high detail building model with multi layer phososhop PSD file
There was a time, just a decade or so ago when skyscrapers tended to look more or less alike. They were oblong in shape and made mostly of steel and glass. They were flat on top, and they usually sat behind large expanses of concrete called plazas. If somehow one of them could have been substituted for another on the Manhattan skyline, if one morning a building on Third Avenue suddenly changed places with one on the Avenue of the Americas, it is not likely that very many people would have noticed.
Whatever else can be said of the state of the American downtown now, there is little chance indeed of that kind of confusion or indifference. There is a degree of emotion, even passion, involved in the making of skyscrapers today that has not been present since the 1920s. There is a new wave in skyscraper design, and it is as committed to liveliness and flamboyance as the last generation of tall buildings tended to dullness and banality. It is yielding excellent buildings in some cases and poor ones in others, but in virtually every case it reveals how much has changed in the world of large-scale development in this country in the last few years.
The significance of this change extends far beyond architecture and the people who pass into or by it. For architecture has always been an expression of images, values, and power as much as of esthetics. And nowhere has this been more the case than with the skyscraper, that quintessentially American creation, mixing American faith in technology and progress with American theatricality. The new breed of skyscraper embodies the shifting attitudes of Americans toward business and of business toward Americans, toward the environment and toward their own history.
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