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1/100 Architectural Model Series Kit
As low as
$17.95
Availability:
In stock
SKU
MS-MODEL1
Designed by Naoki Terada - Architect, Designer, Modeler, and Culinary Specialist.
Born 1967.
Graduated from Architectural Department, School of Science & Technology, Meiji University 1989
Completed the Diploma course of the Architectural Association School of Architecture (AA school) in the UK 1994
Established Terada Design first-class architect office 2003
Established TERADA MOKEI 2011
About Terada-Mokei
Terada-Mokei was established with a view to exploring the potential for modeling, which is created by scaling things down and giving them detail, through models. This reflects our belief that when real items are replaced with models, the latter have an essence of reality, stuffed with dreams, and the potential to become more vibrant; better in my opinion than their originals. We also consider it important to enjoy the process of assembling models.
Terada-Mokei also hopes to convey the fun of assembling models and imagining the same.
About ARCHITECTURAL MODEL ACCESSORIES SERIES
The catalyst for producing this product was the construction of architectural models at the office on a daily basis. It was a design office, so that was normal, but I came to realize that to improve the visual aspect of architectural models, people, furniture, trees lining the streets and so on, known as "architectural model accessories", were as important as the architecture itself. However, it often took me all night to construct a model. I used to run out of steam mentally and physically when having to make the key "architectural model accessories" at the break of dawn. Moreover, I hesitated to ask my red-eyed staff to "line some bicycles along here", as that would have made me sound like a drill sergeant.
Subsequently, I thought if such accessories could be mass-produced in advance, it might help in getting a little more sleep.
If I could make people happy through these "architectural model accessories," without constructing actual architectural structures, I thought it would be my great pleasure.
The clue to commercializing them came by way of plastic models.
I love plastic models. Even these days, after I'm finished with work, I enjoy the steady process of assembling them. (At the office, I work on paper models, then return home to refresh by assembling plastic models...)
The interesting thing about plastic models is that there are two degrees of completion.
For customers who buy plastic models at retail stores, the model is "unassembled", but for makers, who line them along the shelves of the same retail stores, they are assembled "finished products." More so than the completion of the parts, a combination of the strengths of a striking box-photo and the assembly instruction (what were called "blueprints" when I was boy) graphics significantly impacts the completion of the finished product. If there is a feeling of incompleteness in any of these, motivation to assemble the model will be low. With top- class manufacturers, that sense of completion is high, which in turn greatly affects the customer excitement even before assembly.
Our "ARCHITECTURAL MODEL ACCESSORIES SERIES " are like plastic models in that you must assemble them, so the design and layout of each part was painstakingly created so that the excitement of it is constant throughout the process of assembling them. Parts that can be properly assembled, exciting shapes that encourage assembly, and the precision processing of manufacturing, these three points are repeatedly recalibrated into prototypes until they are correct.
The question was how I should distort the 1/100 scale world to bring it to life. If you look at the 1/100 scale human figure used in the product logo, it is quite different from the figure of a real human. The figure is deliberately distorted so it will be able to represent the world in a 1/ 100 scale. So, it becomes the rule to distort all the items in the 1/100 scale world in the same fashion. With that the representation of the world in 1/100 scale is complete.
Moreover, the instructions on the back are quite painstakingly written out. Within the space of a postcard, our goal is to create a little fun by having customers imagine what the lives of the little 1/100 scale humans are like. With that in mind, I took the time to design not just the product but the assembly instructions as well.
Why 1/100 Scale?
The 1/100 scale is the most popular scale when it comes to architectural building models.
From models of houses and apartments to public facilities and shopping centers, all these different sized buildings are possible to represent. In addition, since interiors, furniture and similar objects can also be represented on a generic scale, accessory sets have become 1/ 100 in size. Also, I think the 1/100 scale makes it easy to create various abstract and distorted items. However, the 1/200 and 1/300 scales are too small making for very little room to work within. As for the 1/50 and 1/30 scales, I'm concerned about the texture and the detail of the shapes. I think that 1/100 is the perfect scale for creating, as it creates just enough difference in the objects, such as between human poses and gestures, a folding chair, and a wooden chair, and a Shiba Inu and a Golden Retriever.
Why isn't there any architecture involved?
When I first began my architectural courses, the first thing that was said to my classmates and me was "Architecture should bring joy to people, designing such architecture in the future will be your duty." An architect's calling is to make people happy through architecture.
That's a lot of pressure. Taking those words to heart, I set forth to build models with the intention of presenting them to the clients, yet when I showed clients the models the first thing they would say was something to the effect of "Oh, you've recreated the whole family!" or "That's our dog in the garden!" In essence, it wasn't the architecture they were thrilled to see but the accessories. That brought out the little devil in me, and I took pleasure in posing the figures I would show the clients. Through the shapes and poses of the accessory figures, I believe that the architectural goal of bringing happiness fulfilled. Thus, the accessory kits are not architecture. So even without architecture, if people can be happy with the accessories, then I am happy as an architect. Architecture is the foundation of Terada-Mokei, which is designed at Terada Design.
It's okay not to assemble it
I designed the accessory sets as kits you can assemble.
As the accessory kits are assembly kits, I designed them to be fun for you to do so, however I would be just as pleased if you are so inclined to just enjoy envisioning their unassembled potential as well.
As with assembling plastic models, the most exciting part is looking over the "blueprints" and imagining their potential. If it makes you happy just to hold the package, that will make me happy as well.
Born 1967.
Graduated from Architectural Department, School of Science & Technology, Meiji University 1989
Completed the Diploma course of the Architectural Association School of Architecture (AA school) in the UK 1994
Established Terada Design first-class architect office 2003
Established TERADA MOKEI 2011
About Terada-Mokei
Terada-Mokei was established with a view to exploring the potential for modeling, which is created by scaling things down and giving them detail, through models. This reflects our belief that when real items are replaced with models, the latter have an essence of reality, stuffed with dreams, and the potential to become more vibrant; better in my opinion than their originals. We also consider it important to enjoy the process of assembling models.
Terada-Mokei also hopes to convey the fun of assembling models and imagining the same.
About ARCHITECTURAL MODEL ACCESSORIES SERIES
The catalyst for producing this product was the construction of architectural models at the office on a daily basis. It was a design office, so that was normal, but I came to realize that to improve the visual aspect of architectural models, people, furniture, trees lining the streets and so on, known as "architectural model accessories", were as important as the architecture itself. However, it often took me all night to construct a model. I used to run out of steam mentally and physically when having to make the key "architectural model accessories" at the break of dawn. Moreover, I hesitated to ask my red-eyed staff to "line some bicycles along here", as that would have made me sound like a drill sergeant.
Subsequently, I thought if such accessories could be mass-produced in advance, it might help in getting a little more sleep.
If I could make people happy through these "architectural model accessories," without constructing actual architectural structures, I thought it would be my great pleasure.
The clue to commercializing them came by way of plastic models.
I love plastic models. Even these days, after I'm finished with work, I enjoy the steady process of assembling them. (At the office, I work on paper models, then return home to refresh by assembling plastic models...)
The interesting thing about plastic models is that there are two degrees of completion.
For customers who buy plastic models at retail stores, the model is "unassembled", but for makers, who line them along the shelves of the same retail stores, they are assembled "finished products." More so than the completion of the parts, a combination of the strengths of a striking box-photo and the assembly instruction (what were called "blueprints" when I was boy) graphics significantly impacts the completion of the finished product. If there is a feeling of incompleteness in any of these, motivation to assemble the model will be low. With top- class manufacturers, that sense of completion is high, which in turn greatly affects the customer excitement even before assembly.
Our "ARCHITECTURAL MODEL ACCESSORIES SERIES " are like plastic models in that you must assemble them, so the design and layout of each part was painstakingly created so that the excitement of it is constant throughout the process of assembling them. Parts that can be properly assembled, exciting shapes that encourage assembly, and the precision processing of manufacturing, these three points are repeatedly recalibrated into prototypes until they are correct.
The question was how I should distort the 1/100 scale world to bring it to life. If you look at the 1/100 scale human figure used in the product logo, it is quite different from the figure of a real human. The figure is deliberately distorted so it will be able to represent the world in a 1/ 100 scale. So, it becomes the rule to distort all the items in the 1/100 scale world in the same fashion. With that the representation of the world in 1/100 scale is complete.
Moreover, the instructions on the back are quite painstakingly written out. Within the space of a postcard, our goal is to create a little fun by having customers imagine what the lives of the little 1/100 scale humans are like. With that in mind, I took the time to design not just the product but the assembly instructions as well.
Why 1/100 Scale?
The 1/100 scale is the most popular scale when it comes to architectural building models.
From models of houses and apartments to public facilities and shopping centers, all these different sized buildings are possible to represent. In addition, since interiors, furniture and similar objects can also be represented on a generic scale, accessory sets have become 1/ 100 in size. Also, I think the 1/100 scale makes it easy to create various abstract and distorted items. However, the 1/200 and 1/300 scales are too small making for very little room to work within. As for the 1/50 and 1/30 scales, I'm concerned about the texture and the detail of the shapes. I think that 1/100 is the perfect scale for creating, as it creates just enough difference in the objects, such as between human poses and gestures, a folding chair, and a wooden chair, and a Shiba Inu and a Golden Retriever.
Why isn't there any architecture involved?
When I first began my architectural courses, the first thing that was said to my classmates and me was "Architecture should bring joy to people, designing such architecture in the future will be your duty." An architect's calling is to make people happy through architecture.
That's a lot of pressure. Taking those words to heart, I set forth to build models with the intention of presenting them to the clients, yet when I showed clients the models the first thing they would say was something to the effect of "Oh, you've recreated the whole family!" or "That's our dog in the garden!" In essence, it wasn't the architecture they were thrilled to see but the accessories. That brought out the little devil in me, and I took pleasure in posing the figures I would show the clients. Through the shapes and poses of the accessory figures, I believe that the architectural goal of bringing happiness fulfilled. Thus, the accessory kits are not architecture. So even without architecture, if people can be happy with the accessories, then I am happy as an architect. Architecture is the foundation of Terada-Mokei, which is designed at Terada Design.
It's okay not to assemble it
I designed the accessory sets as kits you can assemble.
As the accessory kits are assembly kits, I designed them to be fun for you to do so, however I would be just as pleased if you are so inclined to just enjoy envisioning their unassembled potential as well.
As with assembling plastic models, the most exciting part is looking over the "blueprints" and imagining their potential. If it makes you happy just to hold the package, that will make me happy as well.
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