ARCHITECTS DO IT WITH MODELS HOW DO ARCHITECTS AND FASHION DESIGNERS UTILISE THE MODEL AS A MEANS OF WORK?

AMRIT SEERA 1100239 CARC 6003: CULTURAL CONTEXT THESIS BA (Hons) ARCHITECTURE UNIVERSITY FOR THE CREATIVE ARTS (CANTERBURY SCHOOL OF ARCHITECTURE)

CONTENTS

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Introduction

09

How The Model came to be How the architectural and fashion models we know today came to

be

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Uses of The Model An exploration into the multitude of uses of The Model

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Realms of fantasy and reality How The Model distorts our experiences of fantasy and reality

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Conclusion

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Bibliography

ARCHITECTS DO IT WITH MODELS HOW DO ARCHITECTS AND FASHION DESIGNERS UTILISE THE MODEL AS A MEANS OF WORK?

Introduction

The Model is utilised as a powerful means of communication, with which a designer can create a tangible language or object that expresses their idea(s) or product(s) to an audience. The Model is a fundamental part of both the Architectural and Fashion industries and as the title of this work indicates the aim is to uncover the uses of The Model in the Architectural and Fashion industries that stretch beyond its uses as a means of communication. The Model means so much more than just as a way to communicate, Models are the co-producers of reality (Eliasson, 2007) theyve become a way to distort our perceptions of reality through the use of different techniques and technologies; theyve become a means of work and process; theyve become a methodology of experimentation.

More and more different industries are coming together to create interdisciplinary collaborations; none are more interesting than those moments

where the worlds of Architecture and Fashion collide. The lines between creative industries are becoming evermore blurred, the rise of the multidisciplinary practice has allowed the Architect to be more than just an Architect i.e. product designer, graphic designer, interior design, fashion designer etc. At the core both these industries primary output is to provide shelter; both garments and buildings protect and shelter the body whilst providing means to express personal, political and cultural identity (Juinio, 2010), both industries relate back to the human body, and more obviously in the fashion industry than the architecture industry, allows us a form of self-expression. Architecture and fashion are part of the art of living (Jacobs, 2013), the luxuries of expression and creativity that surround us; the professionals of these industries have a very significant impact on our lives (as much as we may try to deny it).

"This ... stuff? Oh. Okay. I see. You think this has nothing to do with you. You go to your closet and you select ... I don't know ... that lumpy blue sweater, for instance because you're trying to tell the world that you take yourself too seriously to care about what you put on your back. But what you don't know is that sweater is not just blue, it's not turquoise, it's not

lapis, its actually cerulean. And you're also blithely unaware of the fact that in 2002, Oscar de la Renta did a collection of cerulean gowns. And then I think it was Yves Saint Laurent wasn't it who showed cerulean military jackets?" ... "And then cerulean quickly showed up in the collections of eight different designers. And then it, uh, filtered down through the department stores and then trickled on down into some tragic Casual Corner where you, no doubt, fished it out of some clearance bin. However, that blue represents millions of dollars and countless jobs and it's sort of comical how you think that you've made a choice that exempts you from the fashion industry when, in fact, you're wearing that sweater because that was selected for you by the people in this room from a 'pile of stuff'." (The Devil Wears Prada, 2006)

Exemplified in this quote by Miranda Priestly (portrayed by Meryl Streep) in the 2006 film The Devil Wears Prada based on the 2003 book by Lauren Weisberger, the book is a roman la clef of Anna Wintour the current editor-in-chief of American Vogue. Priestly explains how the decisions made by professionals of the fashion industry can influence something as basic as the colour of a jumper. From

one end of the spectrum these decisions filter down i.e. Oscar de la Renta luxury couture gowns all the way down to the common every day person buying a jumper in a certain colour from a retail store. The same principles can be applied to Architecture, decisions made by architects, developers, contractors etc. have an effect, no matter how miniscule, on how we inhabit and move through public and/or private spaces.

Architecture has a permanent presence in the fashion magazines, it is one of the most influential institutions of the industry. (Gaudet, 2011) the industries have a profound influence on each other. Peter Marino (who frequently collaborates with fashion houses such as Louis Vuitton and Chanel) explained how he goes to the Fashion Weeks seeking inspiration,"[Fashion] they're able to express changes in our sentiments much faster than architecture what I do on the boards doesn't happen for a year" ... "Fashion is the immediate, here we are now." (Marino, 2013) Due to the pace of the fashion industry it is a place to see the pop culture and what is culturally relevant today; contrasting that with an industry that moves slow, architecture can look to the fashion industry as an insight as to what will be and what is culturally relevant.

For a basic example of how these two industries are similar is in The Model they use for projects.

ARCHITECTURE Developer, Private client, Competition, Exhibition, Installation, Collaboration

FASHION Fashion week, new collection, private client, retail, ready-to-wear, and couture

Brief

Research, precedents, collaboration, mood boards, collage, sketching

Concept

Mood boards, samples, research, collaboration, precedents

Development
Models, iterations, concept refinement, materiality, testing, sketches Samples, fittings, patterns, materials, modelling, testing

Refinement
Final drawings, technical drawings, final adjustments, Photoshop, final model Final fittings, model go sees, final changes, adjustments, final

Presentation
Presenting to client/audience, Critique/Crit, exhibition, entering competition

embellishments

Catwalk, photo shoot, showing final outcome to client, exhibiting, presenting to market/buyers

Figure 1 The Model of the industries

Fig 1. Demonstrates how these industries parallel in the process they use to arrive at their final product, the stages in The Model are the same and the processes at each stage are similar. Differences in the development stage where professionals in the Architectural industry will use scale models to express quick iterations and in the fashion industry they may use this technique but it would be difficult to use scaled down models. There is scene in the movie The Devil Wears Prada (2006) where Miranda Priestly reviews the work of James Holt, who has his work being displayed on models, for the upcoming Paris Fashion Week, There is a scale. One nod is good, two nods is very good. Theres only been on actual smile on record and that was Tom Ford in 2001. If she doesnt like it she shakes her head. Then of course theres the pursing of the lips. To which the protagonist asks, Which means? with a reply of Catastrophe.

This situation is very similar to the Crit or Critique Architecture students (and sometimes Architects) face, it is a very similar situation, where you waiting with abated breath as to see whether the person critiquing the work youve spent endless days and nights working on without rest, trying to gauge their facial expressions for any signs of feedback.

To specify into the relationship between these industries there are scholars researching and writing about Architecture and Fashion such as Bradley Quinn writes about fashion, textiles and design with titles such as The Fashion of Architecture, Techno Fashion, Scandinavian Style and Mid-century Modern; however the best way to see comments on this are in building or on the catwalk by looking at designers such as Rei Kawakubo, Yohji Yamamoto and Gareth Pugh. There are abundant researchers on models in each respective industry, for the fashion industry at the forefront (from my reading) is Caroline Evans a Professor of Fashion History and Theory at Central Saint Martins School of Art and Design. Evans works include: Fashion at the Edge (2003), Fashion and Modernity (2005) and Modeling Modernism: Mechanical Smiles and Mobile Bodies (2012), several of these works have been referenced in my work.

There is a myriad of scholars commenting on the architectural model, literature of architectural models date back to Ancient Greece, however the sources that were most useful for this work came from Bradley Starkey, Tom Porter and John Neale, and Mark Morris. Starkey is researching the emerging methodology of design-led research, investigating the how the process and final outcome of architectural model making can be used as a tool through which to research the spiritual. Starkey is a one of the editors of From Models to Drawings (2007), which is referenced throughout my text. Tom Porter and John Neale are authors of the book Architectural Supermodels: Physical Design Simulation (2000), which was developed from a dissertation by Neale while a Diploma student at Oxford Brookes. Finally the work of Mark Morris in Architecture in Practice: Models: Architecture and the Miniature (2006) which follows doctoral research Morris undertook in 1998-2003 at the Architectural Association; his interest in models started during his studies and continued throughout his studies in Europe, his studio that he teaches at Cornell University focuses on modeling techniques.

The actual topic at hand i.e. The Model in the Architectural and Fashion industries has not been researched or documented as much as broader similarities between the industries. This specific overlap between the industries is

interesting as this one notion encapsulates so much of what is interesting in the similarities and differences of these industries. There is an undeniable need for creative industries to collaborate and work together for progression and innovation, the industries of Architecture and Fashion can learn so much from one another yet have very similar histories, outcomes and processes. Having a keen interest in both of these industries this piece of work has allowed a deep exploration into these industries and inspired a continuation in interest into this genre of work.

Looking at a specific link between these industries has allowed for in-depth research into The Model, in particular its uses, its significances and what it means to each industry. Diana Agrest was quoted to have said: Architecture is produced in 3 different registers, through three different texts: drawing, writing, and building We could consider four, if we consider models. (Agrest, 2000:164), why is that Agrest considered models as an after thought? It should be an integral part of both industries as it is what links the worlds of abstract and concept to reality. The aim of this research is to explore how The Model has become and is becoming much more than a means of representation in both

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industries, how it is not just a means of communication but also a means of working and of process

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How The Model came to be

Marcial Echneique defined the model as being a representation of reality where representation is the expression of certain relevant characteristics of the observed reality and where reality consists of the objects or systems that exist, have existed or may exist. (Echneique, 1968), The Model acts as a crossroad between what exists (realms of reality) and a representation of an object or system that is yet to exist (realms of fantasy), so an architectural model this is obvious that the building site and its surroundings are the realms of reality and the Architects creation will be the realm of fantasy mediated by means of model.

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In the fashion industry The Model acts in a similar way whereby the fashion model is a mediator between the consumer and the product, however, creates more of a fantasy by displaying the model as an image of perfection.

The etymology of the world model also reiterates this idea of The Model acting as a mediator, borrowed from the Middle French word modle, from Italian model, from Latin models. Modellius is a diminutive of the Latin modulus, a diminutive of modus, which signifies the word measure. (Smith, 2004) the aspect that makes the model a mediator between fantasy and reality is scale; the miniature size of the architectural model makes it almost toy-like creating an instant air of nostalgia, whimsy and fantasy about it, models gain energy by being small (Kipper, 1978). The fashion model represents at a 1:1 scale selling a fantasy via the lifestyle and attitude that is represented in the clothes he or she is modeling, the fashion model exemplifies a fantasy that many women wish was a reality.

The history of The Model in each industry has a very similar history, they both begin in during Ancient Greek

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Figure 2. Temple of Delphi ruins (2007)

and Roman civilisations, The architectural models of Greek and Roman antiquity, if they existed at all, are known only from literature. The oldest acknowledge model is mentioned in Herodotus, who describes the model of the Delphi Temple in his writing. (Neale & Porter, 2000), as it was difficult to archive during Ancient civilisations or means of archiving would be lengthy processes the easiest and quickest way would have been to document a model in a description of it in words. However, models or maquettes would not have been as significant as they are today in this era, the notion that the early builders worked directly from maquettes is deemed unlikely by the majority of modern archaeologists The Great Pyramid, Stonehenge, The Parthenon and other ancient monuments were designed and constructed according to scientific needs; their location, setting, size, and geometry being determined by the need to embody cosmic measure and ratios. (Neale & Porter, 2000), so although conventional methods were not being used and The Model was not as relevant at this time, there were systematic models used to determine the measure; which relates back to etymology of The Model the word model being a derivative of the Latin Modellius meaning measure.

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The Model, as architects understand it, was primarily a renaissance invention (Morris, 2006:15) as it wasnt until the Italian Renaissance that the architectural model began to have significance to an Architect or designers work, Leon Battista Alberti is noted to have realized how important The Model is to an Architects work, having constructed the model, it will be possible to examine clearly and consider thoroughly the relationship between the site and surrounding district, the shape of the area, the number and order of the parts of a building, the appearance of the walls, the strength of the covering, and in short the design and construction of all elements. (Alberti, 1996), Alberti began to understand that not only could The Model communicate his ideas but also can become a tool of study giving definition to the architectural ideas in three dimensions (Alberti, 1996). However, the direct relationship was lost between the Architect and The Model as during this time period the process of making The Model was considered messy work (Starkey, 2007) which accorded them a lower status in comparison to the drawings which were made in the gentlemanly space of study. (Starkey, 2007)

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It wasnt until Walter Gropius founded the Bauhaus in 1919 that there was a resurrection of the medieval Lost Chord between designer and craftsman, the
Figure 3. Walter Gropius opened the

revolutionary curriculum (Neale & Porter,

Bauhaus with one of the ideas to resurrect the Lost Chord between designer and craftsman (1926)

2000); this then reignited the idea of the model being detrimental to the progression of design and innovation. Process Models are almost always made by the hand of the designer and so claim the architects touch and authorial aura. (Morris, 2006:37) through the students learning, analysing and developing their ideas through models the Lost Chord was revived, a model gains energy and excitement as the person whos creation it is pours their essence into this model.

Like the architectural model the fashion models history can be traced back to Greek and Roman civilisations, however, at this time it wasnt the fashion model we know today. Models were first used as artists muses, Accounts of the first models originate from Ancient Greece of 400 B.C. it is because man wanted to idealise his own kind, that the job of the model was born. Quite simply artists and sculptors needed base material from which to work. (Quick, 1997:10), there was a

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need for these muses to create these idealistic perfect representations of the human body. It wasnt until the 17th and 18th century when there were clothes and designs to sell (Quick, 1997:23) that the fashion model became a necessity. Models soon began to, and still do, play a critical role in shaping how commodities are sold to us (Entwistle & Wissinger, 2012:1), before these models designers modeled their dresses on dolls (Evans, 2013) or inanimate store fixtures which were often made of wax.

The revolution of the fashion model was the works of an Englishman named Charles Frederick Worth, who due to the innovation of the modern day fashion model has since been dubbed the Father of Haute Couture (Ramzi, 2013). Worth was the first to have the idea to show the clothes in motion to clients (Quick, 1997:23); many of the fashion models of this time were from the shop floor of the salons either salesgirls or assistants. At this time the fashion model was known as a mannequin (or manakin), the use of this term described the spillage between animate and inanimate (Evans, 2003), the use of this term described the interchangeability of the fashion model and a dummy, fashion models could transfer themselves to being shop window

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dummies after a fashion show. They would walk at the fashion shows, which werent as flamboyant as they are now, that were held in the salons of the designer; these soon became big social events for high society women.

It wasnt until Madame Coco Chanel set up her mason de fashion in Paris that modeling became a

Figure 4. Chanel with model (Year Unknown)

career and a source of full time employment, until this it was seen as a lowquality job linked with preconceptions of being linked to prostitution. Chanel had a usual approach to employing these models; she employed them in her own image; demanding strong facial features, a lithe frame and an elegant walk. It was Chanel that began the idea that each designer had an aesthetic for his or her models for fashion shows.

The rise and influence of Hollywood in the 1930s added the theatricality of glamour to the modeling industry, however it was the advancement in photography and specifically fashion photography that acted as a springboard for change in the status of the model (Quick, 1997:42). Photo shoots and catwalks became a more glamorous and elaborate affair, Photographers spent days, even weeks, creating fashion stories. The preparation was meticulous and

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the relationship between mode, photographer, and editor, intense. Through this process, [Guy] Bourdin, [Helmut] Newton and [Deborah] Turberville changed the focus of the fashion image by giving a weight of meaning beyond mere description of clothes. (Quick, 1997:119). Similar to the rise of the architectural model as the fashion model became a more important part of the fashion industry the relationship between creator and craftsman became more intertwined.

Both architectural models and fashion models have come along way since their humble ancient beginnings, however their success and constant innovation is due to their ability to relate to their immediate historical context, the target market and
Figure 5. Dita Von Teese modelling

the designers style (Soley-Beltran, 2012:99). More

the first 3D Printed dress (2013)

so in the fashion industry is this possible however architectural modeling had to and still do reflect technological advancements, Nowadays, the main aim of architecture is the continuation of progress of its design based technological innovation Innovation is forever dictated by science and technology. This becomes reflected in the architectural model, the advancement of CAM

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technology has allowed for modeling to be quicker and more precise process i.e. 3D printing models has allowed quick maquettes to be created and is now being developed to be at a 1:1 scale for rooms and in the fashion industry for dresses. Models can be a reflection of the trends and patterns of that are occurring in the industry, Peter Marino in the John Edwards Lecture 2013 describes how there are rhythms of minimalism and maxism in fashion that are reflected in the architecture of that time, the only way architecture gains pace and velocity is through technological advancement and iterations that architects create. Through the velocity of creating iteration, after iteration, after iteration is a rapid way to progress a project, a concept an innovation.

With the advancement of technology the image of reality becomes ever more distorted, The Models body seems irrelevant no more than a kind of raw material that was virtually undetectable, an analytically insignificant, under layers of airbrushing, studio effects and now photoshopping. (Entwistle & Slater, 2012) Almost as though a cyclic pattern, with the rise of technology, we have gone a full circle back to the original artists muse where the artist would seek out the best parts of a model and use them to create a supermodel. There is a lot to be

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learnt from the history of The Model, and it is evident that they are a reflection of how the industries are progressing and changing.

Figure 6. Images of Britney Spears for Candies showing her before and after post-editing, this image shows how The Model can distort reality with technology

Uses of The Model

Alexander McQueens clothes at The Met was spectacular because it wasnt about the fashion, it was a spectacular creation, on every level it transcended fashion. People who didnt know the first thing about fashion, you didnt need a fashion education, you didnt need to know the history of the corset to appreciate the show. (Jacobs, 2013)

From looking at the history of the model it is clear to see that through its history it has gained multiple meanings and uses. However to discover the adaptability of The Model we should begin to understand the objectives of The

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Model, what does The Model wish to achieve? The Models objective is to create a language between those of the industry and their audience who may not have experience of their industry; its aim is to communicate artists concepts and visions of utopia.

Models are a means of representing ideas visually in an exciting design dimension, i.e., an architectural language that cannot be readily experienced via drawings (Neale & Porter, 2000); there is richness in a model that cannot be easily achieved in a drawing. Models create an excitement that often cannot be created in rigid and regulated drawings in their miniature and toy-like nature, especially a plethora of models that show an iterative process that architects such as Frank Gehry, Nigel Coates and Will Alsop readily employ for projects.

Before we begin to look at other motives of The Model it should be studied its primary function of representation and communication. The models outcome is to provide a stimulus that is understandable, however very rarely do many people see these models in their physicality, so how would artists communicate their ideas to the masses? Through photography and imagery,

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Images are the real currency of architecture, often outliving the structures they commemorate, no less than fashion, where they are used in their millions, that both are so dependent on the traditional media of newspaper and magazines. (Pawley, 2000)

Martin Pawley an architect that has a keen interest in the worlds of fashion and architecture describes how images are like a currency, it is like a verbal language and it communicates with people of society (Hedayat, 2012). As this is the way most people will see The Model it becomes merely an image, a representation of reality without being itself (Eliason, 2007), we forget that it is a physical object, that there was a days, weeks and months of preparation for one image, to sell an idea or a product. We forget that the item that is sold to clients is a thing with certain defined properties, and to produce that thing requires material and intellectual labour to design, define, shape, present and promote it (Entwistle & Slater, 2012).

The Model is a representation of an artists concept, The Model is a physical outcome of an abstract idea that an Architect or Fashion Designer has conceived,

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the concept marshals, disciplines, integrates and conceptualises a considerable range of heterogeneous practices towards the production of a stable and consistently identifiable object. The Model is a means for an artist to communicate his or her concept as a vision for utopia (or sometimes dystopia) in a physical representation either as a physical entity or as an image.

While models are frequently used to communicate design ideas, they are rarely used to generate them. (Starkey, 2007) An alternative to the common misconception that models are simply there for representation is the notion that they can be used to generate the ideas or concepts. Olafur Eliason describes how we no
Figure 7. Zaha Hadids series of models for the Venice Biennale (2012)

longer progress from model to reality but from model to model while acknowledging that both models are, in fact, real. (Eliason, 2007), this is a recent development of how the model can be used to the advancement of a project and of conceptual ideas. It is not simply a concept, the idea that models can generate ideas, studios of Zaha Hadid, Daniel Libeskind and Steven Holl use the model as a conduit for exploring embryonic ideas (Neale & Porter, 2000) therefore

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reversing the The Model of the industry previously mentioned, instead of modelling in the development and refinement stages there is the opportunity to use it during the conceptualisation stage. Using these three practices as an example models exist at the heart of their design thinking, a single project sometimes being subjected to literally scores of sequentially built exploration maquettes, each made in order to refine and resolve function and form and, of course, to increase build-ability of their concept. (Neale & Porter, 2000) A projects sequence and story can be told through the physical iterations of their concept that are created, it can show a client or for future reference how a project was successful or not so successful; in a retrospective manner they can be an educational stimulus for practices.

The purpose of design, and in this case modelling, is to further perfect an ideology we believe is already perfect. A house has different connotations when we think of the perfect house or the perfect dress and as well as communicating visions of utopia models allow us to reinvent the wheel. Olafur Eliason explains this in his Models are Real essay, A model of a house, for instances, would be part of a temporal sequence, as the refinement of the image of the house, but the actual and real house was considered a static, final

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consequence of the model. (Eliason, 2007) Eliason evokes an idea that the model from its ancient beginnings has been a progression of perfecting the image of the house, at a more basic level it is a constant perfection and reinvention of the way we should shelter ourselves, for both architecture and fashion.

As well as providing a fast medium through which ideas can be generated from these iterations models become a tool for analysis they can be used for testing the feasibility of a design, it can also test the spatial configuration of a design. They can provide retrospective especially for models that have survived the test of time where the 1:1 model as a building may have not, when they do survive they provide a retrospective, insight of the Architects spatial anticipations and, in themselves, can become celebrated as treasured relics (Neale & Porter, 2000), there is a lot we can learn from historical models as an educational tool. Through The Model clients or an audience can begin to analyse the idea themselves, especially for major public buildings e.g. The Houses of Parliament and the Law Courts, these can be seen by the public to inform judgement and spark debate.

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The Fashion industry has a much closer link to The Model as they operate on a 1:1 scale, the fashion industry also can use The Model as a tool for learning and analysing, fashions love for the female figure turned into an obsession by the mid-Eighties. Designers wrapped and swathed the body in clinging Lycra micro clothes photographers
Figure 8. The 80s gave rise to the fashion designer being obsessed with the female figure swathing the body in clinging Lycra (2011)

cropped heads out of the picture, filling the frame with impossibly perfect figures Fashion even named its own icon in the shape of Elle MacPherson, a 6ft tall Amazonian model who simply became known as The Body. (Quick, 1997) The Model becomes dissolved again into a mere mannequin, where a designer can learn from a Model especially as models now come in different shapes, sizes and specialities as the career is no longer considered taboo. The recent rise in different shaped models has allowed designers to design and learn from the human anatomy in new ways than when The Model was a standardised skeletal frame.

Models exist in all shapes, sizes, forms and functions; within each industry there are specific models for specific needs. There is a lot of correspondence between the architectural and fashion industries in these different types of models i.e. a

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Glamour models that often model topless or nude can be seen to relate to an architectural structural model where all the faade and clothing has been removed; the supermodel would be the final all-encompassing, versatile, and polished model; or the detail sectional models could be seen as a parts model that is used for specific body parts. There is a vast myriad of different models that have different functions in both the architectural and fashion industries, this can produce a wide variety of various representations and points for analysis or learning, models come in various forms and sizes: objects such as houses or artwork are one variety, but we also find models of engagement, models of perception and reflection. (Eliason, 2007)

[Left] Figure 9. Final Model created by Archivision Models for Terra Aqua Developers [Right] Figure 10. 2013s It Girl Super Model Cara Delevingne (2013)

The Model through technological advancement has become much more than a means of representation, through the ability to quickly create a rough maquette from cheap materials such as card or technological advancements such as 3D

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printing or laser cutting there is now the ability to rapidly prototype iterations of a model. The Model can become a generative methodology to achieving a final outcome, The Model can better enable an audience to connect with an artists visions and concepts and understand it more thoroughly and with the variety of different models that can be used different levels of detail can be addressed and studied for further development.

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Realms of Fantasy and Reality

Whenever we attempt to speak, write or otherwise represent aspects of our experience and understanding of physical reality we are entering into a modelling relationship with the world. (Dillon, 1998)

We cannot attempt to visualise something that doesnt exist without a physical form of it, it is difficult for an artist to share the exact same vision he or she has with an audience without a physical representation of it. As afore mentioned The Model is the means with which artists can distort our perception of reality, Mediated realities are never synonymous with unmediated realities, however, and

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architectural models are always, but in different ways, abstract and partial. Models can never represent a one-to-one relationship in all aspects and dimensions. (Starkey, 2007) Even with fashion The Model is not the one-to-one in all aspects and dimensions as the clothing The Model is displaying will hang differently on different body shapes and consumers of fashion come in all different shapes and sizes.

The Model is a form of simulation, it is a way artists can simulate the fantasy or idea that is imposed into reality. In the book Simulacra and Simulation by Jean Baudrillard, Baudrillard discusses symbols and signs and their relationship to simultaneous existences. Simulacra are copies that depict things that either had no reality to being with, or that no longer have an original. (Goldman & Papson, 2012) and Simulation is the imitation of the operation of a real world process or system over time. (Banks, Carson, Nelson & Nicol, 2001). Baudrillard breaks our understanding of Simulacra and Simulation into 4 stages: 1. The Sacramental Order which is a faithful image/copy which we believe may be correct

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2. Perversion of Reality this is where we believe the sign could be an unfaithful copy that masks and denatures reality (Baudrillard, 1994), signs and images do not faithfully represent reality as we know it but can hint at an obscure or abstract reality 3. Order of Sorcery this is where the Simulacra pretends to be a faithful copy, but it is a copy with no original, where signs and images claim to be representative of something real however in the form of suggestions 4. Pure Simulation at this stage the Simulacrum has no connection to reality at all, signs merely reflect other signs, and cultural products no longer even pretend to be real in a nave sense.

Baudrillard identifies simulacra also relate to historical periods currently in the third order of postmodernity and Late Capitalism the lines between reality and representation have been severely blurred, originality has become an empty concept. Several phenomena contribute to this effect, in relationship to The Model the phenomena of television, film, print, and the Internet have blurred the lines between products that are needed for survival and products that commercial images have created a need for.

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There is evidence of Simulacra and Simulation in the modelling world, in fact the basis of modelling is the idea of simulation by Order of Sorcery (Baudrillard, 1994) by which The Model pretends to be faithful to reality without an original, however through suggestions claims to be a reality. Architects will almost always ensure to include context in the final representational model, so clients may see how this faked reality sits within recognisable signs of existing buildings. Fashion models create fake realities of lifestyles by the clothing they display, they claim they live a certain lifestyle due to the clothing they are wearing in the images however this has all been a staged and simulated reality.

However the mediums through which these fantasies are created are through photography and imagery, artist and photographer Man Ray believed Photography was the medium of fantasy (Quick, 1997:56) this is largely due to the human beings nature of being a visual animal that has been conditioned by the media screen and page into accepting two-dimensional events as true versions of reality (Neale & Porter, 2000). Due to our nature as visual animal and the bombardment of imagery we receive in todays day and age it doesnt

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not phase us to question the images credibility that is presented in front of us, many of us being used to the imagery accept it as reality.

In the case of the fashion model the body is The Model, the body works as a skeleton figure on which lifestyles can be hung, with many designers believing their work to remain fantasy until it is worn or displayed on a human figure, as Marc Jacobs explains, I think a room is beautiful when people inhabit it; you can look at the pure form of a building, but if that store isnt alive with people, and those dresses hanging in that store arent being tried on in the dressing rooms, and sort of left to roll around on a kerb after a party or being taken off in a fancy bedroom for some guy, I dont understand the point of them. So, seeing dresses displayed in the museum its not the life of a dress Its not alive. (Jacobs, 2013), with Peter Marino agreeing as a similar approach for architecture, Still moments are doing something to architecture and its not how we perceive them. (Marino, 2013) We often see imagery of architecture as being empty in the middle of the day, however how often do we see a building as empty and often unfurnished as they are in architectural photography? The image is offering up the ideas of fantasy without inhabiting it with reality, therefore how are clients

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and audience members supposed to imagine how they would use the building? Chanel believed the gesture, the attitude, was all important, it was what gave life to her minimal chic clothes therefore without The Model these inanimate objects would never become animate and take the fantasy to reality.

What is important in fashion is the creation of a fantasy, I do not speak of a Disney-esque fantasy; I mean the kind of fantasy that is completely unfound in reality; I mean the kind of fantasy that allows one to look at the entirely different aspects of pre-existing material. A fashion brand that succeeds in creating this fantasy will be considered highly valuable. So perhaps you could say that the tricks used to accomplish this is the very definition of fashion. (Igarashi, 2009)

Igarashi speaks of the Simulacras found in fashion, it is common knowledge than many of the images we see are imitations of reality whereby they have undergone a thorough conditioning of airbrushing, superimpositions of body parts including hands, feet, legs, breasts etc. to create an image of perfection,

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that image of perfection is the fantasy the client, audience and consumer will strive to.

The distortion of realities occurs for the Architect or Fashion designer to exemplify their fantasies for perfection, the Architect strives to convince the audience his fantasy of the perfect house is one that be a shared view with others, whereas the Fashion designer will try convince their audience that their Autumn/Winter Collection is the way their audience should dress for the season. As we are in an Age of the Image we have become immune to images that are Simulacras and those that are Simulations as we tend to accept all for reality, we are visual animals that with the correct stimulus can be tricked into believing a spectrum of obscure and abstract fantasies are real all through the medium of The Model. In fashion The Model is already at a 1:1 scale therefore making it easier to imagine the fantasy as a reality; however, architectural models are aided by signs or symbols of reality to help their client visualise the final 1:1 building (The Final 1:1 Model). Both industries rely on the ability to distort reality to implement their design or fantasy into a simulation of reality, therefore making

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the believability of The Model and taking it from a fantastical object to a reality existing in the real world.

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Conclusion

The original aim for this piece of writing was to examine the function of The Model, it is clear that The Model is not only a means for representation. The Model has become so much more and gained so much richness from the development of The Model, it has developed into a means of work, a means of progression and a language that can be universally understood.

The Model has many advantages especially when we look at it the battle that is analogue vs. digital models, however the humble physical models communicate well the interactivity and tangibility of a physical model always fascinates clients, The Model is the easiest way to sell a project to clients with a physical entity presented to them clients can visualise the final product. With the variation of models that there now are The Model can focus on specific parts of a project or person, if there is a faade system that is vital to the selling and concept of the

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project a craftsman can focus on this to sell it to the client, for a fashion model that is selling a glove a part model would be used as The Model would be zoomed in on the hand therefore focussing the client on what is being sold. The moment in a project when The Model comes into existence the project has a sense of realism that wasnt there before, the project seems more realistic and feasible once it has been proven in the form a model.

Models can have disadvantages as well, traditional models require time, money, and a certain level of craft; they can also be difficult to revise, especially if the revision is a minor one, unless they exist in the virtual world where revisions and changes become simpler however lack the same magic that a physical model creates. Physical models are difficult to archive and preserve, they can often require large amounts of space and specific conditions in order to preserve their original form, even more so in clothing, however the majority of models are preserved in the form of images.

You become better at your craft by building (Marino, 2013), without models many of these industries would not have developed to what they are today, by

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the designer having a direct relationship with the physical final output it gains energy and a magic that cannot be replicated in drawings; this magic and excitement is created in the animation or realisation of a the artists idea.

The Model is not an artefact that will soon be eradicated from either industry, both industries rely on The Model so much for the success of their project, it shouldnt be considered an after thought but integrated into the generation of ideas. Studying The Model and is a very relevant and contemporary topic to study as The Model is such an integral part of the Architectural industry, one that may change into virtual models however they are and will play an important part of the industry for many years to come and one the components of the industry that will probably remain a part of the industry for a very long time. The Model has the ability to adapt to new trends, new technologies and new situations, therefore will stand the test of time, its ability to allow for a variety of functions, as a means of work, a language and means The Model is much more than just a means of representation.

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BIBLIOGRAPHY

In order of appearance in each chapter

Introduction

Agrest, Diana (2000) 'Representation as articulations between theory and practice' In: Allen (ed.) Practice: Architecture, technique and representation - critical voices in art, theory and culture. Amsterdam: Gordon and Breach Publishing Group. pp. 164. The Devil Wears Prada (2006) Directed by David Frankel [DVD] USA: 20th Century Fox. Eliasson, Olafur (2007) 'Models are Real' In: Models, 306090 Books 11 pp.18-25 Gaudet, Jeffery D. (2011) Icons of Architecture and Fashion: An exploration between the two fields [B.A. Thesis] Tufts University Department of Art and Art History. Peter Marino in conversation with Marc Jacobs [online lecture] Marc Jacobs. The Architecture Foundation (2013) 1 hour 30 mins at: http://www.archdaily.com/461856/peter-marino-and-marc-jacobs-chat-aboutdesign-architecture-and-fashion/ [Accessed 01.01.14] Juinio, Archie (2010) Fashion and Architecture. At: http://www.vogue.it/en/encyclo/architecture/m/fashion-architecture/ [Accessed on 18.08.13] Peter Marino in conversation with Marc Jacobs [online lecture] Peter Marino. The Architecture Foundation (2013) 1 hour 30 mins at: http://www.archdaily.com/461856/peter-marino-and-marc-jacobs-chat-aboutdesign-architecture-and-fashion/ [Accessed 01.01.14]

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How The Model came to be

Alberti, Leon Battista (1996) On the art of Building in Ten Books, trans. Joseph Rykwert, Neil Leach and Robert Tavenor. Cambridge: The MIT Press. Echneique, Marcial (1968) Models: A Discussion. Cambridge: University of Cambridge Department of Architecture. pp 25-30. Entwistle, Joanne & Wissinger, Elizabeth (2012) 'Introduction' In: Entwistle & Wissinger (ed.) Fashioning Models Image, Text & Industry. London: Berg. pp. 1

Evans, Caroline (2003) Fashion at the edge: Spectacle, Modernity and Deathliness. New Haven: Yale University Press Evans, Caroline (2013) The Mechanical Smile: Modernism and the First Fashion Shows in France and America, 1900-1929. New Haven: Yale University Academic Press. Morris, Mark (2006) Architecture In Practice: Models: Architecture and the Miniature. West Sussex: Wiley-Academy Neale, John & Porter, Tom (2000) Architectural Supermodels: Physical Design Simulation. Oxford: Architectural Press. Quick, Harriet (1997) Catwalking: A History of the Fashion Model. London: Hamlyn. Ramzi, Lilah (2013) Remembering the Father of Haute Couture. Fashionista. Weblog [Online] Available from: fashionista.com/2013/07/remebering-the-fatherof-haute-couture/ [Accessed 10.11.13] Smith, Albert C. (2004) Architectural Model as Machine. Abingdon: Routledge. pp 61-62.

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Soley-Beltran, Patricia (2012) 'Performing Dreams: A counter-history of models as glamour's embodiment'. In: Entwistle and Wissinger (ed.) Fashioning Models Images, Text and Industry. London: Berg. Pp 97-118. Starkey, Bradley (2007) 'Post-Secular Architecture' In: Frascari, Hale & Starkey. From Models to Drawings. Abingdon: Routledge.

Use of The Model

Eliasson, Olafur (2007) 'Models are Real' In: Models, 306090 Books 11 pp.18-25 Entwistle, Joanne & Slater, Don (2012) 'Models as Brands: Critical Thinking about Bodies and Images' In: Entwistle & Wissinger (ed.) Fashioning Models Image, Text & Industry. London: Berg. pp. 16-36 Hedayat, Abbas (2012) Inquiry of interrelationships between Architecture and Fashion Design [M.Sc. Thesis] Eastern Mediterranean University Peter Marino in conversation with Marc Jacobs [online lecture] Marc Jacobs. The Architecture Foundation (2013) 1 hour 30 mins at: http://www.archdaily.com/461856/peter-marino-and-marc-jacobs-chat-aboutdesign-architecture-and-fashion/ [Accessed 01.01.14] Kipper, Eugene (1978) 'Nineteen thoughts on the model' In: Buttolph (ed.) Great Models, digressions on the Architectural Model. North Carolina: The Student Publication of the School of Design. pp.21-22. Neale, John & Porter, Tom (2000) Architectural Supermodels: Physical Design Simulation. Oxford: Architectural Press. Pawley, Martin (2000) 'Fashion and Architecture in the 21st Century' In: Architectural Design; Fashion + Architecture 70 (6) pp. 7 Quick, Harriet (1997) Catwalking: A History of the Fashion Model. London: Hamlyn.

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Starkey, Bradley (2007) 'Post-Secular Architecture' In: Frascari, Hale & Starkey, From Models to Drawings. Abingdon: Routeledge.

Realms of Fantasy and Reality

Banks, J., Carson, J., Nelson, B. & Nicol, D. Discrete-Event System Simulation. New Jersey: Prentice Hall. Baudrillard, Jean (1994) Simulacra and Simulation. Translated by Sheila Glaser. Michigan: University of Michigan Press. Dillon, Chris (1998) 'Constructs and destructs'. In: Hughs and Monk (eds.) The Book of Models: Ceremonies, metaphor, performance. Milton Keynes: Open University. pp 25-30 Goldman, Robert & Papson, Stephen (2012) Landscapes of Capital: Information Technology. New York: St Lawrence University. Peter Marino in conversation with Marc Jacobs [online lecture] Marc Jacobs. The Architecture Foundation (2013) 1 hour 30 mins at: http://www.archdaily.com/461856/peter-marino-and-marc-jacobs-chat-aboutdesign-architecture-and-fashion/ [Accessed 01.01.14] Peter Marino in conversation with Marc Jacobs [online lecture] Peter Marino. The Architecture Foundation (2013) 1 hour 30 mins at: http://www.archdaily.com/461856/peter-marino-and-marc-jacobs-chat-aboutdesign-architecture-and-fashion/ [Accessed 01.01.14] Neale, John & Porter, Tom (2000) Architectural Supermodels: Physical Design Simulation. Oxford: Architectural Press. Quick, Harriet (1997) Catwalking: A History of the Fashion Model. London: Hamlyn.

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Soley-Beltran, Patricia (2012) 'Performing Dreams: A counter-history of models as glamour's embodiment'. In: Entwistle and Wissinger (ed.) Fashioning Models Images, Text and Industry. London: Berg. pp 97-118. Starkey, Bradley (2007) 'Post-Secular Architecture' In: Frascari, Hale & Starkey, From Models to Drawings. Abingdon: Routeledge.

Illustrations

Page 2 Figure 1. The Model of the industries [Diagram]

Page 10 Figure 2. De Lorenzo, Antonio & Ventayol, Marina (2007) [Photograph] At: http://upload.wikimedia.org/wikipedia/commons/b/b6/Delphi_tholos_cazzul.JPG [Accessed 05.01.14]

Page 11 Figure 3. Moholy, Lucia (1926) [Photograph] At: http://www.prairiemod.com/prairiemod/2007/12/the-legendary-b.html [Accessed 05.01.14]

Page 12 Figure 4. Chanel with Model (Year Unknown) [Photograph] At: https://default.secure.media.ipcdigital.co.uk/11116/000079312/52cc/coco-chanelL.jpg [Accessed 05.01.14]

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Page 13 Figure 5. Sanchez, Albert (2013) [Photograph] At: http://static.dezeen.com/uploads/2013/03/dezeen_3D-printed-dress-by-MichaelSchmidt-and-Francis-Bitonti_12.jpg [Accessed 05.01.14]

Page 14 Figure 6. Britney Spears before and after (2011) [Photograph] At: http://l1.yimg.com/bt/api/res/1.2/SwF7dmxXWrMwZS7bYtzA9Q-/YXBwaWQ9eW5ld3M7cT04NTt3PTYzMA-/http://l.yimg.com/os/401/2011/09/30/brit1_091927.jpg [Accessed 05.01.14]

Page 17 Figure 7. Saleh, Nico (2012) [Photograph] At: http://ad009cdnb.archdaily.net/wpcontent/uploads/2012/08/1346369356-bnl-zaha-9-528x352.jpg [Accessed 05.01.14]

Page 18 Figure 8. 80s Model in Lycra (2011) [Photograph] At: http://www.imisstheoldschool.com/wp-content/uploads/2011/06/fonda-janephoto-jane-fonda-6234671.jpg [Accessed 05.01.14]

Page 19 Figure 9. Archivisions Final Model (Year Unknown) [Photograph] At: http://www.archivisionmodels.com/Architectural-Model-Images/architecturalmodel-Panama-Model.jpg [Accessed 05.01.14]

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Figure 10. Cara Delevingne 2013s Super Model (2013) [Photograph] At: http://media.portable.tv/wp-content/uploads/2012/12/Cara-Delevingne.jpg [Accessed 05.01.14]

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"Indeed, like the end-of-term ceremonial destruction of models by architectural students, Brunelleschi, in a reported fit of frustration, is supposed to have smashed the elaborate model he prepared for the Palazzo Medici.
Neale, John & Porter, Tom (2000) Architectural Supermodels: Physical Design Simulation. Oxford: Architectural Press.

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