Designing with Models E-Book

Criss B. Mills

• Herausgeber: John Wiley & Sons
• Kategorie: Geisteswissenschaft
• Sprache: Englisch

Seitenzahl: 333

Veröffentlichungsjahr: 2011

Beschreibung

The newly updated guide to design process modeling techniques

Designing with Models, Third Edition is the revised, step-by-step guide to basic and advanced design process modeling. This comprehensive text explains the process from start to finish, and has been expanded to include up-to-date information on digital modeling programs and rapid prototyping processes. The impact of this new wave of 3D modeling technology is examined through interviews and numerous examples from renowned architects. Along with many new student projects, this new Third Edition features information on cutting-edge digital imaging equipment and design software, as well as many new process models from celebrated professional projects.

Architect Criss Mills acquaints architecture and design professionals with essential modeling terms, design processes, equipment, materials, and construction methods. Fully updated with nearly 200 new photos and twenty-six new projects from students and firms, Designing with Models, Third Edition walks readers through the basics of:

• Material and tool selection

• Construction techniques

• Determining scale

• Generating ideas

• Exploring design processes and alternatives

• Modifying design work directly on the model

• Developing design work through modeling scale

Offering increased emphasis on transitioning from hand craft to digital craft, this thorough Third Edition also provides easy-to-follow guidelines for modeling with advanced tools and materials, demonstrating how to:

• Master the modeling of curvilinear components with planar material and casting techniques

• Explore ideas with mixed media, such as wood, found objects, metal rods and screens, clay, and Plexiglas

• Work backwards from model information to produce 2D plan, section, and elevation drawings

• Record and communicate 3D design work

• Begin exploring the safe and effective use of power tools, such as belt sanders, table saws, drills, band saws, and welding equipment

Leseprobe

Contents

Cover

Title Page

Copyright

Acknowledgments

Foreword

Introduction

Model History

Chapter One: Model Types

Model Types

Chapter Two: Exploration

An Overview of Section Concepts

Scale

Ideas

Alternatives

Site Models

Manipulation

Development

Chapter Three: Project Development

Focusing

College Complex

Courthouse

Chapel Addition

BiblioTierra Library

Observatory

Piranesi’s Labyrinth Museum

Southern Culture Complex

Design/Build Project

Urban Museum/Plaza

Chapter Four: Project Development in Practice

Mack Scogin Merrill Elam Architects (Formerly Scogin Elam and Bray)

Callas, Shortridge Associates

Roto Architects Inc.

Enric Miralles and Benedetta Tagliabue (EMBT) Architects

3XN

BIG Bjarke Ingels Group

Henning Larsen Architects

Chapter Five: Rapid Prototyping

Computer Modeling

Digitizing

Rapid Prototyping

3D Printers

3D Printer Examples

Laser Cutting

CNC Milling—Computer Numerically Controlled Cutting

Chapter Six: Digital Practice

Morphosis

Mack Scogin Merrill Elam Architects

Eisenman Architects

Gehry Partners, LLP

Garofalo Architects

Antoine Predock

Coop Himmelb(l)au

Chapter Seven: Basic Assemblage

Cutting Materials

Attaching Parts

Fitting Components

Templating

Finishes

Site Work

Chapter Eight: Advanced Assemblage

Found Objects

Planar Forms

Planar Solids

Transparent Forms

Covering Frames

Interior Skeletal Frames

Transparent Plastic

Curvilinear Solids

Cut and Carved Forms

Cutting and Carving Wood

Building with Plaster and Anchoring Cement

Building with Plaster

Covering Styrofoam

Coating Chipboard

Molding with Plaster and Resins

Basic Casting

Casting Molds

Malleable Materials

Chapter Nine: Assemblage Case Studies

Case Study A: Residence

Case Study B: Sculpture Foundry

Case Study C: Office Building

Chapter Ten: Tools

Equipment

Materials

Appendix

Alternative Media

Transferring Model Data

Model Photography

Digital Media

Resources

Credits

Academic Architecture Programs

Design Professionals

Photography Credits

Index

This book is printed on acid-free paper.

Copyright © 2011 by John Wiley & Sons, Inc. All rights reserved

Published by John Wiley & Sons, Inc., Hoboken, New Jersey

Published simultaneously in Canada

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Library of Congress Cataloging-in-Publication Data:

Mills, Criss. Designing with models : a studio guide to architectural process models / Criss B. Mills. – 3rd ed. p. cm. Includes bibliographical references and index. ISBN 978-0-470-49885-9 (pbk. : alk. paper); ISBN 978-0-470-94739-5 (ebk); ISBN 978-0-470-94740-1 (ebk); ISBN 978-0-470-94741-8 (ebk); ISBN 978-0-470-95067-8 (ebk); ISBN 978-0-470-95080-7 (ebk)

1. Architectural models--Handbooks, manuals, etc. I. Title. NA2790.M5 2011 720.22′8–dc22 2010036844

Acknowledgments

Many of the examples in this book were submitted by students, professors, and architectural offices. Their examples have imparted far greater depth to the text, and I wish to express my full appreciation for their efforts. I would also like to thank Tonya Beach and Sara Baxter for their valuable contributions ith editing, support, and technical advice.

Foreword

This book is about using the architectural model as a tool for discovery. When used as an integral part of the design process, study models are capable of generating information in time comparable to drawing and offer one of the strongest exploration methods available. The strategies and techniques presented here provide a broad range of options. However, because this book is primarily concerned with the design process, elaborate presentation models are not stressed. Instead, work is explored with quick-sketch constructions and simple finish models that can be built with materials suitable for studio or in-house construction. Although most of the projects are approached from an architectural perspective, the techniques apply equally well to three-dimensional artwork and industrial design.

There are several reasons why models should be part of every design process. Perhaps the most important one is the understanding to be gained by seeing form in physical space. This physical presence allows the designer to interact directly with the model and obtain instant feedback. Another benefit inherent to physical models, as opposed to computer drawings, is the relationship they share with buildings by existing in the world of dynamic forces. While the correspondence is not an exact analog, physical models can be used to predict structural behavior. This role is traditional in the case of models made for wind tunnels and ship design. Finally, the communicative power of the physical model overcomes problems inherent in conveying three-dimensional computer drawings to a gathering of clients.

Introduction

In this third edition of the book, a stronger emphasis has been placed on the design process and the study model investigations that contribute to its development. To this end, a number of new examples from design firms and academic programs serve to further this emphasis. In concert with new work, the contents have also been ordered to reinforce the design bias by positioning technical topics as support material.

As many are aware, the use of rapid prototyping model techniques such as laser cutters and powder printers has grown exponentially over the past five years. In recognition of their proliferation, many new examples stemming from this type of production have also been added. However, this is not intended to change the original focus of the book, which takes the position that hand-built analog models still hold a valuable place in the design process.

For an illustration of how both investigative methods, analog and digital models, continue to be utilized in design practices to great advantage, one has only to look to design in Denmark or Spain. In these practices, the advantages of hand-built model production are exploited as always, but every opportunity to employ rapid prototyping is incorporated as well. This represents the best form of practice in which both old and new design methods are used based on how each can best contribute to the design exploration.

Model History

During Egyptian and Greco-Roman times, architectural models were made primarily as symbols. In the Middle Ages, with the advent of the cathedrals, masons would move through the countryside carrying models of their particular expertise such as arch building. During the Renaissance, models were used as a means to attract the support of patrons (as in the case of the Duomo in Florence, Italy). As architectural education became dominated by Beaux-Arts training, models became supplanted almost completely by drawing. Architecture was conceived in large part as elevation and plan studies, with three-dimensional media having little relevance. However, by the late 1800s, architects such as Antonio Gaudi began using models as a means to explore structural ideas and develop an architectural language. By the turn of the century, the seeds of modern architecture had begun to take root. With it came a perspective that looked at architecture as the experience of movement through space. Orthographic and perspective drawing were recognized to be limited exploration methods, giving rise to the model as a design tool. In the 1920s and 1930s, the Bauhaus and architects like Le Corbusier elevated the use of modeling to an integral component of architectural education and practice. During the 1950s, modernism embodied form by translating highly reductive designs into one or two simple platonic solids (cube, cylinder, etc). With this shift, beyond providing a means of apprehending scale and massing, the model’s role began to wane. As the hegemony of corporate modernism was fractured in the late 1970s, spatial exploration followed a number of new branches, and the model regained its position as a powerful tool for exploration. In the early 1990s, the model’s role was challenged by a shift in technology. At this point, it was suggested that computer-assisted design (CAD) and modeling programs could substitute digital simulations for all experiences.

While many of the advantages offered by digital media did prove to offer positive benefits, the condition of removal inherent to the virtual experience could not be easily overcome. In reaction to the problem of removal, Ben Damon, an architect with Morphosis (a pioneering office in rapid prototyping), responds to the idea of a completely digital modeling environment by stating: “… physical models will never go away.” He goes on to add that the immediacy and direct relationship offered by the physical model plays a vital role in design development. Similar sentiments are echoed by James Glymph with Frank Gehry and Partners, LLP. In regards to digital modeling, Mr. Glymph points out that “it would be a serious mistake to think it could replace models and drawing entirely.” With these realizations has come a resurgence of interest in traditional physical models and the introduction of rapid prototype models, aimed at reconnecting digital and physical design methods.

Chapter One

Model Types

Typical Model Types Employed in the Design Process

This chapter sets out the terminology for models as to their use in the development sequence and typology. The models are classified in a way that describes their common usage in architectural settings with examples of each.

Model Types

Models are referred to in a variety of ways, and terms may be used interchangeably in different settings. Although there is no standard, the definitions in the following lists are commonly used. All of the model types discussed (sketch, massing, development, etc.) are considered to be study models, including those used for formal presentations. As such, their purpose is to generate design ideas and serve as vehicles for refinement. They can range from quick, rough constructions to resolved models. Whatever state they are in, the term study model implies that they are always open to investigation and refinement.

Study models can be considered to belong to two different groups: primary models and secondary models. The primary set has to do with the level or stage of design evolution, and the secondary set refers to particular sections or aspects of the project under focus. A secondary model may be built as a primary model type, depending on the level of focus. For example, a model used to develop interior spaces would be thought of as an interior model but would also be a sketch model, development model, or presentation model, depending on its level of focus.

Primary Models

Primary models are abstract in concept and are employed to explore different stages of focus.

Sketch

Diagram

Concept

Massing

Solid/Void

Development

Presentation/Finish

Secondary Models

Secondary models are used to look at particular building or site components.

Site Contour

Site Context/Urban

Entourage/Site Foliage

Interior

Section

Façade

Framing/Structure

Detail/Connections

Sketch Models

Sketch models constitute the initial phase of study models. They are like three-dimensional drawing and sketching—a medium for speed and spontaneity.

Sketch models generally are not overly concerned with craft but with providing a quick way to visualize space. They are intended to be cut into and modified as exploration proceeds. These models may also be produced as a quick series to explore variations on a general design direction. Although many of the models shown throughout the book are produced as expressive explorations, sketch models are also valuable when built with greater precision and used to explore qualities of alignment, proportion, and spatial definition.