AiM Biennale Sessions Event: You Ask, They Answer! – June 28th

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Posted on June 9, 2025 by Workshop

We’re pleased to announce this upcoming panel event in association with the AiM launch exhibition at this years Venice Biennale. Panel members who have contributed to the AiM project will respond to your questions on the subject of physical modelmaking in architecture.

At a time when we’re bombarded with news of artificial intelligence as the future in all walks of life, what does the production of physical models have to offer students and architectural professionals?

To get insight into your thoughts on this and anything relating to modelmaking in practice we are putting your questions to our panel in a recorded event that will take place on Saturday June 25th at 15.00-17.00 at the Venice Biennale Arsenale.

The event is open to all so if you happen to be in Venice do drop by and get in touch for more information. If you can’t make it the event will be recorded and we’ll answer as many of the submitted questions as possible.

WE NEED YOUR QUESTIONS!

We’re inviting questions from anyone, students, academics, professionals or anyone else with an interest. Ask the panel their views and we’ll discuss your topics live whilst being recorded for release here on our blog at a later date.

>>>>>>>>>Click here to submit your questions for the panel now!<<<<<<<<<<<

Meet the panel:

Simina Ionescu, Architect at OMI Architects, Manchester

Simina Ionescu is a qualified architect with over 11 years’ experience in the industry. After graduating from Manchester School of Architecture, she worked at several award-winning practices across Manchester before joining OMI Architects. Her experience ranges from heritage and conservation projects to new-build developments across the community, residential and commercial sectors. She is a strong advocate for model making as part of the design process and has helped implement the introduction of in-house rapid prototyping at the past three practices she has worked at.

OMI is one of the leading design-led architecture practices in the Northwest of England. The team of architects are all based in a RIBA Award-winning conversion of a Victorian baths, where they have created a number of studios for the creative industries. They are a multi-award-winning RIBA Chartered Practice and a certified B Corp. The practice is known for a broad range of work across all sectors, many of which are within sensitive historic settings.

Outside of OMI, Simina is a guest lecturer on the MA Adaptive Reuse course at the Manchester School of Architecture and plays an active role in the architectural community as the Treasurer of the Manchester Society of Architects.

Joe Morris, Founding Director of Morris+Company, London & Copenhagen

Joe is the Founding Director of Morris+Company and spearheads the practice across its two studios in London (63 people) and Copenhagen (7 people). In a career spanning over 25 years of professional practice, which has achieved widespread international recognition, Joe has increasingly advocated a sense of urgency for fair and transparent practice, inclusivity and equality, through open dialogue and critical debate. He is increasingly vocal on environmental and social and governance issues and is the driving force behind MoCo’s ongoing journey to BCORP accreditation.

Models at MoCo are more than mere representations; they are an immersive, tactile medium for reflection, innovation, and abstraction. As Joe describes, they are simultaneously “reflection, experiment, innovation, representation, abstraction, communication, question, answer, success, and failure.” This multifaceted role imbues them with immense physical and conceptual value, a body of thought that embodies the cultural essence of MoCo’s practice.

Joe has rich experience of different types of clients, across both the public and private sectors and is accustomed to working at a range of scales. He has lectured on the work of the practice in many leading UK universities, as well as in Barcelona, Bilbao, Buenos Aires, Copenhagen, Hamburg, Liege and Romania.

Ecaterina Stefanescu, Other Peoples Dreams, Preston

Ecaterina Stefanescu is a Romanian artist, designer, researcher, and academic. She holds a Master’s in Architecture from TU Delft and is currently based in Preston, UK, where she teaches architecture at the Grenfell-Baines Institute of Architecture, University of Central Lancashire. Her artistic and research practice centres on modelmaking, live-build, and drawing as tools for exploration, investigation, and co-design.

Through what she calls ethnographic modelmaking, Ecaterina uses models to reveal what is often ‘unseen’ in the fields of design and architecture: everyday life as experienced by everyday people. Her approach is participatory, situated, and co-produced. Whether created with machines such as laser cutter or crafted by hand on site with participants from recycled materials, the model becomes a tool for representation, analysis, cultural expression, and community engagement. Ecaterina is also co-founder of Estudio ESSE, a design practice with work across Europe.

Other People’s Dreams is a live-action research studio based at the University of Lancashire. OPD utilises active participation and co-production with marginal communities in the north-west to conceive and create architectural and spatial interventions. These projects allow local people to test new possibilities, activities and infrastructures within the places that they live, work and play, leading to greater agency, autonomy and empowerment.

Peter Lee, Associate at HENN, Berlin

Peter Lee is an associate in the design studio at HENN, where he has worked for the past eight years across the Berlin, Beijing, and Munich offices. Starting his career as a model-making intern, he now leads teams on early phase work such as competitions and feasibility studies, with a focus on science and research projects, as well as experience in commercial, educational and cultural work.

HENN is a third-generation architecture studio with over 70 years of experience, with offices in Berlin, Munich, Beijing and Shanghai. HENN has completed more than 150 projects and counts 400 team members from more than 40 nations. As a general planner, HENN works on projects involving architecture, urbanism and master planning across all project stages.

A passionate advocate for model making, Peter is especially interested in the role of the physical model as a design tool, and how it can complement digital or computational methods of practice. His expertise ranges from creating rough sketch models to high-quality presentation pieces for competition submissions, clients, and press events.

Alongside his work at HENN, Peter is an external lecturer at Berlin International University of Applied Sciences, where he runs design modules as part of the undergraduate architecture programme.

>>>>>>>>>Click here to submit your questions for the panel now!<<<<<<<<<<<

Announcing AiM: The Architects Index of Modelmaking Exhibition Launch, Venice, May-November 2025

Posted on April 3, 2025 by Workshop

We’re very pleased to announce both our long-term index project and, to mark the occasion, an exhibition on its themes that will take place from May 10th – November 23rd at the European Cultural Centre throughout the 19th Venice Architecture Biennale.

What is AiM?

A global platform for architects, students & modelmakers. Celebrating process, experimentation and the craft of making in professional architectural practice.

The AiM Manifesto

Process over perfection
Show how its made
Learn by making
Celebrate the importance of the unknowns discovered through physical creativity
Shine a light on the often-overlooked value of making in architectural practice
Collaborate, connect and grow

Why AiM?

In a digital world, physical models exist merely as an object on screen. An image, video or digital copy. This overlooks an irreplaceable connection between the maker and the object and, the intrigue that follows for others. The experience of making can tell deeper, practical and questioning stories, reveal ideas and spark innovation.

We’re building a space that honours that craft.

Our Ambition

To build an open evolving index of global architectural modelmaking practice & professional practices. A living archive for experimentation, learning and leadership. A platform for students, Architects and Practicing Studios to see how and where they can make in practice.

All are welcome!

Join the index!

We’re looking for Architectural practitioners and offices. Share your models, Showcase your process. Join the conversation.

E-mail aim@the-aim.co.uk to get in touch and be added to our mailing list for updates. In the near future we will launch the full index site with links to complete our survey and allow the index contents to grow as more companies get on board. Follow us on Instagram @aimodelmaking for other updates.

The Exhibition

The AiM exhibition taking place at the European Cultural Centre’s Palazzo Bembo during the Venice Architecture Biennale 2025 will present a sample of the index through practice contributors. The work of 15 practices and professionals will be shown alongside video content at the ECC’s Time Space Existence exhibition.

The exhibition is free to attend and opens 6 Days a week (Closed Tuesdays) and runs from May 10th-November 23rd 2025.

The Event

We’ll be hosting a panel event over the weekend of 28/29th June at Biennale sessions and the ECC. MSA students will be able to join and secure free 3-day passes to access all Biennale sites.

More on this and how students can sign up to be announced very soon.

We look forward to building this resource up over the coming years with your help.

Thanks for everyone who has supported our efforts thus far. We hope to hear from you and see you in Venice in late June.

Scott & Team

MAKING SCALE Symposium Summary – Venice Biennale 2023

Posted on July 24, 2023 by Workshop

On June 29th we arrived at the Venice Biennale along with a group of MSA students, graduates and practicing professionals to present MAKING SCALE Symposium.

The event began with an introduction from Dr Matthew Wells about the longstanding presence of model making in the architectural field. Following on, Myself and Matt Ault presented our new research project aimed at creating a clearer path for architecture graduates wanting to make use of their model making skills in professional practice.

To help illustrate our points about the wide array of practice and making types our two guest speakers were brought together for an up to date insight into their work.

We began with Peter Lee, Associate at HENN, Berlin who gave a wide ranging explanation of the practice and the various ways model making in integrated and relates directly to his work. This was followed by a pre-recorded presentation by Takeshi Hayatsu, Director of Hayatsu Architects, London. Takeshi gave us an insight into how, as a child, making models influenced his interest in construction and design eventually leading to his work as an architect and the continued use of models as a means of thinking in his work.

Unfortunately due to unforeseen circumstances Takeshi was unable to join us on the day and conducted his presentation remotely. This didn’t detract for the fantastic content presented by both parties which gave two distinctively varied views on the application of modelmaking in architectural practice today.

The presentations were closed with a Q & A discussion where we were joined remotely by Takeshi. The full recoded event will be made available in the coming weeks here on our blog so please look out for that. In the meantime please see the short summary video below outlining the day in brief.

Thank you to all who supported and attended the event. We appreciate everyones participation and continued interest in this subject that drives us year on year here at B.15 and MSA.

B.15 and Collaborators

MAKING SCALE Symposium Final Update

Posted on June 26, 2023 by Workshop

Hi All,

We can now confirm MAKING SCALE symposium will take place at 11.30 on Thursday June 29th at the Central Pavilion of the Giardini della Biennale site. The event is free to anyone with a Biennale pass so feel free to join us if you are in the area.

For those of you who secured tickets through us you will be able to collect them from us at 10.15 near the Giardini Vaparetto stop A/B.

We look forward to seeing you there, Safe travels

B.15 & Collaborators

Announcing our guest speakers for MAKING SCALE Symposium

Posted on May 10, 2023 by Workshop

We’re thrilled to announce our speakers for MAKING SCALE: MODEL BUILDING CITY symposium taking place on June 29th at this years Venice Biennale.

Joining Scott Miller and Matt Ault from B.15 and MSA respectively will be Peter Lee, Associate at HENN Architects, Berlin and Takeshi Hayatsu, Founder of Hayatsu Architects, London.

The session will be chaired by Dr Matthew Wells, Lecturer in Architectural studies at MSA.

‘Bearing Rome Across The Alps’ – A Brief History of Cork Modelling and its Contemporary Potential

Posted on March 14, 2019 by Workshop

Fig 1. Modern Cork Model of the Temple of Castor and Pollux ©Dieter Cöllen

There is very little published about the nearly lost art of cork modelling aside from a few fairly recent articles and research papers. Before being attributed to architectural forms in the 18th Century, carving with cork was a tradition associated with nativity scenes in southern Italy (Gillespie, 2017). The idea of modelling this way most likely came from a combination of convenience; cork being a common, lightweight and versatile material for quick fabrication, as much as any creative individuals desire to replicate and simply enjoy the tactile craft of making with it.

The refinement of this unusual but captivating form of modelling occurred during a great period of artistic and cultural exploration in Europe. During what could be described as the original ‘gap year’, eighteenth century grand touring took young people across the continent via the most notable and artistically rich cities. This was something of an exclusive privilege that required a significant wealth and strong will of curiosity for the unfamiliar. Everyday living requirements meant a need to be flexible in tastes both for practical and dietary comforts. On every level of perception the experience was sure to be eye opening for anyone willing to embark on such a journey.

Experiencing a new destination for the first time as a modern traveller, you would think it common place to see an abundance of stalls and shops stacked with keepsakes, often mass produced junk that are rife in tourist spots. At the time of the grand tours, this shameless ‘cashing-in’ trade was fledgling if non existent. Despite this, amongst the increasing number of visitors, there was a great desire to somehow record experiences of travelling which led to traditional and art’s and craft based methods or recording being adopted. Visitors fascinated by the large scale architecture and ruins of ancient Rome took time to draw, paint and carve what they saw in order to take some momentos home. This collective practice brought back a new vision, a blueprint of how the classical world could inform a modern British design.

: Fig.2 Hand Filing a Column from Cork ©Dieter Cöllen

: Fig.3 Cork Model of the Roman circular Temple of Vesta at Tivoli, a classical ruin which is said to have influenced Soanes designs for the Bank of England © Sir John Soane Museum, London

: Fig.4 Cork Model of the Temple of Zeus or Apollo (the so-called Temple of Neptune or Poseidon), Paestum Attributed to Domenico Padiglione c.1820 © Sir John Soane Museum, London

As well as the grand tourists giving these crafts a go themselves there were some forward thinking artisan-entrepreneurs who began producing models to sell. According to Dieter Cöllen the originator of this method of making is commonly thought to have been Roman architect Agusto Rosa. Following his death came Antonio Chichi who produced probably the most famous cork models for sale to tourists in Italy (Cöllen, 2014). These miniature 3D sketches, copies of the classics in that moment, would then find their way back over the Alps towards Western Europe and beyond with many ending up in private collections to this day.

Cöllen, an artist and craftsman, has become the current go-to maker on the subject of cork modelling or ‘Phelloplastike’ – a work derived from the Greek word for cork. His works have gained attention around the world for their outstanding levels of accuracy and due to the specialist nature of the medium it is widely thought that his skills and experience are unparalleled in the field. Whilst these works are undoubtedly stunning pieces many have had the advantage of modern crafts tools which puts the skill behind the original 18th Century examples into perspective.

Fig 5. Richard Du Bourg Colosseum Model 1775 © Museums Victoria

Given the age of limited numbers of the surviving examples, careful conservation is essential to their preservation after many years in storage and a fluctuating relevance in society as they fell in and out of fashion. Conservator Sarah Babister states that cork models ‘were really popular at a certain time and were kept as tools to teach students. Then they fell out of fashion and a lot of them were disposed of.’ (Kate C. 2014).

This helps to explain why there are so few examples surviving on public display. There has however been a recent recognition of the value of cork models which has led to a more conscious conservation of these pieces with the excellent reinstatement of the Soane model room and a fantastic Colosseum at Australia’s Museum Victoria.

This original 18th century model (Fig.5) was produced by British modelmaker Richard Du Bourg and thankfully spared the ‘no longer in vogue’ fate of so many of his other works. Richard Gillespie at Museum Victoria has written on the subject that stemmed from his intrigue of the Colosseum model that had sat unused in the museum stores for some 20 years. Having researched and discovered several other examples of Cork Colosseum models in European collections Gillespie concludes that separately these models had varied purposes. This is reflective of the wider, multifaceted use of modelmaking in architecture in contemporary practice.

“The [various] Colosseum models […] differed in purpose, combining to different degrees antiquarian interest, archaeological research and documentation, evocation of classical architecture and history, courtly collections, public exhibition and education, commercial opportunity – and artistic endeavour, for the carving of cork into extraordinary classical structures and architecture had a technical and aesthetic appeal for the modellers and their audiences” (Gillespie, 2016)

: Fig 6. Cork Block and Sheet

: Fig 7. A cork sketch model by the author.

Using Cork Modelling Today

In current practice cork is still used on occasion by modelmakers but rarely as the sole building material as it was in the golden age of the grand tourist. Makers wanting to try their hand today can find cork in good art and craft stores in both thin sheet and block form. In sheet form it has proved popular and lends itself well to the 21st century workhorse of the workshop, the laser cutter. Over the last few years we have moved to encourage aspects of this classical method of making into some of our works here at B.15. Using files, scalpels and sandpaper it is easy and engaging to sculpt into pieces of cork often requiring the user to study the subject in greater detail than they might on passing, much like life drawing or sketching.

I recently ran a short workshop on sculpting in cork in association with the ‘What We Do Here’ film project at the European Cultural Centre in Venice during the 16th Architecture Biennale. The atelier symposium; ‘Joined Up Thinking’ presented different approaches to studying, recording and designing space. Students of MSA’s Platform Atelier were given blocks of cork with the task of recreating a detail chosen from their time exploring Venice. These sketch models allowed students to engage with the material, largely for the first time, and to think about their chosen subject in carefully considered stages due to the subtractive process.

Senior lecturer and head of Platform atelier Matt Ault explains the context of the task in his teaching:

“The ever increasing availability and access to computational power continues to expand our design capacity for conceptualising, developing, communicating and fabricating. The move towards digital craft and digital tectonics recognises the central role of materiality and materialisation in architectural design and allows the benefits of the digital to be informed by our own material understanding.

Active sketching techniques of drawing, modelling and making result in a deeper understanding of any idea under interrogation or critique.

Our recent use of the cork sketching technique in Venice is part of a design task that also comprises the complimentary techniques in modelling and fabrication: digitally exploring complex, fluid surface morphologies by defining associative geometries that can be manipulated on screen. Design iterations can be quickly and cheaply made physical through manufacturing and assembling from paper or card with the digital plotter-cutter. Testing, evaluation and understanding of the material sketch model and its construction logic feeds back into the digital modelling to evolve the design.”

(Ault, 2019)

: Fig 8. Cork sketch modelmaking ‘Grand Tour’ task with MSA Platform Atelier

: Fig 9. Cork sketch modelmaking ‘Grand Tour’ task with MSA Platform Atelier

: Fig 10. Sketch model blocks from the ‘Grand Tour’ task with MSA’s Platform Atelier

: Fig 11. A happy group following their cork making task in Venice

Despite its age as a modelling method, it was clear following this task that cork sculpting can still offer us a mode of thought that the most contemporary mediums often steer us away from. It provides a much needed tactility to students learning along with the opportunity to expand on unknown possibilities that result from “mistakes” made along the way. During the assignment the concentration in the room was palpable with everyone, tutors included absorbed in the task at hand whilst clearly enjoying the process.

The work produced, along with additional cork sketch models will be featured at the MSA end of year show presenting the cork sculpts as 3D sketches. I look forward to seeing more examples in the coming weeks.

Scott Miller 2019

References

Ault, M, 2019, Cork Task [E-Mail]

C. Kate, 2014. Cork Colosseum X-Ray [Online Article] Available From: http://museumvictoria.com.au/about/mv-blog/apr-2014/cork-colosseum-x-ray/ Accessed 01/12/2014

Coffin, S. D. 2014. Cork for More Than Wine, The Temple of Vesta, Tivoli [Online Article] http://www.cooperhewitt.org/2014/10/30/cork-for-more-than-wine-the-temple-of-vesta-tivoli/ Accessed 01/12/14

Collen, D. 2013. The Cork-Models [Online Article] Available from: http://www.coellen-cork.com/eng/antike/history.htmÂ Accessed 01/12/2014

Fouskaris, J. 2006. Studio I – Music Stroll Garden [Online Article] Available From: http://www.jonfouskaris.com/portfolio/music-garden.html Accessed 01/12/2014

Gillespie, R. 2016. Journal of the Classical Association of Victoria, New Series, Volume 29, From ‘Trash’ to Treasure: Museum Victoria’s Colosseum Model Available from: https://classicsvic.files.wordpress.com/2018/05/gillespie.pdf Accessed 26/11/2018

Gillespie, R. 2017. Journal of the History of Collections vol. 29 no. 2 pp. 251–269, Richard Du Bourg’s ‘Classical Exhibition’ Available From: https://academic.oup.com/jhc/article-abstract/29/2/251/2503305

Mass, M. 2014. Rare Model Craft: In The Beginning There was The Cork [Online Article] Available From: http://www.spiegel.de/karriere/berufsleben/kork-modelle-von-antiken-bauwerken-dieter-coellen-baut-miniaturen-a-983770.html Accessed 01/12/2014

Images

Fig. 1: Coellen, D. 2013 Tempel des Castor und Pollux [Online Image] Available from: http://www.spiegel.de/fotostrecke/dieter-coellen-baut-korkmodelle-von-antiken-bauwerken-fotostrecke-115570-8.html Accessed 01/12/2014

Fig. 2: Coellen, D. 2013 Natur pur (2) [Online Image] Available From: http://www.spiegel.de/fotostrecke/dieter-coellen-baut-korkmodelle-von-antiken-bauwerken-fotostrecke-115570-3 Accessed 01/12/2014

Fig 3. Sir John Soanes Museum, London, Model of the Roman circular Temple of Vesta at Tivoli, near Rome, by Giovanni Altieri [Online Image]Available From: http://collections.soane.org/object-mr2 Accessed 01/10/2018

Fig 4. Sir John Soanes Museum, London, Model of the Temple of Zeus or Apollo (the so-called Temple of Neptune or Poseidon), Paestum Attributed to Domenico Padiglione c.1820 [Online Image]Available From: http://collections.soane.org/object-mr25 Accessed 01/10/2018

Fig 5. Museums Victoria Collections, Melbourne Australia, Model – Colosseum, Richard Du Bourg, London 1775 [Online Image] Available From: https://collections.museumvictoria.com.au/items/715107 Accessed 27/11/2018

Fig 6. Miller S. 2015, Cork Block and Sheet [Original Image]

Fig 7. Miller S. 2015, A cork sketch model by the author. [Original Image]

Figs 8 – 11. Miller S. 2018 ‘Grand Tour’ cork modelling task in Venice in association with the ECC [Original Images]

WHAT WE DO HERE – Premiere and residency at TIME SPACE EXISTENCE during Venice Biennale 2018

Posted on July 30, 2018 by Workshop

On Friday, 29 June the Venice Biennale saw the premiere screening of WHAT WE DO HERE; a documentary film about the role our modelmaking workshop plays in student and staff learning and development. In the basement of Humanities Bridgeford Street you’ll find the B.15 Modelmaking workshop which has served our architecture department since 1970.

The long-established workshop introduces students at both undergraduate and postgraduate level to modelmaking as an important design tool.

Documentary film makers Kieran Hanson and Howard Walmsley set about recording the plethora of daily happenings in the workshop environment back in September last year. The aim was to explore modelmaking pedagogy for the many students and staff at Manchester School of Architecture which frequent the workshop space. MSA is a joint school across our university and Manchester Metropolitan University giving students the benefits of both campuses.

Screening at the prestigious Venice Biennale gave the film the perfect setting. Architecture practice Feilden Clegg Bradley Studios Simon Doody and award-winning furniture maker Hugh Miller presented before the screening which led to a constructive debate on the subject of making in design.

The film is now resident at the Time Space Existence exhibition space at the Palazzo Bembo on the famous Grand Canal. Entry is free, and it’s expected to attract many thousands of visitors across the summer up until the end of November 2018.

The completion and promotion of this film and its associated events would not have been possible without the University’s Investing in Success scheme which backed the project. The workshop team is currently planning a number of local screenings and UK events that will feature the film in the coming year.

A huge thank you to all who have contributed to this project in time, funding and above all morale support over the past academic year that has made it all possible. We’ll be announcing additional screening events in the coming months so keep a look our for those.

If you get a chance to visit Time Space Existence in Venice, tag @b15workshop #whatwedoheremsa on social media and enjoy!

Scott & Jim

UPDATE: With the conclusion of our associated events WHAT WE DO HERE is now available to watch online here. Thank you to everyone who has supported and engaged with the project!

Venice Biennale 2014

Posted on November 17, 2014 by Workshop

By now there have been hundreds of on-line reviews of the Venice Biennale which is this year focused around Architecture. The Venice Biennale is an annual event that showcases the creative arts from across the globe. Having been open since the start of June this year, the show is almost coming to its end having seen thousands of interested visitors of all backgrounds. My visit last week coincided with the 5th year study trip which basically allowed students free reign over the site and city.

My interest on the site is of course about the varied use of models. There was certainly no shortage of examples. Each international pavilion display addressed their own study of architectural fundamentals and the use of models played a regular and prominent role. As there were so many examples I will summarize my visit by including images of the examples on show and pay particular attention to contemporary methods of display which noticeably inspired many of the students I was with.

Finland – This pavilion was curated in a clear a concise way that explained the concepts in drawings, writing, models and the full size buildings on display outside of the main space. This method of display for the project was great and makes for easy understanding by any visitor. It’s probably worth taking note of this narrative when thinking about the display or presentation of your own projects.

The use of timber pieces accurately cut for the model (above) translated directly into the construction of the 1:1 construction (right).

Austria – Now as popular as they are amongst established architects I’ve never been a huge fan of the ‘White Model’. I’m not sure why but I suppose it feels like a stark and almost clinical representation of a form which in reality has much more texture and thought behind its finish. That said, I’ve made many of these for clients and of course pursue the whitest of white finish to meet their brief. The Austrian pavilion presented a bright white room dotted with white block models of every one of the worlds parliament buildings (above left and below). I thought it was fantastic and enticing as did so many other visitors who spent a substantial amount of time examining the many models on display. This was an interesting subject matter to study in model form due to the ‘god’ like decisions that come from each of these buildings across the globe. One of my favourite displays of the show.

Projection Models – There was a noticeable buzz around the use of projectors to animate aspects of otherwise static models from the students I was with. Whilst this is something we have looked into before there were several good examples used across the Biennale.

The Canadian pavilion made extensive use of the projection model with micro projectors mounted above white site models. Each model showed traffic flow trends and potential variants in the environment around the site. Anyone wanting to attempt a similar project should start by looking at the type of projector you want to use as they can be expensive and planning their set up in relation to the model is crucial.

The Italian pavilion made use of a similar projection set up but was across a master plan model showing city routes toward and around particular hubs of activity.

Also on display in the Italian Pavilion was a host of plaster cast models (right) each with a high level of finish and detail that guaranteed a closer inspection from anyone who walked into the room.

This alpine mountain range model (left) made using a CNC router worked fantastically when OS maps were projected on the the model from directly above. the contouring matched perfectly and appeared almost hologram like in front of the viewer.

Russia – In the Russian pavilion there was an interesting model on show that combined digital animation with a physical model. The basic walls and elevations of the model were built up out of plywood and overlaid on top of screens with animated environments of the proposed interior spaces (left).

Turkey – There was a fantastic presentation cross section model of a theatre which was finished in veneer and full lighting (below). As is usually the case with models of this size they invite you to almost get inside the building and view different perspectives as you choose. This model was one of the best in show in terms of attention to detail and finish quality.

Japan – This display reminded me of a studio workspace with samples from different stages of the design process on display all over the room. Amongst the items were plaster casts (left) and perhaps interesting for our second and third year students at the moment, 1:1 structural details such as this fantastic timber joint detail below.

The main ‘Fundamentals of Architecture’ display by Rem Koolhass contained a fantastic array of different design and building components split it to groups and stages of production. One of the rooms featured a wide range of concept models from spiral stair cases (right). These were produced in different materials and at varied levels of finish but all as intriguing to see as each other.

The Hungarian Pavilion featured a number of great drawings and subsequent sketch models (left). These were made from a variety of materials and almost 100% using traditional analogue methods – that means no laser cutting guys!

A huge part of the display in the French Pavilion looked at the tower block housing development called Cite De La Muette. The site was a modernist development that became synonymous with sadness after it was converted into a major internment camp for persecuted French Jews awaiting deportation during WW2.

The exhibition looked at the values and goals the development originally set out to achieve that were unfortunately very short lived. The center piece of the display was a white presentation model of the site with a romanticized film vision of modernist living projected behind (left).

Conceptual presentation model on display in the Costa Rican Pavilion (below)

I can’t say I’m a huge fan of the design but this Korean hotel model was finished to a high standard from beech veneer and timber (below). Very nice.

One of the 3d printed models from the Moroccan Pavilion display (below). A series of site models were displayed under spotlights in a sand filled dark room. Quite a strange experience to walk around.

Interestingly, despite its increasing prominence in people’s consciousness both professional and public, the use of 3D printing was thankfully kept to an appropriate level in most cases. I was particularly glad of this as the repeated use of this method of model production can become somewhat boring!

As well as the endless exploring of exhibitions across Venice the visiting students did manage to get a tutorial or two in and a presentation session of their proposed ideas.

The show was a fantastic display and I would encourage anyone to visit and see as much of it as possible next time around. The city is, without really needing to say, a fantastic inspiration and learning experience in itself.

Scott

Venice Plaster Detail Model, Becky Prince

Posted on January 31, 2014 by Workshop

Made using an MDF mold this detail model aimed to demonstrate the window detail Becky was focussing on at her site. The mold proved to be the most time consuming aspect of the model but turned out successfully. It is always worth spending longer on mold design to ensure a good cast.

The mold was made using MDF which can absorb moisture from the plaster mix and therefore needs to be well sealed before pouring. Becky used Vaselene to act as barrier and release agent for the cast.

The internal void was made by using blue foam to allow for contracting of the cast as it cured and then be removed. This too was well coated in Vaselene to aid removal.

Once cured the MDF was unscrewed and removed before cutting out the internal blue foam. Additional window details were added using initially laser cut and then modified components.

Venice Arsenale Site Model, Matt Arnold

Posted on January 28, 2014 by Workshop

Matt used stained Meranti hardwood to create the block massing on his model. The majority of the model was hand finished to a high standard with time being taken to sand the blocks a smooth finish. The water in the Arsenale basin is represented with a sheet of frosted acrylic.

The site itself covers the Venice Arsenale and focusses around a small site, as is often the case with Venice, in between a restrictively protected mass of existing historic buildings. Matt intends to use the model as a master to ‘drop in’ his site proposals as they develop with the final model being displayed in place at the end of year exhibition.

B.15 MODELMAKING WORKSHOP

Architectural Modelmaking, Design Development, Bespoke Design & Construction. Part of The University of Manchester (SEED School of Environment, Education and Development) Part of the Manchester School of Architecture

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