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erasmus

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41

Monday, July 13th 2009, 6:51pm

RE: A Solution

Hi John,

You're quite adament and I'm with you, build the ledge. The wall must be where its planned to be.

The cover of the kit book shows a very unelegant solution to the problem indeed.
I had a similar challenge with the ID Chartres Cathedral. One of the roof parts is too long. The model on the cover of the kit book lets some "window frames" curve outwards to compensate for this. Limestone doesn't do that!

I have the feeling ID models suffer such flaws on a regular basis.
The models portrayed on the kit book covers "leave room for improvement". It's a good thing we modelers like to pick up this challenge.

Looking forward to seeing the completed assembly.

Cheers,

Bruno

PS: The Dutch expression for "scamping one's work" is "met de Franse slag". More or less literally translated into English this would read as "doing it the French way".
Good to see you Canadians inherited the language but not the attitude ;)
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42

Tuesday, July 14th 2009, 11:57pm

The south Facade

Bruno, I'm sure that a novice attempting to build this model as his first ID experience, might well be tempted to drop kick it into the fireplace. It could be a bit much.

Having said that, it was quite rewarding to come out of the struggle with an acceptable assembly.

Reviewing the saga...

Here's a first view of the overall south side of the opera house. It will receive its trim and statuary much later.
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43

Wednesday, July 15th 2009, 12:00am

RE: The south Facade

Let's have a look at the shelf..
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44

Wednesday, July 15th 2009, 12:11am

RE: The south Facade

I could not understand for quite awhile why there was a strip of paper extending past both corners of the south side of the building. Then I realized that they shouldn't be there at all.

The pillars on the model are optional. If you don't use them, a pillar is printed on the sides of the the east and west walls to represent them. But, if pillars are installed, they should be cut off.

The model on the cover of the book shows them still on the model. There is no need for them.
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45

Wednesday, July 15th 2009, 12:20am

The Inside

Part of this model will be opened up. The publisher has overprinted some of the interior parts with gold ink. Unfortunately, in my view, this rather opaque ink has obliterated much of the printing detail underneath. Nevertheless, there is a nice overall effect. Goodness knows, much of the interior of the opera house is covered with guilding.
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46

Wednesday, July 15th 2009, 12:27am

Thank you for your kind comment Wilfried. It is very much appreciated.

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47

Wednesday, July 15th 2009, 8:11pm

Now attention turns again to the west side of the building. The wall in this photo, perpendicular to the west wall is the gable end of the stage. It literally 'sets the stage' for further construction.

This is about as far as this model can go without having a firm, solid base. As I have mentioned earlier, this model is designed to be opened up. It will be handled often. One side will have to remain firmly in place while the other side is pulled away.

Time to get to work on the base...
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48

Thursday, July 16th 2009, 3:01am

The Old Dance Studio

The northwest corner of the building is anchored nicely with the old dance studio.

You can see that from it, buildings will extend further north. They will be the workshops.

This is a big structure.
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49

Friday, July 17th 2009, 3:12am

The Workshops

A lot more was going on behind the stage area of the building than I was aware of! Each part was a little bit of a puzzle as it went into place.

The roof lines in this photo tell the story. The front walls of the assembly look rather ordinary...
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50

Friday, July 17th 2009, 3:13am

RE: The Workshops

... but it is back here where things are really interesting.
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51

Friday, July 17th 2009, 3:26am

RE: The Workshops

It boggles my mind to think of drawing the parts to accomplish these twists and turns.

The fit of the assembly will be demanding. The resulting hidden recesses will add so much interest. You just want to peer down into those two dark spaces. Your eye follows a row of windows all the way down into the shadows.
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52

Friday, July 17th 2009, 9:06pm

The chimneys

The seven chimneys on the roofs of the workshops required modifications.

First, the perimeter of the chimney walls exceeded the size of the chimney cap when the walls were folded up. The error, fortunately, was at the tab end of the rectangle. The simple fix was to cut off the closing tab and reduce the length of a long and a short wall and close the chimney with a butt joint.

The second alteration necessary was to reduce the angle of inclination so that the chimneys would be plumb. The angles were easily reduced with a pair of scissors after the chimneys were glued up.
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53

Friday, July 17th 2009, 10:31pm

Solar Panel

Leonardo de Vinci was a man ahead of his time, but Garnier must have been something else! Imagine, putting solar panels on his Opera House in 1861!!
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54

Friday, July 17th 2009, 10:41pm

Thanks Norm, but did you read my last post carefully? :D

This post has been edited 1 times, last edit by "John" (Jul 18th 2009, 1:02pm)


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55

Sunday, July 19th 2009, 3:34am

The left side of the model will be stationary. Its back side is closed with flat cross section panels. Sub panels were installed first.
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56

Sunday, July 19th 2009, 3:38am

The panel went into position well.

Views of half of the stage roof...
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57

Sunday, July 19th 2009, 2:58pm

The Dome

The next area of construction will be the west half of the model between the stage and the south entrances. A semicircular theatre is covered with a dome that butts up against the stage wall.
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58

Sunday, July 19th 2009, 3:03pm

RE: The Dome

I am attempting here to refine the technique used to make the dome over the library.

Instead of using tape to hold segments together at their lower edges, I have added a paper lug. This may be a purer technique as it avoids the use of any other materials in the construction of the dome.

Here is a photographic presentation of the preparation of the segments.

The original segment:
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59

Sunday, July 19th 2009, 3:04pm

RE: The Dome

The tab cut off:
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60

Sunday, July 19th 2009, 3:05pm

RE: The Dome

The light paper replacement tab:
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61

Sunday, July 19th 2009, 3:06pm

RE: The Dome

The new tab under the segment:
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62

Sunday, July 19th 2009, 3:08pm

RE: The Dome

Now to see if this technique works...

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63

Sunday, July 19th 2009, 7:03pm

The Dome Segments

I'm finding that when the paper tabs are being glued behind the segments, they want to be massaged into position from the bottom of the segment to the top as the curve is being formed. This is accomplished by working the thumbs away from each other and using the index fingers below as anvils.

The theory makes sense. The two pieces of paper have different radii. The segment slides over the tab - it has further to go - much like two lane runners on a curved track. The fellow on the outside lane has further to travel than the runner on the inside one.

In this case the glue lets the segment slip over the tab as the curve is formed.
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64

Sunday, July 19th 2009, 10:42pm

The Half Dome

The dome went together extremely well. I would recommend this method of cutting off the tabs if the original parts have the tab portion attached to the segment. It's a lot more work, but you know with every segment you add to the dome that there can be no mistakes - at least no missteps with even slight segment overlapping.

Having said that, I may have outwitted myself with this particular dome. More on that in the next post.
Here is the dome and half of the theatre.
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65

Sunday, July 19th 2009, 10:54pm

Just perfect John,

to cut the taps is the only way to get a good result.

I always do it and I know the different.

greetings from Vienna, Herbert

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66

Sunday, July 19th 2009, 11:38pm

Yes, Herbert, being able to butt edge to edge removes all the guesswork.

However, in this specific case, I may have been too exact. I felt as the segments were going together that the curve was a bit extreme. Nevertheless, I continued edge to edge gluing...

You see the result here. A downward curve developed in the top region of the dome. Over the top as it were and heading towards the centre of a donut.

What to do? Well, I think if the white region is cut with slits, the pressure may be relieved. You see, this half dome must be perfectly flat in its vertical plane where it meets the centre axis of the building. It must also mate perfectly with the vertical cross section panel closing the west half of the model.

Hmmmm....
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67

Monday, July 20th 2009, 12:03am

Hi John,

Just a little more and you could have used it to bake a cake :D.

But seriously, great technique. I've used it myself on occasion to fix laminated plywood into curved shapes. Surprising to see it applied in card modeling as well.

I trust you'll manage to recover.

Cheers,

Bruno
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This post has been edited 1 times, last edit by "erasmus" (Jul 20th 2009, 12:14am)


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68

Tuesday, July 21st 2009, 12:17am

Hello Bruno,

Time will tell on the 'cake' mould.

The walls of the dome have to be installed before the dome roof is set in place. I share a technique here that has worked well in the past.

Tabs, especially if they are long, tend to soften with white glue and begin to wrinkle. If you coat the tab with glue and then start applying a part to it, you can run into problems. If the tab is very long, the tab can start to warp as you work your way along affixing it.

But what if you remove the glue? Suppose you could slide a part right into place onto its tab - dry. No warping, no wrinkling, and totally adjustable.

Well, here's a technique that I have described previously. It comes into play nicely with this specific example.

I wish to attach a roof onto a tab that is difficult to support from below. Here is the part:
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69

Tuesday, July 21st 2009, 12:19am

This raw, unsupported roof edge is intended to be pressed down onto this yellow tab.
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70

Tuesday, July 21st 2009, 12:22am

It can be done without glue. (although it can be added later)

First you cut a template out of card that will fit below the roof. This template has the added advantage that it will ensure a nice, flat roof!
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71

Tuesday, July 21st 2009, 12:29am

But you just can't glue the reinforcing template onto the back of the roof - there is a tab to consider.

That's the beauty of the technique. You provide a space for the tab - a dry slot. In other words, you prevent glue from bonding the template to the roof only at the edge of the roof.

Tape is applied to the roof's edge to prevent spray glue from sticking to the covered area. Like this...
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72

Tuesday, July 21st 2009, 12:31am

And here's a demonstration of what has been achieved. In the first photo, a bookmark is ready to be slipped into the dry slot.

In the second photo, the bookmark has slipped nicely into place.
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73

Tuesday, July 21st 2009, 12:33am

so, working from only the top of the roof's surface, the assembly can be slipped into place.

Notice the edge of the brick wall dropping down vertically in this photo. That was dry fitted as well. Then the wall was gently pulled back and some glue was applied down between the tab and the wall with a brush. It was possible to set the brick wall in place in its slot and then slide it forward until it hit the wall of the stage facade.
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74

Tuesday, July 21st 2009, 2:39pm

Here is the result of sliding the roof onto that yellow tab. There is no glue on the tab at all. The half theatre (shown in the second photo) was attached to the roof going into place. It also required special alignment. So there was a lot of dry fitting to get things just right. No glue!

When the join was satisfactory, a little bead of white glue was applied with a syringe where the roof joined the walls. If you look carefully, you will see a trace of the yellow tab still exposed. The bead of glue will continue along the wall when the curve in the roof coming around is determined.

Note in the second photo that the bottom edge of the theatre is not in line yet with the back half of the model. When the top section of the roof is dry, the theatre can be set flush and glued into place.
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75

Saturday, July 25th 2009, 2:55pm

The Base

I mentioned earlier that one half of the model will have to be very stable. It shouldn't move when the second half is pulled away.

Now it appears that a base will play a larger role. The auditorium will have to be pulled into line to make half of the model's mating surfaces perfectly flush. This will create quite a bit of resistance. Gluing the model down onto a base will hold the auditorium in place.

Palais Garnier was built with axial symmetry. This makes it easy to determine where to glue the developing half of the model.

Here is the centerline drawn onto the base with a pencil.
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76

Saturday, July 25th 2009, 3:11pm

The Auditorium

Here you can see how much the auditorium will have to be pulled to come on line. No glue has been applied to the edges of the auditorium yet.

I think the base will really help keep all future parts under control. The picture of the model on the cover of the book is rather scary. The two sides of the mode do not match up very well.
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77

Saturday, July 25th 2009, 3:30pm

The Book

You will notice that something has been added to the front of the base.

I was wondering how I could include the very descriptive book of the Garnier with the model. At first, the idea of plastic display holder was considered. Because the book is only about 1 cm thick, this idea came to mind...
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78

Sunday, July 26th 2009, 12:25pm

In Place

The west half of the model is now permanently mounted on the base. I was having difficulty deciding where to begin. It was the cross section facade that simplified the task. It gave the other parts something to hang onto.

It was a good challenge getting parts to mate exactly. I expected more trouble. The south facade is attached as well.
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79

Sunday, July 26th 2009, 12:28pm

The Dome

Now comes the really challenging part - the dome. As it is made now, I know it will not fit properly.

The tabs on the edge of the cross section will be the key to success.
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This post has been edited 1 times, last edit by "John" (Jul 26th 2009, 3:53pm)


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80

Sunday, July 26th 2009, 3:50pm

RE: The Dome

Time to prepare the dome for mounting.

Slits cut between the top white portion of the dome relieved the stress on the dome that was causing it to form a reverse curve downward.

Little white triangular tabs were added to the deck of the auditorium. They will fasten the edge of the dome's roof to the auditorium wall.

A patch of paper glued to the blue tabs will provide more gluing area to fasten the white dome segments in place as they now have been cut apart.
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