We have been commissioned to make a 1:65 model of an intriguing property in Miami. Silhouetted against the lush flora of Florida it is a beautifully proportioned property that effortlessly incorporates form in its design.

Florida’s climate of clear skies and abundant sunlight is mirrored back in the profile of the house. The single use of white as a colour scheme absorbs and reflects back the regional climate. Note the distinctly aquatic profile of the sun guard on top of the house.

The low centre of mass and sweeping form stops the house from attempting to compete for attention against the skyline. The actual property was commissioned by an art collector, you can see pieces of his collection around the exterior of the house.

Being a UK based firm it makes us jealous seeing the all these exotic properties in sun bathed locations. This evening photo does a good job highlighting the consideration that has gone into the house to emulate the aquatic influence of its location.

In regards to making a model such as this we need to engineer from the ground up. Creating a footprint for the property to ‘lock into’ giving us stability and integrity. Taking this into consideration at this stage means we can confidently explore the more delicate components of the model later on.

Because of concerns with fit, strength and fidelity – the property is broken down into smaller pieces. We reverse engineer the model into a ‘kit’ much like the ones we are all familiar with as children growing up. You can start to sense a degree of excitement as the model passes from intangible 3d render to a physical model in the minds eye.

With the bulk of the components articulated in our 3d software we need to make sure alignment and construction is properly optimised so the model retains its robustness. A lot of the time our models will be internally constructed with a striking degree of resemblance to the actual property.

By this point our 3D model is done and we start to focus on construction. This is a pivotal stage in the process as it represents the final stage of all our 3d modelling and jump off point before we start to physically create pieces for the model.

Although 3D design allow us to mimic the property to a highly precise level it will never have the gravity and tactility of an actual model.

For smaller precise pieces that go into the model we call on a handful of bespoke material suppliers. Our acrylic cases are made to order for each bespoke model. We do this to make sure the proportions of the finished piece retain a pleasing and complimentary aesthetic balance. We also make regular use of etched brass a technique dating back to the medieval period when it was used to decorate suits of armour. Brass etching allows us to create highly detailed thin surfaces with strength and integrity.

We now begin the final phase of our bespoke model making process. A secure and robust plaster base is created that we will anchor the model into. This is where we begin the ‘kit building’ process of making. The prior components we designed and scaled come together.

You cannot beat the feeling as a model maker when a piece starts to come together. As if by magic the detailed drawings and 3d models you have been straining your eyes over come together. Like magic the property emerges out of the base and takes on its own presence.

Finally we end up with a precise, delicately made homage to the original property. When real light falls across the model it brings it to life in a way that a 2D sketch or 3D computer model could never hope to emulate. That is one of the joys of being a model maker – having the ability to truly capture a place and design in physical form.