ARC 6989: Reflections in the Architectural Design Discuss the effect of models on the representation during the design process Tutor: Carolyn Butterworth Submit by: Yuxin Cao Registration number: 100202924 Architectural Design School of Architecture Page 1
According to Dunn (2010, p. 6) writing: The representation of creative ideas is of primary importance within any design-based discipline. Based on a series of models made by hand and digitally, this paper addresses the effect of models on the representation in the design process. 1 Introduction As an architectural student, with a background of design practice through learning and academic researches, I regularly apply the models on the representation during the design process. Also, in the work of architects and educators, models play an irreplaceable role. For instance, Reinhardt 1 (2008) pointed out, the model, in the design, is a generative engine that drives idea and concept through different forms of representation at key stages. The essay first explains why architects make models? and introduces materials and scales of making models. Then, representation as research is demonstrated by a series of models made by the Eco-town Studio project. 2 After that, application models in other famous studios are shown to deepen the 1 Dagmar Reinhardt is an architect and principal of reinhardt_jung, an architecture office run with partner Alexander Jung, based in Frankfurt am Main and Sydney (www.reinhardtjung.de). 2 The Author is working for the Eco-town Studio project with other ten group members. This project proposes one eco-settlement in a brown- and green-field area in Yorkshire. Page 2
reader s understanding. Finally, the essay summarizes models represented effect during the design process. 2 Why architects make models? 2.1 Why architects make models? The first recorded use of architectural models dates back to the fifth century BC, when Herodutus, in Book V, Terpsichore, makes reference to a model of a temple. (Dunn, 2010) Throughout history, different types of models have been used in terms of architectural design. Here comes a question: Why architects make models? Firstly, in the design process, models can be seen as epitomes which are very provocative and evoke easy understanding as a method of communication. (Dunn, 2010) Moreover, models is immediacy, they can represent ideas in a highly accessible manner. Therefore, those epitomes are often as significant as the actual building, because they are representations of the architect s thoughts: they are what produces the architecture. (Reinhardt, 2008) Based on these two reasons, models become increasingly significant in the design process. Before analysis the models in the studio project, materials and scales should be introduced. Page 3
2.2 Material In the context of materials, the physical models can use paper, cardboard, resin, wood, clay and cast materials, steel and other metal work. For the digital model, there are also some computational software programs such as CAD/CAM, Maya, Rhino, 3DStudioMax, supporting an acceleration of development and visualization. According to the academic recording, the selection of a suitable material from which to make a model is determined by three factors: the speed of production, the stage of design process and the intended purpose of function of the model. (Dunn, 2010, p. 28) However, by keeping an open-minded approach to materials, architectural ideas can be conceived, stimulated and represented in the unforeseen and innovative way. 2.3 Size and scale In an open remark of Christian Hubert s essay for the idea as model exhibition catalogue, he states that size and scale are not be confused. For physical models, they will always be built at different and much smaller scales than the real buildings. However, the different components of the model all have the same scale-relationship to each other. For models made by computational software, such as the 3D Max, although they always use the real data at 1:1 Page 4
scaled, they also have a smaller visible size. 3 Design models During the studio project, the design model process is structured into four phases. The first phase is analysis and idea definition. It is includes the site models and conceptual models, which followed by the second phase of conceptual development. It introduces the design development model, spatial model and experimental model in author s individual project. Thirdly, the structure model and components model will be explained in the detailed design phase and finally, it is the presentation model. 3.1 Phase one: analysis and idea definition 3.1.1 The site model At beginning of the design, site model was made, which represents urban or natural environment and shows the existing building, rivers, bridges in the original site 3. The site model is characterized by one of the highest levels of abstract. As shown in the figure 1, the model is at 1:2000 scaled and buildings are reduced to building blocks. In the figure 2, it is the existing bridge in the site which also the entrance of the site. The model is at a scale of 1:200. 3 The site situated outside of Wakefield, presents possibilities for developing a diverse and sustainable paradigm for new town building, incorporating existing natural features. Page 5
Figure 1 the1:2000 scaled cardboard model for the original site. Figure 2 the 1:200 scaled cardboard model for the existed bridge. 3.1.2 The conceptual model The conceptual model is a very useful communication, mediating as it does between the theoretical ideas in a head and the concrete facts of architecture. (Dunn, 2010, p. 94) Page 6
1) Conceptual model for eco-town project: The Lego model was used to make the town master-plan concept in a quick way. Group members used the different colors to show different buildings and roads. 4 Although it is a utopia idea for the eco-town master plan, the model shows a clear relationship between the roods and the buildings and different individual projects. The background is the CAD drawing at a scale of 1:1000. But, the logo model itself is a highly efficiency without precise sizes. Figure 3 1:1000 scaled lego model for the master-plan. 2) Conceptual model for the individual project 5 The concept of the primary school project is connection and communication. For one thing, in the primary school project, the spaces should be separated 4 Red means educational buildings while white instead of housing. Blue used for the industry building and yellow means the leisure space. Black and grey are instead of the main roads and green routs, respectively. 5 The author s individual project is a primary school design within an overall town strategy, informed by the knowledge co-created and gathered by the studio as a whole. Page 7
for children and the staff. However, how to connect and where need to be connected is the original concept. For another thing, communication is also significant in the educational space. Therefore, communicated style is another concept. In the figure 4, the four hand models represent the positive connection, negative connection, negative communication and positive communication. The four cardboard models represent these concepts in an architectural language. Figure 4 conceptual models 3.2 Phase two: conceptual development 3.2.1 The design development model The design process models are effectively three-dimensional sketches through which ideas are explored and tested but necessarily concluded. (Dunn, 2010) At this phase, the relationship between design development model and Page 8
presentation model begin to clear. However, these models represent a journey rather than a destination, as they explicitly illustrate the though, effort and time committed to investigating design ideas. As shown in the figure 5, these models are made by dough and grouped together to indicate the sequential development of design ideas. On the one hand, they reveal the design evolution of a project, on the other hand, they show the design methodology and learning. After that, a wood model at 1:200 scaled was made to preserve the development ideas. (Figure 6) Figure 5 the design development models Figure 6 the wood design development model at 1:200 scaled Page 9
3.2.2 The spatial model The spatial models focus on critical to a particular space or sequence of space. The 1:200 scaled spatial model was made after having the sketch plans. It is a clear representation to show the space and perspective. Although, it is a long time to get the final model, it is a good experience to thinking about the feeling when children and their teachers use the building. The motion of this model is to get a better and better designing. Figure 7 1:200 scaled wood spatial model 3.2.3 The experimental model In the classroom design 6, an experimental model was made to support the design ideas. Figure 9 illustrates the experiment process. There are a rain 6 Classrooms are the most important space in a primary school. Therefore, I focus on the classroom design after get the basic school plan and models. Page 10
water collection system and daylight reflection system in the classroom. On the rainy day, rain fall down from the roof into the classrooms. The rain water can be recycled and used for the toilets. On the sunny day, the day lighting can be reflected with the stained glass and get a colourful space. Figure 8 1:50 scaled classroom model Figure 9 the process of the experiments. Page 11
3.3 Phase three: detail model development 3.3.1 The structure model In this design phase, the classroom structure model was made by computational software which is shown in the figure 10. Compared with two-dimensional representations, the model allows me to understand how various components support each other and fit together in three-dimensions. Figure 10 the structure model with 1:1 scale, made by software 3.3.2 The components models The need to investigate a space or components in detail usually leads to these models being built at 1:20, 1:10 or 1:5 scales. For instance, the material connection model is shown in the figure 11, which has a scale of 1:20. Then, Page 12
figure 12 is a more detailed connection model at 1:5 scaled. These models are a deeper design after the structure model and represent the mode precise and detailed design research and learning. Figure 11 1:20 scale detail for the connection in the exterior wall (right) Figure 12 1:5 scale detail for the connection in the exterior wall (lift) 3.4 Phase four: verification and application 3.4.1 The presentation model The presentation model should be separated from the sketch model. It uses precise data, real material, environment, people and more perfect scale size. It shows a clear and coherent description of a design, and represents the building s own three-dimensional and formal terms. However, no matter how precise this type of model may be still provides critical distance by virtue of its scale and thereby maintains a degree of abstraction. Page 13
Based on models are shown in this part, Unwin s theory (2003, p. 97) can be certificated, Architecture is more to do with making frames than painting pictures; more a matter of providing an accompaniment to life than the dance of life itself. However, those models made in the studio work are limited and incomplete. For instance, the application of presentation model is not shown. In order to make up the limitation and deepen the reader s understanding. The application of models in famous projects and studios will be analysed in the following part. 4 Application models In this part, three types of models are introduced, they are descriptive models, explorative models and full-sized models. 4.1 Descriptive models A key characterized of descript model is that it usually signifies the end of a critical stage or the culmination of the design process. As Dunn pointed out Descriptive models typically make architecture coherent and easy to understand. (2010, p.153) For instance, these models may feature cladding panels or other structural components and details that arranged to clearly represent how the final building is intended to look. As shown in the figure 13 7, the model is the Ofis Architecture s competition design model. The spatial complexity is revealed in the transport surface of the model. However, such 7 Photo source: http://www.ofis-a.si/default.cfm?kat=0306&prodid=16 Page 14
descriptive models can have additional benefits and give an impression of how the finished building will look on site, which is illustrated in the figure 14 8. Figure 13 Ofis Architecture s competition design model Figure 14 final model on the site 4.2 explorative models The main purpose of the explorative model is to discover other realities by speculation. (Dunn, 2010) Figure 15 9 shows the explorative models used by UN Studio. It is a design for Ponte Parodi and originally conceived as a 8 Photo source: http://www.ofis-a.si/default.cfm?kat=0306&prodid=16 9 Photo source: http://www.unstudio.com/nl/unstudio/projects/ponte-parodi#img5 Page 15
three-dimensional plaza. It demonstrates how a model was used to represent this concept and develop its low-slung, undulating outlined. Once generated through initial models, the design is further refined and communicated through a series of explorative models from different models and got the final model in figure 16 10. Figure 15 explorative models used by UN Studio Figure 16 the final model 10 Photo source: http://www.unstudio.com/nl/unstudio/projects/ponte-parodi#img5 Page 16
4.3 full-scaled models These models were made to a scale of up to 1:1, in which case it would probably be more accurate to call them protoypes. In record by design through making, (2005) Professor Mark Burry organized the courses in 1:1 ideation-fabrication for senior students of architecture since 1990. Since commencing with full-scale project, he had found that students observe forcefully in working this way. In fact, full-scaled models might be represented and influenced in reverse, that is to say, considering built architecture in its fulfillments may work backwards to influence and stimulate the ideation. Figure 17 and 18 11 making the full-scaled models 11 Photo source: design through making (2005: 34) Page 17
5 Conclusion Base on analysing different types of models, making models is a process, which is from approximate to precise, from communicative to explorative, from diagram to detail. As a student, the developing model is more important and useful tool in the individual project. Because, highly detailed, carefully crafted models are to document design decisions already made rather than help evaluate ideas under consideration. Also, model is not an end product but an active component at phases of conceptualisation, experimentation and visualization in the creative design process. Finally, digital models are increasingly influencing the process of representing architecture. However, whether made digitally or by hand, representation of architecture is still benefit from the model making practice. Page 18
Bibliography DUNN, N., 2010. Architectural modelmaking. London: Laurence King. REINHARD, D., 2008. Representation as research: Design Model and Media Rotation. The Journal of Architecture, 13 (2), 185-201. UNMIN, S., 2003 Analysing Architecture. 2 nd ed. London: Routledge, Taylor & Francis Group. Ofis Arhitekti, 2003. Landmark towel. Available at: <URL: http://www.ofis-a.si/default.cfm?kat=0306&prodid=16> [Accessed 27 April 2011] UNStudio, 2001-2011. Ponte Parodi. Available at: <URL: http://www.unstudio.com/nl/unstudio/projects/ponte-parodi#img5> [Accessed 27 April 2011] BURRY, M., 2005 Homo faber. In: Sheil, B., ed., Design through making. Chichester : Wiley-Academy, 2005, pp. 30-37. Page 19