MODELS IN ARCHITECTURAL EDUCATION AND PRESENTATION

Transcription

1 MODELS IN ARCHITECTURAL EDUCATION AND PRESENTATION Milanka Vasić 1, Ana Momčilović-Petronijević 2, Ljiljana Jevremović 3, Marina Jordanović 4 Faculty of Civil Engineering and Architecture, University of Nis, Serbia Abstract: The model is a spatial, three-dimensional concept of a spatial concept that can be analyzed, displayed and directly reflected and shows space in an appropriate reduced scale. This type of presentation of conceptual solutions of objects is known and has been used since ancient times. The model is the best presentation of the concept of a spatial concept, which is widely used as a successful and universal translator, when architectural spaces and spatial ideas are in question, for all observers, both for future investors and for future users of architectural objects. Namely: it transforms the ideas of architects, artists, creators from different fields of art into an understandable language, for all people, whether it's professionals or amateurs. Anyone can understand the model. The paper will deal with historical data on the use of the model, especially developed skills in modeling for this type of creativity, as well as on the different profiles of engineers and artists who use the model as the means in which they work. The focus is on models as a means of educating future architects, as well as types of materials for models and procedures that students of architecture will learn, training for this modeling skills. Key words: model, education, architectural presentation, modeling skills 1. Introduction When we talk about models, as models of three-dimensional objects, we must first of all bear in mind how objects are in the first place, and then models are observed. We must bear in mind the mechanisms of perception, in order to understand properly the object and its representation in the bid model. It is well-known that visual perception and the very structure of our organs have heard eye-eye, in a direct relationship. We must know that the observation takes place in such way that every observer by his own, has its general view. 1 PhD student at Faculty of Civil Engineering and Architecture, University of Nis, Serbia; milanka3970@gmail.com 2 PhD professor at at Faculty of Civil Engineering and Architecture, University of Nis, Serbia; ana.momcilovic.petronijevic@gaf.ni.ac.rs 3 PhD student at Faculty of Civil Engineering and Architecture, University of Nis, Serbia; jevremovicljiljana@gmail.com 4 PhD student at Faculty of Civil Engineering and Architecture, University of Nis, Serbia; marina.jordanovic@gmail.com

2 There is, however, a common basic correlation between the subject who is watching and the object being viewed. It is known that the observation takes place thanks to the basic process, in which the EYE - as a "camera" identifies the object and sends information about it further. And then BRAIN, who receives visual information, turns them into an experience that we know as "perception." The mere observation is influenced by the whole range of information that the subject possesses and which are known as experience and knowledge in each of us. Thus, in the processing of visual data and information, the final judgment and experience of observation incorporates the prior knowledge. This results in the fact that the perception of the observed object varies with different subjects. Art relies heavily on the legality and specificity of the visual observation. [2] Of course, architectural creativity relies on the same postulates, as one of the arts, as someone said: architecture can be described as petrified music. T Fig. 1. This model was made and his team, (picture from Instagram) (photo ) [1] "The complexity of human aspects of life: religious, social, and sexual - stands in a significant contradiction with the simplicity of the architect of the theme that created them. Just because of this complete visibility and basic conditions, and artistic representations are necessary for the human mind when struggling to find a theme that lies in the basically confusing plural of individual experiences. "[3] 2. Historical data on model usage Historical data on the use of the model exist. And they are mostly known on the basis of texts and drawings, and they are related to creative and outstanding names through the history of architecture. If we know that some of the architectural works, which we consider to be exceptional achievements today, and unusual solutions, we can assume that, at the time of its creation and creation, it was untouchable to many only through the projects of their creators. So it is well-known that the famous Leonardo Da Vinci ( ), who

3 was the true representative of the Renaissance artist = a versatile genius, who in addition to fine arts left a trace in architecture, also hinted great inventions in his visions and sketches. (1) (2) Fig. 2. Those models were made by : (1) Bruneleski made a model of wood to explain his method of solving the dome (1420) [4]; (2) Photograph of Gaudi's model, of the building in Park Guel, Barcelona, exhibited in a memorial house in the same park; (photo by M.Vasic) Based on the sketches, this great visionary was making models. Some time ago, the world visited an exhibition of these models of his inventions, which brought great publicity to the attention. It was clearly demonstrated how this way of presenting his opus in the field of engineering circuits, fortification and fighting means and devices suddenly "revived" through a series of models made. They have caused great attention today. We can only perceive how incredibly it all looked at the time when the artist lived. It would have been said that the model and model over time, was an inevitable "assistant" and "associate" of the great masters of design. Because the project has always been the first to communicate properly with those who are working on a specially developed project that needs to be built. Thus, great masters such as Bruneleschi, later Gaudi, had to be excellent in the mastery. Because their visions were so avant-garde and advanced for their time, that for this type of project they had to present their ideas to models at all. The testimony of the very bold vision of the architect Antony Gaudi ( ), when the project of Sagrada Familia in Barcelona is concerned, is also contained in the fact that the builders of the building waited for Gaudi every day to show them a model of the work that will It's a day to build, and he would make it during the night from the most varied materials he would have at hand. And the project went slowly. And then, when he died suddenly with an accident, despite the present project, the works on Sagrada Familia were stopped. They waited for a new era, some new materials and techniques to complete this unique architectural monument.

4 (1) (2) Fig. 3. Photographs of Le Corbusier's models: (1) project of the Centrosojuz palace, Moscow (1919), (2) of Sitroan houses (1922) [6] Later on the scene, visionaries and newspapers of contemporary tendencies in the architecturally enter. Again, the model is recognized as a powerful medium in which the visions of the new giants of architecture will first appear. We are inclined to point out that this period with the beginning of the century and the appearance of Bauhaus can be distinguished as important for perceiving the model and its subsequent role in the education of architects. When mentioning Bauhaus, one should not miss the opportunity to remind Valter Gropius ( ) of one of the beginners of Modern style and his project for a total theater. (1) (2) Fig. 4. Photographs of Valter Gropius model for project of Total theatre: (1) from ouside, (2) and inside (1927) [6] What separated this school of architecture from the others that appeared before and after, is in the great conviction of the founder and ideologist of this school that an architectural call is inseparable from art. By the very concept of teaching, which also included a large part of teaching in the field of fine arts. Bauhaus students also had exceptional teaching in the field of sculpture. All these skills gained their expression in mastering the expression and through the form of spatial presentation of architectural ideas. 3. Models as a means of educating future architects Some schools of architecture still do not ignore this aspect of the education of

5 future architects. An example from the region is certainly faculties in Sofia, R. Bulgaria, where there is a special subject Maketarstvo (Prof. Asparuh Karadjulev wrote an excellent manual-textbook "Models" [5]). This skill is available at the Faculty of Architecture at the University of Skopje, Republic of Macedonia. There, professors specifically motivated their students to this type of project presentation, as well as the analysis of architectural objects. And an interactive method for acquiring new experiences is the regular exhibition activity that this faculty nurtures, and through this it stimulates the research and development of individual creative aspects of its students. But with us at FTN in Novi Sad. In Belgrade, the model has retained its place in most of the departments, while in Nis, on the Architectural and Architectural models, they appear on some objects as presentations, and are not widely accepted. Although true to the will, there are initiatives by some professors to introduce this as a compulsory form of an educational method. But on the side of the students, such ideas come, which speaks of the existence of a good climate and the will to expand to deal with their education and training. After all, it is possible to draw the conclusion that new models are coming up for models and models. In one way and the appearance of 3D printers, which on some meridians can already print the house in a scale of 1:1, and thus replace the construction work, may be the vision and form of the future that is happening now. But while it lasts an "educational process," and while it is still largely classical, the model is a great ally of curriculum teaching for architecture. 4. Specific application of the model - types of models and materials Already in the previous chapter there were words about the Novi Sad School, and the FTN on which this subject exists. Below is a part of the presentation of the subject on the site of this faculty. The short lines outline how the educational objective of the course, as well as the expected outcome of education. "The educational goal is to train students to accurately transfer the architectural project to various materials from which they will build a model of the object that they have previously projected. The aim is for students to understand the importance of interpreting the architectural project and its representation in various materials that will contribute to a better presentation of their project. The outcome of education (acquired knowledge) is that they apply the acquired knowledge in the further education process as well as in future professional work. The content of this subject is the following, and it begins with an introduction to the definition of basic concepts, such as: modeling, model types, application models, computer 3D models. Then examples of computer models and models made in different materials. The relationship between model makeing and model presenting. Basic concepts and definition of maketry. Then division of the model: by purpose, by type, by scale and by material. Then the process of making the design and the use of materials. Examples of the model. Practical, individual work on the design of the model. "[8] As seen from the presented program, a very important segment of this way of presentation of matter, it places great importance on the training of the student as well as on mastering the skills that will later be applied during further work and study, but also in the design practice. This is especially important because the demonstration and presentation of the project along with the model continues to be extremely appreciated, and in large investment projects it is almost irreplaceable. It should also add to the existence in some cases of legal obligations that some plans or projects must be confirmed through a public debate. In such cases, it is best to come up with a spatial model in the form of a

6 model before a set of discussion points. The very act of the implemented models, the gathering and stakeholders confirms the feasibility of the project both in real time and space and in the right size. We must not forget about this "psychological moment".[5] 4.1. Types, dimensions, materials "The model, in a wider sense, can, according to the type, be: 1)Models of objects and urban models; 2) Working models of engineering constructions and constructive assemblies; 3) Trial, or experimental models - models of special details, or samples on which changes in loads, ignition risks, etc. 4) Mounting models; 5) Demonstration, demonstration models; 6) Interior design; 7) Models of rockets, planes, ships, cars, railway models (trains, stations, tunnels, etc.); 8) Models of different machines, prototypes of technical devices and the like. [5] In the area of urbanism and architecture of architectural objects, the model represents a broader view of the architectural and artistic design of the objects themselves. Fig. 5. Presentation model of the Royal Park in Novi Sad (Photo: Ivković Stefan) [7] The models are made in a large scale and in different sizes, always in the context of their purpose and the application they will have. The term "on a human scale" is very often used. This term, in terms of models, has a completely different meaning than the same term when it comes to architecture itself and designing both buildings and urban planning. When we talk about designing and say " on a human scale," then we put the reference first to ergonomic measures, then to a function that needs to be done in a certain space. We also observe the way in which space will affect a person (this is again the great role of the visual observation game, which was mentioned earlier). [5] But when we say " on a human scale ", and we mean the model, then we are talking about the need to show the object / part of the city / part of the details so that if the point is distant from the model about 1.5 m, it can be one view to capture the whole object or the part that is shown in the aspect. This is important because such a way of presenting objects has the best effect, and best suits the human eye / psychological moment when it receives the visual information we send and we want the observer to understand. It also provides enough detail for the details that are needed to display the work in an appropriate way.

7 Fig. 6. Research model for Extraform from Senta (Photo: Ivković Stefan) [7] Models can therefore be displayed in a different scale, and this is expressed in a standard dimension as well as a drawing. Or use the term: reduced 2 times, reduced 10 times, and the like. In doing so, we should not ignore the proper order of the posthumous during the batch of the model. In the order of the steps it follows in the following way: o Create the basics of the model o Making the field o Marking street streets and green spaces o Creating and assembling certain specific objects o Supplementary elements, such as playgrounds, cars, greenery, people... [5] Models can be made from different materials, which will also correlate with the size, or type and purpose of the model. It is not uncommon to see more models in different proportions when it is necessary to emphasize and present the phase of the research. In this case, suitable materials may also be used, which follow the level of detailing on the models, depending on the scale and scope again. Cartridges of different thicknesses, expressed in grams, or thickness expressed in millimeters can be used for the models. The cards are once one-layer, and often it's also about layered cards, so called "Cardboard". Each type has certain characteristics, so it is selected depending on the situation in which it will work, because its softness or firmness depends on the way it is processed and the result obtained. Different types of wood are also used. Neretko takes a plywood plate for the model surface, but for precise processing when the object is presented with a lot of details, the type of very soft wood is chosen, which is obtained by a special methodology. It's about the bales, the most desirable material for making the model. Different foils, various thicknesses, and metal sheets, which are used for details, are also used. When working on finishing elements and equipping the model, sponge, styrofoam, and wire can also be used. The most common tools are scalpels, but for smaller surfaces, and when the foils are concerned, they also use scissors. The tools for assembling the parts and elements of the model are various adhesives, rarely threads and nails, but everything depends on the applied material and the situation. On some models, the lighting element is an essential element of both the project and the model itself. At that time, "installation of installations" is additionally done. The effects are very good and a striking presentation is indispensable.

8 (1) (2) Fig. 7. Research models: (1) for public building, Casa panorama [9]; (2) model of roof construction, made of wood, work of the students in GAF, Nis, (Photo: Milanka Vasic ) 5. Conclusion Here, perhaps, is a moment to note that the transition of the education system, which leads us through the systematized material of the entire study, and when we are in some way defined, then this principle and method is transmitted through the process of teaching (practical and theoretical) students. One cant ignore the fact that pedagogical and, therefore, didactic methods are being innovated. The tendency is for the knowledge transfer system to change, because the pedagogical approach used to have more emphasis on the lecturer and his role in the process. Modern techniques and information innovations have moved this system and brought it into a state of imbalance, unless the focus of the future educational method is placed on other important actors in this process. And those are students. The path to be crossed seems to be bumpy, curvy, but it continues to lead over a good foundation and foundation in the knowledge of History of architecture, styles and periods of past times, in order to understand modern trends and aspirations of contemporary architects, to whose expressions of architectural creativity they need to " directly backwards "their creativity. The love for this highly complex and multilayered technical discipline, which was also the essential art and "rock music", must remain the leading motive when choosing this invitation. Education is neither easy nor easy, but summarizes so many beautiful skills that are socially high and very clearly valued. From all of the above it should be rightly concluded that the architects are trained for an important and responsible occupation. And the awareness that their objects that are projected and executed will bet communication with the forthcoming times gives one aspect of strong responsibility and sometimes seems like a too big burden for their back.for this reason, the help of models and models is necessary. It returns to the whole process an element of the game, which is inevitable when it comes to great works and great architects. In every way, in this present program reform, reaffirmation of the mastery is to be done and bestowed in the best way, joy and enthusiasm for the creators, students - young architects who love this invitation and will be happy to overcome this skill.

9 Fig Model of, Museum in Niš, graduation work at University St.Kiril and Metodij, Skopje, Makedonia. The models are in two drawing scales: 1: 500 spreads the location on the right, and 1: 200 the object itself; (work and photo by Milanka Vasic) Fig Model of, Museum in Niš, graduation work, scale is 1: 200; (work and photo by Milanka Vasic) REFERENCES [1] [2] Rudolf, Arnhajm : Belgrade, this is a special way elaborated in the book "ART AND VISUAL OBSERVATION-Psychology of Creative View", 1971.,The University of Art in Belgrade [3] Rudolf, Arnheim: "DYNAMICS OF ARCHITECTURE FORM", 1990., University of Arts in Belgrade, p.63. [4] Majls Luis: Elementi arhitektonskog stila, Global Book Publishing, Australia 2008, Mono i Manjana Beograd, 2009., p. 400 [5] Карагюлев, Аспарух: МАКЕТИ-ръководствоо за студенти по архитектура, дизаѝ н, ландшафт, сценографияи други, Унискорп, София 2013.п , и п.39. [6] Токарев,Михаил: 100години на модерна, 2004., стр.95, [7] intervju autora Igora Conića, objavljen septembra 2018 godine na sajtu gradnja rs [8] Departman za arhitekturu, FTN,

10 [9]