We can define practice-based research as genuine exploration, which is preferred to have information using practice and the outcomes of that practice. The original conclusion and the contribution to the knowledge of the study can be shown by creative outcomes, which may include objects like images, music, designs, models, digital media, or other outcomes such as performances and exhibitions. The outcomes of the practice as reference are essential to give complete knowledge of the research’s significance and context ( Candy, 2006 ). Practice-based research can contribute to the design process by providing a way to explore and gain new knowledge through creative practice. Practice-based research is a systematic approach that involves making things part of the research process. This approach allows researchers to incorporate their creative practice, creative methods, and creative output into the research design and as part of the research output ( Gauntlett, 2021 ). By engaging in practice-based research, designers can explore new ideas, test new methods, and develop new approaches to design. Practice-based research can also help designers better understand recurring questions in projects that they need more time to delve into during the traditional design timeline. Through practice-based research, designers can advance their knowledge and designs, leading to better buildings and more innovative solutions ( Love, 2020 ).

I must choose a primary shape since I will use shape grammar as a generation method. Therefore, I chose a snowflake geometry. I assume these shapes are suitable for generating original forms by a generative design method. Snowflakes are hexagonal because water molecules stack together to form a hexagonal lattice when they freeze into individual ice crystals. The snowflake curve is a well-known mathematical curve used in shape grammars. Shape grammars are used to generate a new class of reversible figures, and they are given for some well-known mathematical curves, including the snowflake curve ( Gips, 1975 ). The snowflake curve is a fractal curve generated by repeatedly applying rules to a line segment. Therefore, choosing the snowflake as the initial shape for shape grammar may be due to its unique and intricate shape, which can be generated using a set of rules ( Gips, 1975 ). Under the favor of several scientific researchers, it is learned that all snowflakes have unique geometric shapes. Today, several geometric shapes are known as snowflakes, and as a semantic figure, those shapes are commonly used in designs to recall winter. In Figure 1, we can see some photographs of snowflakes ( Libbrecht, 1999 ).

Shape grammar is a generative design method with transformation rules carried out repeatedly to an initial form, generating new forms. George Stiny invents it.

We can define shape grammar as a generative design tool in which the drawings are generated by applying algorithm rules, allowing the exploration of new concepts and solutions ( Knight, 2000 ).

We can see examples of shape grammars as a foundation for art and architecture, such as Chinese lattice designs ( Stiny, 1977 ), window designs of Frank Lloyd Wright ( Rollo, 1995 ), traditional Turkish houses ( Cagdas, 1996 ), ornaments on ancient Greek potteries ( Knight, 1986 ) chair designs of Hepplewhite ( Knight, 1980 ). In Figure 2, we can see a shape grammar example whose rules are based on the rectangular geometries and the rotations ( Liew, 2004 ). In Figure 3, we can see generative designs whose initial shapes are Islamic figures.

3D printing, or additive manufacturing, creates three-dimensional objects from a digital file by adding material layer by layer. This technology has been around for over 30 years, but it has only gained popularity in the last ten years due to the rise of desktop 3D printers. 3D printing is a game-changing technology that has

the potential to revolutionize all industries, from manufacturing to healthcare. It allows for the creation complex shapes and geometries that would be otherwise impossible to construct by hand. There are many methods of 3D printing, and each has its strengths and weaknesses. The most common 3D printing process is fused deposition modeling (FDM), which uses a continuous filament of a thermoplastic material ( Placek, 2023 ). 3D printing is a versatile option for manufacturing, and it is being used in almost all industries, including consumer products, industrial products, dental products, prosthetics, and architectural scale models. 3D printers are a new kind of technology that is a popular subject in many disciplines, from health to architecture. It also has examples in fashion design and jewelry design. Figure 4 shows an example of a dress produced by 3D printers and designed with kinematics ( Nervous Systems, 2014 ).

In Figure 5, we can see the chosen geometry of snowflake.

As seen in Figure 6, the shape is formed with six branches, with eight branches of various lengths.

1) The end of the branches forms a hexagon.

2) The angle between the two main branches is 60˚.

3) The angle between the small branches is 10˚.

Before starting to repetitive design, the piece of the shape is decided. The four branches from the top were picked to repeat. It can be seen in Figure 6. It is chosen because it is seen as the smallest part of the snowflake character.

Every branch of the snowflake was named from A to F. It can also be seen in Figure 6. Every shape could only join with the shape that was 90˚ to the other. In Figure 7, this principle can be seen.

After the principles are decided, some experimental shapes are created with different rules. In Figure 8, we can see some 2D outcomes that are created, and in Figure 9 we can see the decided shape.

The shapes which are generated can be used for several design problems. In this study, I designed a necklace to use those geometries. As fashion objects, jewelry requires more aesthetic priorities than design details like durability and efficiency. However, accessory designers cannot avoid the ergonomic and material details of the jewelry ( Bayazit, 2009 ). The render of the designed necklace can be seen in Figure 10 in two different angles—the details of the necklace designed for the 3D printing production. First, a symmetric rule is chosen for the necklace in the decided shape. Because the necklace needs to stay in balance on the neck, the shape grammar rules can also give us a shape-like chain that is a suitable detail for a necklace design.

3D printer production technology allowed me to design the montage detail of the necklace before the production. Therefore, there is no need for any post-production montage after the 3D printing process. The pieces are connected naturally. You can see this detail in the picture below (Figure 11). All the 3d drawings for this necklace were done with the Rhinoceros program and rendered with the Vray program.

In the 3D printing production process, certain phases are followed. Even

though slight differences depend on the material, design, and the 3D printing machine, I will summarize the process as follows.

File Preparation: Once the 3D model is finalized, I prepare for 3D printing by converting the digital design into a format that the 3D printer can understand (STL (Standard Triangle Language) file).

Material Selection: Common materials for jewelry include various types of plastics (such as resin or PLA), metals (like silver or gold), or even ceramics. The material choice depends on budget, desired aesthetics, and functional requirements. In this project, I used PLA.

Slicing: The 3D model is sliced into thin horizontal layers using slicing software. This software generates the instructions the 3D printer needs to build the object layer by layer. The slicing parameters, such as layer height and print speed, are determined based on the chosen material and desired quality.

3D Printing: The sliced file is loaded into the 3D printer. The printer then deposits material layer by layer to build the physical object. The printing process can take varying amounts of time, depending on the complexity and size of the necklace. During this phase, support structures may be added to the design to help with overhangs and intricate details.

Post-Processing: Once the 3D printing is complete, the necklace is removed from the printer. The support structures that were added during printing were carefully removed.

To the detail below in Figure 12, the necklace can be produced by a 3D printer without any post-production. Every part of the necklace is joined each other like a chain. Because of the limits of the 3D printer (it can only print 200 mm long and 2 mm details), all parts of the necklace could not be produced. A small piece was produced in a 3D printer to test the joining detail. It can be seen in Figure 13 with the rapid prototyping machine used.