Cities absorb and retain solar heat, intensifying the urban heat island effect at a growing cost to health and liveability. Vegetated surfaces cool their surroundings through evaporation, and mosses are well suited to colonising vertical surfaces, yet as poikilohydric organisms they cannot regulate or store their own water. During the summer heatwaves when cooling is most needed, an unsupplied moss layer dries out, falls dormant, and can leave a surface hotter than bare concrete.

This thesis develops a bioreceptive, 3D-printed porous ceramic facade tile that acts as an artificial vascular system, harvesting and storing rainwater and feeding it back to the biological layer by capillary action so the moss stays active through dry periods, while also providing a substrate for urban biodiversity. The work follows a Research-through-Design methodology across three scales. At the micro-scale, a white stoneware body was engineered with spent coffee grounds and corn starch as sacrificial pore-formers and fired at 1100 °C, producing a pH-neutral ceramic with an apparent porosity of about 39 % and a bimodal pore structure predicted to resist frost.

At the meso-scale, five printed surface geometries were compared for capillary uptake, moisture retention and rainfall capture, and a fractal-branching geometry showed the most promising combination, though single-sample testing makes the comparison indicative. These geometries were produced through a parametric pipeline in which a Python script generates the print toolpath directly and an interactive viewer lets each tile be previewed and exported for fabrication.

At the macro-scale, the validated tile was integrated, as a conceptual application, into a rail-mounted, gravity-fed module with an internal reservoir and a partial glaze that concentrates moisture in the porous zones where moss establishes. Outdoor testing showed the wet ceramic running far cooler than a conventional wall and staying close to air temperature through the day, which locates the cooling in the water-holding body rather than the plant; the glaze and the moss each give up a little cooling for a large gain in water retention. Transplanted moss established and has stayed alive for one month and seven days at the time of writing, healthy and still going, and a chamber test showed a single reservoir fill sustaining the module for roughly a day under worst-case drying, pointing to a larger store or passive rainwater buffering as the decisive step toward a genuinely self-sustaining facade. ... Read more

As urbanisation continues to increase, the built environment faces growing challenges related to biodiversity loss and environmental impact. At the same time, building facades offer opportunities to support ecological processes within cities.

NPSP already develops facade materials with a reduced environmental footprint, but its current material portfolio involves a trade-off between achieving a fully biobased composition and maintaining visual freedom. The development of the fully biobased and colour-neutral Oribond resin creates an opportunity to address this challenge, while the spontaneous colonisation of pioneer organisms is explored as a bottom-up strategy to support ecosystem development on facades.

The aim of this project was to investigate how an Oribond-based composite can be developed into a biobased and bioreceptive facade material suitable for NPSP facade applications. The project explored both the technical performance of the composite and the potential of the facade panel to support biological colonisation. Factors influencing colonisation were translated into design interventions, after which surface roughness concepts were developed and evaluated through condition-based validation methods.

The developed composite achieved mechanical performance within the range of existing Nabasco facade materials. Surface roughness was identified as a key design parameter for bioreceptivity and was shown to improve water retention and protection against shear forces during early-stage attachment, with directional groove structures demonstrating the most promising performance. In addition, a practical validation approach was developed to assess bioreceptive surface conditions within product development timeframes.

The project demonstrates the potential of combining a fully biobased composite with bioreceptive surface design for facade applications. While long-term biological validation remains necessary, the research contributes a fully biobased facade material, insights into factors influencing biological colonisation, a transferable roughness design strategy, and a practical approach for evaluating bioreceptive design interventions within product
development processes. ... Read more

This graduation project explores the potential of fungal textile, a textile-like material grown from fungi, as a novel bio-based material for assistive wearable applications. The material production method developed by Fang, Parisi and Karana (2026) creates the opportunity for a mono-material system combining both textile-like and padding-like properties. In this project, fungal textile is combined with Shape Memory Alloy (SMA) wires to develop an assistive wearable, delivering dynamic compression to support the well-being of the user. The design process is guided by the Material Driven Design (MDD) method by Karana et al. (2015), which positions the material as the starting point for design exploration.

Project motivation

The motivation behind the project stems from a growing need for sustainable alternatives to current materials (Avramescu, 2021). Nowadays, compression therapy often relies on synthetic medical textiles and energy-intensive manufacturing processes (Zandberga et al., 2024). Bio-based materials such as fungal textiles create opportunities for lighter, biodegradable, and potentially circular material systems when properly used in the wearable design.

Method

The research combines a literature review, material exploration, technical testing, experience interviews, and expert co-design sessions. Literature research investigated fungal textile materials, SMA, and assistive wearable technologies. Based on these insights, a material concept was developed consisting of a three-layer system. Fungal textile was used for the outer layers, combined with an inner silicone layer embedding SMA wires. Technical tests were conducted to evaluate safety and activation behaviour.

User experience interviews explored how users perceived the material demonstrator, while expert co-design sessions with a physiotherapist and a psychologist helped identify relevant application opportunities within the well-being domain.

Main outcomes

The results show that fungal textile can provide a soft, natural and supportive material experience, while SMA wires can create subtle, muscle-like dynamic compression. Two promising application directions were created. The first is a breathing-support wearable for physiotherapy patients experiencing physical complaints related to stress. In this concept, dynamic compression helps with breathing patterns and correct posture. The second concept is a reassurance wearable for individuals with social anxiety disorder, providing a calming compression during stressful social situations.

Conclusion

In conclusion, this thesis was done to portray fungal textile as a novel, bio-based material and showcase its experiential and functional potential. This can spark inspiration for designers and well-being experts in future applications of the material.
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Urban areas are facing more and more challenges these days, such as the Urban Heat Island Effect, the loss of biodiversity, extreme rainfall and unsustainable resource use.
This project aims to design a solution: a regenerative facade panel. The Material Driven Design Method by by E. Karana and B. Barati (2015) is the method used during this project.

The material of the panel is biocomposite, a carbon-negative material. The geometry of the facade panel uses biomimicry to emulate leaf morphology for effective rainwater channeling and drainage, along with a pattern of grooves on the surface. This geometry results in a facade panel that establishes a micro-climate with ideal conditions for moss growth. Such bio-receptive facades could be seen as the key to healthy and resilient cities, where buildings live in symbiosis with its environment.

The design draws inspiration from several concepts: the More-than-Human Design approach, regenerative approaches and biomimicry. The design employs surface geometry to facilitate controlled vegetation growth, thereby transforming public perceptions. What was once regarded as a weed or a sign of decay can be changed into appreciation.
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Touch is one of the first senses to develop during embryonic stages, playing a fundamental role throughout human life. It is integral to our experiences, mediated by a network of receptors across the skin. From infancy to old age, touch is involved in numerous everyday activities, many of which are carried out by the hands—our primary tools for interaction with the world. A significant aspect of this interaction is self-touch, the spontaneous or deliberate contact of our hands with our own bodies. Self-touch is a ubiquitous yet often unconscious behavior that occurs in various contexts, influencing how we perceive ourselves and the world around us.

The duality of self-touch is reflected in its psychological implications. While it can be associated with stress and negative emotions, it also plays a crucial role in information processing and coordination. Despite its pervasive nature, self-touch remains under-explored and underutilised in our daily routines, particularly in a world increasingly dominated by external stimuli and distractions. One avenue to harness the benefits of self-touch in everyday life is through the integration of this concept into clothing and textiles. Clothing, has a constant presence in our lives due to societal norms and mediates our tactile interaction with our bodies. Individuals often engage with their clothing subconsciously, through actions like squeezing cuffs or pulling zips. By understanding the emotional significance of these interactions, we can design textiles that not only enhance well-being but also foster a deeper connection with oneself through self-touch. ... Read more

Awe, the feeling of encountering something greater or more powerful, has been explored in design and the arts. However, the potential of creating awe through the interplay of light and textiles remains underexplored. While the possibilities are vast, the precise tuning of their respective qualities to elicit a sense of awe over time have yet to be thoroughly investigated. This project aims at creating a light sculpture that elicits a visual awe experience by experimenting with interactions between the material organza and lighting.
To start and give direction to the project, the Material Driven Design (MDD) method was used. Moreover, a literature review about awe, organza, light and light-material interactions was carried out. Besides, three separate experiments were conducted involving 22 participants in order to find which variables of organza and lighting would elicit what emotions, what rate of a visual awe experience and what meanings/associations by using an adapted version of the Experiential Characterization toolkit from the MDD method.
The results of the three experiments showed that high-intensity red and blue lighting colours, a hole-patterned organza construction and the room's lighting turned off elicits the highest rating of the awe experience.
The final light sculpture – made from organza with circular patterned holes, high-intensity red and blue lighting and projections of storytelling dynamic light textures – elicits a visual awe experience of different intensities during one loop of three light textures.
The process of designing this installation serves as a case study demonstrating how the interplay of light and organza can evoke awe and enhance people's experiences, potentially leading to benefits such as increased state of focused attention and awareness on the present moment and improved psychological well-being. ... Read more

This thesis project is a research and design work created for the master’s diploma in Integrated Product Design, TU Delft, aiming to explore the relationship between woven textiles and product design in the context of interior spaces, through the lens of autonomous activation and motion for better living environment. Textiles can acquire shape shifting properties thanks to electronic actuators and other times thanks to the inherent properties of the materials themselves. In this case, using the Material Driven Design methodology, woven textiles were designed to be able to integrate Shape Memory Alloy wires acting as actuators without the use of electric current. The input is the heat from the environment and the output is the shape change and consequently the user’s experience while interacting with the product. Contribution to physical and psychological wellbeing is the ultimate goal of this interaction. The main tool for the exploration of the woven forms was the digital Jacquard TC2 loom which is known in the textile practice as a tool for quick iterations and intricate structures and patterns. After analysing the basic features of the materials through the tinkering process, four concept forms with different textile structures were created. These were tested on technical level to discover the biggest potentials of the system on shape change and on experiential level with user tests to distinguish the material qualities of the textile that promote wellbeing. Considering the findings from both of the studies, new considerations emerged and one final concept was created and manufactured. It represented an autonomous sun shading system to regulate natural light for interiors and thus provide thermal comfort. The project concludes with the final insights about weaving and shape change and any existing limitations and suggestions for further exploration and testing of the product. ... Read more

The textile and fashion industry, with its complex supply chain from fiber production to retail, employs harmful chemicals, posing risks to the environment and workers. Fast fashion has intensified clothing production, leading to extensive textile waste. Consequently, it has fostered a more ephemeral and less emotionally durable connection with garments, emphasizing the need for sustainability through textile changes.
Designers who work with textiles have a tendency to view woven fabrics as unchanging, or static, materials. However, to truly utilize the benefits of textiles, a deeper understanding of how these fabrics can be designed to exhibit responsive behaviors in their use is required. This involves exploring and utilizing their inherent properties to create interactive systems that are dynamic and adaptive.
Textile motifs have been an integral part of human culture for centuries, reflecting various artistic, cultural, and social influences. With the advent of technology and the growing interest in interactive and transformative fashion, the concept of dynamic textile motifs has emerged as an exciting and innovative field of exploration. This project delves into this topic, investigating their potential to revolutionize the way we perceive and interact with garments.
The study begins with a comprehensive analysis of traditional textile motifs and the tools utilized in the creation of these. It further focuses on exploring their color-changing capabilities by aging, unveiling the potential of incorporating interactive elements and responsive features into fabrics, such as experimental compositions and new jacquard woven constructions.
The research seeks to enhance understanding and foster new methodologies, enabling unique and engaging experiences for users. Tools like Material-Driven Design, material tinkering, experiential characterization, and experience trajectories in longitudinal study revealed to be essential for the findings of the research.
Throughout the study, the topic shifts towards the conceptualization and creation of dynamic textile motifs that respond over time to various stimuli. Weaving, dyeing, and aging tests for discoloration/coloration through different environmental factors are some of the techniques that helped the study to showcase examples of responsive textiles or garments, where motifs adapt to the wearer’s actions over time. Moreover, the project emphasizes the importance of sustainability and eco-conscious practices in the development of dynamic textiles. It highlights the potential of utilizing natural dyes, organic materials, and circular fashion principles to ensure the responsible production and longevity of interactive garments.
This thesis also explores the user experience aspect, analyzing how wearers perceive and engage with dynamic textile motifs. By studying user interactions, preferences, and feedback, the abstract addresses the challenges and opportunities in making dynamic textile motifs an enjoyable experience for diverse audiences.
When combining all of the elements of this research creating a new fabric is still not a desirable outcome. If people could reuse existing textiles and a dyeing guide the longevity and satisfaction from a garment could be highly extended. I believe a product-service system can be created to facilitate such a product.
Finally, this project demonstrates dynamic textiles as an exciting and transformational option in the world of fashion. It emphasizes their ability to break down traditional barriers, improving wearers’ self-expression and emotional connection with clothing.
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