The discourse concerning the role of the model in architectural theory and practice has intensified in recent decades. From the 1976 Idea as Model exhibition at the IAUS in New York to the work of Thomas Demand, contem- porary architectural and artistic practices have broached issues such as the relationship between the objecthood and representative condition of models, their epistemic autonomy and independence from full-scale architecture, and their association with the human body and sense of visual inhabitation.