1. Should wall sections be pulled directly from the 3D model; or should they be drawn separately as 2D 'REVIT' details?
2. Do some firms create two 'REVIT' models: one for presentation and one for construction?
3. What is the most efficient way to synchronize art and craft when utilizing 'REVIT' ?
At our firm, we have noticed that 3D elements (such as mullion and wall sweep profiles) look clunky when they are cut in section. This is due to the fact that designers here have no time and no willingness to add extraneous information to projects during the intial design phases.
A designer must understand construction techniques in order to transform a 'REVIT' schematic model into a 'REVIT' construction model. Some designers with whom I have worked cannot embrace the technologies of construction. They can only build a simplistic and superficial 'REVIT' model (ala 'SketchUp') that can be linked to a sophisticated rendering program in order to create photorealistic images for clients. These designers get very testy when they see their glossy 'REVIT' models being transformed into nutty construction models.
Within our architecture office, there exist two types: the artist and the craftsman. Based on a recent Monday meeting, however, the schism between artists and craftsmen within this office has already begun to grow. This schism has emerged because some people want to draw what they imagine, while other people want to draw what they know.
'REVIT' allows an architect to simultaneously tap into the imagination and the intellect. However, it also requires that a person use the whole of his or her brain.