SYNTHETIC GASTRONOMY

FOR ALEXANDER
ALWAYS REMEMBERED, ALWAYS LOVED

It is amazing to see how far science and design has established roots in the field
of futuristic and scientific solutions. For example in the depths of North Eastern
India, one of the wettest places on earth. Those bridges are not built by human,
they are created by natural force.
The living bridges of Cherrapunji in India are made from the roots of the Ficus
elastica tree. This tree produces a series of secondary roots from higher up its
trunk and can comfortably perch atop huge boulders along the riverbanks, or
even in the middle of the rivers themselves.In order to make a rubber trees roots
grow in the right direction say, over a river the Khasis use betel nut trunks,
sliced down the middle and hollowed out, to create root-guidance systems. 1
One of the most influential architects who inspired me during the project is Rachel Armstrong. Her work uses all manners of media to engage audiences and
bring them into contact with the latest advances in science and their real potential
through the inventive applications of technology, to address some of the biggest
problems facing the world today. She designs solutions for the built and natural environment using advanced new technologies and smart chemistry. Rachel
Armstrong innovates and designs sustainable solutions for the built and natural
environment using advanced new technologies such as, Synthetic Biology the
rational engineering of living systems - and smart chemistry. 2
For me Nature is a powerful living system that can repair itself, save its life resources, change its structure, as being a self regenerative universal power.

1. http://www.nextnature.net/2009/08/living-root-bridges/
2. https://www.ted.com/speakers/rachel_armstrong

From my childhood I remember how my mum was growing a kombucha. It served

us as a refreshing lemonade in hot summer days.
Kombucha is a lightly effervescent fermented drink of sweetened black and/or
green tea that is used as a functional food. It is produced by fermenting the tea
using a symbiotic colony of bacteria and yeast.
Fashion designer and BioCouture founder Suzanne Lee used kombucha as a
material that can be used in future fashion, where she harnessed the labor of
microorganisms to grow clothing. Beyond cut, color and cloth, our style in 50
years will be driven by new materials from the corners of science. With biologists, engineers and materials scientists, she realized, she could create an entirely new strain of fashion. 3
I see nature and biological reaction in food. Artful preparation and display of the
molecular gastronomy inspired me to think about my next steps of the project.
One of the influential inspirations was a very artful and magic like food composition created by El Bulli, described as the most imaginative generator of haute
cuisine on the planet.4
After many experementations and research I understood that I would like to
create different approach of dining experience. Working on the concept of creating utensils I thought my aim is near to reach a final resolution of the my
vision. Until I have experienced a loss of a family member. The situation was
shocking and it arouse many questions in my head... Then I questioned myself
What if a DNA of a human, or a DNA of a food can be considered as a material.
What if a DNA from natural source can be combined with industrial material?
After this situation I acknowledged that all my visions and also fears, I must be
honest, found its starting point.
I came up with an idea of creating a restaraunt, where visitors can experience a
different type of dining process. Be part of the Nature and celebrate the new life
of the material of food.

3. TED http://ideas.ted.com/the-skirt-and-shoe-made-from-kombucha/
4. http://en.wikipedia.org/wiki/ElBulli

As the aim of this project is to create a different dining

experience, I thought about utensils and clothing of
the restaurant staff.
I visualise restaurant staff wearing body extensions,
so this delightful observation will make a performative
scenario while serving a food to visitors.
Utensils are inspired from the rotten fruit state. Its tacticles are interactive, where they come out of the plate
and create a different approach of food plating.
Best served with classics.

Inspired by artful composition of food plating

and the research, I decided to play in the kitchen.
Using plaster and ingredients like eggs, beetroot juice, food colouring and flour I was cooking miniature desert. Then I created various
compositions of real food and plaster, that was
treated as a pastry.

This experiment then led me to experiment with food

further. I imagined that food should be considered
as a material for architecture, not only as a building
material for human imune system. Placing different
types of food together, my aim was to achieve different genres of rot.

Each fruit and vegeable composition was placed in

plastic containers and left in the friendly environment for them to rot. The result came out delightful
from the perspective of the form and texture.
Taking micro pictures of the rot I found how beautiful
the world is inside! Those structural systems inspired
me to create an interior based on the shapes of different rotten fruits and vegetables.

Observing how the rot is shaping its own architectural composition, I encapsulated mini landscapes in
the resin. Surprisingly, rot just slightly changed the
colour, but the texture wasnt destroyed by the temperature of the resin.

Kivi rot incapsulated in resin.

Rotting period : 4 weeks

As I see the structure of the restaurant as a living creature, my decision

for the site is Tinside Lido swimming pool in Plymouth. In my opinion
both elements serve each other as a unified structure.
Tinside Pool is a rare example of an interwar seaside lido in a visually outstanding setting. It is listed Grade II, along with the Colonnade
above and the changing room block between the two. The pool itself is
the focus of a larger complex of bathing structures and enclosed pools
which are scatterer across the Foreshore, all of which fall within the
boundaries of a conservation area.

The different elements of the site have a fascinating, complex history,

and what this history shows is that there has never been a coherent,
considered design for these spaces, which is perhaps unusual. The Hoe
Foreshore landscape is of great interest. Its special qualities derive from
particular circumstances, first the topography which permitted opportunistic incursions along natural breaks in the limestone exposure. The
other motivation is historical. And so the spirit of this place is defined
by this subtle interplay of natural and man-made forms, all motivated
by the desire to bring people nearer the sea, whether it was simply to
bathe or watch bathers. The Foreshore breaks down into two natural
amphitheatres providing perfect viewing platforms.

Unfortunately, the Tinside pool is open only during the summer season. The rest of the year it is left alone and causes dramatic reaction of
the Plymouthians.
My aim is to construct a restaurant that would be open during all seasons. The building is repeating fluent forms of the site. Structure is
placed above the swimming pool, by this it allows to enjoy the view and
be the part of the history during the year.
On the right I show my process of thinking of the future form of the
architectural construction. The conceptual forms are influenced by the
spirit of the magnificent site and marine creatures.

Above :Architectural position from the birds eye view

Left : Site map

Architectural structure position on the site

Diagrams : Parasytic structure growth into the site

When the form was found I began to experiment

with the material and a poetic link with the site.
Undertaking programme manipulation I aimed
to communicate the floral shapes that grow and
form into unified piece.

Left : Initial architectural concept

Above : Conceptual materialistic and experiantial
visual

GALAGO

South elevation

3000 cm

East elevation

2000 cm

West elevation

1800 cm

Left : Building elevations

Above : Spike detailed drawing
Roof view from the observer perspective

5
10

4
8

6
3

2
1. Entrance foyer
2. WC
3. Staircase
4. Flower structure
5. Dining area
6. Lounge area
7. Bar area
8. Dining area
9. Kitchen
10. Dessert room

Cooks table

Cooks preparation table

Overhead pan racks

Overhead fume hood

Interior plays the significant role as it creates different angle of food

experience. I decided to separate the ceremony of eating. For example
when having a dessert, a guest is invited to travel into the specifically
designed room, which mainly serves for experiencing a sweet treat.
Spacious interior allows the eye to travel inside and outside the building. Dessert room is a semi transparent, raspberry coloured room with
tentacles. Those tentactles are illuminating, when the sun sets and the
space is enveloped in darker tones.
Kitchen area is sustained in oval form with mushroom like roof growing out of it. When cooks are preparing the food, roots of the mushroom structure is inflated with a smell of the food and its colour, by this
making roots to illuminate.

Furniture specification

Final visualisations and details of the interior. View to the main restaraunt area.
Left : Main dining area
Above: Dining zone detail

Final visualisations and details of the interior. View to the main restaraunt area.
Left : Main dining area. Sunset
Above: Main dining area. Daytime

Final visualisations and details of the interior. View to the floral structure that serves as a
second floor with additional dining zone.
Left: Floral structure zone in the daytime
Above : Illuminative floral structure in the dark hour

Final visualisations and details of the interior. View to the floral structure that serves as a
second floor with additional dining zone.
Left : Detailed view from the upper floor
Above : View in the oncoming sunset

Final visualisations and details of the interior. View to the floral structure that serves as a
second floor with additional dining zone.
Left : Detailed view from the first floor
Above : Detailed view

Spike structure

Constructional mesh

Flower structure

Kitchen
Lounge area
Bar area
Dessert rooms
Dining area

Design is about the betterment of our lives poetically,

aesthetically, experientially, sensorially and emotionally
Karim Rashid

SYNTHETIC GASTRONOMY
julia ekuse
spring 2015