High detail building model with Vray and multi layer phososhop PSD file.
Modern architecture tends to develop by a process of exaggeration. If the structural elements of a particularly striking work are too thin or too fat, the first wave of imitations will make them thinner or fatter; the second wave will try to do the same with all remaining elements. This process, perhaps unconscious, exerts a centrifugal force on coherent systems of design and ultimately reduces them to parodies. Attention then turns to the design of individual elements that can be elaborated without dependence on any single mode of architectural coherence.
Windows, roofs, parapets, any element that can be isolated from a larger system can also be made to generate its own system. Marginally related to these sometimes quite productive excursions is the use of painting at mural scale. In most cases, an abstract painting applied to architecture contributes little that would be missed if it were removed and installed in a gallery. In any case, it asks to be judged as painting. Only rarely has painting been made to contribute to architectural form in ways that significantly alter architectural intentions; even rarer is painting used to produce effects that would otherwise be impossible.
When different kinds of form are combined in one building most observers make the assumption that the building is still meant to be perceived as a unified whole. If the forms are too unlike each other the observer must work to keep track of their origins, mentally separating what the architect has combined or joined together what has been separated. In either case, the perception of unity is usually thought to depend on the forms being to some degree compatible.
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