brands do not know in which factories their products are made and very few brands know from where the materials like zippers, buttons, threads, and even fabric come from. And they are not just brands and retailers, but rather numerous middlemen involved as well – wholesalers, agents, supply chain managers, and distributors. These are important and profitable parts of the industry that public does not actually notice. WHY WE NEED TRANSPARENCY Lack of transparency costs lives. Companies can not check if human rights are respected or environmental practices are implemented without knowing where their products are made. That is why transparency is essential. Transparency means companies know who makes their clothes. At the very least, ascertain where they are stitched as a first step and further pass this information to their customers, shareholders, and staff. This is what Fashion Revolution is asking for. Knowledge, information, and honesty. That is why I think that manuals like this can help us as designers to determine the origin of materials applied, to be aware of our environment as well as our personal and ethical environment. The open-source principles that I apply in this manual will help us to transform the design industry community, facilitate its development and improvement.

World

eep it simple and explor

As a designer, it is difficult to choose, create and replicate the recipes during the exploration process. Thus I wanted to keep the ingredients simple, study what can I get from the minimal number of ingredients, and finally evaluate the impact of my product on the environment. Starting from just 3 ingredients, I was able to explore the potential of different combinations and component ratios. I obtained material samples and tested their versatility to bring to life the ideas that I had in mind. One of the main conditions that facilitated the simplicity of the material formulations tested was the economy principle. As designers, we are conscious of our environment, as well as the budget. In my case, I needed to stick to 100€.

And although I received invaluable support from the Basque Biodesign Center in the production process being able to use necessary facilities and machinery and get an expert evaluation of my work, I tended to stay within the frames of the budget. This was supposed to be a proxy of what my life would have been as a designer without the backing of this research institution. I tried to conduct my research independently relying on the suggestions and criticism of my colleagues and accordingly faced similar problems as an independent freelance designer. Here you will see an example of how you can conduct research at home with easily accessible resources and a fair budget.

Our W

The budget was spent on molds, ingredients, and fabrics for the project. I exceeded the budget by 11€, which was a part of an experimental project. Overall, I was pleased with the final results and am satisfied with the overall budget and total pieces produced. When I discovered amply opportunities of samples obtained by variation of the same ingredient composition, I followed my imaginations and tried to bring to life my dreams that I have never been capable to produce before. This is how the idea of the HETEROTOPIA project took its origin. The independence of creating your material and being able to apply it in designing an everyday product invoked feelings that I had not experienced before. Since then, my way of designing has changed acknowledging not only the recipes and production in a sustainable manner but also the tools that I have learned. This uplifted my capabilities to a new level and let me reach design areas that are poorly explored. Throughout my whole life I have heard repeatedly “This can not be done this way” or “It is impossible to do it”. But I have never given up on finding theoretical bases for proving my beliefs and proving them experimentally. As I can say YES or NO only after challenging my skills.

World

r st P Mo

Source Reduction

Reduce the volume of surplusfood generate

rred

efe

Feed Hungry People

Donate extra food to food banks

Feed Animals

Divert food scraps to animal food

Industrial Uses

Preovide waste oils for rendering and fuel convertion and food scraps for digestion to recover energy

Composting

Create a nutrient-rich soil amendment

Last resort to disposal

rred

refe

st P

Lea

Landfill/ Incinaration

BIOW

The key component of the biomaterial investigated was plant biomass, responsible for the durability, and flexibility of the developed formulations. Biowaste, a common term for food and garden waste, represents the major component of municipal waste in Europe reaching up to 34% [European Environment Agency, 2020a]. Industrial food waste is produced at every step of production and varies between 10% to 50% of each preceding step or the initial mass based on different studies [Girotto et al., 2015]. US Environmental Protection Agency (EPA) suggested Food Recovery Hierarchy to contribute to circular economy principles. One of the principles of the inverse pyramid is the increase of carbon footprint moving downside through triers. Starting from (i) source reduction and (ii) donation of the surplus of food to poor people, towards (iii) application of food waste as an animal food supplement or (iv) for industrial purposes. The least alternative to direct dumping in the landfill is (v) composting or (vi) incineration [US Environmental Protection Agency, 2021]. Seeing the perspective of transforming my project from single piece production to industrial scale, my project aimed to potentially recover the biomass produced by industries. Instead of going to a landfill/incinerator, I propose to embed them into a polymeric matrix to enhance properties of the latter.

WASTE

Phytorem

Phytoremediation is a cost-effective plant-based environment clean-up technique from inorganic and organic pollutants based on plant ability to extract, concentrate and transport hazardous chemical compounds from soils. Based on the compound physicochemical parameters and plant metabolic capability to metabolize the compound, 5 different types of phytoremediation are distinguished. Phytostabilization is a process of metal mobility restriction by their precipitation in the root zone by symbiotic plant-microorganism interaction. Rhizofiltration is a process of pollutant adsorption inside the root. In case the pollutant is translocated after adsorption, phytoextraction is distinguished. Phytodegradation is related to the enzymatic metabolization of organic pollutants exclusively. Phytovolatilization is distinguished in case the pollutant was transformed into volatile compounds and transferred into air, which is true for organic, as well as inorganic pollutants. Root vegetables are well known for their ability to accumulate pollutants, which threaten the health of the consumers [Meharg, 2016; Zhang et al., 2017; Gao et al., 2021] and impose importance on heavy metal and pesticide content control in agricultural products [European Environment Agency, 2020b]. On the other hand, the phytoextraction ability of root vegetables, particularly carrots, was assessed by different scientific groups and came up with promising results [Babaeian et al., 2016; Szabò, Czellér, 2009; Ding et al., 2014]. However, there is limited literature addressing the final fate of plant biomass after the phytoremediation cycle is finished. A number of studies addressed possibilities of maximizing profit from the harvested contaminated plants by processing them [Cozma et al., 2021], but to my knowledge nobody focused on heavy metal recovery and plant residues application in a separate product.

mediation

Heavy metal recovery

Our W

Traditional phytoremediation techniques end up with the recovery of metals from incinerated biomass [Fedje et al., 2021; Novo et al., 2017]. Such techniques require an extra amount of energy and produce carbon dioxide. Alternative treatments of heavy metal biomass include biochemical conversion for biodiesel production or composting [Cozma et al., 2021]. A contrasting technique that I suggest includes full utilization of the biomass produced after the remediation cycle. Metals can be extracted using sequential solvent extraction [Pavlíková et al., 2005], while the residual plant biomass will be utilized for biofabrication. The technique suggested by Pavlìková et al (2005) is unique allegedly being the only one preserving the biomass in form of plant cytoskeleton residues, a colourless fibrous mass. The study focused on substance extractions that bind heavy metals in spinach consisting of 7 sequential steps and utilizing 5 solvents, which can be optimized and shortened based on the necessities of the current project. It also states a significant decrease in heavy metal content (As, Cd, Cu, Zn) proved by the results of atomic absorption spectrometry. The final biomass in our project can be assessed with a similar technique proving to have hazardous compound levels below the 1 mg/kg thresholds in the final product according to the REACH legislation [REACH; Annexe XVII].

World

Heterotopia is understood as an integrated world that acts as a mirror as well as a distorted image of what is outside. In certain sense, such worlds are the materialization of utopia, or at least any non-existing imaginary world. This project was an abstract environment where several different layers coexisted together to create a heterotopic world and later reflect it back in our world in form of futuristic Haute couture objects. Heterotopia is a concept developed by the XX century French philosopher Michel Foucault to describe the nature of certain cultural or institutional spaces that, in some way, can be described as incompatible or contradictory. The word heterotopia follows the same pattern as the concepts of utopia and dystopia. The prefix hetero- comes from the classical Greek ἕτερος (héteros: “other, different”), combined with the Greek morpheme τόπος (topos: “place”), thus meaning “another place”, in the sense of place that is understood as belonging to alterity. A “utopia”, on the other hand, is an idea or image that is not real but represents an improved version of society, such as Thomas More’s work of the same name or Le Corbusier’s illustrations. In the words of Russell Mead, “utopia is a place where everything is good; a dystopia is a place where everything is bad; heterotopia is where things are different - that is, a set of members that have no or few intelligible connections with each other”. The heterotopia project aimed to obtain maximum benefit from the industrially polluted soils by transforming plant biomass, the end product of soil purification, into a flexible, resilient biomaterial, which I used for designing new dresses. In this project, I explored biofabrication in Haute Couture and elaborated on combining different ancient techniques, with high-tech technologies such as 3D design and laser cutting.

PROJ Including innovative biomanufacturing systems, such as cosmetics and textile printing. To be used as a canvas or as a printing system using it as inks and thus free ourselves from microplastics as much as possible.

ETEROTROPIA

This project was a missing link between applied science and fashion that fully meets the requirements of the application of circular economy principles in the fashion industry. My way in fashion is to design in harmony with nature pursuing the improvement of environmental health. That is why I follow the zero-waste approach using assembly modules that change and mutate to adapt to any body shape and generate intricate and unique patterns that replicate organic, natural forms and structures. As a perspective for future investigations, the biomass applied in the project can be substituted by chosen plant species seeded in heavy metal contaminated soils, such as in proximity to mining facilities (e.g. Trapagaran, Zugaztieta). Such a technique is used to absorb pollutants from the environment, due to the well-known ability of some plants, for instance, carrots, to accumulate heavy metals in great quantities, and improve soil health. The current project was facilitated as a proxy for the application of structurally similar carrot biomass that can be obtained after such a reclamation technique. At this step, I managed to stabilize the color of obtained biomass and produced biofabrics to design Haute Couture suits. The innovativeness of this approach is that an article produced is 100% recyclable and can be further used for the construction of another dress after melting it or end up in a compost pit and act as plant fertilizer.

JECT

PROJ

HETEROTROPIA

Heterotopia is capable of juxtaposing several layers, different and disruptive, in the same real place, but still getting along and living together in a world of their own. “Of Other Spaces”, Author: Michel Foucault (1986)

JECT

A way that helps you have some pigments to take biomanufacturing to another level. Use some carrots from the garden and separate the carrots from the leaves.

Use a grater to open the molecules of the carrot and that way more liquid will come out that will transform into pigment.

Short-Time Boil the grated carrot in water. Then strain the carrot and reserve the water to biofabricate and make more products since it has many properties.

25 Use a strainer with a cloth to squeeze as much as possible and separate the liquid from the dough

The resulting liquid is ready to use, it does not oxidize. The resulting biomass can now be dried, you can put it in the oven for 6 hours or place it in a dehydrator.

The dehydrated biomass is placed in a mortar and ground until it is a fine powder.

To extract the pigment from the leaves is already a little more complicated since it is easy for it to oxidize and darken.

The dehydrated biomass is placed in a mortar and ground until it is a fine powder.

Cut the leaves very small, including the stems as well.

You can use a mortar or parchment paper and a roller to break the molecule of the leaves and be able to extract the liquid.

Use a strainer with a cloth to squeeze as much as possible and separate the liquid from the mass.

Usage of alternative solvents is preferential for extraction and concentration (acetone, DMF)

Application of detergents (soap) and hypertonic solutions (more saline than cell cytoplasm) to maximise cell lysis (disruption)

30 To make the molds you will need: -2mm thick acetate -Ruler -Cutter -Adhesive tape

Make a 2cm guide and pass the cutter without reaching the bottom, just to create a trench and be able to fold the acetate in the opposite direction.

MO Then cut 2cm x 2cm squares at the ends of each corner, and reserve them for later.

CASTING MOLD

Use the adhesive tape, preferably transparent because that way you can see inside the mold. Glue the corner joints and reinforce all the sides where the acetate has been folded.

Acetate costs around €1.50 (the year 2022) so it is a fairly cheap and easily reproducible shape. To have large plates of bioplastics since the acetate prevents it from deforming when it dries.

OLD

To calculate the amount of liquid that a mold can contain, I use this formula: 3

Volume= length x width x hight = Side

CASTING MOLD

For example, for the Bioplastic that I later want to cut with a laser, the best is 3 mm thick since it reduces 30% later.

OLD That’s why I make the formula:

Volume= 70 x 50 x 0.3 = 1050 cm

Which means that I will need 1.050Liters

For the biofabrication I have developed from a primary recipe, I wanted to focus on only three ingredients that are the biomass of carrots, glycerin as a plasticizer, and gelatin as a polymer. But I encourage you to practice with your favorite recipe and change it little by little to see what it can offer you. Here I show you my exploration and what the recipe and its variations gave me, that with only these three ingredients I have been able to obtain great results.

IOFABRICATION

I make the following recipes based on 100ml of bioplastic to make it easier to scale the recipes.

BIO MASS

BIOFABRICATIO

After the phytoremediation process, we find a whitish mixture, to add color there are several options.

You can add carrots that have not gone through this process and cook them until they are soft and pass them through the blender, with the water that you have cooked them.

You can add food coloring. It is an easy way to get very bright colors and helps prevent mold from appearing.

You can add pigment powder that is the result of the dehydration of the pigments.

Gelatin is a product of animal origin, it specifically comes from the pig and is oriented to food, which is nutritious for our body inside and suitable for the outside. It has a granular texture that dissolves with heat, it is a very versatile polymer and it provides resistance to recipes.

IOFABRICATIO

Vegetable glycerin is a colorless, odorless, sweet liquid and can be dissolved in both water and alcohol. It is made thanks to the extraction of oils from certain types of plants. Vegetable glycerin is a highly prized organic component in natural cosmetics. Its plant origin and its moisturizing characteristics make it a very interesting ingredient to include in cosmetic products for both skin and hair. They are used in lotions, creams, shampoos, shower gels, etc. Glycerin is hygroscopic, so it will tend to capture moisture from its surroundings, whether from the components of the formula, the environment, or our skin. It is ideal for introducing facial, body, specific hands, feet, and hair products. ECO-904 is a pure vegetable glycerin

40 Put the biomass in a pot over medium heat

Then immediately after pouring the glycerin and you are stirring them during that medium fire.

In the next step, raise the heat to medium-high and pour the gelatin little by little, even if you get lumps, the heat will help you eliminate them.

Then immediately after pouring the glycerin and you are stirring them during that medium fire.

Stir continuously until the gelatin has completely dissolved and has a liquid but full-bodied texture like that of juice.

IOFABRICATION

41 Probably the mold deforms a little with the heat, so it is best to move continuously until it begins to solidify

When you pour the mixture into the mold I recommend that you do not make it too hot, but rather have it on the lowest heat for a while.

There is a possibility that putting it on will create bubbles. remove them to have a surface as smooth as possible.

To stabilize the ends of the mold that can be deformed by the heat, what I have found best is to put adhesive tape so that it reaches all sides evenly.

Let it dry for 72 to 100 hours, depending on the thickness of the bioplastic.

TIPS 42

One of the most important things is the stability and uniformity of the table, with this, I use a leveler and also the leftovers of the molds so that I can raise parts of the mold and thus have the greatest uniformity, since even having the table level, the heat makes it uneven.

Use adhesive tape to fix it to the table

BIOFABRICATIO

To eliminate the bubbles you can use the fire so they all go away and there is a fairly stabilized and smooth surface.

When it has solidified a bit, which is around 15 minutes, you can take it off the table and move it to a more comfortable place so that it can dry more easily.

I know it’s very tempting, but don’t touch the bioplastic until it’s completely dry that way it doesn’t lose its shape and we If fungi grow, don’t panic, with alcohol you can stop the growdon’t inject bacteria from our hands. th of the fungi, you can also use those fungi since it looks like a print. They are also pretty in their way.

RE CI PES 44

This recipe is my start,

But I hope that my recipes will help you to start creating great things.

Ingredients: 54 ml of water 12gr of gelatin 4.5 glycerin 54gr Biomass (optional)

Process: 1. In a saucepan add the water and the gelatin. Stir until the lumps formed by the gelatin dissolve. 2. Put the pot over low/medium heat and add the glycerin. 3. Stir constantly at a temperature of 70ºC or until it has a thick consistency (5 minutes approximately). 4. Pour the mixture into the mold. 5 Let dry on a clean and level surface to achieve a sheet of the same thickness, for at least 48 hours.

Properties: Transparency: X Opacity: Elasticity: Smell: Flexibility: Stamina: Mustiness:

XXXX

X X X XX XXXXX X

ATEX

Ingredients: 100ml Biomass 30gr of Gelatin 50ml Glycerin

Process: 1. In a pot add the biomass with the glycerin and turn on the fire at minimum heat. 2. Then add the gelatine and up the fire to a medium-high level. 3. Stir constantly and when you see all that is melted low the heat and wait around two minutes. 4. Pour the mixture into the mold. 5 Let dry and not touch the surface until is completely dry and is maybe around 72 hours.

Properties: Transparency: X Opacity: Elasticity: Smell: Flexibility: Stamina: Mustiness:

XXXX

X XX X X XX X XXX X

EDIUM

Ingredients: 100ml Biomass 50gr of Gelatin 25ml Glycerin

Properties: Transparency: X Opacity: Elasticity: Smell: Flexibility: Stamina: Mustiness:

XXXX

X X X XX XXXX X

ARD

Ingredients: 100ml Water 100ml Dryed Carrot Biomass 60gr of Gelatin 30ml Glycerin

Properties: Transparency: X Opacity: Elasticity: Smell: Flexibility: Stamina: Mustiness:

XXXX

X XXX X X XXXXX X

Ingredients: 100ml Biomass 50gr of Gelatin 30ml Glycerin

Process:

1. The key to transforming the biomaterial as ink is to eliminate the water on the biomass, in this case, we used 75% squirt ink and 25% water to prepare this biomass. 2. In a pot add the biomass with the glycerin and turn on the fire at minimum heat. 3. Then add the gelatine and up the fire to a medium-high level. 4. Stir constantly and when you see all that is melted low the heat and wait around two minutes. 5. When you see the texture as yogurt, you can use it in a screen print, with a pencil or a stencil, for example. 6. It dries very fast so be prepared to reheat again.

Properties: Transparency: X Opacity:

Elasticity: Smell:

Flexibility: Stamina:

Mustiness:

XXXX XXXXX XXX X XXX XXXXX X

WATERPROO

Ingredients: 100ml Biomass 50gr of Gelatin 25ml Glycerin 5gr Alum

Process:

1. In a pot add the biomass with the glycerin and turn on the fire at minimum heat. 2. Then add the gelatine with the alum and up the fire to a medium-high level. 3. Stir constantly and when you see all that is melted low the heat and wait around two minutes. 4. Pour the mixture into the mold. 5 Let dry and not touch the surface until is completely dry and is maybe around 72 hours.

Properties: Transparency: X Opacity: Elasticity: Smell: Flexibility: Stamina: Mustiness:

XXXX XXXXX XXX X XXX XXXXX X

IBRID

Ingredients: 100ml Water 10gr of Gelatin 7ml Glycerin 5gr Agar 70gr dry biomass

Process: 1. In a pot add the water with the glycerin and turn on the fire at minimum heat. 2. Then add the biomass, and gelatine and up the fire to a medium high level. 3. Stir constantly and when you see all that is melted low the heat and wait around two minutes. 4. Pour the mixture into the mold. 5 Let dry and not touch the surface until is completely dry and is maybe around 72 hours. 6. the agar gives texture and erases the shine is a good thing to imitate the human skin.

Properties: Transparency: X Opacity: Elasticity: Smell: Flexibility: Stamina: Mustiness:

XXXX XXXXX XXX X XXX XXXXX X

SILICONE

Ingredients: 100ml Biomass 100gr of Gelatin 100ml Glycerin

Process: 1. In a pot add the biomass with the glycerin 2. Then add the gelatine 3. Stir until you see is all mixed 4. Tek to the microwave for 30 sec to max level repeat from 30 sec to 30 sec until you see is completed melted as a viscous liquid. 5. Pour the mixture into the mold. 6. It drys very easily and fast so I add another layer to the mold and I could mix the colors and forms.

Properties: Transparency: X Opacity: Elasticity: Smell: Flexibility: Stamina: Mustiness:

XXXX XXXXX XXX X XXX XXXX X

Lipgloss

Ingredients: 5 gr Shea Butter 3 gr de cocoa butter 5 ml Castor oil 2 ml Glycerin 2, 5 gr Dryed pigment 0,05 ml Sharomix 705

Process: 1. In a pot add the shea butter, cocoa butter, castor oil, and glycerin. 2. Using the bain-marie method for melting very well all the ingredients. 3. Stir until you see is all mixed 4. When is all mixed add the pigment and stir. 5. After everything is completely mixed and uniform, add the sharomix 705 and the alcohol 6. Pour everything into a container and let dry for 24 hours

Properties: Transparency: XXX Opacity: Elasticity: Smell: Flexibility: Stamina: Mustiness:

XX XXX X XXX XXXX X

Blusher

Ingredients: 3 gr kaolin clay 0,50 gr zinc oxide 0,40 gr arrowroot powder 1 ml Alcohol 2, 5 gr Dryed pigment 0,05 ml Sharomix 705

Process: 1. In a mortar add the kaolin clay, zinc oxide, and arrowroot powder with Dried pigment 2. Grind everything carefully until you have a homogeneous color and everything looks united. 3. When the entire mixture is uniform in color add the alcohol and the sharomix 705. 6. Pour everything into an aluminum mold and use parchment paper and press to make it quite compact. let it dry overnight before using

Properties: Transparency: X Opacity: Elasticity: Smell: Flexibility: Stamina: Mustiness:

X X X X XXXX X

EyeShadow

Ingredients: 0,50 gr zinc oxide 1 ml Alcohol 2, 5 gr Dryed pigment 0,05 ml Sharomix 705

Process: 1. In a mortar add the zinc oxide with Dried pigment 2. Grind everything carefully until you have a homogeneous color and everything looks united. 3. When the entire mixture is uniform in color add the alcohol and the sharomix 705. 6. Pour everything into an aluminum mold and use parchment paper and press to make it quite compact. let it dry overnight before using

Properties: Transparency: X Opacity: Elasticity: Smell: Flexibility: Stamina: Mustiness:

X X X X XXXX X

MO DU LES

As a great principle of design and sustainable development, exploring the Circular Fashion subject where I have always wanted to design thinking about the 17 SDGs and this program has given me the tools to design in a Zero-waste, regenerative and sustainable way. I wanted to make an organic design that can be extended and remade whenever you want. In addition to flowing with the body and with the design that it requires, it can be used not only in fashion but also in furniture, interior design, and even gastronomy.

DEA 70

I have always been a great admirer of microscopic life and its forms, that is why I focused on the forms of Diatoms that I discovered in Ernst Haeckel’s book where you could see their forms and their colors, there I was able to take that form as an assembly base. , but I realized that I was getting waste so I used those cut parts and added some holes to turn them into new modules and in the end, I got 5 modules with which I could link in themselves and be able to create completely organic and serial shapes like the fractal designs of nature.

PROCESS

When I chose the form that I could use as a module I passed that image to Rhinoceros

In Rhinoceros I was able to vectorize the drawing and then repeat it.

There I realized that I was going to waste material and I solved that by adding those holes in the waste to turn them into a new part of the design and incorporate them into future products.

Before you start cutting and uploading the file to the laser cutter, there are a few safety precautions to go over.

LASER CUTTIN

Once you have the cutting lines of the design you have to separate the cuts as the main cutting layer, it is better to put the holes and then the cutting line of the modules. For this, it is necessary to have separate layers in the file in Rhinoceros.

One of the most important measures in order and cleanliness because it keeps the machines in perfect condition so that we can continue enjoying the machines for years and years. then some specific measures, such as using a piece of wood to hold the biomaterial and give it better stability.

75 This parameters I regulary used on my biomaterial Thickness: 3mm Material: Biomaterial CUT: Speed: 70 Minimum power: 30 Maximum Power: 33 ENGRAVE: Speed: 800 Minimum power: 20 Maximum Power: 25 After measuring all the security measures and parameters, you are ready to start it and wait for the machine to finish. I recommend you not to separate from it while it is cutting in case of any unforeseen event.

Especially after cutting biomaterial, it is important to clean the laser nozzle with cotton and alcohol to remove all traces and thus not obstruct the laser pointer.

Assembling

When you already have the modules cut, the next step is the assembly, it is the part of the process that I enjoy the most.

For a better assembly, it is important to clean the modules well, and separate the forms so that you have easier access when building.

Then explore and have fun, the assembly of these modules is easy and intuitive since they all connect with the main module, and the union of them and their combinations are infinite and each time they surprise me.

TECH NI QUES

HETERO

In this Heterotopic world that I have created in Fabricademy mixing various types of biofabrication, I have also combined various types of techniques, such as the explorations in the printing laboratory that we had in the node of the Basque Biodesign center. And of course, this exploration of techniques would not have been possible without the head of the printing workshop Irati Retolaza since her knowledge and desire to experiment have been crucial in taking my project to a level that I did not know it could reach.

OTROPIA

PRINT 83

Relief

Relief printing is a family of printing methods where a printing block, plate, or matrix- which has had ink applied to its non-recessed surface- is brought into contact with the paper. The non-recessed surface will leave ink on the paper, whereas the recessed areas will not. A printing press may not be needed, as the back of the paper can be rubbed or pressed by hand with a simple tool such as a brayer or roller. In contrast, in intaglio printing, the recessed areas are printed.

85 From this photo of the building of our Node in Bilbao.

I moved it into Photoshop and used the Invert command to pass it into the LASER CUT program. IMAGE > ADJUSTMENTS > INVERT

Then in the RDWorksV8 program use: HANDLE(W) > BITMAP HANDLE When you are in that window, select the size, material and imported back to the laser

I have used a 4mm thick MDF wood board For the engraving: For the cut: Speed(mm/s): 400.00 Speed(mm/s): 25.00 MnPower(%)-1: 35.00 MnPower(%)-1: 70.00 MaxPower(%)-1: 35.00 MaxPower(%)-1: 75.00

Once we have the piece of engraved wood, it is ready to remove all the dust and that it does not have anything external that could affect the surface. you can use a mop with alcohol.

You will need a rubber roller, Novavit® BCS BIO INTENSIVE is a modern series of highly pigmented basic colors for sheetfed offset. It is based on renewable raw materials and is semi-fresh., printing sponges.

We have discovered that the fourth day is the best time to print, but when it is not possible to do so at that time, it can be moistened and gently sponged with water.

With the roller perfectly impregnated with ink, you pass it over the way of engraving first horizontally and then in the other direction. To check that the entire surface is well impregnated, it is good to use a beam of light, we have used the mobile flashlight but you can use any lamp.

After we have the engraving ready we put it in position on the etching press.

We have placed the biomaterial on top of the plate with registration marks that allow us to position the matrix and center the bioplastic that will fall on it.

To protect the biomaterial and the felt we have also placed a 200 microns thick acetate.

Then, before passing it through the press, we put a protective felt on all the layers. Helps distribute pressure.

Before passing it through the press, it is important to check the pressure of the press as it can damage the biomaterial and the engraved wood. But after that check, everything is ready to go through the press and you get the impression.

To give a new use to the mold where I made the silicone figures, I thought that I could add texture to the bioplastic, also as both repel the ink a little, they could give me different shapes and give richness to the print.

You will need a rubber roller, Novavit® BCS BIO INTENSIVE is a modern series of highly pigmented basic colors for sheetfed offset. We add a transparent base to camouflage with the bioplastic.

To add the ink to the glass slab or smooth stone, pick up a small amount with a brayer and begin to roll out.

Continue to add ink and roll out in small quantities. when the ink is rolled out, the surface is smooth and velvety, and the ink makes a “tacky” sound, it is ready to transfer.

Use the brayer to transfer the ink to the matrix, rolling in different directions but being regular and neat.

this is the same process as the previous one, what changes are the matrix, so it is to place the matrix in its place, then use the registration marks to place the image well positioned, and then put a 200-micron acetate to protect the felt.

92 One very important thing that we have to take into account in order not to damage the matrix or the bioplastic is to have the pressure of the press correctly measured.

When you have checked everything you have put the felt and you can pass it through the press.

Very interesting the forms that helped it to form because the greasy inks were repelled with the materials.

Zinc

Within the use of the press, we have used different matrices such as in this case.

Copper

Copper on thin bioplastic

Acetate

SCREEN

PRIN TING

My skills as a graphic designer have helped me to experiment in this field since I have been in screen printing workshops and I know what I needed to print and what the ink could give me. Going through experimentation in “In Crescendo” where I started silk-screening the biomaterial with conventional inks and screens with several threads where I wanted to know how long it could give me definition, then when I saw the variety of definitions I was already experimenting with the ink and then I was adding bio-inks, to then change the acramine for bioplastic and although there is still a lot of experimentation left to do, I can conclude and that is that a world with inks without microplastics is possible, inks that we can make at home. In addition, it could have a very important utility in art and advertising since, for example, in events and congresses these inks could be used to screen print and when finished, the fabric could be washed and used as the beginning, thus recycling the materials.

100

I have created a collage of several Ernst Haeckel illustrations to create photolithography. To create it, I converted it into a bitmap with a suitable dither for the screens I was going to use.

Fill the scoop-coater. Starting from the bottom of the screen on the back, tilt the scoop coater up with the emulsion touches the screen. Pull the scoop coater up with firm pressure to deposit a thin film of the emulsion on the screen.

We have used a ULANO PROCLAIM emulsion preparation whose high resistance to solvents provides superior results with solvent-based or conventional UV inks.

101 Using an insulator for screen printing, which in the lower part has to dry the screens that on some occasion I have also used to dry biomaterials.

Transparencies are placed on the glass and the screen is positioned on top. A “blender” cord placed over the screen frame helps create a tight suction.

The exposed screen is rinsed in the backlit washout booth.

102 Place the screen on a stable surface, where you can make some registration marks and check that everything is in the place you want.

Places the ink on one part of the screen and spreads the ink evenly across the screen

After several attempts, we have seen that the impressions should always be made in the roughest part of the biomaterial, and in the smoothest and brightest part, the image is quite clear and defined.

103

Just because I wanted definition in the stamping I used conventional acramines. But my goal is also to eliminate these inks and to be able to use bioinks also for more defined images.

For this silkscreen, I used a 77 thread count. Which gives me an acceptable definition could still give me even more definition.

For this silkscreen, I used a 120 thread count. Which gave me great definition and detail. I recommend using this type of screen because it has very good results.

104

My second experimentation with screen printing has been the implementation of naturally extracted pigments and adding them to a commercially sold organic transparent base that considerably reduces microplastics.

We have set up the tables in a classroom to work more efficiently and quickly because we did not know how these inks would work on the screens, but they dried very slowly, which allowed us to finish all the meters of fabric without washing the screen, which is not enough. frequent and as a tip, we already know that at least Biotinta has served as a retardant.

105

Although it is very good that the ink does not dry on the screen quickly, that means that the fabric does not dry either, so it takes 3 weeks to dry, a commercial ink takes about 1 hour to dry. It is not a bad thing but it is something to take into account when working and arranging the space.

106 This is experimentation where I was able to incorporate Bioplastic as ink for screen printing, on fabric, paper, and bioplastic itself. As an important note is that following the recipe that I showed you I was able to create a smooth and concise layer that crossed the screen and could be reflected on any surface. At the moment with this ink, you can only use the screen 2 times before washing as it dries almost immediately and clogs the screen.

The texture we are looking for is that of Greek yogurt which is creamy and viscous. At the time of cooking the mixture, once you see that everything is united and ready, lower the heat to the minimum possible and continue until it begins to have the texture without cooling.

With this ink, it is important NOT to refill the ink screen before stamping, but once you add the ink to the screen you stamp directly on the surface.

107

On any surface it works very well, add a very thin layer of bioplastic. This is achieved by using a silkscreen of 43 thread count.

To make the ink last a little longer and not clog the screen, you can add a little heat with a hairdryer or heat gun. But so far we have achieved 2 and a half prints.

If we put the ink still very liquid this could happen, where it runs down the screen and spreads over the surface.

108

PRO DUCTS

HETERO

109

With all the ways of experimentation where I have been able to have a great variety of very diverse materials where I have also used many techniques, I have tried sewing and gluing it, they have always been well received and it is a quite resistant material that has been able to give me a great variety of possibilities where they could be used in haute couture and textile design, as well as accessories design and to add to more conventional designs.

OTROPIA

110

111

112

Cos me tics

113

Biomanufacturing allows us to create a world full of possibilities and ways to create km0 products and be completely transparent as we know exactly where our ingredients come from. Beta-carotene and other carotenoids in carrots have an antioxidant, immune-stimulating, and anti-aging effect. Carrot extracts of carrot essential oil are very often used in cosmetics. That’s why I can’t resist using it in my project and adding more layers to this Heterotopic world.

BAG

114

Using the same cutting parameters of the modules and the experience of cutting a lot of modules, I followed all the rules that I had imposed on myself, I decided to cut it first before silk-screening it.

Utilizing as much of the biomaterial surface as possible positions the cut design so there is zero waste.

Use the entire surface for the base, sides, and reinforcements of the bag.

115

The next step was to screen print the bag so it is ready to sew.

Due to the detail of the design that I wanted to print, I used a mixture of transparent-based acramine with dark biomass, to be able to use a 77-thread screen and 120-thread for each side, to have a greater definition.

To start the new process, it is best to be organized and put everything as in gastronomy in “Mise en place” order and cleanliness are very important in all processes since that way you are faster and you can focus more on the task at hand in front.

116

Use a double-needle seam, very common in leather goods sewing.

For the sides and top add reinforcement to the bag, I have used the modules, which allow you to add a strap and use it as a shoulder bag and have more variety.

Here you can appreciate the seams and the printing, with a backlight.

117

JACKET

118

I wanted this jacket to be easily reproducible and also zero waste, so I did is that after silk-screening the biopolymer I added another layer of biomaterial so it would give me contrast and reinforce the parts that had imperfections.

I then cut 25 x 25 cm squares and each panel had a total of 4 squares.

To proceed to sew together the 4 pocket-shaped squares.

119

When all the panels are sewn, the next step is to turn them over and bring the inside out.

Then I weighed 75 gr of Wool, in this case, I used Latxa wool since it is a waste here in the Basque Country

You now can fill all the panels and prepare them for the next step.

JACKET

120

To join the panels and make room for the arms in the upper part, I used 6 filled panels and 4 panels in the lower part, which gives a total of 10 panels, which was all the material I had.

Then I put a zipper attached to two 50 cm x 5 cm panels that helped me join it to the other panels and thus build the jacket.

121

122

123

Con clu sion 124

125

The freedom that I have discovered during these experiments, the power to transform nonessential waste into a valuable product, stimulated me to keep my development sustainably. I was able to work in union with nature, borrowing its resources for manufacturing products that can be reintegrated back into nature. My vocation as far as I can remember was designing exquisite things. However, consciousness about the inevitable ecological crisis humans initiated focused me on the sustainability of my actions and search for ways to design in a regenerative way. Particularly, what if I can facilitate the clean-up of the contaminated areas? Build products that have a positive impact on nature and people as part of it? These were the keystone question driving my work. On the other hand, as I stated at the beginning of the book, I also tried to stay simple and keep exploring. It allowed me to stay transparent with the people interested in my work and inspire them to join the experimentation. And who knows how far these materials are going to lead us? And at some stage, being audacious to leave your comfort zone, you suddenly realize that your work has paid off and you have reached aims you have never imagined you were capable of. And this project is just a small part of an iceberg. An obscure omnipotent conglomerate of biofabrication, technology, science, and open-source principles leading us to a better world for the next generations.

126

127

128

129

I grew up in a beautiful Caribbean country Venezuela. Since I was born, I have been surrounded by the ocean, which made me see the world as an immense space, which we share with countless others species. And the ecological catastrophes made me realize how destructive can be our presence on this planet. In 2006 I moved to Bilbao in the Basque Country, which ambiance formed me as a professional. This city open my eyes acknowledging the transformation it has experienced from the most polluted city in Europe to an example of environmental recovery from a deleterious polluting past. This filled my heart with a belief that everything is possible with a proper design. When I finished my studies as a Graphic Designer, I moved to Madrid being selected for an internship for one fashion brand. This was the place where fashion touched my heart and made me upscale my sewing skills. Being an adventurous audacious person, I explore various types of design. The biggest constraint that hindered the realization of my career was the money problem. However, such a change did not stop me and made me more creative. Gradually, I started to explore new materials and ways of their production, which led me to the next level in my career. I was captivated by stepping through the looking glass of the Fabricacademy into another dimension of high-tech design. Working in the laboratories under the supervision and support of experts in cutting-edge fashion, I became stronger and ready to solve the challenges of sustainable design!

130 Babaeian, E., Homaee, M., & Rahnemaie, R. (2015). Chelate-enhanced phytoextraction and phytostabilization of lead-contaminated soils by carrot (Daucus carota). http://Dx.Doi.Org/10.1080/0 3650340.2015.1060320, 62(3), 339–358. https://doi.org/10.1080/03650340.2015.1060320 Cozma, P., Hlihor, R. M., Rosca, M., Minut, M., DIaconu, M., & Gavrilescu, M. (2021). Coupling Phytoremediation with Plant Biomass Valorisation and Metal Recovery: An Overview. 2021 9th E-Health and Bioengineering Conference, EHB 2021. https://doi.org/10.1109/EHB52898.2021.9657551 Ding, C., Li, X., Zhang, T., Ma, Y., & Wang, X. (2014). Phytotoxicity and accumulation of chromium in carrot plants and the derivation of soil thresholds for Chinese soils. Ecotoxicology and Environmental Safety, 108, 179–186. https://doi.org/10.1016/J.ECOENV.2014.07.006 European Environment Agency. (2020a). Bio-waste in Europe — turning challenges into opportunities. https://www.eea.europa.eu/publications/bio-waste-in-europe European Environment Agency. (2020b). Water and agriculture: towards sustainable solutions. https://www.agroecology-europe.org/wp-content/uploads/2021/03/EEA-Report-TH-AL-20028-EN-N-Water-and-agriculture.pdf Fedje, K. K., Edvardsson, V., & Dalek, D. (2021). Initial Study on Phytoextraction for Recovery of Metals from Sorted and Aged Waste-to-Energy Bottom Ash. Soil Systems 2021, Vol. 5, Page 53, 5(3), 53. https://doi.org/10.3390/SOILSYSTEMS5030053 Gao, J., Zhang, D., Proshad, R., Uwiringiyimana, E., & Wang, Z. (2021). Assessment of the pollution levels of potential toxic elements in urban vegetable gardens in southwest China. Scientific Reports 2021 11:1, 11(1), 1–13. https://doi.org/10.1038/s41598-021-02069-6 Girotto, F., Alibardi, L., & Cossu, R. (2015). Food waste generation and industrial uses: A review. Waste Management, 45, 32–41. https://doi.org/10.1016/J.WASMAN.2015.06.008 Meharg, A. A. (2016). Perspective: City farming needs monitoring. Nature 2016 531:7594, 531(7594), S60–S60. https://doi.org/10.1038/531s60a Novo, L. A. B., Castro, P. M. L., Alvarenga, P., & da Silva, E. F. (2017). Phytomining of rare and valuable metals. Phytoremediation: Management of Environmental Contaminants, Volume 5, 469–486. https://doi.org/10.1007/978-3-319-52381-1_18/TABLES/3

Bibliog

131 Pavlíková, D., Pavlík, M., Vašíčková, S., Száková, J., Vokáč, K., Balík, J., & Tlustoš, P. (2005). Development of a procedure for the sequential extraction of substances binding trace elements in plant biomass. Analytical and Bioanalytical Chemistry, 381(4), 863–872. https://doi.org/10.1007/ S00216-004-2955-9 REACH Annex XVII. (2018). COMMISSION REGULATION (EU) 2018/ 1513 - of 10 October 2018 - amending Annex XVII to Regulation (EC) No 1907 / 2006 of the European Parliament and of the Council concerning the Registration, Evaluation, Authorisation and Restriction of Chemicals (REACH) as. http://ec.europa.eu/growth/tools-databases/newsroom/cf/itemdetail.cfm?item_ id=9088 Szabó, G., & Czellér, K. (2009). Examination of the heavy metal uptake of carror (Daucus carota) in different soil types. https://agris.fao.org/agris-search/search.do?recordID=DJ2012090156 US Environmental Protection Agency. (2021). Industrial Uses for Wasted Food | US EPA. https://www.epa.gov/sustainable-management-food/industrial-uses-wasted-food Zhang, S., Yao, H., Lu, Y., Yu, X., Wang, J., Sun, S., Liu, M., Li, D., Li, Y. F., & Zhang, D. (2017). Uptake and translocation of polycyclic aromatic hydrocarbons (PAHs) and heavy metals by maize from soil irrigated with wastewater. Scientific Reports 2017 7:1, 7(1), 1–11. https://doi. org/10.1038/s41598-017-12437-w

graphy

Heterotopia by Eduardo Loreto

Articles inside

Bibliography

Bio

Jacket

Conclusion

Cosmetics

Bag

ScreenPrinting

ReliefPrinting

Modules

TechniquesHeterotopia

Blusher

LipGloss

Waterproof

Ink

PrimaryRecipe

Hard

Process

Latex

Gelatine

Medium

Tips

Glycerin

Biofabrication

Heterotopia

Molds

Phytoremediation

Pigments

Introduccion

Biowaste