Producing a ‘dirty model’ is an effective and rewarding process, which assists significantly in understanding the basics of a problem, initial ergonomic issues and subsequently, the fundamental elements of an idea.

Having chosen from a number of designs I made in SketchUp, I needed to make a model of the design to see it in physical dimensions. I started with a scale drawing, but encountered many problems due to the limited number of known quantities. It soon became apparent that making a dirty model would give me a basic understanding of the heights of each section, quickly.

I dug out my old Lego and built the basic shape, marked out the outline and cut away the excess.

(10 points to anyone who can tell me the fault in this model after being cut.)




“I still can’t quite believe that the same architects who designed Terminal 5 and the Cheesegrater have designed my house,” says Wendy Omollo. “To have people as grand as that doing low-cost housing projects is really quite amazing.”

Click here to read more.

The unit has been nicknamed “the Monopoly hotel” due to its shape and color. Overall, it took just eight weeks to build the Y-Cube in the factory and one more week to install it on the site. The units will be available to rent for £140 per week, and the YMCA expects the project to have paid for itself in 15 years with a 5% return for investors. (Humble-Homes)


Evaluating is thinking/saying ‘overall,’ and overall, there has not been enough reflection, acknowledgement or development. Without blaming it, I feel that UCAS has taken its toll on my involvement in unit 7. On the same note, time management has not been good enough, not realising how little time I had left and not feeling like I’ve been able to commit due to interviews and university visits. Thinking ahead, to my FMP, I will use the project action plan and timetable provided to stay on track and not let myself slow down.

Good bits? The beginning of the pathway went well, and I cottoned on to what I needed to do, but not how I was going to do it. Which is where I fell down I suppose. Smaller, more insignificant elements also went well for example both models pictured below although they do not necessarily have anything to do with the final outcome (does that matter?)

When were you born and what kind of upbringing did you have?

I was born on the 30th of August in 1883, in Utrecht, the Netherlands. And I must confess I haven’t always been Theo Van Doesburg. Infant I was born ‘Christian Emil Marie Kupper.’ The reason for changing my name came about because I regarded my stepfather, Theodorus Doesburg to be my natural father, so I started signing my paintings Theo Doesburg, later I added the insertion ‘van.’

How old were you at the start of the Great War (WW1) and what were you doing immediately before the outbreak of war?

I was 31 when war broke out. During this period and slightly before it, I was supporting my works by writing for magazines. And in 1913, having finished reading Kandinsky’s ‘Ruckblicke,’ I realised that there was a higher, more spiritual level in painting, focusing on the mind rather than every day life. “Mondrian realises the importance of line. The line has almost become a work of art in itself; one can not play with it when the representation of objects perceived was all-important. The white canvas is almost solemn. Each superfluous line, each wrongly placed line, any colour placed without veneration or care can spoil everything, that is the spiritual.”

Where were you when the war ended and what were you doing?

Well I must say the war didn’t slow me down, I remained busy during and after. People have described me as being the public leader of the De Stijl group as I am an impulsive and vigorous man with strong likes and dislikes… something like that. Anyway I was in the Netherlands in 1917, working along side my friend Jacobus Oud in his De Vonk project. De Vonk translates to Holiday Park, and was built to be a holiday home for factory girls in 1917-1918 but is currently being used as a day care centre and health centre. Oud designed the architectural components and myself, the decorating and colour of it.

What did you do in the years immediately following the end of the war?

I carried on writing in 1920, and visited Berlin and Weimar in 1921. In ’22 I started teaching at the Bauhaus in Weimar, during this time I became friends with Mies Van Der Rohe and the like.

What are your key interests and how do they influence your artwork?

I suppose my interests were travelling, as thats what I did most of the time. Its difficult to put my ‘interests’ into words as obviously my upmost interests were the expansion of the movement De Stijl. Im also very interested in cows, and have studied them a lot, sometimes being the main subject or my abstract paintings. The fact that I could travel mainly around Europe, and visit new countries kindled relationships I otherwise would not have. I had connections with many well known artists such as; Fernand Leger, Francis Picabia, Joseph Albers, Kandinsky, Klee, Schwitters, Kupka, Lissitzky, and Rodchenko to name just a few.

Who influenced you most in your work as an artist?

I would say Piet Mondrian was most influential to me. The relationship we had was great, even to the point where we would argue over the use of a diagonal line in my paintings, he didn’t like that at all!

What was your greatest achievement before 1935?

Oh, definitely being one of the founding members of the De Stijl movement, it has really given me so many opportunities. And opportunities for many other artist, and the general public I suppose.

Which art movement did you feel most attached to during the 1920’s?

I think we all know the answer to that question don’t we…

If I had dared to speak for all artists of my time that felt they were also most attached to De Stijl during the 20’s I would say that “we speak of concrete and not abstract painting because nothing is more concrete, more real than a line, a colour, a surface.”

What will your legacy be?

I hope to have created a successful movement, which some say is a legacy, something to be remembered by. But also, I hope to of set an example, or at least given an idea of what an artist in any age can live like, create, influence, and leave behind. Even in this difficult time with the war etc, it didn’t slow me down at all. Let nothing get in your way.

megan wood corner interior design. man metInterior design, interior architecture, interior and spatial design, interior environmental design, interior decoration, interior, interior, interior. What is the difference? I didn’t (still don’t) know myself, when my teacher recommended this to me as a course to study at university. But another blog post has a pretty good go at explaining it, to try and make some sense of it yourself, click here.



I honestly believe, the only way to really tell which one is best suited for you, me, him or her to study at university is to actually do each course, only then will you know. (Not a very cost effective way at all.)

The image above, is taken from Megan Wood’s portfolio within Manchester Metropolitan’s 2015 degree show for interior designers.