There
was a time when no self-respecting rendering would allow itself to be
seen in public without a zeppelin hovering somewhere in its desaturated
sky. Supermodels in haute couture garments strutted across opera
foyers, uninterested expressions and blasé attitudes adding to the
exclusivity of the space. These gimmicks are still widely used, but
since its early days architectural rendering has seen major technical
advancements that allowed it to appropriate cinematic techniques relying
on color, lighting, framing, composition, and angles to convey moods.
This disciplinary overlap between architecture and film is fundamental
in the use of similar software and modeling techniques and has brought
the two closer through the idea of storytelling, a notion inherent to
both disciplines. In architectural rendering, if the spirit or the main
feeling isn’t persuasive and engaging enough, the function of images is
reduced to regurgitating information already provided through drawings
and schematics.
An overabundance of visual content, brought on partly by the
democratization of architectural publishing, has produced an almost
pornographic fixation on architectural representation, rendering
techniques in particular. Computer generated imagery is no longer an
intermediary between an idea and its realization, but a finished product
on its own. Different rendering genres have emerged over the years,
similar in approach and style to recognizable cinematic tropes.
The Mad Max
City lights dimmed, the “urban wasteland” awaits the
appearance of the new development whose lights seem to be the only sign
of life for miles around.
Eleftheria Square by Zaha Hadid Architects, via
Skyscrapercity.
Phoenix Towers by Chetwoods Architects
The Whodunit
These renderings sport a menacing atmosphere achieved by
desaturating the image or using only dark blue and green tones. Stormy
skies, shadowy figures, and strong contrasts create tension that
transforms spaces into potential film noir crime scenes.
Kaohsiung Port Terminal by RTA-Office
Park51 by Soma Architects
The David
The David flaunts its perfectly mapped textures, lifelike
grass, and clinically precise reflections to the point that, like the
android boy David in Spielberg’s A.I., the architecture looks a bit too
perfect.
The Quest by Ström Architects
Paranormal Activity
Blended so well into their surroundings, these projects
are practically not there. Buildings appear as dreamy echoes of
themselves held up by light and memory, instead of concrete pillars and
slabs.
Camellian Opera House by Matteo Cainer Architects
The Gondry
The stubborn collage technique may feel anachronistic
but, every so often, it makes a powerful comeback. The combination of
photos, renderings and drawing can be surprisingly effective and reminds
of Michel Gondry’s distinctive visual style. In its most experimental
form The Gondry may include unicorns, movie stars, space ships, and a
cutout photo of Le Corbusier.
Boulders Resort by Diller Scofidio + Renfro
The Theodore
The Theodore could be a subcategory of Paranormal
Activity, but, unlike the latter, it is found mostly among
representations of interiors. Airy spaces and more than generous amounts
of diffuse lighting make one want to lay back in an armchair and
dictate a heartfelt love letter, just like Theodore in Spike Jonze’s
"Her."
Green Valley by Schmidt Hammer Lassen Architects
The Katherine Heigl
Romantic snowbound streets, palpable silence of the first
snow, kids having fun, couples holding hands, and a building in the
background. The Katherine Heigl promises a happy ending and a
lighthearthed story enacted in and around the omnipresent new building.
This category includes sunsets, images whose large portions show
meadows, forests, parks, and all kinds of pastoral scenery.
Le Brassus by BIG
Samaranch Memorial Museum by HAO Holm Architecture Office
