Is physical model-making in architecture a disappearing art?

If you go to any architecture school’s end-of-year exhibition, you’ll often find students’ ideas and concepts on display through physical models.

Physical modeling has always played a major role in architecture, from early visualization and design stages to client presentations. But in recent years, things have been changing. The unstoppable momentum of digital modeling techniques, virtual reality and generative AI, which can produce stunning renderings, walkthroughs and imagery at the touch of a button, is giving rise to new approaches to concept realization.

Beth Mills, model shop director at London-based Squire + Partners, says the model shop concept is sounder than ever, taking advantage of the new technology on offer, but she says that despite the digital techniques being used, craft-based makers are still at the heart of the design process at many companies.

So how does this time-honoured part of the design process – one that engages all of the senses and demonstrates a creative, tactile approach to problem-solving – fit into our rapidly changing, increasingly digital world?

You can do anything with model making

“We call ourselves a model shop, but it’s more of a makerspace – a fully functioning workshop,” Mills says, looking out at a busy workbench lined with half-finished models and tools. “We also make architectural and scale models, but we can do anything from prototyping door handles and window fittings to bespoke furniture for Squire & Partners’ interiors team.”

Mills and her team see themselves as part of the designers sitting in front of digital screens: For example, they test different shapes and forms in the early design stages and test possible build configurations through prototyping.

And there seems to be no “can’t do it” attitude.What is the modeler’s approach?Anything is achievable, especially at this stage in the process.

“When we first take on a project, contractors sometimes say, ‘I don’t think this is possible,'” she continues. “Instead, we focus on one aspect or detail and tell them what we’ve discovered during the model-making process – and how they can reproduce our models in production. In this respect, we are also problem solvers. Our job is sometimes to test the feasibility of construction.”

Contrary to some people’s assumptions, Mills’ team doesn’t actually create many marketing suite models for developers – most of their work is developing models for the design stage, or for planning applications and planning committee presentations – tabletop marketing suite models are seen as post-design work, and clients are more likely to commission their own models elsewhere.

Why is model making so important?

Although the digital design tools his team uses today – fly-throughs, immersive virtual reality, and more recently near-instant AI imaging – can generate CGI renderings at incredible speeds, Mills argues that physical models still retain their power and help people understand how a building works in a way that glamorous CGI renderings cannot.

She recalls when she was making a model for the Brighton Marina project: despite all the digital input and rendering, Mills couldn’t figure out how the podium levels would work, even while building the physical model.

“It was only when I put it all together that it all made sense,” she laughs. “You suddenly understand how it all works from a physical model in a way that you never could from a flat image.”

And Mills said there’s no doubt that clients still want to pick up and touch a physical object — they’ll likely notice the details and treat it like a tiny sculpture, cementing the architect’s artistry.

In fact, many of the models made in the Squire & Partners workshop would be treated as works of art in their own right, not simply miniatures made as accurately as possible: some models are necessarily stylized, some lines are offset, some thicknesses exaggerated, to look correct when viewed as small-scale models.

“Maybe the models are trying to convey the essence of the plan and the quality of the materials,” Mills muses. “Although we have laser cutters and 3D printers, we still like working with materials like solid wood, and recently we’ve been making entire models out of jesmonite and (homemade) ‘micro-terrazzo.'”

What’s next for model making?

The model lab is well-equipped with digital tools – there are large flatbed CNC cutters and 3D printers – and Mills and her team put them to good use, but as makers she isn’t worried that they’re dabbling on the dark side of the digital.

“These new technologies are part of your arsenal,” Mills asserts. “We rarely 3D print an entire model. We use the printer for small details that can speed up the process, and for repetitive areas where you don’t need to spend a long time cutting everything out with a scalpel. This gives you more time to explore the more creative aspects of your plan or product.”

Mills believes that makers and digital technology can coexist – in fact, she sees new smart technology as a sort of assistant that will enable makers to focus more on craft and quality materials in the future.

“We don’t make miniatures, we make sculptural pieces,” she says. “This change in technology will enhance creativity, not diminish it, which is a very good thing. I think model makers are practical problem solvers, but everything we make is always custom made.”

Thanks to Beth Mills, Model Shop Director at Squire & Partners.

This is a professional feature compiled by the RIBA Practice Team – please send us your comments and ideas.

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