Transformations Relating Referent and Model

Unless the referent, which may be the original thing or the projected product or a mental
scheme, resembles the model in all respects (and this raises problems of definition of the
method of comparison) some kind of transformation must be accepted. Commonly, model
transformation is thought of in terms of size: the model may have a smaller mass than the
original. If the model is 6 made smaller certain features may have to be eliminated. What are
the rules of elimination? How can the information content be reduced? What is meant by
information in this context? It is also known that if the magnitude of the model is reduced,
some kind of distortion of geometry, or time, for example, may need to be introduced in order
to make the model operationally comparable with the original. Whether concrete models or
any other substance is being dealt with, it must be appreciated that, in design, model
situations are met which do not involve reduction in magnitude. There are situations in which
full-scale models are used. More importantly, situations must be dealt with in which the
model - the product - contains more detail and is more concrete than the original. The
designer starts with a relatively unformed and primitive conception and builds this up to
provide a specification for manufacture. In arriving at this kind of result the designer has to
make transformations which introduce detail not previously abstracted from his original.
What are the rules for this kind of transformation? Summarizing the discussion so far, it may
be seen that there are three classes of model relationship:

(1) The 1 to 1 relationship

(2) The n to 1 relationship

(3) The 1 to n relationship

The 1 to 1 relationship is at the back of most thinking concerning models in the

representational sense: people tend to like their model to represent the original. Even when
the system is transposed from some concrete substance to mathematical symbols or to digital
code, people still tend to think in 1 to 1 terms. In many practical situations they are forced to
accept an n to 1 relationship since every item of the original cannot be taken in or
appreciated; nor, for many purposes, is it worth while to reproduce every detail of the
original. The human bodily 148 THE DESIGN METHOD system, including perceptual
channels, has built-in devices to protect it from excessive stimuli which might be termed
information. People are naturally predisposed to n to 1 operation. Under such circumstances
it becomes possible for different originals to become related to a single model. This is usually
fortunate and time-savin g. Where there is a sequence of reputedly 1 to 1 transformations
performed, errors may enter into the overall transaction for one reason or another. This
situation is significant in the communication of information and, together with other features,
has led to some of the developments of information theory. One conclusion that may be
drawn from the theory is that, in order to give an adequate representation at the end of the
series of transformations, it is necessary to provide redundancy of information at the input.
The amount of redundancy necessary is related to the uncertainty likely to be experienced by
the receiver regarding the intention of the communication. For example, if one has a
workshop next door to the office and if one knows the foreman well and company rules do
not forbid it, one may say: 'Please make me a 11deral" 26 inches long from this stuff .' lf the
company system has to be used, drawings become necessary and a job number as well; but it
may still be possible to rely very much on shop experience and practice. lf, however, the
work must be done by tender outside, then a considerable amount of written information and
drawings have to be produced, which is particularly complicated in this case because there is
no British Standard Specification for 'derals '.

SA. Gregory (1966). “The Design Method”. New York : Springer Science+Business Media.

Dominus Winery (Napa Valley, USA)

Schützenmattstrasse (Basel, Swiss)

Ide fasad bangunan pada Schutzenmattstrasse (1993) mengadaptasi dari penutup parit atau
saluran drainase di kota tersebut. Melalui model yang nyata dan spesifik, diadaptasi-lah
model tersebut yang kemudian ditransformasi menjadi sebuah bagian pada bangunan, atau
mungkin bangunan itu sendiri. Sama halnya dengan Dominus Winery di Napa Valley,
Amerika Serikat. Fasad bangunan tersebut mengambil ide dari batuan Pegunungan Alpen.

Adalberto Libera Vila Malaparte (Punta Masullo, Capri, Italy)

Chiesa dell’Annunziata (Lipari, Italy)

Casa Malaparte (Adalberto Libera Vila Malaparte) dibangun tahun 1940 dengan vocal point
terletak pada bagian tangganya. Bentukan atau rancangan tangga ini merupakan tiruan atau
hasil transformasi dari bentukan tangga di Chiesa dell’Annunziata (Church of Lipari). Dalam
kasus ini, Casa Malaparte mengadaptasi bentuk tangga Church of Lipari untuk diaplikasikan
ke dalam rancangannya, dengan perubahan-perubahan tertentu agar tidak dinilai mengimitasi
atau menjiplak.

Kari Jormakka (2003). Basics Design Methods. Boston : Birkhauser