Spotlight – Model Maker, Peter Wake

Did you always want to be a Model Maker?

Model making was never a job that I had considered while growing up; I was never fond of LEGO, but I did enjoy Meccano. I guess it all started when my dad, a quantity surveyor, arranged a work placement with one of his architectural clients. I really enjoyed producing the drawings, which were all hand drawn at the time. This led to me working towards and attaining my architectural degree. Following this, I worked for two years at a small firm in my hometown, where I was asked to make several models. It turns out that I enjoyed making the models more than doing mark-ups! It was at this point I decided to gain some further training and managed to secure a place at the top university at the time for my model making degree. While I was there, I specialised in architectural model making and was able to complete four work placements which included working on T5 for Rogers Stirk Harbour + Partners and Swiss Re for Foster + Partners.

Can you tell us what inspires you?

I’ve always believed that detail is the key to most things, so I always strive to include as much detail as possible in all my models, regardless of the scale. It’s amazing the level of detail you can achieve in a 1:1000 (or smaller) model if you put in the time and effort; for example hand scribing façade details on a 1:5000 model.

What motivates you?

Being presented with a new challenge and having to come up with a new way to construct something which conveys the look and feel of the building.

What has been your greatest achievement so far?

Being alive and healthy with a beautiful family. I have also been able to work for some great architectural companies both here in Australia and in the UK. I have learnt so much during my time at Squire + Partners (UK), HASSELL (Perth), Bates Smart and now at Woods Bagot. They have produced some amazing and challenging projects. Also, receiving a Special Mention for my 1:1000 competition model for 372 Pitt Street, Sydney in the 2023 Architizer Vision Awards (Physical Models category) was rewarding. Being recognised by a prestigious global organisation after going head-to-head with hundreds of entrants from over 50 countries is truly humbling.

372 Pitt Street, Sydney

Heritage and the evolution of place.

A celebration of the past, in the present, with an eye on the future creating a new dialogue between the existing heritage terraces, the street and the city.

The design demonstrates the carving of a new lane-way with multiple active fronts, aiming to respectfully reconnect heritage. The design features a confident, scale-less, and sculptural tower that harmonizes with its surroundings.

The concept model was created using a combination of traditional and digital model-making techniques, showcasing intricate carved details. The tower was 3D printed using SLS technology, while the heritage and podium elements were laser cut to ensure a high level of detail. The result is a striking design that pays homage to the heritage context while embracing innovative manufacturing methods.

What is your favourite project and why?

At Woods Bagot, it would be the 1:1000 competition model for Bligh Street, Sydney because it tested my knowledge of materials. I had to come up with a model that successfully and clearly portrayed the concept of the design. It also meant I needed to extend my knowledge of working with metal and learn how to solder brass, which is extremely tricky due to its inherent capability of conducting heat, for example, when you move on to do the next section of soldiering, the previous would come apart due to the heat transfer.

Outside of Woods Bagot, I would say it was the 1:5000 project in Lipovy, Bratislava while I was at Squire + Partners. This was a pared back light box model, which had translucent white acrylic roads and solid black acrylic pavement pads. The only buildings on the model were the proposed collection of mid-rise and high-rise towers and these were shown in translucent fluorescent red acrylic. The whole model which was A5 in plan was presented in a sealed black box with a single viewing slot which was 100 mm wide and 5 mm high. This added drama and a certain amount of “theatre” to the presentation, unboxing what appeared to be a solid black box, only to reveal a very controlled view of the design which had to be passed around to each member of the jury, allowing them to interact with it and try to see more than physically possible, leaving them wanting more.

Read the feature: Dollhouses for adults: how social media turbocharged tiny models by Julie Power in The Sunday Morning Herald.

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Merena Nguyen
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