MAS.962 | Spring 2010 | Graduate

Special Topics: New Textiles

Assignments and Final Project

Assignment 9: Final Project

« Previous: Assignment 8: Knit, Woven, Embroidery, or Print

For more information on the scope of final projects, see Assigment 7: Final Project Proposal. The final project consists of two components, a presentation and written documentation.

Presentation

Project presentations will happen during class Ses #27. Each team will have approximately 10 minutes for their presentation. The core of the presentation should be a demonstration of your project in action. You should also include a short discussion of your concept, design, and construction process. A dress form, pin-up board, and tables will be available.

The presentations will be open to the public. I’ll invite the Media Lab community and all of our local guest speakers. Feel free to invite friends and colleagues. Light refreshments will be served.

Documentation

Create a Web page that documents your project. Your page should include a description of the project, pictures of the construction process and completed project, and a discussion of your experience. If appropriate, create a short video of your project in action. Also include design drawings, electrical schematics, and source code where appropriate, and any slides you included in your presentation.

Sample Student Work

Sample work is presented courtesy of the students and used with permission.

Tunable Stiffness Structures

Little Black Dress 2.0

Responsive Fabric

Sneaky Slippers

« Previous: student work sample Next: student work sample »

By Xiao Xiao and Elena Jessop

Motivation

Every woman is supposed to have at least one iconic “little black dress” – the piece that goes with everything and can be worn for many different occasions. However, while you can accessorize your little black dress in many ways, it is limited by its basic construction. What if you could change the shape of your little black dress on command? What if you could make your outfit more or less revealing…lower the neckline, create a scoop in the back, a slit up the thigh?

For this final project, we were interested in constructing a garment had an output mechanism other than lighting, and settled on exploring what we could do with thermochromic ink. In particular, we were interested in the fact that the ink transitions from colored to clear…but none of the prior work we explored took advantage of the transparency to create objects that seemed to be sheer. What if panels of a dress were made of sheer fabric printed with thermochromic ink, so that they appeared opaque in normal wear, but could be heated to become sheer?

Reinventing the Little Black Dress.

Construction

Our original design had sheer panels that could be turned on to turn a fairly conservative garment (based on a 1960’s pattern) into a dress with a v-neck, a lowered back, and a slit up the thigh. For purposes of construction time and amount of power needed, we settled on implementing the v-neck for this prototype.

We got nude-colored sheer fabric and dyed it with a mix of thermochromic ink powder (from ColorChange) and fabric medium. We used a paint roller coated in the ink/fabric medium mix to create an even coating on the fabric, as earlier experiments with a paintbrush resulted in visibly uneven coverage. We chose a thermochromic ink that started out black and became clear at 40 degrees Celsius, a bit above body temperature, so that simply wearing the garment would not cause panels to change to transparent.

Preparing the thermochromic ink.

We used resistive heating through stainless steel yarn to change the color of the dress, sewing the yarn in pinstripes through the sheer portions. We figured out through testing that 6 volts can heat ~16" conductive yarn sewn through the fabric enough to change the color of 1/4" of fabric around the yarn. In order to get enough current through the dress, we connected each pair of loops to a transistor that could be controlled by an on-board microcontroller.

Schematic drawing of heating unit circuit.

The resistive heating unit.

To power the dress, we used 6 packs of 4-pack AA batteries, which provides 6 volts each. Using lithium-ion batteries would have been preferable, but due to lack of budget, we pursued a less expensive option for this prototype.We connected two loops of conductive yarn to each battery pack, which effectively heats up an area of about 1"x7". For modularity, we designed the dress such that all the power is connected to a removable belt, which can snap on to the dress. The metal snaps serve as both conductive joints in our circuit and to secure the belt to the dress. The modular design allows us to reuse all of our heating circuitry if we decide to use a different type of battery to power the dress.

One major limitation of the thermochromic ink technique was the amount of power necessary for turning a relatively small area transparent. This was made more power-intensive by the high temperature required for the color change and the fairly light sheer material, which did not conduct heat very well.

The thermochromic area of the dress.

To allow the garment to be controlled by the wearer, we incorporated soft pressure sensors in the right hip and left shoulder of the dress. Putting your hand on your hip turns the circuit on and causes the neck piece to become transparent, so the dress transforms from a boatneck to a low v-neck; putting your hand across your body to your shoulder turns the circuit off, so the neck piece gradually fades back to opaque. The circuit also times out and turns off 25 seconds after it is turned on.

Controlling the dress.

Each soft pressure sensor is constructed from two layers of soft and slightly spongy fabric such as felt or velvet, with a layer of netting sandwiched in the middle. On each square of felt, conductive thread is used as a bobbin thread to stitch a number of zigzag lines across the felt. These layers are isolated from one another by the netting, until the sensor is pressed. Then it completes the circuit and behaves as a switch.

One of the soft pressure sensors.

The Final Dress

The final dress.

The dress in action.

Techniques developed

As we were using resistive heating with the stainless steel thread, we wanted the connection between the batteries and the steel thread to have as low a resistance as possible to not require additional current. Thus, we chose to use flexible insulated wire taken from ribbon cable. In our attempts to connect the soft steel thread to the ribbon cable, we found that piercing the insulation of the flexible multi-stranded wire with a needle and pulling the steel thread through a couple of times created a fairly strong and robust connection. We had a few weak connections after coating the knots on the thread with nail polish, which may have seeped down the thread and into the connection, but this could be fixed by using crimp beads or other methods to finish the edges of the steel thread.

Additionally, we created a belt to hold the battery packs that could snap on and off. We used snaps that could be hammered in for stability, but were not able to sew to these snaps. We found that wrapping the end of a stripped ribbon cable several times around the snap and twisting the free end to the main part of the wire created a firm connection.

We similarly wrapped stripped stranded wires around the legs of the transistors, which we curled into circles. We experimented with sewing the stripped ends of the stranded wire through the fabric, which also proved useful (particularly for the wires attached to the pressure sensors, which ran inside the garment but then needed to be connected on the outside of the dress).

Wiring for the dress.

Lessons Learned

An important thing we found in constructing this dress was that transistors can be quite fragile, and it is very important to include resistors or a load of some kind on the connection to the base pins to prevent short-circuiting and damaging the transistors.

We also found that modularity of the components was a good design pattern for working with textiles. For example, as we created the battery belt separately, with snaps to connect the power and ground to the dress, it would be easy to create a new belt with lithium batteries and a much lighter form factor and simply be able to snap that on without making other changes to the garment.

The battery belt.

Finally, it is interesting to reflect on the difference in mindset when working on a textiles electronics project versus a traditional electronics project. Working with textile electronics gives people the impression that they are working with handicrafts and not “hard engineering”. When working on our project, we found ourselves treating it more like a craft project than actual circuitry. We were less rigorous than perhaps we should have been with making sure our connections are robust and we did not test our work as much throughout the process (something that got us into trouble several times). While idea of crafting lowers the entrance barrier of working with electronics– people are less intimidated and perceive projects to be less difficult– it also inadvertently causes people to be less careful. The lesson for us from all this is that in the future, we will make sure to be more meticulous with our work, to test early, often, and to completion. A bigger lesson and an idea to explore in the future is how to encourage people who are starting out in e-textiles to maintain a methodical approach to soft-circuit design and building.

« Previous: student work sample Next: student work sample »

« Previous: student work sample Next: student work sample »

By Rizal Muslimin

 

Responsive Fabric.

These days, more and more new smart materials expand the versatility of fiber and at the same time redefine what we can do with textiles. Before exploring other design possibilities with this material, I need to ask myself: how can I connect and control these materials so that they can speak to each other and I can speak to them?

So, my goal in this final project is to understand how to connect the smart material (Nitinol) with the conductive fabric as the medium, the arduino as the microcontroller, and the processing as the user interface in order to perform a kinetic behavior to the fabrics. (Nitinol is perfectly fit with the textiles in terms of its size and dimension, instead of using a motor.) As a beginner in this field, I learned by following one great example, in this case Marcelo Coelho’s Shutter Project , and try to create the similar procedure and function.

Component

Components of the responsive fabric: transistors, resistors, nitinol wire, and a LilyPad Arduino.

I used Lilypad Arduino 328 as the main board to read the program, and attached the nitinol connection to its 6 pins. The Nitinol Biometal Helix (BMX15020, dia: 150 uM) originally contracted as a coil at 20 mm length and can be elongated until as twice as much of its original size (40-50mm) by attaching a 30 gram force. To pull the wire to move back to its contracted length, it needs to be activated by heating it with 70 C temperature or with a voltage of a 3 Volt battery. I used a 100 Ohm resistor to reduce the current from transistor to the LilyPad, and a 4.7 ohm resistor to reduce the current for the nitinol. Apparently, I didn’t need the second one since the current that fed the wire had too much resistance while it goes along the zelt. (In other words, if I can calculate the required length to reach a certain resistance, then I might not need a resistor at all, and that would make a seamless connection on the fabrics). As for the switch, I used transistor TIP122 PNP to read the arduino program of which flap should be activated. (Transistor base goes to the Lilypad, emitter goes to the negative, and collector attaches to the nitinol).

Scheme

Designing the responsive fabric layout with Google SketchUp.

In terms of design, I see the circuit board as analogous to the space programming process in architectural design. Accordingly, I created a blueprint of my circuit design using the simple Google SketchUp program for the following reasons:

  • To anticipate the dimension of the components, such as the transistor or resistor size whether they are colliding or not, and the lilypad mainboard orientation so each pin would have enough space for its connection.
  • To trace the positive and negative connection and see whether they are overlapping or not.
  • To use the vector graphic image for further fabrication processes, for instance, cutting the shape on the rapid prototyping machine or stitching a pattern on the embroidery machine.
  • To design and simulate the physical appearance of the project as a whole by rendering the material.

With this technique, we can get a sense of the scale of how the final product will look like just by printing the scheme on the paper. However, it is still not able to predict the performance of the design as a circuit board, since all connections need to be perfectly connected by whichever joint that we use.

Connection

Four types of connections used in the responsive fabric.

As the most used technique in this scheme, ironing the zelt was very easy to do; however, I had to make sure that every joint was perfectly blended to each other. To attach the wire with the zelt, I used a metal bead and crimped the bead while the zelt and the wire were in its hole. Any other component with the pin, transistor and resistor, were soldered to the zelt. The only way to test whether they are perfectly assembled is to make sure that they are beeping continuously in the multimeter.

Procedure

The goal of the procedure is to have the flaps move as the mouse position is over the dot on the shutter controller (see the screen). The procedure is the following: on the Shutter Controller, IF the mouse position is over the dot THEN the processing will send information (i) to the arduino. In the arduino, IF it’s receiving the information (i), THEN the arduino told the mainboard to turn on the PIN (HIGH). In the circuit, IF that PIN on the mainboard turns on, THEN the transistor will let the current feds the nitinol connected to that PIN so it will contract and pull the flap up.

Responsive fabric system diagram including laptop control.

Lessons learned

  • Dealing with the resistance and nitinol behavior: To move the nitinol properly, I needed a specific value to let the correct current go through the wire. If there is too much resistance, it will move very slowly, or doesn’t move at all. If there is no resistance, it will burn the wire. So, I guess it would be nice to spend a good deal of time to get the best resistance value to heat the wire.
  • Dealing with the nitinol cost: Due to the scheduling problems, I skipped the part where I should have shaped the nitinol myself (using a furnace with 500 C), and bought an expensive pre-shaped nitinol coil instead. Because of that, I can’t do much with this two 2 cm wire.
  • Dealing with the connections: Most of my problems with the connection were caused by the lack of rigidity on the part where the component’s join together. So, I needed to make sure every joint is connected perfectly at each step, instead of completely connecting the whole circuit at the beginning and then testing it afterward.
  • Finally, it is highly recommended to test the connection with a simple structure at each level: from arduino to the circuit and look at the connection by using multimeter (LED can tell us that there is a current goes by but doesn’t guarantee that there is enough power to move the nitinol); and from processing to arduino by checking that each the variable is sent as it should.

Many thanks to Leah for the guidance and troubleshooting the code and the circuit; and also to Marcelo for the idea of this project. This is certainly one of the best classes I ever took.

« Previous: student work sample Next: student work sample »

« Previous: student work sample Next: Return to Assignment 9 description »

By Dawn Wendell

Sneaky Slippers.

For my final project, I wanted to create a pair of whimsical but useful slippers that would light your way as you walked around your apartment at night, without disturbing your roommates. These were the features I wanted:

Photo of a pair of felt slippers with components labelled: LEDs, solar panels, batteries under flaps of fabric, and pressure sensitive rubber under the soles.

The Sneaky Slipper concept. (Wool slippers photo © The Wool Shack. (c) The Wool Shack to (c) French Press Knits.)

The project is divided into 2 major parts: the knitting and the electronics.

The Knitting

This was from my work on the Knit, Woven, Embroidery or Print assignment.

The yarn is Istex Lett-Lopi which I received as a gift from a friend who visited Iceland. It is a single-ply yarn so it felts easily. I knit it following the pattern for French Press Felted Slippers from the French Press Knits blog. I knit on gauge with size US15 (metric 10) needles. They were metal and heavy and I hated them. But they worked! I also ran low on yarn so I knit the bottoms with two strands of lighter purple yarn and one strand of the dark purple. It gives the slippers a faux-sole look. Because I have very narrow feet I made the bottoms two stitches narrower throughout in hopes that they would fit better.

Beginning to knit.

The pattern had 4 pieces per slipper: two sides, the bottom, and the strap. That meant 8 pieces total.

After weaving in the ends and sewing them together, they looked more slipper-like.

Felting was a bit adventurous. The directions said to put the pieces in a pillowcase, tie it shut, and put into the washer on hot water. Agitate and check every 5 minutes. It also said to NOT let it spin, no rinsing. My process wasn’t exactly the same. The pillowcase kept coming unknotted so I put everything in a mesh lingerie bag with a zip top. I let it agitate for more than 25 minutes at 5-minute intervals before forgetting to check it so everything went through the rinse and spin cycle. I caught it before the final rinse and looked at the slippers and they had finally felted to size! The nearly-dry state was also a plus for letting it spin.

The slippers after felting.

Overall, a very successful knitting and felting experience!

The Electronics

I designed a simple circuit for both charging the battery from a small solar panel and for lighting a trio of LEDs when a pressure sensor was depressed.

Schematic showing LEDs, fabric pressure sensor, battery and solar cell.

The Sneaky Slippers circuit.

Sources: Battery, LEDs, Solar Panel, Diode, Pressure-sensitive rubber (not used on the final product)

The battery was hidden under the slipper’s decorative flap. I cut off the wire connectors and soldered the wire ends into loops for easy sewing. The solar panel and diode was sewed to the top of the flap.

The surface-mount LEDs were turned into LED sequins by soldering on some silver crimp beads for ease of sewing.

My pressure-sensitive rubber order was slow to arrive, so I made a pressure sensor similar to the one from my Soft Circuit assignment (Rescue Bracelet project). I used felt instead of neoprene to try to minimize the height of the sensor. Then I sewed it under the toe area of the slippers.

The felt-based pressure sensor.

Photo of the slippers: one with the flap open (showing the battery) and one with it closed (showing the solar panel and the diode).

A top view of the slippers, one with the flap open (showing the battery) and one with it closed (showing the solar panel and the diode).

Finally, I sewed the LEDs onto the slippers and sewed all connections with conductive thread. They didn’t work on the first try (I had some shorting issues), but once I rewired the first slipper, they worked like a charm!

They worked like a charm!

Documentation

Sneaky Slippers.

Ravelry page

Success Story

Only 2 days after completing the project, one of my roommates had some French friends come to town to visit. They arrived exhausted and jetlagged, so they went to sleep on the futon in the living room at 9pm. I knew my slippers were a success when my other roommate asked to borrow them so that he could go to the bathroom without having to turn on the hallway light and wake up our guests.

Lessons Learned / Future Ideas

  • Making two of something is much harder than making one thing! A pair of slippers was definitely a challenge (twice as much debugging, plus its REALLY obvious if they don’t match).
  • Insulation in textiles is a real challenge. I had several shorting issues, especially when I tried burying the wires into the felted knitting and I forgot where I put them. Oops!
  • The slippers would benefit from a light sensor so that the LEDs don’t come on unless it is dark.

« Previous: student work sample Next: Return to Assignment 9 description »

« Previous: Return to Assignment 9 description Next: student work sample »

By Nadia Cheng

Motivation & Overview

The purpose of this work is to explore manufacturing methods and materials for tunable stiffness structures. The motivation is my research, which involves developing mechanisms and novel materials for soft robotics applications.

The work described here is organized as follows:

  • Background & objectives
  • Steel yarn as a heating element: thermal study
  • 2D tunable structures
  • 3D tunable structures
  • Afterthoughts

Background & Objectives

Wax + foam combination: In past work, I have been experimenting with simple tunable stiffness composites made of widely available materials. Specifically, I have been coating passive scaffolds (like an open-cell, flexible foam) with an active material like wax, which can be thermally activated to transition between liquid and solid states. Such a composite is 1) capable of both passively morphable and rigid, load-bearing states, and 2) self-healing, in that the wax can be heated to mend any cracks in the material.

Objectives for this project: In addition to conducting many mechanical tests on wax-foam composites, I have also tried “integrating” heating elements into the composites by, for example, wrapping a copper wire around a wax-foam beam to locally melt wax via resistive heating. While this has been somewhat successful, I have yet to integrate heating elements into these composite systems in such a seamless way that the mechanical structure and heating element become one. My goal here is develop more sophisticated composites with integrated heating elements.

I have also been limited to using commercial polyurethane foams and flexible 3D-printed structures for the scaffold (or “foam”) portion of the composites. For this project, another goal is to explore a larger material space, including cast materials and traditional textiles.

Steel Yarn as a Heating Element: Thermal Study

Having previously only used solid core metal wires as heating elements, I wanted heating elements that were more flexible and would passively deform with the structure of the composites. Per Prof. Buechley’s suggestion (and thanks to her materials supply!), I investigated the possibility of using 100% stainless steel yarn. This yarn (which is more like a thick, multi-ply thread) is incredible; it’s as pliable as traditional yarns. These steel yarns have been used as heating elements in products such as blankets and car seats.

Because I didn’t have much information about the the electrical or thermal properties of the yarn, I used thermal camera images to determine how hot the yarn would get over time depending on how much current I put through it. The images below show a heating and cooling cycle (1 minute power on, 1 minute power off) of a 4" piece of a stainless steel yarn that was approximately 0.24 mm in diameter. I stretched out the yarn along a table and hooked it up to a power supply, specifying 1 amp as the output current.

Thermal camera images of a 4" piece of a stainless steel yarn (approximately 0.24 mm in diameter) going through a heating and cooling cycle (1 minute power on, 1 minute power off).

Notice how the temperature rises from room temperature to about 70 deg. Celsius in five seconds, and maintains a relatively steady temperature of about 80 deg. Celsius through 55 seconds. The cooling process is nearly as fast as the heating one, with the temperature dropping about 40 deg. Celsius in the first five seconds. Note: After doing multiple cyclic tests, I found that the temperature-time profiles were not always the same (for both the same piece of yarn and different ones). Sometimes the yarn would reach 90 deg. Celsius, while it would only reach about 70 deg. Celsius and other times. This suggests that the resistance in the yarn might be very sensitive to factors such as the amount it is tensioned or tampered with.

In addition to testing a single piece of yarn, I also wanted to characterize the thermal properties of a piece of yarn embedded in silicone, as I planned to embed the yarn in cast silicone structures. As can be seen in the images below, the heat does not spread quickly within the silicone disc (roughly 2 mm thick); this makes sense because silicone is thermally insulating. Also, the yarn here reaches about 90 deg. Celsius after one minute of applying 1 amp through it. Compared to the temperatures shown in the images above, this suggests that the electrical properties of the yarn are not as consistent as those of a solid core wire.

Thermal camera images of steel yarn embedded in a silicone disc.

2D Tunable Structures

This section describes three main focuses: 1) casting silicone structures with embedded heating elements, 2) integrating heating elements into traditional textiles, and 3) using heating elements to also serve as structural elements (i.e., using the steel yarn as both the scaffold structure and heating elements). I’m starting with 2D structures because, not only are they more simple to deal with than 3D structures are, but controlling a tunable stiffness 2D structure that can be folded into a 3D structure is a challenging and interesting problem to think about.

Casting silicone structures with embedded heating elements

Silicone was selected because it can withstand high temperatures. In the ’nonwoven’ class assignment, I cast a 2D grid made out of silicone. Because that project was quite successful, I thought that making new samples with embedded heating elements would be simple. The images below show the silicone-molding manufacturing process that I used: 1) laser cut positive acrylic molds, 2) place acrylic molds onto a vinyl adhesive backing and pour a curable polyurethane into the acrylic molds to make a flexible, reusable negative mold, 3) remove cured molds from vinyl backing, 4) remove polyurethane molds from acrylic molds, and 5) prepare polyurethane molds for casting silicone by lining and taping down steel yarn for embedded heating elements.

The silicone-moulding manufacturing process.

To my great disappointment, the silicone would not cure properly in the polyurethane molds; any surface of the silicone that touched the molds turned out very greasy and slimy, weakening the overall structure. I Initially thought that I had made a mistake by using mold release in the acrylic-polyurethane molding process, leaving mold release on the polyurethane that would interact poorly with the silicone. Therefore, I molded a second set of polyurethane molds (without using any mold release), and the cast silicone was still not cast properly with the same defects.

Not knowing what the issue was, I decided to make other types of negative molds, shown below. In addition to 3D printed molds and wax, I also tried using clay and a power-based molding material. As with the polyurethane, the silicone did not cure properly in the 3D-printed molds (most likely due to an adverse chemical reaction with a glossy residue on the printed materials), or the power-based mold. The wax molds were too difficult to make because I couldn’t remove them from the acrylic molds, and the clay was difficult to work with.

Samples of 3D-printed molds and wax molds.

I ended up salvaging the cast silicone from multiple polyurethane molds; I had to wash and pat down the silicone until it was no longer too slimy (for lack of a better word) to work with. In addition to trying multiple manufacturing processes (which was not originally intended), I also cast silicone grids with triangle patterns, as they resemble common folding patterns. I cast grids with different sized triangles (shown below, with no heating elements) to experiment with structures with different stiffnesses. For example, my goal was to create a 2D structure that could remain stiff with the rigid wax coating but could deform under its own weight when heating elements were activated.

More samples of cast silicone grids with varying patterns.

The images below show cast silicone grids with embedded steel yarn as heating elements.

Cast silicone grids with embedded steel yarn as heating elements.

The video below shows an experiment that I did with a silicone grid, dipped in wax, with one heating element running through it. The purpose was to see if I could soften the part of the structure that the heating element runs through to activate a folding line; the goal was the have the structure fold only along this line, under its own weight.

Tunable Stiffness Structures: silicone in wax.

The video shows me actively bending the structure with my hands. After I visibly noticed the wax melting, the structure did not look like it was going to deform under its own weight (or at least not any time soon, and I was getting impatient after 1 minute!). Therefore, while it looks like I’m forcefully bending the structure, I was actually softly bending it; the structure had indeed gotten much softer along the heating line.

I think this experiment was not completely successful for various reasons. For one, silicone is a thermally insulated material so it might take a while for the heat to reach the surface of the wax. Also, the geometry of the structure might not have been appropriate for it to deform the way I wanted it to. Unfortunately, I had to spend a lot of time manufacturing the silicone structures rather than experimenting with various geometries. Future work involves addresses this latter issue.

Integrating heating elements into traditional textiles

In addition to casting non-traditional textiles, I thought it would also be interesting to integrate the steel yarn into more traditional fabrics. It was especially convenient to have the steel yarn because I could easily stitch them into the materials via sewing. The images below show three existing textiles with the steel yarn stitched into them. For the crocheted wool and the muslin, the images show both uncoated and wax-coated samples.

Integrating steel yarn heating elements into fabrics.

I was very surprised by how stiff the wool and muslin became after dipping them in a molten wax bath. These materials also have great wicking compatibility with the wax; I literally just had to dip them in the wax and they would quickly become saturated with liquid.

Below is a video of a muslin sheet made rigid by dipping it in wax. The sheet has one line of steel yarn stitched across it where the fold is made. I was hoping that the material would deform under its own weight when the heating element was activated, but I had to add a 50 gram mass to it to make it unfold at a reasonable speed. In general, I’m extremely pleased with how this demonstration worked out.

Tunable Stiffness Structures: muslin in wax.

Using heating elements to also serve as structural elements

If using traditional textiles as structural elements proved to be successful, then making a textile out of something like the stainless steel yarn should also yield decent results. However, the primary challenge in working with the stainless steel yarn is that it is not electrically insulated, so the electrical paths would have to be carefully constructed in a complex structure like a textile. The images below show some simple configurations in which the steel yarn might be laid out in to create a 2D network. Rather than electrically insulating all exposed surfaces of the steel yarn, I put a node of silicone at each point where two pieces of the steel yarn intersected each other; the silicone electrically isolated intersecting paths. The rightmost images show the extreme case, in which a single layer of silicone was cast between orthogonal steel yarn paths.

Creating a 2D heating element network from a grid of steel yarn.

The video below is a proof-of-concept to demonstrate how the steel yarn might be doubled as a structural element and a heating element. The video shows a piece of steel yarn that was dipped in wax and formed into a coiled shape before the wax had solidified. Once electrical current is run through the steel yarn, it immediately collapses to its natural shape. I thought this was really neat!

Tunable Stiffness Structures: steel yarn in wax.

3D Tunable Structures

Below is a 3D unit cell of a simple lattice made out of flexible, open-cell polyurethane foam. Each strut is a piece of foam with a piece of stainless steel yarn stitched through it so that each strut can be individually thermally activated.

A 3D tunable structure made of foam.

The “U”-shaped strut in the lower right in an individual strut that was dipped in wax and cooled in this shape. I ran a test to see if this strut would restore its natural, straight shape (because of the “shape memory” of the foam) by running current through the steel yarn to soften the wax, but after two minutes of seeing that nothing had happened, I concluded that my current design was not reasonable. I also could not visibly see that the wax was melting as the steel was heating up. This is most likely because the foam is inherently thermally insulating, so it would take a significant time for the heat to spread to the outer surface of the composite. In future iterations, I need to scale the design so that the steel yarn is only slightly thinner than the foam strut to increase the surface area to volume ratio.

Afterthoughts

As it typically is with research, many of my tests and experiments presented here lead me to more unanswered questions and possibilities for improvements. However, I greatly appreciate how this project gave me an especially creative space for exploring materials; I found myself frequently coming up with more ideas for things to try (for instance, I did not initially plan on integrating heating elements into traditional textiles, but look at the awesome results I got!). In a way, this project got me really excited about my research because it helped me see how I can use my crafting interests and creativity to benefit my technical work; it’s always great to be reminded that these things are not always mutually exclusive! This last point is true for my experience throughout the New Textiles class; I felt like I was always doing things I would do for fun outside of my technical work rather than doing work for a class. I’m going to miss it!

« Previous: Return to Assignment 9 description Next: student work sample »

Course Info

Instructor
As Taught In
Spring 2010
Level
Learning Resource Types
Other Video
Image Gallery
Projects with Examples
Design Assignments with Examples