High detailed 3d building.
Previews were rendered with vray mat and light.
The file has all lightning setup and texturing ;multi layer phososhop PSD file included
If architecture often shows the differences between social classes, the organization of these is sometimes the very basis of the type of housing or even urbanization. Thus, in the nineteenth century, in the north of France, workers' housing is organized into corons, which become characteristic of mining regions; the map of the center of Noisiel, in Seine-et-Marne, a city that has developed around the Menier chocolate factory, is a kind of diagram of the social divisions of this city.
Finally, religion and architecture are not without maintaining close ties. The temple, the church, the sacred place are from the beginning the monument par excellence of the community in many civilizations. The relationship of man to the sacred was made very early by the delimitation of space: the sacred opposing the profane (a term whose etymology means "before the temple"). It was not until the beginning of the secularization of Western society, which took place in the fifteenth and sixteenth centuries, that the church was supplanted by other monuments, such as the palace.
Materials, their availability in a region and the evolution of technical knowledge obviously have a decisive influence on architecture. If the north of France built in brick, for lack of stone, Scandinavia, rich in forests, largely uses wood. Plastic daring is made possible by the development of reinforced concrete in the twentieth century. ; nevertheless, there is generally a latency between the discovery of a new technique and the modification of the forms of architecture: in Saqqarah, place of erection of the first Egyptian pyramid, some stone constructions are still only the transcription in the stone forms of construction of reed and clay. The archaic Doric Greek temple also translates into stone an assemblage of wooden elements. The architecture of the nineteenth century. is an alternation of rejection and promotion of new techniques, which will be really accepted and developed in the twentieth century. This is how we see cast iron, a contemporary material, cast in columns in neo-Gothic churches of the nineteenth century. In the same way, Auguste Perret will apply to the reinforced concrete a traditional stylistic vocabulary. Architecture has never known, during its history, mechanistic determination by the technique.
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