RM IITH

Research Methodologies

Architectural Models in Design Process Maniyarasan R Guide: Dr.Deepak John Mathew Department of Design

Source: https://upload.wikimedia.org/wikipedia/commons/5/52/Pn-ushomirsky-1986-1.jpg

Introduction

Designers have ideas in mind to Design any-

4th Design Research Thinking Symposium at

thing. Before the ideas become a reality, the

Massachusetts Institute of technology (MIT) in

Design goes through a process of steps. For

1999. The theme of the discussion was ‘Design

example, the architect starts any project with

Representation’.

an idea. It leads to a concept which then becomes a sketch. The sketch is then developed

The design representation is an integral topic

into a physical model which is then finalized

to study and it has various different forms

and converted to set of scale drawings. These

which need to be addressed for better under-

drawings are detailed out to working drawings

standing of the design. Designing is different

and then executed on site. This process of rep-

from the rest of the profession in many different

resenting systematically the design ideas from

ways. It is a profession where creativity comes

intangible to tangible is known as a Design

into being. Each time there is a new idea of de-

process.

sign it’s perspective will always differ from one designer to the other. These ideas are required

There are various techniques of representation

to be communicated in any kind of form. One

which he practices depending on his skills,

of the major purposes for any kind of represen-

demand of the project and understanding level

tation is explaining an idea from one person to

of the user. The major reason for represent-

another or group of people.

ing drawings came into existence is the lack of understanding ability. To successfully steer

There are different kinds of design representa-

an idea on its journey from world of imagina-

tions. Design Representation plays a significant

tion to world of objects, a designer must keep focused on where the idea is going and make number of stop overs along the way.

role in the design process as a mode of conversation, communication and documentation.

Representation implants ideas, decisions and

knowledge through physical models, drawings “There can be no design activity without rep-

and perspective views. These primary

resentation. Ideas must be represented if they

representation media have been known and

need to be shared with others, even shared

used to conceive and represent architectural

with oneself! Different representation modes

space for centuries. It has always been a major

and strategies afford distinctive opportunities

tool for communication, conversation and

for reading or for transforming design ideas”.

documentation of the design.

In early days, from decorating wall to construct-

clients but at times they were also used to keep

ing their own house used to be done by the

in the tombs or the place where that client is

householders themselves. The clients used to

going to stay. Drawings were efficient and user

be majorly kings and the designers used to be

friendly representation tool for designing. Ideas

painters and artists. Physical models were the

were sketched or painted out for the approval

main tools in the design process, and primitive

of the client. Drawings mostly included plans,

illustrative drawings were used for representing

elevations, sections, orthographic projections,

some extra details and the imagined life style

etc. Design execution time got highly affected

in the building. After the Renaissance, ortho-

due to evolution of representation. The decision

graphic drawings have gained importance as

got faster and as a result, things started build-

design media, and perspectives were used for

ing up in no time.

representing imagined life style. Methods, role and importance of the representation tech-

Model allowed a designer to understand a

niques have been changing ever since with

design three dimensionally as well as tangibly.

time. From the days of cave painting, we have

Models communicate an idea in a very acces-

started designing buildings, using codes.

sible way showing the aspects of scale, form and material. Physical models allow an idea to

The ancient world’s drawing techniques were

be explored in greater depth, as certain ele-

not rational, easily perceivable and could not

ments of the project or their scale may not be

express the sense of reality; drawing tech-

understood until they are seen in the context

niques began to represent space in a more ra-

of a model form. Everyone realised the impor-

tional and realistic way, after the Renaissance.

tance of physical model making as it became

Today, orthographic drawing techniques and

very convenient for a designer to make a mod-

perspectives are common and conventional

el and get the approval from the client in that

methods of representation. Use of 3D physi-

time. Just one technique of representation can

cal models in architecture has always been as

work throughout the whole project. Models are

universal as the use of drawings. In fact, the

made at an initial stage of a design process.

models must be the oldest representation tech-

These are mostly study models to understand

nique known in architecture. In ancient Egypt

the space. They are generally made out of

and Greece, wooden and wax models were

any available materials around as they are not

used generally for representational purposes.

required to be finished.

These models were not necessarily made for

Model making is a skill, it will help them to understand the real mechanism of surfaces and load transferring, combination of materials, effect of shape and colours etc which are being treated as basic Architectural learning elements. A proportionate model can give them the idea about structural existence of the building in actual.

Model making enhances capacity of imagination, takes away fear of designing and makes any student bold to think better about design.

To minimize the arbitrariness of form in the built environment is to maximize its performance.

To maximize performance is to accomplish objectives in the most effective manner while minimizing the use of energy and materials resources. Architecture is an environment, which must satisfy man’s physical, economical and social needs and desires as well as his visual and spiritual requirements. The exploration of creativity in model making can be attained and achieved through his perception, motivation and ability in creating architectural space.

What role do physical Architectural models play in design process?

Design Researchers explain a Design Process

tion site is more interesting than the finished

in a few steps. Experienced researchers under-

building. It has something to do with the unfin-

stand issues that as a form of tacit knowledge.

ished or “open” qualities of the building still to

1. States the research problem, 2. Current

come. The same thing is true with the architec-

knowledge of the field, 3. Examines past ef-

tural model – the fact that the model represents

forts to examine or solve the problem, 4. De-

something that is still on its way, that it is still

scribes the methods and approach used to

open for changes, additions, modifications,

solve the problem, 5. Compares these with

substraction, and so forth means that there is

alternative methods, 6. Discusses problems

room for dreaming. This way the architectural

encountered in the research, and explains how

model allows for a continuous creative design

the researcher addresses these problems, 7.

proces – not only for us as architects but also

Explicitly offers a result that contributes to the

in our dialogue with the client. The model open

body of knowledge within the field and states

up doors to hidden architectural qualities, to

the implications for future research.

what is still not there.

Architectural modelmaking, an vital tool, in

Architect 2:

a Design process. It is required to establish

We consider physical models as important

the facts from the History and present design

tools throughout all design phases, ranging

environment. The attitude towards the idea of

from schematic design to very specific design

modelmaking was perceived in variety among

questions, even during the construction phase.

the designers. Besides ensuring the facts, this

Specially when switching from one scale to

research establishes the model-making as a

another, choosing an adequate degree of ab-

method and approach to be reckoned for.

straction helps focusing on the design’s main ambitions. By creating physical models we can

Architect 1:

better discover the many layers of an object

The scale model is like a (very) small construc-

and we can better understand the challenges

tion site. Very often we find that the construc-

of proper craftsmanship which in the end can

lead to results of high quality. This process can

a scale model during student life, makes us

only happen when the haptic perception gets

understand the fully, with three dimensional

stimulated.

spatial arrangement and get the implications of the scheme.

Architect 3: Models are extremely important for us. We use

In a model, all surfaces and planes must be

models in all design stages: urban mass-mod-

fully explained and integrated with one another

els, interior models, right up to 1:1 mockups

to form a cohesive entity. From a generator of

such as facade models. Sometimes the model

ideas or a communication tool to a miniature

works like a small building site. We enjoy the

utopia, the rich history of architectural models

physical reality of the texture, color and mate-

shows how they have developed with methods

rial.

and technologies.

The physical scale model is often cited as an

Architect 4:

important tool of communication for architec-

They have the role of sketches, that evolve in

ture students and practitioners alike.

time (and new trials) to more precise configurations. The dynamic act of constructing is al-

A model may be useful in explaining a com-

ways present in our thinking process.

plicated or unusual design to the building team, or as a focus for discussion between the

In an Architecture Design Process, Scale

design teams such as architects, engineers

models is the most effective and instant way

and town planners. Models are also used as

of completely communicating a concept, in

show pieces, for instance as a feature in the

spite of the advances in computerization. The

reception of a building, or as part of a museum

Architecture school, I studied used to empha-

exhibition such as scale replicas of historical

sis upon making Architectural Scaled mod-

buildings.

els, equal to the drawings we make. Building

History of Architecture in models

Models were a major tool of design generation, consolidation and as well as documentation or record in a design process of an Architectural Project.

We would look into the different qualitative aspects of the models, made through the History and their repercussions. The history and importance of architectural model and their role in Design Process of a project will be explored upon. It is vital to understand the need of models, and the inferences, a designer tend to gain from making those models. It is natural to go back in history of architecture, where the models were used as a Representation tool, and interestingly, as a convincing tool. In a way, Architectural Models were the point, where the projects got confirmed. One can talk about the Design decision, happening here.

Early Beginnings - Fire Clay Model

Many ancient civilisations created architectural models or maquettes, often not to investigate building techniques but rather to use as gifts or place in tombs. This unusual fired clay model was discovered in the Danube valley and is thought to have been created by a people ahead of their time both artistically and technologically.

Imitation - Invention Realisation & Construction of a Dome Creating a physical model was the only way

Brunelleschi’s dome is the largest masonry

Filippo Brunelleschi could easily guide his

dome ever built and it is the coverage of the

craftsmen in the construction of the dome for

Cathedral of Florence, Italy. Florentines began

Florence Cathedral - a model he deliberately

to build a glorious cathedral,without knowing

left incomplete to ensure his control over the

how to do. They made a model which they

dome as it was built.

kept in the half-built cathedral to show how the dome ought to be. If built, it would be the

Many models built for Florence Cathedral were

highest and widest vault raised. The dome

for this purpose of verification and control,

Brunelleschi designed and built still dominates

making sure that what was to be built had been

Florence today. The dome was to support it

tested beforehand. It was much later that the

with scaffolding in the open space that was

objectification of these models gave them a

42m wide. Brunelleschi decided to build with-

new form of beauty.

out scaffolding in such a way it supported itself

as it progressed. Today Brunelleschi’s Dome is

His design was for an octagonal lantern with

the tallest building in Florence, over 600 years

eight flying buttresses and eight arched win-

after it was built.

dows (now on display in the Museum of the Opera del Duomo).

“vast enough to cover the entire Tuscan population with its shadow,” Battista Alberti noted.

Brunelleschi’s Dome history began in 1419 - there was a competition to design a new dome to the Florence Cathedral. The two most important competitors were Lorenzo Ghiberti (famous for his work in Gates of Paradise” in the baptistry) and Filippo Brunelleschi.

Catenary Arches - Elements of reproduction

Gaudí’s catenary arch models are a unique example of evocative low-tech architectural problem solving. His funicular chain and leadshot bag experiments let gravity determine the form of a catenary arch — for Gaudí the ideal structural element — which could then be photographed and inverted to gain an understanding of the forces at work. These models would sometimes be as large as 1:10 which, once photographed and traced over, would form the entire basis for the rest of the design.

Ambition & Spirit of Iron & Steel ages Tatlin Towers The Monument to the Third International, known

pidou Centre all have a model, and in 2011 the

as Tatlin’s Tower, is one of the 20th century’s

Royal Academy built a 1:40 scale model. Each

most enduring unrealised projects. It was to

representations only has two source drawings

be a spiralling ode to modernity and revolu-

and Vladimir Tatlin’s models and notes to work

tion built in iron, steel and glass that would

from, making the construction process itself an

challenge the Eiffel Tower. Wrapped in this

attempt to capture the essence of the famous

steel spiral were geometric structures, each

side elevation.

one rotating at different speeds. Tatlin’s Tower serve as a reminder of the ambition and spirit of the age. Stockholm’s Museum of Modern Art, Moscow’s Tretyakov Gallery and the Pom-

Ambitious & Scale of Lutyen’s dream

One of the most sophisticated architectural

“In order to finance the building, the parish-

models ever made in Britain, Lutyens’ unbuilt

ioners were asked to donate any old gold or

design for Liverpool Cathedral would have

jewellery that would contribute to the cost of

swamped St Paul’s. Shown at the Royal Acad-

the building,” says Geraldine Judge, a church

emy in 1933 to wide acclaim, the model dem-

community worker in Liverpool. Work began in

onstrates in great detail the sheer ambition

1933 with the building of the crypt. That’s as

and scale of Lutyens’ design, of which only

far as it got. The cost was always prohibitive,

the crypts were ever constructed, and is now

but work halted with the outbreak of World War

displayed at the Museum of Liverpool. This is

II and as the conflict progressed Lutyens lost

not the only ambitious model Lutyens created;

enthusiasm. The grand project ran out of steam

while planning an extension to Castle Drogo a

after his death in January 1944.

full scale wooden mock-up was created, only to be blown away into the Devonshire countryside.

Sydney Opera House by Jørn Utzon, 1961

Despite being a competition winner, Jørn

fore prefabricated. This low-tech solution to

Utzon’s design for the Sydney Opera House

what appeared a complex structural problem

could originally not be built due to the roof

is reminiscent of Gaudí’s catenary arch experi-

forms being considered structurally unsound.

ments, and the power of even the simplest

To prove the proposal, Utzon created a simple

model to reinforce and even save a design

wooden model to demonstrate the solution to

proposal.

engineering the ‘shells’ that would form the roof from the surface of a sphere. This basic model was all that was needed to prove that the building’s segments could be calculated, and there-

Durbar Hall, Osmania University, Hyderabad

In a recent development towards restoring the

More narratives are expected from the project

Residency buildings from the 17-18th cen-

not just in terms of restoration perspective, but

tury, at the premises of Osmania University, a

in the design interventions as well.

scaled model of Durbar hall was exacavated.

It is being restored back to its original state, as it could have been. It is an interesting development in the restoration project. The model becomes a reference to original building itself.

Another tale is, the building becomes reference for the model as well.

References

> Amer Moustapha, (1988): ‘Architectural Representation and meaning: Towards a Theory of Interpretation’. > Understanding Architecture Through Drawing.

This second edition © 2008 Brian Edwards Architectural Thought: the design process and the expectant eye, Copyright © 2003, Michael Brawne. > Yash Rathod, (unknown): ‘Methods of Representation in Interior design practices- A inquiry into Design Process’ > https://www.fulltable.com/vts/a/artman/menuz.htm > http://architecture.org.nz/2014/11/01/architectsdraw-history/ > http://www.architectural-review.com/rethink/architects-do-it-with-models-the-history-of-architecturein-16-models/8658964.fullarticle > http://ngm.nationalgeographic.com/2014/02/ilduomo/mueller-text