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Design Week May 2009 5 DW F1 5:Layout 1 6/5/09 15:35 Page 5 PROTOTYPING PROFILE & MODELLING ENRICO BERGONZONI © BERGONZONI/ARMIGER © JAMES MANN/CLASSIC & SPORTSCAR 23 1 & 4 WWW.ANDREWPUTLER.COM © PUTLER/ARMIGER 1 4 Top models Architectural model-making is like being a musician, where interpreting a score is fundamental, says Richard Armiger. Anna Richardson talks to the veteran in the field about the early days and why his craft is still appreciated 1 Gardens by the Bay, TALKING TO a cross section of architectural model-makers gives reality, so a wide-brush approach makes a lot of sense,’ he says. Singapore – competition a slightly gloomy impression of their profession. Some treat it For the model that helped secure the Gardens by the Bay, model for Wilkinson as a stop-gap on the way to a preferred career, while others feel Singapore competition win (Wilkinson Eyre/Grant Associates), Eyre/Grant Associates. underpaid and undervalued. But talking to Richard Armiger paints Armiger emphasised the development’s Green issues by making Richard Armiger has helped a different picture. For him, model-making is ‘the perfect mar- the most of the garden, and he used as much timber as possible. win more than 60 architectural riage of sculpture and architecture’. He remembers his career The resurgence of timber in model-making makes Armiger design competitions fondly and is just as enthusiastic about it now as he was more smile. ‘Having paid my dues as a timber model-maker in the than three decades ago. 1980s and 1990s, it’s great that timber is being embraced again 2 Detail from model of Having studied painting and sculpture in the US and model- as a “new” material,’ he says. ‘Timbers can be very expressive, New Street Square making at Kent Institute of Art and Design, Armiger worked for especially in abstraction.’ But he fears that timber is in danger of development, London EC4 Cambridge Seven Associates, Casson Conder and Partners, Wolff becoming a ‘jump-on-the-bandwagon material’. ‘With new SLA, for Bennetts Associates Olins, Ove Arup and the BBC, before setting up Network Models CAD and laser technology evolving every minute, sometimes in 1983. In the early days in Boston, he met the likes of Buckmin- timber just isn’t appropriate,’ he explains. ‘We’ve always thought 3 Richard Armiger ster Fuller and Charles Eames. Armiger says, ‘With hindsight, that choosing the best material for the job is what matters.’ I realise what an incredibly lucky person I’ve been.’ Keeping skills alive is very important to Armiger. ‘We can make 4 Sonning House model for He remembers his apprenticeship years at the Arup Modelshop things really quickly now, but it would be a crying shame if all Gregory Phillips Architects particularly fondly. The workshop had an inspiring atmosphere, the traditional hand-making skills, such as turning, whittling, with skilled, old-school timber model-makers such as George carving and knowing how to season timber, were lost,’ he says. All works by Richard Armiger Rome Innes, David Armstrong, Julian Thompson and Roger Hillier A good model-maker needs to have an interest in architecture, debating architecture and life over long, legendary vegetarian an ability to focus intensely and a broad range of skills, and not lunches. ‘These guys were great characters and terrific teachers,’ have a hobby focus, he believes. ‘As a hobbyist, the goal is accu- says Armiger. ‘They were a wonderful crew and very erudite – racy alone,’ says Armiger. ‘My art school training was diametri- so rare in a miniature world, and I’m eternally grateful.’ cally opposed to that. You have to try to catch the essence of the Armiger continued this tradition of model-making with a pas- thing. Capturing the spirit is the key.’ sion for craft as well as a love of architecture, and his client list With more than 1900 models completed, Armiger’s proudest is a who’s who of star architects, including Lord Rogers, Lord moment was the completion of models for the V&A of Chiswick Foster, David Chipperfield, Alsop, John Pawson, Zaha Hadid and Villa and Joseph Paxton’s Crystal Palace (sadly delivered only a institutions such as the Victoria & Albert Museum. few weeks after 9/11). ‘When we were commissioned for the V&A He finds projects that require a degree of interpretation, such permanent collection, that’s when I felt we’d really arrived.’ as competition models, particularly satisfying. ‘Especially when He concedes that some big-brand architects are less willing to compared to models at the larger scales, landscape and master- share the accolades with their model-makers, but Armiger believes plan models have an extraordinary scope for interpretation. that his is an appreciated craft. ‘All the good makers have a fair At scales below 1:250 it would be foolhardy to try and represent stack of thank you letters,’ he says. ‘Ours are cedar-scented.’ G DESIGN WEEK MAY 2009 5.
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