在斯科特·希克斯（Scott Hicks）的纪录片《玻璃：十二部分的菲利普肖像》（2007）中，菲利普·格拉斯（Philip Glass）谈到了写作和听交响曲之间的区别。在写作中，必须想象整个乐团在演奏时会发出怎样的声音，因此即使对于像格拉斯这样有经验的作曲家来说，现场表演也总是在揭示出意想不到的东西。在建筑中，尤其是在采用现代技术的情况下，我们有机会像以往那样测试我们的构图，训练我们的耳朵。 11在使用典型的绘图或计算机建模时，您的大脑必须插补对形成，空间和做出设计唱歌的精打细算至关重要的第三维。但是通过快速的原型制作，我们有能力制作实际的材料对象，甚至可以达到完整的比例，接近设计师相当于整个乐团的水平。就像现场演奏的交响曲一样，该模型作为三个维度上的实际对象，变成了一种可以听，感知或看到的独立自主的事物。无需发明丢失的乐团或维度的工作，大脑就可以观察，分析和投射。我看到了什么，它成功了，也许最重要的是，它给我的感觉如何？

In Scott Hicks’s documentary Glass: A Portrait of Philip in Twelve Parts (2007), Philip Glass speaks about the difference between writing and hearing his symphonies. In writing, one must imagine how an entire orchestra will sound when playing the piece, and so the live performance is always revealing of something unexpected, even for an experienced composer like Glass. In architecture, especially given contemporary technologies, we have the opportunity to test our compositions, to train our ear, as it were. 11 With typical drawing or computer modeling, your brain must interpolate that third dimension so critical to form, space, and the je ne sais quoi that makes design sing. But with rapid prototyping, we have the ability to make actual material objects, to full scale even, that approach the designer’s equivalent of the full orchestra. Like the symphony played live, the model, as an actual object in three dimensions, becomes an autonomous thing that one can hear, feel, or see for what it is. Freed from the work of having to invent a missing orchestra, or dimension, the brain is allowed to observe, analyze, and project. What do I see, is it successful, and, perhaps most importantly, how does it make me feel?