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LARGE-SCALE MODEL MAKING

SEPTEMBER 2014

The use of physical models by architects is well established, and can be seen throughout history as the natural partner to drawings for exhibiting a proposal of the building prior to construction. Within our practice, models are rarely produced as mere presentation pieces, but rather as tools for exploration. This role makes them less precious and complete, with the ability to change and adapt the design following the feedback that the model has initiated.

The type of models that I enjoy most are those of a larger scale, of 1:20 and above where you are able to get your head inside and truly appreciate the space. In addition to the final form of such models, much is learnt through the process of construction. Structure, surfaces and junctions are some of the issues that require resolution during the making of the model. Within our studio space, we have a large area dedicated to model making, which allows for building and display of sizeable pieces.

During our work on a new build private residence in Hampshire, we carried out much of the design work on the external envelope through the use of physical models. They were worked up in increasing scales including a 1:10 piece of the facade. In particular, we were considering the form of the heavy external piers, fascias and cornices against the lighter timber elements that sat within them. We made the model using a similar sequence to the proposed building construction. We put the more solid facade elements in place so that we could begin considering a number of different forms for the timber window framing that sat within. The glazing was again produced in a similar method to the full-scale building, with a timber-framed bay built separately prior to installation in to the existing facade. We fixed these delicately so that removal would be possible.

We worked on a number of iterations of the window form, adapting the frames and constructing new versions when modification was not possible. Each time, the model was left on display within the studio so that everyone in the practice could consider the alternative versions and provide feedback. Once we had a favoured form, we used the same model to illustrate the proposal to the clients for approval.

I believe that such iterative assessments and amendments would only have been possible through the use of a large-scale physical model. Building models is about constructing space, and many of the activities are similar in technique and execution as the construction of a real building. By carrying out these actions in miniature we may appreciate the building as a physical form and understand the three dimensional mass. Building of models is our primary opportunity to test and refine our building form, whilst experiencing and discovering an approximation of the processes that will be required to make it.

Alastair Crockett studied at the University of Bath, University College London and London Metropolitan University. Since joining Niall McLaughlin Architects in 2012 he has worked on the T1 building in King’s Cross; a private residence in Hampshire and the Nazrin Shah Building for Worcester College in Oxford.

ASSYRIAN CARPET

MARCH 2014

At the Assyrian collection at the British Museum, set amongst the colossal gateways of winged beasts with human heads and resplendent reliefs of bloody scenes from lion hunts, there is a large gypsum alabaster stone panel that was once a decoratively carved and painted door sill made up of inter-weaving patterns and borders, in imitation of a magnificent carpet.

Now wall-mounted in its current home, its intricacies can be clearly admired. Alabaster was discovered by the Assyrians circa 879BC to be ideal for carving fine ornament detail, and huge pieces were accordingly quarried, transported and installed as panels in the internal rooms of royal palaces where reliefs or pattern befitting a king would be carved with an astonishing level of skill within a surface depth of 10-15mm.

For Niall McLaughlin Architects T1 project, carried out for Argent on the King’s Cross redevelopment site, a motif from this ancient panel is being incorporated, along with other patterns from ancient Egypt to the twentieth century, into a number of repeating pre-cast elements that will form the building’s decorative facades and bring this enigmatic piece of deracinated design a new lease of life.

We are currently working towards achieving this in a collaboration with the client and the project’s contractor and a team of architectural pre-cast specialists. After carefully interpreting the motif and integrating it into the facade scheme; the proposed design is now being taken forward by mould makers who are utilising 3D routers to form prototypes of a pattern mould. The first results, which are being awaited with no little anticipation by the design team, will be analysed and the depth and colour of the reliefs carefully calibrated. Within a short period of time the small extract of pattern from an Assyrian carpet in existence nearly three thousand years ago will have a physical presence as part of a tapestry of other pre-cast components on this distinctive building forming, part of this ambitious development in the centre of London.

Image of Assyrian carpet pattern engraved in stone from Gottfried Semper Style in the Technical and Tectonic Arts; or, Practical Aesthetics, Getty Publications, 2004

Tim Burton studied architecture at London Metropolitan University and the ETH Zürich after a previous degree in Fine Art and Art History at Goldsmith’s College and experience within the film industry. He has also worked for Gramazio and Kohler’s Research Chair for Architecture and Digital Fabrication. Tim joined Niall McLaughlin Architects in 2012.  Since joining the practice, he has worked on a Peabody housing project in Whitechapel and the T1 Building for Argent in London’s Kings Cross. The T1 Building is a large mixed use development containing a district energy centre, an indoor sports pitch, car parking, shops, bars and 80 apartments.