Although these works adopt some of the formal conventions of architectural model making, it is perhaps more useful to think of them in relation to drawing – that is, drawing as thought made visible. If they are to be seen as models, then they are models that test rather than plan, that speculate rather than solve, in ways that favour process over product. The model is used as a tool, a game – a paused reflection on adaptive structures that purposefully resist completion.
If they are to be seen in relation to architecture, then it is a personal architecture that makes its way towards a tangible equivalent of the different stages of creative thought and their complex and often contradictory interplay. It is a journey that often involves a myriad of references, such as improvised games, lexicons of temporary structures, follies, pavilions, archaeological and building sites. By their nature, these are fragile, provisional constructions that hint rather than state. Despite the facade of precision, they have more in common with the ‘sketch’ where ambiguity is productive and meaning is variable.