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 United States, the architects of the growth period of the 1950s and 1960s turned to the international style to design office buildings such as the Lever House in New York (1952), by Gordon Bunshaft of the Skidmore agency. Public institutions see the doctrine and aesthetics of the international style as a means of giving a modern image of themselves. In New York, the headquarters of the United Nations (1952) is thus built according to the principles of the international style. First designed by Le Corbusier, his plans are taken up by an international team of architects under the direction of the American Wallace Harrison.
In 1959, an international group of architects known as Team Ten managed to set their own goals for a new, more humane public housing system. Team Ten members, including Alison and Peter Smithson and Aldo Van Eyck, while relying on the aesthetics of the international style, design visually more complex buildings with a richer texture. In the second part of his career, Le Corbusier himself became an influential representative of this evolution, as evidenced by the sculptural pilgrimage chapel of Notre-Dame-du-Haut, in Ronchamp (1955).
The American Philip C. Johnson, who theorized the international style in 1932 with Henry-Russell Hitchcock, contributes more than anyone else to publicize and admit the architecture of his master, Mies van der Rohe, in the United States. the 1930s and 1940s. In 1956, he signed with it the Seagram Building in New York, an elegant tower of anodized aluminum and smoked glass. But, from 1960, he distanced himself from the orthodoxy of the international style and built mainly monumental public buildings in rich materials.
Eero Saarinen directs the international style to more expressive purposes, as evidenced by his TWA terminal at J.F.K Airport in New York (1956-1962). By its symbolic form evoking the flight of a bird, by the elegance of its lines and its curves, the building contributes, like the chapel of Ronchamp, to show the spectacular possibilities of the concrete. These plastic inventions are also the hallmark of Frank Lloyd Wright's latest works. The Solomon-Guggenheim Museum (1942-1959) in New York displays a spiral concrete ramp, along which works of art are displayed.
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