![]() ![]() Benedict Chapel.Classic Model Making Materials jump to 3:08 Produced during the 1990s and early 2000s, the models are of significant 20th-century buildings around the world, from Frank Lloyd Wright’s Samuel Freeman House to Peter Zumthor’s St. Now, the Arthur Ross Architecture Gallery has decided to pull some of these models out from obscurity and display them in a whole new light for the show Stagecraft: Models and Photos, which opened February 9th. The course tasked students with creating realistic representations of buildings “as a pedagogical exploration of the history of architectural tectonics”-and the models long spilled into the hallways of the architecture school before being hidden away in the archives. This article was originally published by Metropolis Magazine as " Kenneth Frampton on the Art & Artifice of Architectural Models."įor decades, students at Columbia University’s Graduate School of Architecture, Planning, & Preservation signed up for Kenneth Frampton’s legendary class, Studies in Tectonic Culture. And, physical models have even been key in some of the great advancements of the profession: In the 1990s, Frank Gehry's pioneering work in digital design involved tracing the forms of his digital models into CATIA software, whereas Frei Otto's models using soap films from the 1960s were key in his research into tensile structures. Peter Zumthor, for example, is known to prefer the tactility of models over other forms of representation, while early in his career Steven Holl gained recognition for his visionary "Bridge of Houses" proposal for the Highline in New York, presented through a series of provocative models. Models have even played decisive roles in the careers of many world-famous architects. Image © James Ewing, Courtesy Columbia GSAPPįor a lot of architects, models hold a special place in our hearts. Whereas a building can take years to construct and usually can't be drastically altered as it nears completion, a model provides architects with the immediacy and flexibility we crave as designers while also allowing us to feel like we're really making something-a feeling that digital modeling software can rarely provide. From over 300 entries, we've narrowed down our readers' submissions to just 21 of the most awe-inspiring examples, splitting them into 5 categories to reflect the incredible range of ways that people have made their models worth looking at.Ī model of Peter Zumthor's Saint Benedict Chapel, built for Kenneth Frampton's "Studies in Tectonic Culture" class at Columbia GSAPP and photographed by James Ewing for the exhibition "Stagecraft: Models and Photos". ![]() We received photographs of a wide variety of models, from sensible and meticulously constructed miniatures to jaw-dropping expressive outbursts. Perhaps this is why architects find models so fascinating they can be simultaneously admired as an object in themselves and as a vision of something greater.Įarlier this year, we asked our readers to send us images of their most impressive models, and the response clearly showed this fascination. On the other hand, they are miniature constructions in themselves, which can be appreciated for their craftsmanship and intricacy. On one hand, like drawings, models are a representation of something else-a building-that might exist already but in most cases is so far only hypothetical. In many ways, architectural models are strange objects. So if you are one of those architects who don't have the skills nor time, here are ways you can present your project as an immersive visual experience that translates its identity without resorting to 3D software. ![]() However, not all architects have the proper skills or the time to create such hyper-realistic environments, but with the exceptional quality of visuals being produced nowadays and the rising demand, it has become somewhat mandatory for every project to be presented as a realistic 3D render. The main purpose of a render is to help viewers visualize what the final result of the project will look like. Whether it is for presentation or construction purposes, architects need to translate their visions in a way that helps people who were not involved in the ideation process understand the space and the experiences that come with it. The immense world of rendering has allowed people to engage in virtually-built environments, exploring each space and experiencing what they might hear or feel as they walk by one room to another without being physically present in the project. If there is any word that describes what architectural renders look like nowadays, it would be: impressive. ![]() Image Courtesy of Sir John Soane's Museum Mariapia di Lecce (commended, Hybrid category): Reconstruct with drawing. ![]()
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