Announcing ‘Mecanoo B.15 Modelmaking Awards 2017’!

We are pleased to announce for the third year running, the Mecanoo B.15 Modelmaking awards!

This years’ awards are given for both practical outputs and personal intention that demonstrates a good understanding of why and how to use modelmaking effectively in design.
Judging will focus on each students’ overall approach to modelmaking in their design work and will be critical of its application within the context of the brief, chosen scales, materials and overall finished quality.

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Short-listing will occur in the weeks leading up to the MSA show opening  where final judging and awards will be presented by Mecanoo on June 9th. Anybody interested in being considered please make yourself known to us during your time at the workshop. 
 
Students from 3rd year BA (Hons) Architecture and in a change from previous years MArch years 1 + 2 are both eligible to make the short-list for one of six awards.

******* Open-house launch event Tuesday 14th February *******

*******Exclusive to MSA students*******

***This Event is Now Fully Booked***

To officially launch this years awards and allow students to find out more about the practice, Mecanoo will be hosting an open-house event at their Manchester Princess Street office taking place on Tuesday 14th February 17.30 – 19.30. MSA students are invited to drop in for a short introduction to Mecanoo from Architect Patrick Arends and Modelmaker Laurens Kistemaker. A good opportunity to network and find out more about this years award scheme from the people who judge it.

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‘Ask the Modelmaker’ Student Drop-In day Wednesday 15th February

Mecanoos in-house modelmaker Laurens Kistemaker will be coming to the workshop to see ongoing projects and offer advice to anyone. He will be around all day and happy to consult with you on your ongoing or upcoming work.

 

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We look forward to seeing some great work from everyone in the coming months.
Find out more about Mecanoo on their website: www.mecanoo.nl

Sculpting in Plaster – CiA student Sam Stone

This years ‘Continuity in Architecture’ field trip took the group to on of the oldest cities in Western Europe, Lisbon, the capital city of Portugal. Sam Stone has spent a good portion of his first semester studies experimenting in the workshop and describes his thought and working process for us.


Whilst visiting the city of Lisbon the notion of it’s craft is almost tangible, from the decorative wrought iron verandas to the tessellated azulejo tiles, the manual, hand made implications of making the city are evident throughout it.What impressed me most was the ostentatious display of skill in the stonemasonry work of the manueline architecture in an area of Lisbon named Belém. It intrigued me to understand the depth of knowledge and skill needed to create such profound displays of craftsmanship.

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My aim initially was to learn through making, as a direct response to my early research into the various crafts of Lisbon. I started with studies into the processes of stonemasonry (manueline style columns), mimicking the carving and chiseling of stone by using plaster as a more malleable material.Work started off tentatively and without prior experience of carving or sculpting I slowly tapped away at the block removing minimal material. After a while, confidence grew and I became more efficient, quicker and more clinical with my actions. Repetition meant a gradual understanding of the how the material breaks away, how hard to throw the hammer and which way to hold the chisel. What did take me six strikes, now took me one and material would come away precisely where intended, rather than too much or too little.

The resultant studies link back well to my interpretation of Lisbon as a crafted city, and I hope to transfer this knowledge into design/programme at a later stage.

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My first three outputs are studies into manueline style architectural elements in stone, each work advancing in difficulty, starting with a simple twisted flute column to a decorative rope knot. I gained a partial understanding of what it means to me to be a craftsman; having a true understanding of material, knowledge and economy of technique and most evidently, much practice and repetition.

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After gaining more confidence with the tools, the material and act of carving, I attempted to produce a concept model and 1:500 site model. I thought these early analytical studies and their method of production, along with site analysis could inform my approach to design later on.

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The concept model outlines my approach to design decisions on the site. The block is cast stone plaster with the landscape of the site ‘excavated’ by foam formwork. Protruding perspex rods under the lateral void describe the transient nature of the road that divides both sides of the site. A mahogany piece rests on the stepped landscape as an indicator of ‘place’ I wish to create in the void.

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The 1:500 site model was carved out topography from a casted block of pigmented plaster. The excavated, subtracted nature of the landscape suited this method of modelling. Faster methods could include using the CNC machine to mechanically remove material, or making an accurate mold. However, through manually carving away to reveal the site I grasped a deeper understanding of the varied topography and stepped character of the sloped landscape of the site. It also enabled me to interrogate the landscape closer.

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If I was to offer advice to anyone wanting to experiment with modelmaking in a similar way I’d say spend time to learn the particular craft or method, its great to learn a new skill and you could find out something unique about your abilities.

Don’t rush it, at times modelling requires close attention and care, mistakes can be difficult to amend (especially in painted plaster!). As always don’t hurry modelling, if you think the model making method could help inform your design decisions later, it’s worth being patient.

– Sam Stone Jan 2017

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It’s great that Sam decided to approach his studies in this ‘hands on’ way and especially that he took the time to really improve his understanding of the material. The commitment of time is always a big issue to working this way but in marrying his practical trial and error approach to making Sam has been able to balance other study commitments against the making craft he clearly enjoys.

– Scott

Belated Happy New Year! – A couple of updates

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  • At long last our flat-bed plotter is up and running in the new workspace at the back of the photographic studio. We are still learning the ropes ourselves but will shortly be listing basic drawing set up requirements on the CAD prep page so check back soon if you wish to use this machine.

Also worth noting that the machine will be used exclusively by first years on 23rd and 24th January as part of their papermetrics brief.

  • We’ll be making an announcement soon regarding this years end of year Modelmaking Awards so be sure to read up on that when we do.

That’s all for now. Much more soon!