View allAll Photos Tagged architecturalmodel
The stuff that keeps me away from flickr..!
..architecture studies ;)
This might become a case of tl;dr, but if so, don't ask me what it is ;)
Normally when we do photography, we "find" our subjects. Or they are "given", or presented to us. Not so often do we create them. Photographing architects are among those who have that rare pleasure.. But even then the subjects are usually made for an entirely different purpose and the photos are just representations of them. In the previous semester in my architecture studies, I had the rare pleasure of exploring photography as a tool in itself. to -not take- but actually create photographs that was just that -images. This was done in combination with physical models in cardboard, plastic and similar. Sometimes the model served the photo, other times the opposite.
The course I participated in was called Studio B3, a highly abstract, experimental, pedagogic and philosophic course. The main aim is for the students to explore their own creative process -to discover where the ideas come from and how to develop them. To kickstart this they usually have a main theme; in later years a series called "The New Collective"; a search for a new relationship between architecture, nature and culture, through one specific subject -this time; Garden, previously; network, market, scene, dwelling, workplace etc..
So what are these images? They are photos from some of the 15 physical models I made only for the sake of translating the vague images in my head into a format I could communicate. Some of the photos are just representations of the models, but which I enjoy as photos nonetheless. Most of them however, are as close as I could come to the images that intuitively emerged from my imagination when discussing "garden" in a wider sense.
1/12th scale sculpture of Aoki's Shave Ice located in Haleiwa, Oahu, HI. 24" x 21.5" x 8". Business closed in November of 2013 due to area redevelopment. Building torn down in November 2014. So sad to lose such a great, and beloved, "Mom and Pop" storefront.
If you would like to see more of my work, please follow these links...
www.nytimes.com/interactive/2013/09/29/nyregion/album-sto...
abclocal.go.com/kabc/story?section=news/local/los_angeles...
www.theatlanticcities.com/arts-and-lifestyle/2013/09/secr...
vanishingnewyork.blogspot.com/2013/09/new-work-from-randy...
ny.curbed.com/archives/2013/09/10/its_a_small_world.php
gothamist.com/2013/09/10/photos_amazing_miniaturized_nyc_...
N scale. 4 feet long. Finished Background structure with unfinished original Machine Shop Structure in foreground. Based on Machine Shop #2 Structure at Bethlehem Home plant.
Students in the Structural Systems class working in Rand Hall and the Structural Systems exhibition in the John Hartell Gallery.
Architects; David Chipperfield Architects, 2007-2013.
New Entrance Building - James Simon Gallery. Museum Island, Berlin
Bolsover Street Government Office Building (Block E, 1950-55)
The building was constructed with a curtain wall of metal framed glazing with stone spandrel panels divided by regularly spaced vertical concrete aggregate fins framed by brickwork to the main street frontage. The aggregate fins were designed to have horizontal metal sunhoods which were not installed.
Satisfactory progress on the work was reported in the period 1951-53. It was anticipated that the buildings would be in partial occupation from the beginning of 1954, and the entire project completed by the middle of 1954. The Department of Public Works reports in its Annual Report 1955, that early in the year the new block of offices in Rockhampton was completed and relieved the accommodation problem in the city.
When completed, the building was much admired by the architectural student community, providing a local example of the architectural aesthetic promoted by journals such as the Architectural Review. The building was one of the first substantial public buildings built by the Department after the Second World War and demonstrated a radical change in design philosophy.
Description source:
View the original image at Queensland State Archives:
From Wikipedia:
The best known permanent exhibition at the Queens Museum is the Panorama of the City of New York which was commissioned by Robert Moses for the 1964 World’s Fair. A celebration of the City’s municipal infrastructure, this 9,335-square-foot (867.2 m2) architectural model includes every single building constructed before 1992 in all five boroughs; that is a total of 895,000 individual structures. The Panorama was built by a team of 100 people working for the architectural model makers Raymond Lester Associates in the three years before the opening of the 1964 World’s Fair. The Panorama was one of the most successful attractions at the ’64 Fair with a daily average of 1,400 people taking advantage of its 9 minute simulated helicopter ride around the City. After the Fair the Panorama remained open to the public and until 1970 all of the changes in the City were accurately recreated in the model by Lester’s team. After 1970 very few changes were made until 1992, when again Lester Associates was hired to update the model to coincide with the re-opening of the museum. The model makers changed over 60,000 structures to bring it up-to-date.
In March 2009 the museum announced the intention to update the panorama on an ongoing basis. To raise funds and draw public attention the museum will allow individuals to and developers to have accurate models made of buildings newer than the 1992 update created and added in exchange for a donation. Accurate models of smaller apartment buildings and private homes, now represented by generic models, can also be added. The twin towers of the World Trade Center will be replaced when the new buildings are created, the museum has chosen to allow them to remain until construction is complete rather than representing an empty hole. The first new buildings to be added was the new Citi Field stadium of the New York Mets. The model of the old Shea Stadium will continue to be displayed elsewhere in the museum.
Internal view from the slot opening of Alvar Aalto's box model for single family house* (see the box models at pic "Party or Four" below).
*Note: Alvar Aalto designed nearly 100 single family houses. He always lamented that due to economic reasons, the architect doesn't have the opportunity to experiment in the same way as other artists like composer or paiter. For an architect, experimentation becomes too expensive for the crystallisation of architecture involves actual construction. It is only in that way architecture can flourish and its quality improved for the good of the "little man"
( More pics by lincolnose at www.flickr.com/photos/lincolnose )
Lots of tweezer work. Early all basswood scratch-built HO Scale "Bates Motel" from 1982.
The posts taper narrower in the middle (layered & squared off but they suggest a round turning). The wagon wheel spindles were hand filed, vertical spindles each installed separately (about .020 tall), the lattice work are individual strips (last bay on the right several of them busted away to scale on purpose).
I had no profile information at the time to know there is a small ledge just under the 3 great windows in the tower & it pushes the porch roof forward slightly.
Architects; David Chipperfield Architects, 2007-2013. New Entrance Building.
Other photos of this project and models in Chipperfield set here.
Interestingly in his lecture at RIBA he talked in some detail about one of his earlier proposals in a glass cube as a contrasting element. There was a significant reaction from the public against this, but at the same time Chipperfield re-thought the solution in response to the context and existing 'grain'. Lot of people still feel uncomfortable about memories this evokes of pre-war architecture Berlin was known for, but I feel it is the right and a brave solution for this site.
Detailed artistic architectural replica -diorama created by Gamla Model Makers for collectors and military miniature enthusiasts.
More models and photos at www.lifeinscale.net
May 12, 2019 - Frank Lloyd Wright Home and Studio located at 951 Chicago Ave., Oak Park, IL.
"In 1889 Wright completed the construction of a small two-story residence in Oak Park on the Western edges of Chicago. The building was the first over which Wright exerted complete artistic control. Designed as a home for his family, the Oak Park residence was a site of experimentation for the young architect during the twenty-year period he lived there. Wright revised the design of the building multiple times, continually refining ideas that would shape his work for decades to come.
The semi-rural village of Oak Park, where Wright built his home, offered a retreat from the hurried pace of city life. Named “Saint’s Rest” for its abundance of churches, Oak Park was originally settled in the 1830s by pioneering East Coast families. In its early years farming was the principal business of the village, however its proximity to Chicago soon attracted professional men and their families. Along its unpaved dirt streets sheltered by mature oaks and elms, prosperous families erected elaborate homes. Beyond the borders of the village farmland and open prairie stretched as far as the eye could see.
The Oak Park Home was the product of the nineteenth century culture from which Wright emerged. For its design, Wright drew upon many inspirational sources prevalent in the waning years of the nineteenth century. From his family background in Unitarianism Wright absorbed the ideas of the Transcendentalists, Ralph Waldo Emerson and Henry David Thoreau, who encouraged an honest life inspired by nature. The English Arts and Crafts movement, which promoted craftsmanship, simplicity and integrity in art, architecture and design, provided a powerful impetus to Wright’s principles. The household art movement, a distinct movement in middle-class home decoration, informed Wright’s earliest interiors. It aimed, as the name implies, to bring art into the home, and was primarily disseminated through books and articles written by tastemakers who believed that the home interior could exert moral influences upon its inhabitants. These various sources were tempered by the lessons and practices Wright learned under his mentors, Joseph Lyman Silsbee and Louis Sullivan.
For the exterior of his home, Wright adapted the picturesque Shingle style, fashionable for the vacation homes of wealthy East Coast families and favored by his previous employer, Silsbee. The stamp of Sullivan’s influence is apparent in the simplification and abstraction of the building and its plan. In contrast to what Wright described as “candle-snuffer roofs, turnip domes [and] corkscrew spires” of the surrounding houses, his home’s façade is defined by bold geometric shapes—a substantial triangular gable set upon a rectangular base, polygonal window bays, and the circular wall of the wide veranda.
Despite its modest scale, the interior of the home is an early indication of Wright’s desire to liberate space. On the ground floor Wright created a suite of rooms arranged around a central hearth and inglenook, a common feature of the Shingle style. The rooms flow together, connected by wide, open doorways hung with portieres that can be drawn for privacy. To compensate for the modest scale of the house, and to create an inspiring environment for his family, Wright incorporated artwork and objects that brought warmth and richness to the interiors. Unique furniture, Oriental rugs, potted palms, statues, paintings and Japanese prints filled the rooms, infusing them with a sense of the foreign, the exotic and the antique.
In 1895, to accommodate his growing family, Wright undertook his first major renovation of the Home. A new dining room and children’s playroom doubled the floor space. The design innovations pioneered by Wright at this time marked a significant development in the evolution of his style, bringing him closer to his ideal for the new American home.
The original dining room was converted into a study, and a new dining room replaced the former kitchen. The dining room is unified around a central oak table lit through a decorative panel above and with an alcove of leaded glass windows in patterns of conventionalized lotus flowers. The walls and ceiling are covered with honey-toned burlap; the floor and fireplace are lined with red terracotta tile.
The new dining room is a warm and intimate space to gather with family and friends. The Wrights entertained frequently, and were joined at their table by clients, artists, authors and international visitors. Such festive occasions, according to Wright’s son, John, gave the house the air of a “jolly carnival.”
The 1895 playroom on the second floor of the Home is one of the great spaces of Wright’s early career. Designed to inspire and nurture his six children, the room is a physical expression of Wright’s belief that, “For the same reason that we teach our children to speak the truth, or better still live the truth, their environment ought to be as truly beautiful as we are capable of making it.” Architectural details pioneered by Wright in this room would be developed and enhanced in numerous commissions throughout his career.
The high, barrel-vaulted ceiling rests on walls of Roman brick. At the center of the vault’s arc a skylight, shielded by wood grilles displaying stylized blossoms and seedpods, provides illumination. Striking cantilevered light fixtures of oak and glass, added after Wright’s 1905 trip to Japan, bathe the room in a warm ambient glow. On either side of the room, window bays of leaded glass with built-in window seats are at the height of the mature trees that surround the lot, placing Wright’s children in the leafy canopy of the trees outside.
Above the fireplace of Roman brick, a mural depicting the story of the Fisherman and the Genie from The Arabian Nights is painted on the plastered wall. An integral architectural feature within the room, the mural was designed by Wright and executed by his colleague, the artist Charles Corwin. It is a fascinating blend of decorative motifs; forms from exotic cultures—such as Egyptian winged scarabs—are combined with flat, geometric designs that echo the work of Wright’s international contemporaries, Charles Rennie Mackintosh and the Vienna Secessionists.
In 1898 Wright built a new Studio wing with funds secured through a commission with the Luxfer Prism Company. The Studio faced Chicago Avenue and was connected to his residence by a corridor. Clad in wood shingles and brick, the Studio exterior is consistent with the earlier home. However, the long, horizontal profile, a key feature of Wright’s mature Prairie buildings, sets it apart. Adjacent to the entrance, a stone plaque announces to the world, “Frank Lloyd Wright, Architect.” Decorative embellishments and figural sculptures set off the building’s artistic character and impressed arriving clients.
The reception hall serves as the entrance to the Studio. A waiting room for clients and a place for Wright to review architectural plans with contractors, this low-ceilinged space connects the main areas of the Studio—a library, a small office, and the dramatic two-story drafting room, the creative heart of the building.
The studio staff worked on drafting tables and stools designed by Wright in rooms decorated with eclectic displays of artwork and objects. Japanese prints, casts of classical sculptures, as well as models and drawings executed in the drafting room, filled the interiors of the Studio. In Wright’s home the integration of art and architecture served to nurture and intellectually sustain his family. In the Studio, these same elements served a further purpose, the marketing of Wright’s artistic identity to his clients and the public at large.
In September of 1909, Wright left America for Europe to work on the publication of a substantial monograph of his buildings and projects, the majority of which had been designed in his Oak Park Studio. The result was the Wasmuth Portfolio (Berlin, 1910), which introduced Wright's work to Europe and influenced a generation of international architects. Wright remained abroad for a year, returning to Oak Park in the fall of 1910. He immediately began plans for a new home and studio, Taliesin, which he would build in the verdant hills of Spring Green, Wisconsin. Wright’s Oak Park Studio closed in 1910, though Wright himself returned occasionally to meet with his wife Catherine who remained with the couple's youngest children at the Oak Park Home and Studio until 1918. The Home and Studio was the birthplace of Wright's vision for a new American architecture. Wright designed over 150 projects in his Oak Park Studio, establishing his legacy as a great and visionary architect.
Previous text from the following website: flwright.org/researchexplore/homeandstudio
Plywood understructure, earliest stages of massing out the surfaces and planes. The curve of the roof is built with ribs (like boat building). Everywhere that two planes meet, the wood has to be pre cut to fit at a coupound angle or there would be no flat glue surfaces. The edges & seams would crack & fail.
Many of these models are built for exterior only due to their mass & volume (the interior is just scraps for glue blocks, and its pretty ugly inside). This in 1:12 scale would be out of the display space of most collectors. At 1/2 inch scale, its an ideal tabletop model on a lazy susan, or even in outdoor G scale garden model railroads.
The model building is about 7 inches square.
It's an office building with photo cells all over it
This is a model for a competition. It won!! Yeah!
SDME 2018 competing teams unveil their architectural models at the Solar Decathlon Middle East stand during WETEX 2017 at the Dubai International Convention and Exhibition Center
From Wikipedia:
The best known permanent exhibition at the Queens Museum is the Panorama of the City of New York which was commissioned by Robert Moses for the 1964 World’s Fair. A celebration of the City’s municipal infrastructure, this 9,335-square-foot (867.2 m2) architectural model includes every single building constructed before 1992 in all five boroughs; that is a total of 895,000 individual structures. The Panorama was built by a team of 100 people working for the architectural model makers Raymond Lester Associates in the three years before the opening of the 1964 World’s Fair. The Panorama was one of the most successful attractions at the ’64 Fair with a daily average of 1,400 people taking advantage of its 9 minute simulated helicopter ride around the City. After the Fair the Panorama remained open to the public and until 1970 all of the changes in the City were accurately recreated in the model by Lester’s team. After 1970 very few changes were made until 1992, when again Lester Associates was hired to update the model to coincide with the re-opening of the museum. The model makers changed over 60,000 structures to bring it up-to-date.
In March 2009 the museum announced the intention to update the panorama on an ongoing basis. To raise funds and draw public attention the museum will allow individuals to and developers to have accurate models made of buildings newer than the 1992 update created and added in exchange for a donation. Accurate models of smaller apartment buildings and private homes, now represented by generic models, can also be added. The twin towers of the World Trade Center will be replaced when the new buildings are created, the museum has chosen to allow them to remain until construction is complete rather than representing an empty hole. The first new buildings to be added was the new Citi Field stadium of the New York Mets. The model of the old Shea Stadium will continue to be displayed elsewhere in the museum.