手工建筑模型的意义

Emily Abruzzo

我的第一份工作是为彼得·艾森曼(Peter Eisenman)做手工模型,开始了模型制作的历程,这对于我们这一代的建筑师来说是一种共同的经历。 那个夏天结束时,我是一名出色的模型制作人,但是当我进入研究生院并花了更多时间在计算机建模上而不是实际制作时,我很快就抛弃了这些技能。 在接下来的几年中,模型制作在我的学习和工作中变得稀缺。

My first job, building models by hand for Peter Eisenman, began a trajectory with model making that is somewhat of a shared experience for architects of my generation. I was a crack model maker at the end of that summer, but quickly put aside these skills as I entered graduate school and spent more time computer modeling than making actual things. Over the course of the next few years, model making became scarce in my learning and work.

Model Making

然而,最近,模型制作经历了一种倒钟形曲线。 一旦成为设计过程中必不可少的一部分,它便迅速下降,因为计算机建模(尽管可以说是二维表示形式)已取代了物理模型。 但是,正如我们看到这种下降一样,我们已经看到了对制造的再投资。 尽管我们确实比以往更加依赖计算机,但这种逆转是通过使用数字制造技术将计算机创建的信息轻松转换为现实的结果。

Of late, however, model making has experienced a kind of reverse bell curve. Once a mandatory part of the design process, it saw a rapid decline as computer modeling—though arguably a two-dimensional form of representation—came to replace physical models. But as quickly as we saw this decline, we have seen a reinvestment in making. While we are indeed more reliant on the computer than ever, this reversal is a result of the increasing ease of translating information created with the computer to reality through the use of digital fabrication techniques.

Model Making

结构工程师塞西尔·巴尔蒙德(Cecil Balmond)谈到了在设计中使用直觉的想法,即在学习,看到,感受和尝试时,您会开发出一种内部共鸣板,以告知肠道反应。模型,尤其是当模型出现时从这个意义上讲,数字是一个有用的设计工具。尽管它们确实可以与听众交流,引发梦想,给予轰动并带来愉悦感,但他们也可以与设计师交流,如果他或她允许情感的话。

The structural engineer Cecil Balmond has spoken about using intuition in design—the idea that as you learn, see, feel, and try, you develop a kind of internal sounding board that informs that gut reaction. Models, especially when they come in greater numbers, are a useful design tool in that sense. While it is true that they can be very communicative to an audience—eliciting dreams, giving sensation, and engendering pleasure—they can speak volumes to the designer as well, if only he or she allows for the emotional.

在斯科特·希克斯(Scott Hicks)的纪录片《玻璃:十二部分的菲利普肖像》(2007)中,菲利普·格拉斯(Philip Glass)谈到了写作和听交响曲之间的区别。在写作中,必须想象整个乐团在演奏时会发出怎样的声音,因此即使对于像格拉斯这样有经验的作曲家来说,现场表演也总是在揭示出意想不到的东西。在建筑中,尤其是在采用现代技术的情况下,我们有机会像以往那样测试我们的构图,训练我们的耳朵。 11在使用典型的绘图或计算机建模时,您的大脑必须插补对形成,空间和做出设计唱歌的精打细算至关重要的第三维。但是通过快速的原型制作,我们有能力制作实际的材料对象,甚至可以达到完整的比例,接近设计师相当于整个乐团的水平。就像现场演奏的交响曲一样,该模型作为三个维度上的实际对象,变成了一种可以听,感知或看到的独立自主的事物。无需发明丢失的乐团或维度的工作,大脑就可以观察,分析和投射。我看到了什么,它成功了,也许最重要的是,它给我的感觉如何?

In Scott Hicks’s documentary Glass: A Portrait of Philip in Twelve Parts (2007), Philip Glass speaks about the difference between writing and hearing his symphonies. In writing, one must imagine how an entire orchestra will sound when playing the piece, and so the live performance is always revealing of something unexpected, even for an experienced composer like Glass. In architecture, especially given contemporary technologies, we have the opportunity to test our compositions, to train our ear, as it were. 11 With typical drawing or computer modeling, your brain must interpolate that third dimension so critical to form, space, and the je ne sais quoi that makes design sing. But with rapid prototyping, we have the ability to make actual material objects, to full scale even, that approach the designer’s equivalent of the full orchestra. Like the symphony played live, the model, as an actual object in three dimensions, becomes an autonomous thing that one can hear, feel, or see for what it is. Freed from the work of having to invent a missing orchestra, or dimension, the brain is allowed to observe, analyze, and project. What do I see, is it successful, and, perhaps most importantly, how does it make me feel?

Model Making
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