By Way of Model Making by Harry Edward Tate

Harry Edward Tate The Manchester School of Architecture Atelier Common Ground 2019 ‘By Way of Model Making’

My Practice Model making is a key tool that I have used throughout the course of my project this year. Design concepts have been modelled and tested to inform and guide my decisions. At times models may be experimental, iterative or simply a proof of concept. Scale: Collectively across my models I have worked through multiple scales. Choice of scale is relative to my current design work and what I want to communicate through the model. Early work, focussed on simple bold moves, operated at a smaller scale than the detailed final work that followed later. Materials: I have used a variety of materials throughout the year, working on the basis of speed to model, expense and representation. For instance woodwork is quick and cheap in the case of offcuts but does not best represent the materials of my project. In comparison plaster offers a good likeness to concrete but it can be a longer process. Craft: I prefer hand crafting techniques and enjoy the process of making. Many of my wooden models are hand cut, reductive from solid blocks. I feel like working in such a way furthers my understanding of model making and enhances the set of techniques available to me. Laser cutting is sometimes necessary for precision work, however combining this tool with silicone and plaster has allowed me to build and add an element of craft to a machine process. Use: I always construct models with a purpose, be it to test a space, a surface detail or illustrate a concept. Across my models I have favoured a style of making which includes removable pieces. By having multiple elements that slot together, models become increasingly tactile and fun to handle. They stop being something to observe and become something to interact with.

Contents 1:500

1:200

1:100

1:50

1:20

Identifying the Site

1:500 Site Model Plaster cast base and massing with removable jelutong insert. MDF and jelutong frame. This model explores the realm of Manchesterâ&#x20AC;&#x2122;s Northern Quarter. The insert provides a break in materiality to highlight the site and immediate context. Produced with Arran Sahota

Casting To avoid the expense of silicone for such a large model, a laser cut grey board negative was produced as a one time mould. This could then be scraped away and the resulting cast cleaned.

Massing The context massing was created using scrap and off cut wood, cut and finished by hand using the band saw, disc sander and files. Given the quantity, gel flex was used as a substitute for silicone so that the negative moulds could be remelted and used again. Hand cut grey board form work served to contain the moulds as they set.

Emerging Mass

1:500 Massing Models Produced from mahogany and jelutong off cuts. Hand cut and finished using the band saw, disc sander, bobbin sander, file and chisel. These models present the initial design moves. Collectively they explore ideas on mass, void, scale, extrusion, reduction and outline.

Twin

Tower

Rise

Barrel

Reverse

Pitched

Arch

Conflicted

Projected

Rounded

Step

Reduction

Wave

Scaled

Abstract

Selected Mass 4.

They have been produced as two part assemblies. The contrasting materials allow for greater emphasis on form and feature.

5. Tower

4. Abstract

3. Rise

The models have been tested in context through placement on the site model in order to establish the relationship with the surroundings.

2. Step

The above selection presents the key massing concepts to be carried forward. This includes ideas on geometry, scale and extrusion as a means of abstracting the traditional warehouse form.

1. Projected

1:500 Massing Models

Testing Voids

Sealing Membrane Frosted acrylic panels are introduced to create the sense of enclosure, a membrane, or rather a facade.

1:200 Concept Model Hand cut scrap mahogany using the band saw and disc sander. With laser cut frosted acrylic inserts. This model seeks to expand upon the ideas developed through 1:500 massing. Voids are introduced as a new habitable spatial element to begin to investigate the placement of key gallery spaces.

Constrained Body 1:200 Concept Model Hand cut mahogany massing using band saw and disc sander. Plaster cast base with MDF and jelutong. Fabric membrane with metal frame.

Under Tension This model continues to explore the idea of a membrane, this time with the application of tension. Fabric, utilised as a membrane, is supported by a frame which in turn creates tension. When the massing is placed within the fabric the two interact exploring the idea of a body under constraint.

Testing Space

1:50 Spatial Model

Hand cut mahogany.

Hand cut jelutong with frosted acrylic.

Occupying Space The two models present simple spatial studies, each individually focussed upon a key architectural element. One considers the arch as a means of mediating vertical space, the other looks to stairs with an integrated reception desk. Together they begin to suggest the formation of circulation. Whilst the programme remains vague, moments of occupation and a spatial experience are clearly present.

Applying Programme

1:200 Interior Massing Model Hand cut scrap wood with plaster cast and jelutong base. The model studies interior space through simple block massing represented using colour coded wood. A plaster cast element provides the foundations, ground level and building core as a base upon which the blocks can be arranged.

Building Up This model serves to explore initial division of internal space. Constructed as a series of blocks, the model is also interactive and can be quickly disassembled to show individual floors, as well as worked into with new blocks.

Refining Space 1:100 Spatial Model Stained plywood and acrylic, laser cut. With jelutong base.

Creating Space This model gives the opportunity to build upon the 1:200 internal massing model. The initial division of space was used as a base and refined. The change in scale was chosen to allow for greater detail and highlight these refinements. This in turn gives a more thorough exploration of the building and better communicates ideas on mass and void, circulation, occupation and spatial experience.

Space in Focus Through use of contrasting materiality between stained wood and acrylic, emphasis is placed upon key spaces within the building. These can be removed as single pieces for closer inspection and study. Steps, archways and columns all begin to improve and build the architectural language of the design. Together these spaces illustrate a sequence through the building, starting at basement level and finishing within the top gallery spaces.

Visualising Space

1:50 Spatial Model Hand cut jelutong, finished using band saw, disc sander, bobbin sander and file. Mixture of scrap wood, square section lengths and dowels.

Mass, Void, Light and Dark Through careful lighting and photography, the model was used to capture scenes from various key spaces. In doing so the spatial qualities and atmosphere could be tested as a proof of concept. The inclusion of figures and artefacts reveals the programme of the museum, whilst beginning to suggest scale and circulation.

Plotting a Journey

1:200 Circulation Model Stained, hand cut jelutong offcuts, with natural jelutong base. Acrylic rod insert.

Twisted Movement The model has been conceived of as a reductive internal massing through which a circulatory path is plotted. The circulation has been carefully considered as a twisting path that ties together space. Through the model this is expressed as a continuous line of acrylic, weaving in and out of space, looping back and forth.

Dressing the Exterior

1:50 Section and Facade Study Model Hand cut and finished jelutong and mahogany offcuts, wooden dowels, jelutong square sections, stained laser engraved plywood, with plaster cast tiling and floor slab. The model presents a section through the lower building, displaying the interaction with the ground level (mahogany), and thus the facade with the street. The initial concept explored here considers a band of contrasting material through use of tiling and brickwork (plaster cast and stained plywood).

1:500 Facade Concept Massing Model Hand cut and finished mahogany, inlaid with jelutong. The model further explores the idea of a contrasting band running across the facade, expressing the void space that corresponds inside.

Introducing Structure

1:100 Structural Model Laser cut acrylic and stained plywood, with jelutong base.

Different Solutions The structural approach sees the building divided into two. The lower, composed of varied arches, makes use of load bearing concrete, whilst the upper, featuring regular flat pwlanes, uses a steel frame. The model reflects this through the contrasting materials and the ability to split.

Refining Structure 1:100 Structural Model, Revised Laser cut acrylic and stained plywood, with jelutong base.

New Approach The model has been revised to reflect the structural changes. As demonstrated, the steel framework now sits directly on top of the concrete base, rather than surrounding and enclosing it.

Adapted Model This model uses the same lower acrylic portion of the previous model. It has been adapted through the creation of an extra outer layer which sits around it. This layer then acts as a â&#x20AC;&#x2DC;plinthâ&#x20AC;&#x2122; upon which the frame work sits.

Exploring Perforations

1:100 Site Model Laser cut MDF with stained jelutong. MDF provides a tonal base for the model, laser cut and etched to add detail. The roof lines were then added using hand cut jelutong, stained to add contrast and complement the scorch marks on the MDF. Produced with Arran Sahota

1:100 Facade Model in Context Laser cut MDF and cork panels, inserted into 1:100 structural model. This iteration looks at regular perforations through brickwork (cork). This is contrasted against weathered steel (spray painted MDF) and concrete (acrylic).

1:100 Facade Model in Context Laser cut MDF and cork panels, inserted into 1:100 structural model. Flipping the material placement of the brick and steel, the perforations now appear irregular. This concept reflects on steel as a sheet material with no limitations as opposed to the clear defined geometry of brickwork.

1:100 Facade Model in Context Laser cut cork panels, inserted into 1:100 structural model. The final test considers an all brick facade with an emphasis on texture and pattern. Brickwork appears as both a perforated wall and a textured wall with protruding bricks. The use of pattern creates subtle contrast within the same material.

In Detail

1:50 Facade Study Model Plaster cast, laser cut cork, MDF and frosted acrylic, styrene I-sections, with jelutong and mahogany base.

The Corner This model explores the developments of facade and structure in greater detail through more appropriate materials and a larger scale. The exposed steel beams rest on top of the concrete base. These elements are now captured using moulded I-section beams and a plaster cast. The larger scale also allows for a true sense of scale of the perforated brickwork. The model portrays only a section of the facade but this section was carefully chosen to include all major elements. These being the street surface, the lower concrete base with ground floor glazing, the upper facade with brick, steel and beams, as well as the corner junction.

Exploring the Interior

3. 4. 1.

2. 1:50 Interior Study Model Hand cut jelutong frame with cork and MDF inserts. This model was constructed in order to explore in more detail the qualities of material, light, occupation and space. The scale allows for an appropriate amount of detail and to capture interior shots. Paying particular attention to the top two gallery spaces and the stairs which connect them, the model photographs form perspectives that communicate this sequence of space. The exposed beams, transition from concrete and brick (cork and spray painted MDF) , artefact displays, volume and lighting are all highlighted.

Surface Texture 1:20 Materiality Study Models Plaster cast collages, with jelutong framing. This set of models collectively explore brickwork in more detail. By utilising silicone and plaster appropriate detail and texture can be achieved to demonstrate brick bonds. Ideas on pattern, relief, opening and surface detail are explored as a means of advancing facade and interior finishing.

Process of Assembly The models are composed of 16 unique pieces, deep etched and cut out using the precision of a laser cutter. Silicone gum was then used to make negative moulds for each of these pieces so that plaster replicas could be taken. With many reproductions of the same set of pieces, the plaster elements could then be arranged and collages into the desired forms and experiments. The pieces could then be glued and joined together. Although the pieces were designed to slot together some needed filing and cutting. A wooden framework was then used to mount the floor and wall surfaces and provide greater rigidity.

Refining the Facade 1:100 Facade Relief Sketch Models Laser cut MDF. Having established the style of windows for each bay across the facade, this model looks at applying relief. The model was designed as a single plate, carrying the window layout, which then slots into a number of facade relief options to test.

1:100 Facade Model Laser cut MDF and acrylic, tracing paper, with jelutong base. This model presents the final iteration of the facade, displaying resolved openings, distribution, pattern and surface relief. Placement on the site model allows for the creation of perspective views as well as contextual comparison.

Negotiating Scale Varied Scale Test Pieces Laser cut and engraved cork and MDF, plaster cast pieces. In preparation for final models, a series of test pieces were produced to aid development and deciding of scales. The primary issue was the continuity of materials. From the success of the previous 1:20 models, brick was best represented as plaster casts. With this in mind, capturing brickwork at smaller scales becomes difficult due to the fragility of pieces and increasingly finer detail.

1:20

1:200

1:50

1:100

Achieving Detail and Compromise. At 1:200 the large arch windows could be cast, if not slightly fragile. The main problem was capturing the perforated brick screen. As a compromise the brick screen is instead textured and indented with the pattern as opposed to be being cut through. Perforations could be achieved with laser cutting cork or wood, but this is the necessary compromise in order to keep materials constant. At 1:100 scale the arches could be detailed further with added relief and texture. However at this scale, indenting the perforated brick screen was not an option like in the 1:200 test. This dictated a jump in scale to 1:50 where perforations were successful.

1:200

On Site

1:200 Presentation Model Building: Laser cut plywood and frosted acrylic, with plaster cast base and panels. Context: Hand cut jelutong massing, laser cut plywood base with wooden square sections and veneer. The final presentation model showcases the entire building at a tactile scale, surrounded by the immediate context. The building features individual plaster cast panels inserted into a framework and then ultimately sat upon a plaster cast base. For closer observation, the building is removable from the site, whilst a portion of the site model slides away to allow for clean elevation views.

Casting the base. Form work made from hand cut wood scraps, lined with laser cut mount board. Layered board allowed for the recess of doors and windows.

Laser cut and etched panel designs form a master from which a silicone negative is taken.

Inserting the plaster cast panels into the wooden framework.

Testing wood stain and finishes for the context and framework.

A Key Space

1:50 Hanging Gallery Sectional Model Plaster cast panels, styrene I-sections, MDF, with Mahogany Base. To highlight the verticality of this key gallery space, this final presentation model was produced. The model is reductive in what it shows but this allows the emphasis to be placed on the textures, beam organisation and occupation.

Floor Surface Detail

Wall Surface Detail

Facade Fragment 1:20 Facade Study Model Plaster cast panels, steel frame, with acrylic and plywood inserts. This model presents a detailed look at the final facade. The large scale allows for finer detail, especially within the brickwork, and greater accuracy in representing materials.

The steel frame that supports the plaster cast is composed from scrap shelving rails. Hand cut, the â&#x20AC;&#x2DC;Câ&#x20AC;&#x2122; sections are double backed to form I-beams. Stained plywood and acrylic inserts provide the final finish.

Pouring the silicone negative moulds over laser cut wooden masters.