Bernd Grimm

Bernd Grimm (born 1962) is a German product designer, architectural model builder and artist.

He became known through the creation of architectural models of historical and antique buildings.

Ten of his models belong to the collection of the architectural icons of the architect Oswald Mathias Ungers.

Grimm was born in Ellwangen an der Jagst, Germany.

He studied Industrial Design from 1983 to 1989 at the Hochschule für bildende Künste Hamburg with Lambert Rosenbusch and graduated as a designer.

During his studies he developed an interest in the field of architectural theory.

Together with his fellow student Jan Christophe Kraege, he carried out scientific research on historical buildings such as the Temple of Clitumnus near Spoleto (1985) and produced a model of it.

He also investigated the functionality of the proportional compass developed by Balthasar Neumann.

During his studies, the German Archaeological Institute commissioned him to create a model of the Temple of Mars Ultor at the Forum of Augustus in Rome (1987).

After completing his studies, Grimm worked from 1990 to 2007 as a free-lance designer in the architectural office of Oswald Mathias Ungers, where he was responsible for the creation of architectural models of historically significant buildings.

The idea was to create a kind of "three-dimensional collection".

Over the years, ten architectural icons of the Ungers Collection were created, which Grimm produced after intensive research from Alabaster gypsum.

The model thus becomes a high-quality cultural item.

From 2007 until Grimm was the artistic director of Oswald Mathias Ungers Archive for Architectural Research.

Since 2011 Grimm has been documenting the landscape and structural change in the Cologne district Vogelsang, Cologne from the rural area to the industrial park "Triotop".

From 2012 to 2014 he was an academic staff member at the Atelier Gerhard Richter in Cologne.

In 2015 he received a practical scholarship of the Villa Massimo in Rome.

"My models depict abstraction: they do not show buildings, but pure ideas. (in German: Meine Modelle abstrahieren: sie zeigen keine Bauten, sondern die reine Idee.)"

Architectural models can perform various functions.

The architect can use a sketch model to check the realisability of his ideas.

Presentation models can be submitted to competitions, more extensive models can show how a planned building integrates into the existing environment.

In the field of architectural theory, models are also used as teaching and learning models to illustrate the aesthetics and construction of historical buildings.

Against this background, Grimm's works can be understood as models after built architectures or memory models.

Every model building project by Grimm starts with scientific research; old sketches and measured drawings are consulted and literature on the respective buildings are analyzed.

Usually this is followed by local investigations, e.g. Grimm spent several months in Rome for the model of the Temple of Mars Ultor and photographed and measured the temple.

Only after this extensive preparatory work can he make decisions about how the respective model should be designed: "First of all, I'm developing a mindset. What are the basics? What best describes the core and essence of a building? Two things are always decisive: reduction and interpretation."

For the representation of the Tempietto del Bramante it had to be considered that originally a circular courtyard surrounded by columns was planned, whereas the courtyard today is square and without surrounding columns.

Steps also originally led to the temple, so that the observer could see the building from below.

Grimm designed the pedestal historically correct as a circular surface and made it so high that the underside of the building, mediated by the steps of the temple, became visible.

In the reconstruction of ancient temples such as the Pantheon or Parthenon, fundamental decisions had to be made as to which phase of the respective building should be represented – the ideal state or an image of what the temples look like today.

Finally, a scale had to be chosen that illustrates the essential elements of the architecture without getting lost in details.

Grimm manufactures all his architectural models in pure-white Alabaster gypsum., as this material has a neutral effect and is well suited for the presentation of fine details due to its properties.

For recurring parts of buildings, such as columns, he creates silicone moulds.

He also works with templates and develops his own tools if necessary.

As plaster is heavy, the models have a wooden substructure.

For the model of the Parthenon alone, Grimm needed 200 kilograms of gypsum.

and over a year to complete the construction.

While one always imagines something small with the word model, Grimm's works are by no means small: For example, the model of the Pantheon measures 74 × 170 × 97 cm and his other models also have similar dimensions.

"After a long period of work, an architecture emerges as a sculpture that is as unique as ancient figures – just like the techniques of working with plaster, which only a few have mastered and which require a great deal of experience."

The magazine Architectural Digest refers to Grimm as the Cologne Model–Michelangelo in its theme book Best of Germany.