Scott Balmforth

Scott Balmforth describes the practice of Learning by Making (LBM) as an important hands-on aspect of the design process, and his practice Terroir use model making as one of the key tools for exploring design ideas between the architectural team and with the client.



Learning by making models was central to Scott’s architectural education. The architectural studios were collocated with the School of Creative Arts in Hunter Street in Hobart, and although there was limited access to workshop facilities, Scott recalls the incredibly stimulating environment and the value of ‘learning by seeing’ artists’ productions as a key inspiration for the architecture students.



Scott undertook his Master of Architecture at RMIT University (2005-2008), and this involved a critical reflection on Terroir’s showcasing early projects. The interactive and discursive process also allowed a close understanding of how others practice – a process that Scott describes as both valuable and influential as it provided an introduction to other practices and mentors. Through this process and studying together, Scott, Gerard Reinmuth, and Richard Blythe, all mentored each other and formed a practice that is a partnership underpinned by peer-to-peer mentoring. Their process of model-making allows the discussion of ideas and reflection on such process.



Model-making was not always in the various offices that Scott worked in early in his career. While working for Heffernan Button Voss, Scott describes the use of some models but primarily for final presentation models. There was no iterative model testing. At Arkitekten Silken Werner + Partners in Hamburg, Germany, model-making was not an integral part of commercial practice, who also placed more focus on presentation and display models.



Scott’s practice, Terroir, has always used models, particularly conceptual model testing ideas for projects. The models may be rougher than presentation models and they are used to discuss ideas within the office and with clients. Terroir is happy to hold back on detail, believing that if models become detailed too early, the suspension of possibility and reality for that project is lost.



Additionally, Scott describes the strategy of finding a ‘line in the landscape’ as an approach to projects in early days. In 2001, Terroir was invited to be involved in a Tasmanian wineries installation where they explored the marks made in the landscape – the foundation of their work. Terroir formalised the ‘wine trail’ concept of the installation as a trail through the landscape. An orange line zigzagged through the site, identifying a temporary ‘sketch’ in the landscape done at full size. In turn, these ‘sketches’ are the representation of an idea that manifests in a building. This process was explored with some of Terroir’s own projects, such as Peppermint Bay, which led to the development of three-dimensional ideas for the project. The process is considered as a physical learning by making experiment.



Learning by making models was central to the design and development of the Penguin Parade Visitor Centre in Phillip Island, Victoria. Completed in 2019, this project required testing and working with the client to develop both the pragmatic and experiential elements of the building. Previous concepts of the project existed, therefore altering initial concepts via model-making allowed for a greater exploration of form and visitor movement for the project. The Centre connects all three landscapes – dunes, headland, and wetland – to establish a link between each. The organisation and form of the building is revealed as visitors move across the site, along with each landscape. This appears to be a reoccurring theme in Terroir’s projects and showcases why model-making is so important, especially in early stages of design.



For Terroir, the model making process is as important than the model itself, and activity of learning by making models provides way of exploring ideas. The walls of the Terroir studio are lined with models of past and emerging project, so they are constantly surrounding by ideas that are returning to and re-examined. Models of one project inspire ideas for others. An artist studio and library in Canberra that was never built at full scale exists as a large model and a reminder of ideas to be explored in future projects.



Scott believes the practice of LBM to be important in his time studying and encourages LBM for future students. In particularly, learning by making models offers an incredibly interesting way of exploring ideas in both study and practice, which is different from the process of digital visualisations. It allows the exploration of ideas at a conceptual level, holding off the photorealistic imaging of projects so that programs, strategies, and spatial ideas can be examined and tested. Scott fondly recalls his own formative experiences of learning by making, and watches with admiration and jealousy as he sees the diversity of projects being developed through LBM which allow an exploration of ideas at a range of scales. This hands-on aspect of design is considered one of many tools to enhance the discussion, exploration, and reflection of conceptual ideas.