1st International Graduate Research Symposium on the Built Environment, METU, Ankara, Turkey, 15-16 October 2010

Paper ID No: MC1E117

MODEL-MAKING AS VALUE-ADDED DESIGN
The Impacts of Model-Making and its role in maintaining the Value of
Architectural Design

HATEM AHMED HADIA

Department of Architecture, METU University, Ankara, Turkey

ABSTRACT: For thousands of years people have been creating models to translate and improve their ideas into
three dimensional reality. Model making is a logical next step in the thinking process for many ideas. Once
someone starts using materials and fabrication techniques they are able to refine their ideas to make them work.
Those in the model making profession through experience and talent have advanced skills with fabrication
techniques and their knowledge of what materials would work best. However, Model-Making is a very critical
issue in a wide variety of fields as it has the approach to the physical world OR in much define term the world of
reality. It has the integration and combination of what we can call Design criteria, regeneration and
management. To design; one must possess a wide imagination, and also to design one must be an expert in all
the basic criteria for the design principles. To design; one must also have extensive knowledge of the
characteristics and quality of materials used in construction. All of these principles and necessities can be dealt
with one main topic that covers all the mentioned issues “Understanding/ incorporating the modelling
Techniques” throughout the design process for both architects, designers and students who, indeed trying to feel
and know the value of real architecture. Thus, what is meant by this study is to find out the value added design
by the process of architectural modelling on the context of how to look or evaluate the design before and after
the modelling and also how to differentiate between traditional and digital methods of model making and
whether they have the same artistic value and importance or not. Shortly; this study examines the model making
as a value added design in several terms. Firstly, in art; how the entire design is seen and sensed as a one piece
of artwork prior to the construction stage. Then, design efficiency; What is the role played by the modelling
process in terms of methods of construction, that is, does it convinces and confirms the design efficiency!. And
also in the context of Architectural design; that is, how and why model making is considered as a major step in
the design process and how it enriches the designers imagination and creativity and what can the model making
add to the design or the designer himself in the context of productivity.

Keywords: Model-making, design Creativity, imagination, value-added deign, design cooperation,

efficiency.

1. INTRODUCTION
Model-Making is a very critical issue in a wide variety of fields if not the most important ever, as it has the
approach to the physical world OR in much define term the world of reality. In other words, modelling in one of
the most important ways during the design process by which any architectural composition can be understood
easily and very clearly without an interference, because the idea that was considered just as lines on paper turned
out to be a block visible and tangible physically and in three-dimensional ways that can be controlled easily and
quickly. This reflects what has been stated at the previous abstract which is the transition between the
architectural imagination as a concept and the application process in reality which leads to have an architectural
composition ready to be constructed without any consequences. Possessing a wide imagination, being an expert
in all the basic criteria of the design principles, and having an extensive knowledge of the characteristics and
quality of materials used in construction process, all of which can be dealt with as one main topic that this paper
is trying to investigate. That is, understanding and/or incorporating the model making techniques throughout the
design process to find out the sensation, feeling and the quality of design. The big question with physical models
is how far should they go? The model-making techniques and/or process is not an end in itself but a
communication tool – a blueprint, a visual recipe – a means to a greater end achieved through the concerted
understanding of a team of individuals. But in many ways the aim of model-making should do just that, deliver
in one contained burst the full flavour of the design for all concerned. The model isn’t expected to fool anyone
into believing they’re looking at the real thing but it should convince everyone that the design will work. In other
words, this means that through the modelling process a designer or model maker can felt or be convinced to that
the concept is applicable to be constructed logically and also the case of the application is just practical
 1st International Graduate Research Symposium on the Built Environment, METU, Ankara, Turkey, 15-16 October 2010

arrangements no more and can be felt through the modelling process itself and this what was approved upon
many Designers such as Antonio Gaudi, Frank Gehry and others. In order to do that, one must have quite a
rigorous command of scale, and knowledge of the varied materials and methods which will assist in achieving it.
They should also (equally as designers and model-makers) have a passion for, or at least a professional interest
in, the magic of simulation; that act so central to art – to the value of architectural paradigm! – Which involves
recognising the essential or fundamental in the appearance of things and reproducing it in the most effective and
economical way [1,2]. Why should Student or interior designers, architects or even stop-motion animators be
naturally suited to making models? Of course they’re not! One could even argue that, where the former are
concerned, the act of model-making goes ‘against the grain’ in some ways. How can big, expansive and fluid
ideas be aided by having to work on something small, fiddly and precisely defined? The answer is in the last
word ‘defined’, at least as soon as the time comes for definition. A sketch on paper may be wonderfully
communicative, evocative and inspiring, and will serve its purpose for the quick notation of ideas. But any 2D
graphic expression remains open to a wide margin of interpretation, both from the viewer and its own creator. It
is only by making a version in actual 3D that form and space can be fully understood, explored and presented
unambiguously to others. The final model, as it were from the designer, completes the picture with colour and
texture.

2. The Aid of Scale Model for Design Spatial Arrangement and Implications of the Scheme.
Scale models are still the most effective and instant way of completely communicating a concept, in spite of
the advances in computerization. Building a scale model for a student project requires that the student understand
the full three dimensional spatial arrangement and implications of the scheme, because all surfaces and planes
must be fully explained and integrated with one another to form a cohesive entity. You cannot just leave
indeterminate lines as on a drawing or omit a view, the resolution of which you are unsure, when you are
constructing a model from that set of drawings. That is, in fact, why many very fast, crude study models are
made in architects’ offices-to clarify and prove unusual, complicated or otherwise uncertain interfaces and
spatial arrangements. Or, in other cases, when the designer has the complete mental image, a quick scale model
mock up is the best way to convey that to owners or other involved people. Modelling, in addition to allowing to
fully convey the concept to the viewer, also teaches the student to properly comprehend the three dimensional
totality in its aesthetic and functional aspect. One has to figure out how it will all work in order to build a scale
model. For example, Frank Gehry one of the most known architects who had many difficulties to express and
transfer his sketches into a tangible concept that could convince his team in the first place as well as his clients.
But when he converted his sketch ideas and, as quickly as possible, making them as a three-dimensional, it
became better to see how his buildings work, how they fit with their neighbours, how they function in the most
essential way. Model after model is scanned into a sophisticated computer and rendered into working drawings,
knowing that Gehry and his team were depending on traditional modelling techniques while he is sketching his
main concept as a first stage in the design process.

Figure 1: on the right; GUGGENHEIM MUSEUM BILBAO model using CATIA software, Bilbao, Spain. On the left; Gehry
and his partner Brad while making the physical model using traditional method [3,4].

When Gehry finished his Guggenheim Museum Bilbao he said “I was looking for a way to express feeling in
three-dimensional objects. I never expected Bilbao to be the, kinda, hit it turned out to be. In fact, when it opened
I was very self-conscious about it, and thought, ‘My God, what have I done?”[5]. He added that one of the
biggest challenges that he faced when trying to communicate with his team while designing Guggenheim
Museum was that, “This technology provides a way for me to get closer to the craft. In the past, there were many
layers between my rough sketch and the final building, and the feeling of the design could get lost before it
reached the craftsman. It feels like I've been speaking a foreign language, and now, all of a sudden, the craftsman
understands me. In this case, the computer is not dehumanizing; it's an interpreter” [6]. That means he had
 1st International Graduate Research Symposium on the Built Environment, METU, Ankara, Turkey, 15-16 October 2010

difficulties to translate his basic sketches into a logical model that could physically work and the aid of computer
technology improved the design productivity and quality not the designer or the model-maker’s talent. Further,
as he mentioned “I think my best skill as an architect is the achievement of hand-to-eye coordination; I am able
to transfer a sketch into a model into the building”, also he added that when he was asked how he works. Where
does he start with a project? Where does it come from? He answered: “Sketches. They make a block model of
the program and many models of the site. So I work at two scales at once. The reason I work at two scales at
once is so that I don't get enamoured with one, the object of desire I call it. It is seductive. I remember when I
was a kid I could draw pretty well and I would get suckered by my own drawings. Think I was doing something
great and then you build it..., focusing on the real building all the time while you're working is a trick, because
you get lazy, and by shifting scales it forces you to be careful. It is a lazy man's way of being careful”. He also
added that “The misconception about my work is that I just make shapes and there is no inside. People say that
all the time. I don't know how they see that or get that idea” but the truth is that he said “since the way I make
models, it looks like we're tearing up paper and I just roll up the paper and throw it all out. It's good. It is not like
that. It is much more precise and careful. So, we work from the inside out mostly” [7]. Briefly, architecture and
design for Gehry in general are, “For me, architecture and design are about the process,” Gehry says. “Sketching
and shaping models and conceptualizing different possibilities, this is the essence of creating, whether in
architecture, jewellery or any art form” He also added [8].

3. Model-Making Tools And Equipments:

The calibration and displaying equipment used in the modelling process will be addressed through this section,
whether in the traditional way or by digitization. This is to support one of the objectives of this study which is
the cost and the space occupied by such equipment and the number of users.

Conventional Equipment: To begin with, a craft knife and cutting mat are essential model making tools. They
can be used to cut model making foam boards as well as paper and card. A craft knife should always be used
with a steel ruler when cutting straight lines, ensuring that hands and fingers are kept behind the cutting edge. A
model maker will inevitably need a selection of scissor to cut shapes. Scissors have the relative advantage of
being comparatively safe compared to craft knives. Left handed scissors are useful for left handed people. The
following equipment is the hot wire cutter which can be used to shape a variety of model making foams
including Styrofoam. This is a specialist model making material easily cut and shaped by a hot wire. Styrofoam
can also be cut and shaped with hand tools although less accurately. Most hot wire cutters have a central wire
fixed between two points and a hand held wire cutter. This is useful for free hand styling and shaping. Another
one is the small bench drill which is used for drilling holes and they are cheap to purchase. Always clamp the
model making materials down whilst drilling. The usual safety rules apply to the smaller bench sized machines
as apply to full size machine drills. The Fretsaws are the other equipments that used when cutting lightweight
materials such as MDF, Plywood, Plastic materials and model making materials such as Depron and Zepron.
Next is a glue gun which can be used to quickly fix materials together. However, the glue can be very hot and so
care should be taken when using the gun. Foams tend melt if glued with a hot glue gun. Test a scarp piece of
material first. This type of glue is best used with harder materials, and there are many other types that can be
suitably used for each single material. Finally, Glues such as UHU POR or POLY ZAP are amongst the most
suitable for foam based boards although balsa glue can be used for balsa wood. Glue is carefully applied to join
all the parts permanently together [9,10]. Generally, the overall price of the mentioned equipments is starting from
about $50-$2000.

Rapid Prototyping Technologies: As all are additive technologies, their main differences are found in the way
layers are built to create parts. Some are melting or softening material to produce the layers (SLS, FDM) where
others are laying liquid materials thermosets that are cured with different technologies. In the case of lamination
systems, thin layers are cut to shape and joined together. As of 2005, conventional rapid prototype machines cost
around £25,000 [11,12].

Table 1: Rapid Prototyping technologies and base Materials. Source: D. T. Pham, S. S. Dimov [13].

Prototyping technologies Base materials

Selective laser sintering (SLS) Thermoplastics, metals powders
Fused deposition modelling (FDM) Thermoplastics, eutectic metals.
Stereolithography (SLA) photopolymer
Laminated object manufacturing (LOM) Paper
Electron beam melting (EBM) Titanium alloys
3D printing (3DP) Various materials
 1st International Graduate Research Symposium on the Built Environment, METU, Ankara, Turkey, 15-16 October 2010

4. Model-Making as a Means of Design Cooperation, Accuracy, and Cost Estimation.

Until quite recently in engineering process design, it was almost unheard of not to construct a physical three-
dimensional model of any consequential project. These models are built as an integral part of the design process
right in the design office. With perhaps twelve or more disciplines, each concentrating on their aspect of the
project, the model naturally becomes the focal meeting and proving point for the design of all disciplines, within
the constraints of priority for space, accessibility and function. In this context, the aesthetics are a minimal
consideration but accuracy is paramount. These points are made in full awareness of the big strides made in
computer aided design. Such advocates will say that the physical three-dimensional model is now obsolete. The
reality is that any form of computer design is depicted in a series of two-dimensional images on a screen or
sheet. It is nowhere near as effective a means of communicating concepts as the physical model, nor can it
compete on the basis of speed and cost for many projects. This has been proved many times where companies
have moved to the “leading edge” with CAD, and then later reverted to physical models when they found that
the computer is not all things for everything in designing and certainly not in communicating that design
completely, as well as efficiently and cost effectively. The most intelligent, preferred approach is a combination
of both methods [14,15].

5. The Role of Model-Making in Architectural Design and Education.

In architecture, the considerations are much more concerned with form and aesthetics, as well as function.
Therefore, in many aspects of architectural model making, surface, texture and colour also play an important
role. Basically; many students are plunged into the requirement of building a model as part of their curriculum
and they have no idea how to proceed. As a result, very often it is something that is left to the last few days
before the project is due although it should be considered from the very beginning of the design process.
Surprisingly, many students as well as many architects do not have any clear idea or; in fact; they don’t care
about making their own model themselves, as they think that the step of model-making can be left to any other
professional modellers who can perfectly mange it. But; unfortunately; the fact is that no one can feel the
primary concept better than the designer himself, and there are some other values and considerations that should
be considered while making the model by the designer himself as the concept itself may be subject to change or
some general or basic modification that might be done by the designer himself. Basically, this topic has been
taken in account as it contributes to improve design creativity, enrich the designers’ imagination and Maintains
the value of architecture as a work of Art. Despite the emergence of advanced technological techniques, the
traditional method of modelling is still the best way to express the idea of architecture as an act stems derived
from the imagination of art and architectural legacy and, weighed down by the emergence of this technology in a
negative way that could lead to the demise of architectural imagination and creativity.

6. Digital Modelling Versus Traditional Modelling Methods.

Despite the dominance of computer technology to the field of architecture, particularly the field of
architectural design and model-making, there is a point that is undeniable which is that these techniques are
considered as a means of design and application, not as a way of thinking and creativity. In other words, the
entry of digital technology in the field of architectural modelling gave a boost and provides undeniable
improvement, but there is a further step that may be the most important steps which is giving the finishing touch
to the entire work to represent the final image of the concept. This step is whether in the selection of proper
materials for the final output of the work or the process of assembling the combination blocks or/and linking the
finalized parts. This means that the traditional way of modelling is still the crucial and inevitable method to
finish the job in general, and this thing has not been obtained yet by the advanced technology despite its
improvement, which is the instinct or talent.

Figure 2: The image on the right is the work of Alexander Calder sculpture, whereas the left image is the regeneration of the
artist’s original work, Hatem Hadia, METU[16].
 1st International Graduate Research Symposium on the Built Environment, METU, Ankara, Turkey, 15-16 October 2010

The right image in the (figure 2) is the 3D model of Alexander Calder’s sculpture done by Sketchup software,
whereas the one in the left is the regeneration of the two dimensional plan of the original work to approve that
architecture can be extracted from a work of art. The following figures showing the physical modelling
workshop done by the traditional method “handmade modelling”.

Figure 3: The right image; Physical modelling workshop, the two different scale were done by traditional modelling method,
the left image; the finished model, Hatem Hadia, METU [16].

7. Creativity, Efficiency And Value-Added Design

There is no doubt in the classification of architecture as a science-based art as one of its principles, and also
there is no disagreement in the value of art in general, whatever the quality of this work of as long as it is
classified under the topic of art and this is almost indisputable proved through the ancient ages to the present.
Here, through this brief section which addresses the subject of Model-Making considering it as a work based on
talent and technical skills that contributes directly in raising the value of design, the architectural design in
particular, and develops the imagination of the designer? Also, it contributes effectively to know how realistic
and operational design work prior to its implementation on the base of reality. In other word, besides Model-
Making is considered as a work of art, it contributes efficiently to the areas and fields that have a must relation
between designing and construction Or production such as Architecture, industrial engineering, mechanical
engineering and other practical fields. Basically, creative and efficient generation of new shape concepts often
starts with traditional methods such as sketching or claying. Starting with CAD or CAID (Computer-Aided
Industrial Design) from scratch is not always the most efficient method [17]. However, at a certain point in the
manual model making process (figure 4), a transition to a digital representation is required, either for further,
detailed modeling or for engineering and manufacturing purposes or other applications. More generally, to
achieve an unhindered interoperation it must be possible to let a machine take over a shape modeling process
from a person [18].

Arbitrary lump of clay

Machining Manual clay modeling

Clay model-in-progress

Shape digitizing and registration

3D surface mesh

Importing into CAD/CAM

CAD/CAM model

Digital shape modeling (CAD)

Modified CAD/CAM model

Computing the machining code (CAM)

Machining code

Figure 4: Takeover of shape modelling from a manual process to processing by machines, Wolf Y. Song and Han J. Broek,
2004 [19].
 1st International Graduate Research Symposium on the Built Environment, METU, Ankara, Turkey, 15-16 October 2010

Regardless of how the work of modelling was carried out, whether in the traditional manner or using digital
technology, it has been demonstrated that the general idea of an architectural concept is better clarified when it is
displayed in three-dimensional manner, and this is a fact agreed upon now. It is important to know that what is
the role of the traditional method in the modelling process and in what extent this method is effective and has a
significant impact in the modelling process in general, and most importantly is whether it is possible to abolish
the traditional skills in modelling?. There are several specialized studies, including studies prepared by branko
kolarevic, larry sass, Joris S.M [20,21]. Vergeest and others proved that the method and traditional skills in
modelling is a basic and fundamental step to the start of any modelling process, whether conventional or digital,
all of them depend on the skill and creativity of the human brain, particularly the modelling of freeform that
predispose by mud, clay, and others of similar materials. This means that modern technology and computer-
aided considered as a means to help increase accuracy and quality of workmanship, but regarding the creation
and creativity, they depend exclusively on human brain, which is improving by working through traditional
modelling. In other words, the designer or modeller can develop the idea at the same time during the modelling
process and also can tell how effective and practical the idea in a general before completion the work and that
what gives him his sense of the work by linking the components concept’s parts together. This thing very
important in terms of upgrading the spirit of innovation and imagination of the designer during the modelling
process, as if the model-maker designing, painting, sculpturing, and testing in practice both at the same time and
this raises the value of the work in general and also as a handmade work there is no disagreement that it is a high
value work comparing with other works involving technology.

8. CONCLUSION
In short, this study outlined what has been raised previously with regard to the subject of this paper, a
modelling and its role in promoting the value of design. Regarding to what was mentioned about the impacts of
Each modelling type that would add value to the architectural design, whether conventional or digital method
both serve the same purpose, which is having a balanced three-dimensional form that was obtained through the
technical drawings. But there are several differences which would serve the subject of this study which is adding
value to the architectural design. In brief the overall differences between what distinguishes both types of
modelling techniques are as follows: First; when using digital technologies, where there is no interference of the
human hand in the implementation, the process of modelling is fully controlled by machines that take the entire
orders of application through the computer. While modelling through the traditional methods all the human
senses, whether mental or physical skill are considered as a major role in the process of modelling. Secondly;
Using the digital techniques lead to the deterioration of the designer’s creativity, where it leaves the entire work
to the machine and from work to another for another the designer’s talent and his nature sensory become
completely confined to the computers and technology and so negatively affected, while when working in the
traditional way each work is considered as a new lesson learned by the model-maker and develops his sensory
talents for the future works. Third; through the use of digital technologies there is no direct relationship between
the modeller and the materials used, while there is strong and direct relation between the modeller and the raw
materials used for work with conventional methods. Next; modelling by traditional methods are still technically
and is very high artistic valued, as being handmade depends primarily on the physical and technical sensation
terms, which both are missed by digital modelling methods. Finally; the factor of accuracy is considered one of
the main requirements to be provided by model-making although it is easy to provide by digital methods. But, by
the traditional methods it needs a very hard training and long experience to reach the precision required. We can
say that there are several data and evidence to confirm the role of modelling in the calibration of the
effectiveness of the design, the economic factor, increasing the sensation and imagination of the designer and
increasing the value of design in general, and especially if it has been done in the traditional way. As a result,
possessing a wide imagination, being an expert in all the principles and basic design criteria, and having an
extensive knowledge of the characteristic and usage of materials, are all supported what was proposed that there
is an effective role of model-making for promoting the design process. Additionally; several evaluations,
Questionnaires and differentiations between different designers and students, who incorporating model-making
as an essential step in their design process, are going to be made aiming that understanding, cognition and
considering Model-Making as a very crucial step within the design process raises the level of the design quality
as well as improves the designer’s imagination and creativity. Due to the limitation of this paper’s format, there
are still a lot of information and data that could not be developed in this study. But in any case, this study still
need further studies and intensively work to reach the desired results and this what is going to be handled during
the coming period in a comprehensive study as this topic is addressed as a proposal for doctoral study in
architecture.
 1st International Graduate Research Symposium on the Built Environment, METU, Ankara, Turkey, 15-16 October 2010

ACKNOWLEDGEMENTS
This paper wouldn’t have been managed without the encouragement of Assoc. Prof. Dr Soofia Tahira Elias-
Ozkan. I want to extend my special appreciation to both Assoc. Prof. Dr. Ayşen Savaş and Assoc. Prof. Dr. M.
Adnan Barlas for their valuable support; also they taught me a lot. Also, I would not forget the efforts made by
the Libyan Embassy in Ankara, especially on the matter relating to my financial support for all my related
studies. Finally, all the thanks and appreciation to all the administration staff at Middle East Technical
University for their continued support and patience in general.

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