25 Jan:
[4]
Sanne: Raoul: Jan:
Sanne:
Jan: Sanne: Raoul: [4] The altar ‘Perfect commemorations’, designed and built by Sanne Reinaerts, is built at full scale so that people can grasp the expression of paraffine and the (im) perfection of its qualities. [5] The situation model of a preliminary design which express the local atmosphere and design proposal by its use of specific materials, made by Open Architecture Office , part of Jan Schevers Architect.
Jan: Jan: Raoul: Jan:
Models and Making
[5]
Jan: Raoul:
Well, that’s why we encourage the making of these models early in the semester, to show the impact of modelled spaces. The students can translate this into their final part of the project. To me personally, this translation is quite difficult. It’s hard to not loose this image created by the study models. This is where using models comes into play again: to provide an inspiration and guide for the design. Zumthor puts a lot of time and effort in constructing the setting of a building. This was a huge lesson I learned during my traineeship. The choices you make in constructing this landscape provide such a major atmosphere for the building. The design naturally comes from the model. Personally, I like this idea of time: maybe some models should take a lot of time, in order to understand the full potential, to study carefully. Other models should be made quickly; just tape some foam board together, break away some pieces. In fact, using the model like a sketch. During my internship at David Walker Architects, I noticed a similar method as Zumthor’s: an interest in the surroundings of a building. We made photographs of 1:50 models in order to see the impact of a façade regarding its neighbours. Trying to see how a façade would feel from another street and modify it accordingly. This in order to search for proportions which match the site. Hearing all of this, I feel there are a lot of different possibilities for models, each serving a different purpose. Visualizing this purpose by looking at the actual model, or, directing a view: using photographs and lighting Interestingly enough, when a model feels right, it often also results in really nice floorplans. My appreciation of the floorplan has grown because of making models. Just the floorplan? Well, yes, often you use the section as well, but making a floorplan together with a model is a strong combination. The strength of the floorplan is its ability to organize, keep things clear. It’s sort of an examinator I noticed the same thing in one of my office projects: after testing layouts for a family home in a model, I conjured up a floorplan which seemed really clear. The floorplan showed me the mess was gone. So they reveal the potential of one another: it gives you the means to check the logic, and keep it spatially interesting at the same time. By the way, I’ve got great news! Edwin Zwakman, a great artist, is probably going to give a lecture at our department of Architecture! That’s really nice! He has got this amazing book titled ‘Fake but Accurate’, which I think is a brilliant title, also within this discussion of the image a model can provide, whether it is Zwakman or Zumthor. Exactly this we have been researching with Productions and Parts, as the students are asked to recreate a building detail 1:1 which, now and then, lead to a hectic situation for the workshop staff.. These ‘fake’ models prove to be very challenging to make, to reflect one material with another is not as easy as it seems. This gives students way to very surprising insights with the students, as they need to make a design based on this model. Exactly why I want to attract more artists to this course, as they are often personally responsible for making their art. And this ‘making’ is often even part of the artistic process. >