The Process: Gasp 2.0 Model

SET UP 

To better understand the building in 3D I created a quick 3D model in Revit. This allowed me to ensure I choose the right scale that would fit within the 300x300 size restriction of the water jet cutter and work out the volume of resin needed (I wanted to get keep to the 1.5kg of resin, so I only needed to purchase one packet). Once the file was set up, I exported the contours to AutoCAD to set up the file for water jet cutter.

 Revit 3D model + Plan fitting within the 300x300 size restriction  

WATER JET CUTTING

To create a model that highlighted the design's intent to be a bold statement piece sitting on the landscape, I needed to create a strong base for it to sit. I decided to create the contours from cut porcelain tiles. To do this I needed to use a new machine in the MSIC maker space called a water jet cutter. 

Setting up the file is much like the laser cutter, so I had to set up the contour files in AutoCAD. Once the file was ready, it was a matter of placing the tile on the bed, ensuring there was enough filament in the machine and hitting go. 

NOTE: Due to the size of the wet jet cutter bed only being 300x300, this was the maximum size I could make my model. This could be a limitation, however seeing I was using resin I was happy to keep the model small in order to keep costs down. Having a smaller model also reduced the overall weight of the model (as it was already very heavy using tiles).

METAL WORK

Another key decision was to make the pavilion using metal work. This decision was not only made  in-keeping with the key design elements of the building, but also because it was a process that I have never done before and I wanted to broaden my skill set.

I managed to find 3mm thick metal in the scrap section of the workshop to use for the model. On paper I drew up the plan to use as a template to cut and bend the metal. I cut the metal on the bandsaw as it was too thick to cut on the guillotine. After it was cut, I filed the cut edges to smooth it out. 

Next was bending the metal to right angles. Two folds created the walls and ceiling of the pavilion, and one fold to the entry blade wall.

 Using the Panbrake to bend the metal 

I allowed slits in the stone for the metal to fit in seamlessly into the contours. However, the entry blade wall when bent to a right angle had a small radius. I allowed for this when cutting the stone, however I made the radius too large. In order to fix this, I altered the settings on the Panbrake to get a larger radius. Although this got close it still didn’t fit in perfectly with the slit allowed for in the stone, so I used the metal angle grinder to thin the metal so it would fit. This left the metal with a more uneven finish, however I thought this added to the character of the model and represented the building well.

Angle grinding to make metal fit within the water jet cut stone 

FORMWORK BOX

Next I created the formwork box so the resin could be poured. The box was made from scrap formwork ply from the workshop and built around the porcelain tiles, so it was an airtight box. Pieces were cut on the table saw, then using clamps the box was held together while it was screwed together. Each side of the formwork box was made slightly longer so it could be knocked out after the resin was set.

POURING THE RESIN

Before the resin was poured, I used Vaseline to lightly coat the inside of the box; this was done in order to help the box pull apart once set.

Ready to pour the resin, I set up a clean workspace ensuring that the model was sitting on a flat surface so the resin set flat. I first mixed some blue dye into a small amount of the Part A solution until I was happy with the colour. Then slowly I poured the Part B solution into the mix, ensuring that I didn’t get any bubbles whilst stirring. Then I slowly poured the solution into the model, until it was at the level I wanted, and left to set overnight.

Setting up a clean and even work surface 

After it set, I noticed there was some small cracks in the resin, so I decided to add small amounts of resin with a syringe to fix it up. The cracks most likely formed because the tiles were very cold when the first pour was done and when the resin sets it gets very hot, which could have caused them. To ensure this didn’t happen again while I added more resin to the model, I put the model in the oven for 2 hours at 70 degrees to warm it up before adding more resin. This effectively fixed the cracks and was set in the oven, so I could take the formwork box off that afternoon.

Fixing cracks in resin 

Setting resin in oven  

REMOVING THE FORMWORK BOX

Resin sticks to everything! Removing the formwork box proved to be difficult and some bits of timber stuck to the sides, which had to be picked off with a chisel. Slowly chipping away at the sides was a very lengthy process and gave it a rough edge that required sanding.

 At first, we thought the base of the box would have to remain on the model, however we decided to cut away at the base (by creating small slots) with a table saw and pulled it off in small sections. This worked very well and the base came off without a problem.

Then to sand. Because of the rough edges left behind on the sides of resin I had to spend a long time sanding them with a circular sander. Starting with a coarse sandpaper of 80, I slowly changed the coarseness until I got to 400 to create a nice smooth finish.

FINISHING TOUCHES

Last was to add the pavilion roof, walls and red window. This was glued on using a small amount of epoxy glue to the corners attaching to the stone, metal and acrylic.

        

WHAT WOULD I DO DIFFERENTLY 

1. Heat the model up in oven before I poured the resin to prevent cracks.

2. Spray mold release on the inside of the formwork box, so it would break away easier. 

3. Use silicon mold (I honestly would probably use the formwork box again due to it being a cheaper solution, although it would have been a lot easier to use a silicon mold when trying to remove the mold from the resin).

COST AND TIMING 
Overall Cost: $62 (the only thing I had to pay for was the resin; everything else was scraps from around the workshop). 

Overall Time: Approx 17 hours, not including time for resin to set (time was saved as I overestimated the time it took to cut, bend and file steel, as well as creating a timber base, as I believed it looked better without a base).