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# 8. Computational couture
+TO DO:
+
+* summarize results a bit more
+* Add links Aldo & Anastasia shared for reference (nice approaches!)
+* The deformations can also be done with stencils etc, not only 3D printing.
+
+https://youreshape.io/fold-the-interfashionality/
+
+https://www.youtube.com/results?search_query=paneling+tools+grasshopper
+
+https://discourse.mcneel.com/t/new-quadremesh-command/85601
+
+http://www.iaacblog.com/programs/fabricflation-_-structuring-textile-techniques/
+
+http://www.co-de-it.com/wordpress/informed-flexible-matter.html
+
+https://vimeo.com/299603461?fbclid=IwAR3DAIucdoxKruKTUdKozmeb14g2tdqWu2RUyt8FYzi2Z6O4GVDm0NtQGTM
+
This week I produced some printed results, but I mainly spent a lot of time documenting what I learned from the tutorials I did, to build up a vocabulary or archive of useful *clusters* that represent a functionality or method. A bit like a function in programming I guess? Once I have a good overview of these it will be a bit easier to start doing my own designs/scripts by using them as building blocks. Screenshots of these annotated blocks allow me to quickly look at how stuff is done without having to go all the way into Rhino & Grasshopper (it gets a bit slow :D)
**"Tangible" Results**
diff --git a/docs/assignments/week09.md b/docs/assignments/week09.md
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# 9. Textile as scaffold
-This week I worked on defining my final project idea and started to getting used to the documentation process.
+**To Do**
-## Research
+* Document the concept, 3D model of the piece and document the design process
+* Make two samples with 2 out of the 5 techniques to make a prototype of a textile form: fabric formwork with casting crystalization wood-textile resin-textile leather molding or other
+* Document the process from CAD to CAMM, document how to use the CNC mill and prototype your textile composite
+* Upload your 3D model and CAMM file
+* Document the 2 processes you have followed step by step from design to machine and hands-on making, materials you used, your mistakes, failures and achievements
+* Use 3D modeling software to simulate your fabric deformation
-"Lorem ipsum dolor sit amet, consectetur adipiscing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur. Excepteur sint occaecat cupidatat non proident, sunt in culpa qui officia deserunt mollit anim id est laborum."
-> "Lorem ipsum dolor sit amet, consectetur adipiscing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur. Excepteur sint occaecat cupidatat non proident, sunt in culpa qui officia deserunt mollit anim id est laborum."
+##Results: crystals, composites and (hopefully) leather forming
-## Useful links
+*Conductive Alum Crystals on a pipe cleaner, tulle and conductive thread, made with Bare Conductive Ink, Loes Bogers & Frank Vloet, 2019*
-- [Jekyll](http://jekyll.org)
-- [Google](http://google.com)
-- [Markdown](https://en.wikipedia.org/wiki/Markdown)
+*Alum Crystals on velveteen, felt and loosely woven cheesecloth, Loes Bogers, 2019*
+IMAGE
-## Code Example
+IMAGE
-Use the three backticks to separate code.
+##Growing crystals using yarn and textile
-```
-// the setup function runs once when you press reset or power the board
-void setup() {
- // initialize digital pin LED_BUILTIN as an output.
- pinMode(LED_BUILTIN, OUTPUT);
-}
+Sugar dissolves in hot water, but not in cold water. Dissolving: loose molecules spread evenly throughout because in hot water everything is dancing and agitated. When it cools down the molecules want to group together again, into a (partially) solid form. Crystals form better if they have a rough substrate to grow on, like a piece of thread or fabric. If you are using a dirty container or one with rough surfaces they can start growing on the jar.
-// the loop function runs over and over again forever
-void loop() {
- digitalWrite(LED_BUILTIN, HIGH); // turn the LED on (HIGH is the voltage level)
- delay(1000); // wait for a second
- digitalWrite(LED_BUILTIN, LOW); // turn the LED off by making the voltage LOW
- delay(1000); // wait for a second
-}
-```
+The less you stir the water, the bigger the crystals can grow. Less agitation is better.
+**Alum crystal recipe**
-## Gallery
+This is the [source of the recipe](https://learning-center.homesciencetools.com/article/growing-gems-crystal-project/) we used.
-
+* Alum
+* Clean beaker or jar
+* Saucer or shallow dish (a petri dish works, too)
+* Pencil
+* Fishing line
-## Video
+*Process:*
-### From Vimeo
+In one beaker, slowly add alum to 1/4 cup of very hot tap water, stirring to dissolve. Keep adding the alum until no more will dissolve: this is a saturated solution. Pour a little bit of this solution into a shallow dish or saucer and let it sit undisturbed overnight. Make sure you only pour the clear solution, not any of the undissolved material. You can pour it through a coffee filter if necessary.
-<iframe src="https://player.vimeo.com/video/10048961" width="640" height="480" frameborder="0" webkitallowfullscreen mozallowfullscreen allowfullscreen></iframe>
-<p><a href="https://vimeo.com/10048961">Sound Waves</a> from <a href="https://vimeo.com/radarboy">George Gally (Radarboy)</a> on <a href="https://vimeo.com">Vimeo</a>.</p>
+*Alum crystal growing on felt, after 2-3 hours, Loes Bogers, 2019*
-### From Youtube
+*Seed crystals vs. growing on a substrate*
-<iframe width="560" height="315" src="https://www.youtube.com/embed/jjNgJFemlC4" frameborder="0" allow="autoplay; encrypted-media" allowfullscreen></iframe>
+The recipe talks about making loose crystals, but we're growing them on different substrates. I used velour/velveteen, a loosely woven cheesecloth, and a piece of tulle that I hung in small jars or put in a shallow dish (petri dish).
-## 3D Models
+The next day you should see small crystals growing in the dish. When they look to be a good size, carefully pour off the solution.
-<div class="sketchfab-embed-wrapper"><iframe width="640" height="480" src="https://sketchfab.com/models/658c8f8a2f3042c3ad7bdedd83f1c915/embed" frameborder="0" allow="autoplay; fullscreen; vr" mozallowfullscreen="true" webkitallowfullscreen="true"></iframe>
+*To grow seed crystals*
+Don't add a substrate, but instead just let the solution sit.
+Make another saturated alum solution with about 1/2 cup of hot water. Pour the solution into a clean beaker or jar; avoid pouring any undissolved material.
-<p style="font-size: 13px; font-weight: normal; margin: 5px; color: #4A4A4A;">
- <a href="https://sketchfab.com/models/658c8f8a2f3042c3ad7bdedd83f1c915?utm_medium=embed&utm_source=website&utm_campaign=share-popup" target="_blank" style="font-weight: bold; color: #1CAAD9;">Dita's Gown</a>
- by <a href="https://sketchfab.com/francisbitontistudio?utm_medium=embed&utm_source=website&utm_campaign=share-popup" target="_blank" style="font-weight: bold; color: #1CAAD9;">Francis Bitonti Studio</a>
- on <a href="https://sketchfab.com?utm_medium=embed&utm_source=website&utm_campaign=share-popup" target="_blank" style="font-weight: bold; color: #1CAAD9;">Sketchfab</a>
-</p>
-</div>
+Remove the biggest and best-looking of the small crystals from the saucer to use as your seed crystal.
+
+Tie the fishing line to the seed crystal. This can be tricky; a pair of tweezers will help. If you need to, you can score a groove in the crystal to hold the line in place.
+
+Tie the other end of the fishing line to a pencil, then set the pencil across the top of the jar so the seed crystal is suspended in the alum solution without touching the sides or bottom of the jar.
+
+Note: if your seed crystal starts to dissolve, that means your solution isn’t saturated enough. Remove the seed quickly and add more alum to the solution, filtering off any undissolved particles.
+
+Cover the jar with a paper towel to keep out the dust and let your crystal grow until you are happy with its size. When you take it out of the solution, set it on some plastic wrap to dry.
+
+If you see other crystals growing in the jar, transfer the solution and seed crystal to another clean jar.
+
+The small crystals that formed in the saucer grew because of nucleation. A few alum molecules found each other in the solution and joined together in a crystal pattern. Other alum molecules continued to join them until enough molecules gathered to become a visible crystalline solid. (Chemists call that a crystal “falling out of†the solution.) If you left these crystals in the solution they would continue to grow, but they wouldn’t get very big because they would all be competing for the remaining alum molecules in the solution. Instead, you took one crystal and used it as the only nucleation site in the solution. It was the primary site for the alum molecules to join together, so the crystal could grow quite large.
+
+
+**Conductive crystals**
+
+Frank and I made a few samples to create conductive crystals based on this [recipe](https://wikifactory.com/@ejtech/dark-diamond-mining) from EJTECH he found. They made some [beautiful examples](https://amorphousallotropes.tumblr.com/) that they then used as capacative touch sensors for different applications.
+
+* 1x [Bare Electric Paint 50ml jar](https://www.kiwi-electronics.nl/electric-paint-50-ml?gclid=Cj0KCQiA5dPuBRCrARIsAJL7oejLwCvxu4EcBaYfAV09r28b2mbIvQiD6MunQLaKv3B55o-Gm4NxO48aAtEZEALw_wcB)
+* Boiling water
+* [Alum](https://www.deonlinedrogist.nl/chempropack-aluin-1000gr-p-62657.html?channable=e23640.NjI2NTc&cross=0&dtext=0&dtag=0&dmenu=0&dpath=0&dafval=0&dvraag=0&drel=0&ingr=0&etk=0&gclid=Cj0KCQiA5dPuBRCrARIsAJL7oegCNkstlFkvrebmSPGZz6hSHlXuRV7YbjOyxNZR_sYytOgeAv8-wKYaAu71EALw_wcB) (or the same amount of borax)
+* Fishing line
+* Wooden stick
+* Substrates like textiles/yarns/pipecleaners
+
+The Bare Conductive paint we used was a bit old but heating it up and diluting helped dissolve everything anyway. We used tulle, pipecleaner stick and conductive thread for these samples.
+
+*Frank pouring the alum solution through a funnel, Loes Bogers, 2019*
+
+Boil the water and add 100g of alum. Stir until super saturated and the powder is no longer dissolving. Add 1-2 teaspoons of Electric Paint (amount changes the resistance of the crystal!) and stir. Crystals form bigger when it cools down slower.
+
+Wait 12 hours, take out the crystal, reheat the solution and add 3-4 more tablespoons of alum to saturate it more. Wait for it to cool down before putting the crystal back in or you might dissolve it. You basically give it more food to grow.
+
+Wait another 12 hours and take it out. Continue the 12 hour cycle replenishing the solution with alum depending on how big you want the crystals to grow.
+
+*Threading tulle with conductive yarn*
+
+We laced the tulle with some conductive yarn to see if this makes it easier to solder the crystal/sensor to a circuit.
+
+ELECTRIC PROPERTIES OF CRYSTALS
+
+##Bio-composite and Leather molding
+
+I really loved one of the wooden molds Anastasia showed in her [presentation on *Cuir Bouilli*](https://docs.google.com/presentation/d/1l996bONiYH1lQwb3qWC1InSZ1QEAp0LpILAAkpUZ6dA/edit#slide=id.g467e8bcb80_1_157), and thought it would be feasible for me to create a similar design using Grasshopper. So I did! This is the inspiration piece :) As I was playing around with it I kind of liked a less tidy piece, one that maybe looks a bit more like a tumor growing than a collection of neatly arranged spheres.
+
+*The mold Anastasia showed in her presentation (maker unknown), Loes Bogers, 2019*
+
+###Design Process
+
+**Approach**
+
+* do a very simple design, but one I can build from scatch in Grasshopper
+* design something with a 2-part mold (never done before)
+* go through motions of machine again. I worked with CNC milling machine a few times before for Fabacademy's [Computer Controlled Machining Week](https://fabacademy.org/archives/2015/eu/students/bogers.loes/08computercontrolledmachining.html), the [Molding and Casting week](https://fabacademy.org/archives/2015/eu/students/bogers.loes/09moldingcasting.html) and for [the Composites week](https://fabacademy.org/archives/2015/eu/students/bogers.loes/12composites.html). But it's been a while, and designing for this machine can be quite complex I think.
+* Figure out the process of leather molding (never done before), maybe even do a biocomposite as a bonus using the same mold :)
+
+**First designs**
+
+* I tried remaking a design from lecture that I liked in Grasshopper. When you know what you want it's much easier!
+* Thinking in molds: adding a box. Searching for Boolean Union and Boolean Split in grasshopper (spoiler: it's *SolidUnion* and *SolidDifference*). On hindsight I didn't have to make the boxes this thick, it would only be extra milling time, so I chopped them off later.
+* Thinking in molds: offset for the negative mold part to allow for material thickness. I pressed the leather I want to mold between a caliper, it measured
+
+*Measuring the leather to determine offset of negative mold, Loes bogers, 2019*
+
+*First grasshopper design, made totally from scratch! Whoa. Loes Bogers, 2019*
+
+
+**Grasshopper issues to be solved**
+
+As I started to elaborate the design I was struggling with very long waiting times and beach balls...I started adding panels to each output to see if they were giving the output I expected and if it matched the input it was going into.
+
+When I baked I got like 10 shapes instead of one. And the random number generator was creating 144 values where I was expecting 7. So instead of directly connecting the output of the ball locations I put a [List Length] component after it and used that as input for the random generator. This fixed everything! Just one bake, and no more waiting.
+
+Then I assessed a design I liked carefully with [DimAlign] in Rhino. I checked that the deep cavities were not too steep, and most corners and negative space between balls can be done with 5mm milling bit. I know it won't be perfectly sharp between the balls for the positive mold but I'm hoping that the negative mold part can compensate a bit for it.
+
+*Unmillable parts of the design that needed to be changed, Loes Bogers, 2019.*
+
+I decided to populate manually using control points in Rhino, because had to adjust the positioning of the balls so the design could be milled with a 5mm milling bit. The spaces between the balls were often too small, and moving around was an easier way to control the position of the balls than the 2D populate component. The best one I could think of anyway.
+
+I streamlined the "code" as much as I could, making things relative to one another where I could manage and where it made sense. I'm pretty happy with result, it works very fast now and I definitely feel a little more confident in Rhino/Grasshopper now. Small steps, easy does it.
+
+*Final design in Grasshopper, Loes Bogers, 2019*
+
+*Final design in Grasshopper, Loes Bogers, 2019*
+
+*Design of the molds, Loes Bogers, 2019*
+
+And this is the [Grasshopper file here](../files/wk09_ballsmold.gh)
+
+#Milling on the Shopbot
+
+Lucky me, I had used the shopbot before and could use my notes from back then as we are still using the same machine and software at the lab! I documented it very thoroughly for the fabacademy [CNC machining week](https://fabacademy.org/archives/2015/eu/students/bogers.loes/08computercontrolledmachining.html), the [molding and casting week](https://fabacademy.org/archives/2015/eu/students/bogers.loes/09moldingcasting.html) and the [composites week](https://fabacademy.org/archives/2015/eu/students/bogers.loes/12composites.html) where I also made a composite with textile. But gosh it's so long ago! It was really nice to get a refresher with Henk and the other fabricademers.
+
+I forgot you need to click the milling bit into the collet for example. And how to go through all the software steps. But the fear for the machine was engrained enough to still remember everything! Haha. I'm not afraid of the machine, just a little nervous when using it, but healthy nervous that makes me very sharp.
+
+**Settings**
+
+I'd prepared my design with a 5mm flat milling bit in mind and could use the settings that the lab manager, Henk had saved in the software's library. We changed the settings a little bit to work with high density foam, by increasing the stepover for the roughing toolpath, and increasing the feedrate. Because the foam is so soft, it can be milled a bit faster, milling a larger surface per toolpath, and going a bit faster that when you're milling wood for example.
+
+*Thanks for the settings and the tutorial Henk, Loes Bogers, 2019*
+
+
+**
+
+**The finishing toolpath**
+
+For the finishing toolpath we agreed on a 50% step over at a pass depth of 2mm foam. The basic settings are 18K RPM spindle speed (to be set on the machine itself), and a feed rate of 120. The machine estimated a 2 hour job which seemed quite long, and then we figured the feed rate could go up a lot for foam.
+
+*Job setup for the roughing toolpath, Loes Bogers, 2019*
+
+
+**The finishing toolpath**
+
+Here we kept most settings the same because I plan to use the same milling bit. Stepover is smaller here of course: 10%, with a path depth of 0.5mm I exported both toolpaths together.
+
+*Job setup for the finishing toolpath, Loes Bogers, 2019*
+
+And this is a familiar step! The infamous zeroing of the machine using the metal bar. Always take a picture. Well here it is :) I ended up needing it too so that was a nice reminder.
+*Zeroing the machine, Loes Bogers, 2019*
+
+**Issues and solutions**
+
+During the last run of the roughing toolpath, the nut of the machine touched the surface of the foam on the edges, the tool depth was not enough to prevent this. Even though we thought we measured and calculated everything. The cavity ended up being too deep for the milling bit. Ouch! I paused the machine of course but there wasn't much I could do in the middle of a job. So Maud – who was interning at the lab – switched off the machine to prevent burning. We discussed if I could salvage the design, and because it was only doing the very last path, it was worth trying to do the finishing toolpath anyway, even though it hadn't totally finished the roughing. The soft foam would probably be cut away just fine. And it did! I had to export the finishing toolpath separately again, double checked the zeroes of the machine and ran the finishing path.
+
+*Tool depth of 3.5mm, Loes Bogers, 2019*
+
+*The burn that was made when the shopbot touched the foam during the job, Loes Bogers, 2019*
+
+What happened? In the job setup we sank the design lower into the material but did not add up that number to the milling depth we needed to reach. Easy mistake to make. Will remember for next time.
+
+**
+
+I solved this issue by cutting away the foam at the edges of the design by hand, before starting the finishing toolpath. This created space for the nut to do the milling without touching and burning the foam.
+
+*Cutting away some of the surface to make space for the nut on the outer edges when milling the bottom layers, Loes Bogers, 2019*
+
+**Skirt damaging the foam?**
+
+The skirt damaged the foam in a few places, leaving my balls a bit deformed. You can see in the image here how the edges of the passes are not straight, they're already rounded. The skirt passing over it time and time again does that. For these edges it's fine because they will go with the finishing toolpath anyway, but there was also some damage at the top
+
+*Skirt brushing the design, Loes Bogers, 2019*
+
+
+**Fastening, but not so fast**
+
+One corner of my foam started to come off of the bed a little bit. I'd fastened it with double sided tape (covered the entire surface) and screwed some pieces of wood on the sides to keep it in place but it still popped up. It wasn't a huge issue but the final piece had a few lines in it where it cut a part of a path deeper than the rest where to foam was higher in the air than the rest.
+
+*But finally, finished snowballs. A bit damaged by the skirt. Note the deeper lines on the right side where to foam lifted a little, Loes Bogers, 2019*
+
+Due to time constraints this week, I just made the positive mold to try out some techniques. If the machine is available later in the week I will mill the negative mold as well.
+
+#Lay-up
+
+##Bio-composite with silk chiffon
+
+I wanted to try the leather molding but found out that without a vacuum pump you need to manually massage it until dry so I had to wait until the next day (it was 4PM when I found out). So I also prepared a bioresin to try a one-layerd silk-bioresin composite that I could let dry overnight. Tomorrow I'll try to do the leather molding.
+
+**Preparing the mold**
+
+I prepared the mold by covering it tightly with cling film. To help make it tight I stuck the mold to a cardboard box, this was a bad idea because my vacuum bag totally did not keep the vacuum and it was probably because of this move. I'm really wondering if the vacuum will be strong enough to push the foil down into the cavities but we'll see. I rubbed it with vaseline as a release agent
+
+*Covering the base with plastic film, Loes Bogers, 2019*
+
+I then prepared all the other layers: silk chiffon (1 layer) for the composite itself, a piece of cling film that I perforated with a pattern rolling tool with the pins
+
+*Perforating cling film, Loes Bogers, 2019*
+
+Tool: high density foam mold
+Fibre: Silk chiffon
+Mold release agent: vaseline
+Release fabric: cling film
+Perforated release film: cling film, perforated by hand
+Bleeder: a piece of cotton canvas
+Breather: a cotton mesh
+Vacuum bag: a vacuum bag to store clothing items in
+
+*The different layers, Loes Bogers, 2019*
+
+**Cooking up a bio-resin**
+Bea and I shared a batch of Bio-resin. The recipe we used was enough for both our single layer composite tests:
+
+* 48 g of gelatine
+* 8 g of glycerine
+* 240 ml water
+* Chinese soot ink
+
+Then I started doing the layup by pouring a few table spoons of bioresin over the top, and massaging and molding it in with my fingers. It set incredibly fast! I felt it solidifying in my hand so I had very little time. I'm not sure how this will pan out.
+
+**
+**
+**
+**
+
+I finally vacuum sealed the whole thing in a vacuum bag and sucked the air out of it with a vacuum cleaner. Unfortunately the vacuum did not hold at all. I think it's because I mounted the mold onto a cardboard box to tension the cling film over it. I think it's impossible to vacuum the box. I tried about ten times but it kept going out of vacuum. Then I decided to take another route. So I took off the bag and the extra layers to let the resin airdry faster. In that case I might be able to use the mold again tomorrow. It was nice to see that the bleeder did its job and soaked up some of the excess bioresin.
+
+**Glossary**
+
+>* Bleeder: A nonstructural layer of material used in the manufacturing of composite parts to allow the escape of excess gas and resin during cure. The bleeder material is removed after the curing process is completed and the excess resin taken with it.
+>
+>* Breather: A loosely woven or nonwoven material that acts as a continuous vacuum path over a part but does not come in contact with the resin.
+>
+>* Mold Release Agent: A material applied to mold surfaces to facilitate the release of the molded article. Liquid, paste, spray and solid release materials are all common in composite fabrication.
+>
+>* Peel Ply or Release Fabric: A sacrificial nylon, polyester or non-porous Teflon ply that is placed over the outer plies of a laminate during lay-up. When the resin has cured the peel ply is removed. The results are a smooth surface that is easily prepared for subsequent bonding or painting.
+>
+>* Perforated Release Film: A solid release film that has been perforated with a uniform hole pattern comprised of usually 0.015†or 0.045â€. Hole spacing ranges from 0.25†to 8†spacing. The effect is to restrict the amount of resin bleed that is able to pass through the film.
+>
+>* Solid Film: A barrier between the bleeder and breather layer to prevent the excess resin absorbed into the bleeder from soaking into the breather. The solid film is sized smaller than the bleeder and breather to allow an air path connecting both.
+>
+>* Tool: A structure, also referred to as a mold, that provides a specific size and shape in or over which a lay-up is formed, shaped and cured.
+>
+>* Vacuum Bagging Film: An airtight flexible sheet placed over a lay-up and sealed along its edges. The bag is fitted with vacuum ports and connected to a vacuum source. During the cure the bag is evacuated and the lay-up is compacted under atmospheric or autoclave pressure. Vacuum is applied to the bag during the entire cure cycle.
+>
+>* Vacuum Port: A machined or cast metal fitting that connects the vacuum bag to the vacuum source. The vacuum source can be a vacuum pump or a compressed air venturi. The port is connected to the vacuum source with a reinforced hose. Both the hoses and ports typically incorporate fittings that allow the hoses to be removed without losing the vacuum.
+>
+>* Vacuum Sealant Tape: A thick rubber based adhesive tape that is sticky on sides and used to form a seal between the vacuum bag and the tool surface. It has the ability to remain soft and pliable at temperatures in excess of 350ºF.
+>
+>– Source: https://netcomposites.com/guide/repair/vacuum-bag-terms/
+
+###Leather molding
+
+I cut my 1 mm thick black leather into a rectangle and soaked it in cold water overnight.
+
+
+
+
+##Lecture notes
+
+[Lecture]() by Anastasia Pistofidou
+
+* Composites
+* Crystallization
+* Solidification
+* Fabric formwork
+* Concrete casting
+* Technical Textiles
+
+
+##Technical textiles
+
+What are technical textiles? Not everything is for fashion.
+
+* Agricultural technologies
+* Building technologies (thermal wraps etc)
+* Clothing technologies
+* Geotech (road infra, railways, dams)
+* Home technology (furniture design)
+* Indu tech (filtration, cleaning, mechanical engineering)
+* Meditech (hygiene, medicine)
+* Mobiltech (cars, aircraft, trains, space travel)
+* Oekotech (environmental protection, waste disposal)
+* Packtech (packaging, cover systems, big bags, container systems)
+* Protech (person and property protection)
+* Sporttech (sport and leisure, active wear, outdoor, sport articles)
+
+**Biocomposites**
+
+Adobe: the earliest biocomposite. They're mud bricks, straw and clay (fibre and a biopolymer). Fibres to reinforce materials.
+
+1. Continuous fibres
+1. Discontinuous fibres
+1. Particles
+1. Fabric/braid/etc
+
+**Skin-Core-Skin**
+
+Skin: compression
+Core: shear
+Skin: tension
+
+See slides for image
+
+**Techniques**
+
+Jorge Penadés - Leather waste composite
+
+Stretching lycra with white glue. Student work at taller Compleja, UAI, Pinochet, Pistofidou
+
+**Ford's Hemp Car**
+As much as we like to think biodiesel is a modern breakthroughs, biofuel really isn’t a new development at all. In the 1941 the first prototype car made from and fueled by hemp was constructed by Henry Ford. 70% of the cars body was made of industrial hemp and resin binder along with other cellulose fibres.
+
+**References (from Anastasia's lecture)**
+http://www.sicomin.com/products/epoxy-systems/bio-based-epoxy
+https://www.wikihow.com/Stiffen-Leather
+http://www.fao.org/docrep/004/Y1873E/y1873e0a.htm
+http://cstsales.com/
+http://www.easycomposites.co.uk/
+https://www.pinterest.es/fabtextiles/biocomposites/
-## Bonus section & recitation
-Bonus is a bonus
\ No newline at end of file
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