Architecture's design process has always been shaped by the tools at hand. We once drew with pen and ink on fragile sheets, copied by blueprint and guarded against smudges and tears; then Mylar arrived, making revisions and preservation easier and nudging drawings toward a leaner, more deliberate economy of lines. Computer-aided drafting followed, speeding coordination and changing how we think about scale and precision. Today, AI adds another layer—gathering information in seconds and spinning images on command—promising new efficiencies while raising fresh questions about authorship and craft. What we make, and how we make it, has evolved with each tool; the history of our methods is the history of our ideas.
Beginning in the post-war era, Mylar (developed in the 1950s) eased drawing reproduction and hastened the shift from blueprint to whiteprint processes. Before Mylar, simply preserving drawings—keeping an idea intact, legible, and undamaged—was a significant task. Post-war design priorities often leaned toward efficiency, simplicity, and an industrial minimalism aligned with reconstruction needs. The tools reinforced this: architectural work remained predominantly hand-drawn, where every line took time to lay down and even more time to erase. That labour sharpened the economy of drawing; each stroke had to earn its place.
Strada Brutalissima. Pavilion of the Republic of North Macedonia at the 19th Venice Architecture Biennale, 2025. Image Courtesy of Blagoja Bajkovski
The Republic of North MacedoniaPavilion at the 19th Venice Architecture Biennale is dedicated to the Brutalist architecture of its capital city, Skopje. This architectural movement has given the city a distinctive identity following the earthquake that struck in 1963. According to pavilion curator, architect Blagoja Bajkovski, in the aftermath of the disaster, Skopje embraced Brutalism from a variety of sources. One of the most prominent of these was Kenzo Tange's reconstruction plan, developed after an international competition organized by the United Nations in 1965. The exhibition, titled Strada Brutalissima, recounts this identity, the events that shaped it, and the buildings that continue to represent it through a series of architectural models. Inspired by the 1980 Venice Architecture Biennale's Strada Novissima, the project reinterprets the concept of a curated "street," this time centered on Skopje's Brutalist heritage.
When we speak of intelligence at the 2025 Venice Biennale, the main exhibition broadly categorizes it into three domains: natural, artificial, and collective. While much attention has been drawn to robotic performances, future-forward material experiments—such as Boonserm Premthada's elephant dung bricks, or Canada's display of mesmerizing picoplankton, one often overlooked yet critical form of collective intelligence lies in the act of archiving.
Several national pavilions showcase this collective intelligence through beautifully curated exhibitions—the Spanish Pavilion's witty play on scale, for instance, features meticulously crafted models that invite close reading and delight. These curated collections offer a snapshot of the present, and in some cases, gestures toward the future. But without critically engaging with the past, without documenting and making sense of our shared spatial and architectural knowledge, the potential of collective intelligence remains incomplete. Archiving is not simply an act of preservation; it is a generative tool for projecting new futures.
For centuries, models have been central to architectural design, providing architects with a tangible way to explore ideas, test concepts, and communicate their vision. From the Renaissance to Modernism, models have been instrumental in the construction and reflection processes, offering insights into form, proportion, and spatial relationships. However, in today's digital age, where 3D modelsand Virtual Reality(VR) have become powerful and efficient tools, the question arises: Are physical models still relevant in contemporary architecture?
It is fascinating to delve into the practice of Iván Bravo, firstly because the path taken towards his architectural work immerses us in a vast creative universe through the architect's interest and curiosity in various tangential disciplines directly reflected in his built work. A constant reflection on the methodology of the making, the processes, the pieces, the design, and the materiality converges into a noble and honest architecture.
The rise of generative AI has given every design educator sufficient reason to reconsider both what to teach and how to teach it. Training an architect is a long process, and mapping it onto an uncertain future is a daunting task. Researchers at OpenAI, DeepMind, Meta, and similar companies seem constantly surprised by the rapid development and sometimes unforeseen capabilities of their AI creations. If even the creators don’t know how fast the future will arrive, it would be hubristic for any of us to claim that AI will do X or AI won’t be able to do Y in the next decade, which is about how long it takes to really train an architect.
https://www.archdaily.com/1014830/how-ai-can-help-us-end-design-education-anachronismsEric J. Cesal
Prime Seafood Palace / Omar Gandhi Architect. Image Courtesy of Omar Gandhi Architect
Ambitious and diverse, models are representative tools non-exclusive to architects. Peculiar fascination with miniatures – and what they tell us about our larger world- extends to all ages, cultures, and purposes. From scaled temples of clay from 200 B.C. found in Mexico, ceramic models carried during medieval Islamic journeys, Victorian doll houses, and LEGOS, models are more than baby buildings. Miniatures unveil the essentials, explain much larger concepts, contain intimate and historical data, and invite us to challenge our known selves and perspective.
333 Kingsland Road & Hackney New Primary School / Henley Halebrown Architects. Image Courtesy of Henley Halebrown Architects
In an age where we have been going from hyperrealistic renders to digital models to the realm of the metaverse, physical architectural models have almost become a thing of the past. Nonetheless, whether it's to showcase the final project or to be used as a tool to explore different solutions to the same problem during the design phase, some architects still consider physical models part of their design process.
With the end of 2022 just around the corner, we have decided to look back at all the architectural models from the projects published this year on ArchDaily. The following selection, grouped into section models, abstract models, intricate models, interactive models, and models that use unconventional materials, lists the best of this year's physical models by our community.
In this week's reprint, author Mark Alan Hewitt talks about models and their importance. "For those of us lucky enough to have grown up during the 1950s and ’60s, models were hot stuff—and not just the kind that statement may bring to mind", he states. Going back to the realistic models of the 70s, similar to today's virtual renderings, this essay retraces their history and the artists that produced them.
https://www.archdaily.com/969074/the-allure-and-importance-of-architectural-modelsMark Alan Hewitt
2020 and the Covid-19 pandemic forced architectural students around the world to go virtual with their classes and coursework, transforming the way architecture was both taught and learned. Once based primarily on in-class participation, and collaboration, architectural workshops had to take on whole new methods of instruction. Conversations and debates between students and their instructors, a key element of architectural education were relegated to phone and video calls as well as written documents, making digital formatting an essential tool for students to share their ideas and receive feedback on their work.
Everyone loves models, but not everyone loves making them. For some, models bring up memories of fingers full of dry glue, cuts from sharp pieces, wasted materials, and large doses of frustration. For others, with the unique ability to physicalize drawings easily and beautifully, making small-scale models can even be fun. But, of course, on the internet, there will always be someone who can take any activity to unbelievable levels of achievement. In model building, the OUROBOROS ARQ YouTube channel takes this role. With almost 2 million subscribers, and videos with over 50 million views, the channel documents the construction processes of highly complex miniature buildings.
Videos
Screenshot from the On Reflection teaser. Image Courtesy of Morris+Company
As lockdown provided architects with the opportunity to reflect on their design processes, it prompted Morris + Company founder, Joe Morris, to create On reflection, a series of short films discussing the fundamentals of the practice, centring the conversation around model making as a critical element of design thinking and a wide-ranging architectural tool.
In many ways, architectural models are strange objects. On one hand, like drawings, models are a representation of something else—a building—that might exist already but in most cases is so far only hypothetical. On the other hand, they are miniature constructions in themselves, which can be appreciated for their craftsmanship and intricacy. Perhaps this is why architects find models so fascinating; they can be simultaneously admired as an object in themselves and as a vision of something greater.
Earlier this year, we asked our readers to send us images of their most impressive models, and the response clearly showed this fascination. We received photographs of a wide variety of models, from sensible and meticulously constructed miniatures to jaw-dropping expressive outbursts. From over 300 entries, we've narrowed down our readers' submissions to just 21 of the most awe-inspiring examples, splitting them into 5 categories to reflect the incredible range of ways that people have made their models worth looking at.
Architects always find themselves searching for the most innovative ways of presenting their projects, going for elaborate models or Virtual Reality technologies driven by a passion for design, building, and creation. Perhaps this passion of architecture was triggered at an age earlier than expected, playing around with LEGO’s.
Now that LEGO has created an architecture-themed collection, the brand gave architecture lovers the opportunity to explore famous landmarks and recreate their structures with basic geometric blocks. Innovative architecture firm WAY Studio discovered the possibilities of model-making with LEGO’s and used its blocks as a design tool for a series of their projects.
Northern Ireland-based architect John Donnelly has launched a studio dedicated to the production of finely-detailed plaster-cast architectural models exploring the diverse built environment of Belfast, Northern Ireland. “Model Citizen” was founded to promote public understanding and appreciation of the architecture and craftsmanship present in Irish cities, manifesting as an ongoing series of intricate sculptures.
Model Citizen sees its sculptures, available for closer inspection here, as a “mechanism to emphasize the beauty and significance of our built heritage,” translating art deco, brutalist, and internationalist styles into tangible, tactile sculptural objects that can be held, felt, and explored.
The Centre Pompidou in Paris has acquired 12 architectural models by MAD Architects, depicting 10 significant projects undertaken by the firm. Each model embodies MAD’s core values that “look to envisioning a futuristic architecture that is akin to dream-like earthscapes – one that creates a conversation with nature, the earth, and the sky.”
The collection, permanently acquired by the Pompidou, represents projects developed by MAD between 2005 and the present day, demonstrating the evolution of the firm’s design process. The Pompidou has become the first major European cultural institution to acquire such a collection of MAD’s work, on display in an exhibition beginning in April 2019.
Tokyo-based designer monde has created a series of bookends inspired by the narrow back alleys of Tokyo. As described by My Modern Met, the bookends convey the “dizzying feeling of wandering the city’s back alleys” through a mixture of laser-cut wood and lighting.
The results of the two-year project were debuted at the Design Festa arts and crafts event, where they caught the eye of outlets across Japan, the United Kingdom, the United States, and Canada.
https://www.archdaily.com/907146/these-crafted-bookends-are-inspired-by-the-alleyways-of-tokyoNiall Patrick Walsh
Have you ever wanted a miniature model of the Flatiron Building, Burnham and Root’s famous Monadnock building, or even a 3D map of Amsterdam? Would you want to have your home transformed into a dollhouse-sized replica? UK-based Chisel & Mouse is reconstructing these architectural icons and custom pieces, and bringing them right to your shelf or mantle.
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