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.

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.

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.

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.

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.