The Art of Architectural Modelling in Paper
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The Art of Architectural Modelling in Paper - T. A. Richardson
T. A. Richardson
The Art of Architectural Modelling in Paper
EAN 8596547215448
DigiCat, 2022
Contact: DigiCat@okpublishing.info
Table of Contents
PREFACE.
INTRODUCTION.
PART I. OF THE MATERIALS REQUIRED.
PART II. OF THE INSTRUMENTS NECESSARY.
THE MODELLING PRESS.
PART III. THE COMMENCEMENT AND FINISH OF A MODEL.
PART IV. HINTS ON LANDSCAPE GARDENING; LAYING OUT GROUNDS, &c.
PART V. A GLOSSARY CONTAINING THE METHODS OF WORKING VARIOUS DETAIL, &c., NOT HITHERTO DESCRIBED.
A.
B.
C.
D.
F.
H.
I.
O.
T.
TO THE READER.
PREFACE.
Table of Contents
In offering the following practical dissertation (the first ever yet published) upon the Art of Architectural Modelling, the Author feels that he is supplying a want that must have been long felt by many students and others in the architectural profession. The utility of the Model,
coupled with its beauty, is ample recommendation of the study; and the modeller will be able to furnish the architect with sure and certain means that he may find weighty difficulties surmounted, especially in the case of uncomprehending clients, by giving to them the designs of their edifices with a distinctness almost equal to the real work when completed. With many clients, even perspectives
are poorly understood, which seldom fails to cause some slight dissatisfaction on their part when they see too late certain things that the eye would have detected in the model and corrected in the outset. Models are becoming very general, where buildings are subjects of competition; and as this course of procedure and honourable encounter bids fair (when weeded of some of its present objections) to open up a good and honourable system, whereby the "race may be to the swift," the importance of the following brief and simple Treatise on the subject, becomes doubly clear.
T. A. R.
Chester, March, 1859.
INTRODUCTION.
Table of Contents
The art of Architectural Modelling is not so difficult to acquire, as an observer, examining a model and admiring the minuteness of its parts, would be led to suppose. But in order to gain a certain degree of proficiency, a large amount of patience and perseverance is absolutely necessary. The great beauties of a model consist, firstly, in perfect symmetry and correctness of parts, all the angles being clear, well-defined, and sharp, the various minutiæ of detail accurately delineated; and secondly, to the straightness and evenness of the horizontal and perpendicular lines. It will be, therefore, readily understood, that it is these portions of the manipulation which demand the student’s attention, more particularly as the joining of the paper or cardboard by means of a mitre, as well as the cutting of lines on the slant in either a horizontal or curved direction, is somewhat difficult. These difficulties which arise in the student’s path are, however, easily to be overcome, and he must not grow faint-hearted if, after repeated trials, he does not succeed in producing the required effect. Rather at this juncture let him examine some model by an adept in the art, comparing his work with it. By these means he will be enabled to see the points in his own requiring improvement, and then let him continue to labour perseveringly and diligently until he gains a perfect command of his knife and materials, and few will be found but will admit that the result at last obtained fully repays him for his time and labour.