High detailed 3d building.
Previews were rendered with vray mat and light.
The file has all lightning setup and texturing; multi layer photoshop PSD file included
In the 1970s, Bruno Zevi, an Italian architect, historian, and art critic made a strange observation: very few architects know how to "speak" and "read" architecture. A single architectural language predominates that of classicism; a single system has frozen everything, that of the Fine Arts. Only modern architecture, with its autonomous alternative language, can be an exception to the academic rule. And there is urgency because "once the modern movement is exhausted, we will no longer be able to read the images of all the architects who spoke a language other than that of classicism: the builders of the Paleolithic, the masters of Late Antiquity and the Middle Ages, the Mannerists and Michelangelo, Borromini, the protagonists of Arts and Crafts and Art Nouveau, Wright, Loos, Corbusier, Gropius, Mies, Aalto, Scharoun . "
Through this book, composed of a series of conversations that took place during seminars of architects and urban planners in Rome, Bruno Zevi identifies "seven invariants", so many testimonies against classical idolatry, so many keys to understand contemporary messages. All are bound by a common idea: it is necessary to make a clean sweep, to desacralize, to strip oneself of cultural taboos, to free oneself from orders true sclerosing dogmas, inertia and dead weights accumulated by centuries of classicism. Highly subversive, a true pamphlet for an architectural revolution, the Modern Language of Architecture is no less a wonderful text of intelligence and fun.
For the windows of a Renaissance palace, classicism selects a module, then studies the sequence of modules, the relationships between voids and solids, horizontal and vertical alignments, that is to say, the superposition of orders. Well, the modern architect will get rid of these formal concerns. Every window is a word: it is worth by itself, for what it says, for what it brings; it is out of the question to align or proportion it. It can take any form: rectangular, square, circular, elliptical, triangular, composite, free-form, all depends on the room it must illuminate. There is no reason to standardize the windows and thus mortify their function. The more they will be varied, the more they will be effective and the more they will transmit a plurality of messages.
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