High detailed 3d building.
Previews were rendered with vray mat and light.
The file has all lightning setup and texturing
Reading classified ads, scholarly or popular magazines, many interviews
residents gathered or consulted are going in the same direction. What is attractive and interesting
for a certain avant-garde, can be disturbing, mysterious, illegible and sometimes
unspeakable or outrageously provocative for the general public. Random and without
Hierarchy: deconstruction of elements, showing the bowels of a building to
the image of the Center Pompidou of Piano and Rogers, to show the traces of the work as
if it was in progress and therefore "not finished" (in the ordinary sense of "to finish"), to leave the surfaces
lacerated or raw instead of smoothing them, etc. All this aesthetics is rejected by a majority,
just like what is perceived as a free gesture, for example, the symbolic spaces
not useful. Harmony, the beauty of unity, the smooth, the useful, the traces of known history
for this non-specialist public of art and architecture, safer values,
on which he can give his opinion, tell his taste. The architectural avant-garde and the opinion
The banal inhabitants would, therefore, return to bundles of inverted values. What about
our interviewees when it comes to evoking, at first, architectural spaces
in which they lived?
It seems that they evoke architecture by the band. They are able to talk about subjects,
decorations (such as decorating magazines) and sometimes styles (like the history of styles) or
light (for reasons of use), but very rarely the overall structure of a building
or its spatiality. They are generally poor enough to discuss the reasons for their rejections or
their preferences. Most do not have the right vocabulary and sometimes apologize for it. And when
the interviewer suggests an explanation from what they have expressed, some take it immediately,
perhaps because they are waiting for a conceptual analysis framework: a proposed term will be repeated
as if a new language resource could perceive a spatial reality not
expressible and invisible before. The learned language frameworks seem to have moved away from their
perception of the spatial register. One could thus explain some silences in front of buildings
incomprehensible and "illegible" for lack of adequate tools to express a thought. This idea that
building may not be "like nothing" for lack of an adequate lexicon and culture, and what
be its intrinsic "qualities" of use, of façade design
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