Master’s research portfolio: Synthodermis

My thesis utilized procedural nodes (in Houdini) and multi material printing to generate a series of prosthetic appliances for use in film. This research analysed the ways in which the film industry already uses CGI and practical effects, as well as potential gaps that could be filled by the creation of Computer-Generated Objects.

This project focused on the concept of visual authenticity and how audiences can feel a disconnection from the narrative due to overuse of CGI and how practical elements and effects can create a strong sense of realism.

The tangible output of this thesis posed a challenge to how practical appliances can be manufactured using Stratasys 3D Polyjet printing and procedural design to generate a series of prosthesis called “Synthodermis”.

This series takes frames from an animated growth simulation of scales taking over an actor’s skin. This technique could allow directors to isolate key moments of the animation for actors to interact with, as well as the potential to be blended with digital compositing.

The resultant printed series seek to advances the capacity of creative prosthesis beyond what can be in the practical or digital realms in the hope that directors would use Synthodermis as a means to better tell their stories.

Photography by Ryan Greer

*Displayed as part of the master’s showcase “Influx” at Victoria University of Wellington, School of Design – Te Kura O Hoa Hoa

Chittenden-O’Leary. (2022). Synthodermis. Te Herenga Waka—Victoria University of Wellington.

We were asked to explore innovative ways to minimize the impact of waste streams that emerge within Te Puia and MACI.

We focused particularly on up-cycling plastic waste in ways that could be incorporated into the process of additive manufacture.

It is also considered “Tapu” to create a fire with the harakeke and burn it as it is deemed to be the burning of knowledge. There is to be no stepping or standing over the harakeke from women.  Women are also to avoid handling the harakeke during menstruation.

Ultimately, any “tapu” at NZMACI was raised when Te Puia opened to the public. This was to allow for a better sharing of Māori culture, where tourists are able to walk in, around and out of the area freely to gain a better understanding.

Te Puia has strong views on the topic of sustainability and makes the effort to be conscious of exactly what types of recyclable materials they are using, and where the materials will ultimately end up.

Experiments were undertaken to identify if the waste materials could be processed, formulated and extruded to produce filament that was suitable for 3D printing. From a cultural perspective, the project demonstrated potential for combining tikanga processes/materials and new technologies to create items relative to taonga.

Initial conceptualizations came from identifying and evaluating waste streams that had up-cycling potentials from visiting Te Puia. Concepts were kept broad and either took a modern approach or had a Maori influence. This was due to the range of opinions expressed by the people of Te Puia about the research project.

This research explored innovative ways of processing and up-cycling the collected materials of harakeke, pounamu and wood powder that came from the waste streams of Te Puia and NZMACI.

Experiments were undertaken to identify if the waste materials could be processed, formulated and extruded to produce filament that was suitable for 3D printing. From a cultural perspective, the project demonstrated potential for combining tikanga processes/materials and new technologies to create items relative to taonga.