Both are a means of translating an architect’s intention, but those in the former category are intended to communicate material finishes, dimensions and spatial relationships, while those in the latter go about the messier task of evoking the particular feel of a space or concept. The answer lies in the way in which computer visualisation straddles two categories of representation, which we can loosely term the ‘informative’ and the ‘emotional’. One comment, however, hit on an interesting if deliberately propositional point – if the project isn’t actually being visited, how much difference is there really in the aspects of a project that are communicated between a realistic render and a (most likely edited) photograph? Many commenters chided Dezeen for not spotting such obvious clues, although just like in a game of Where’s Wally?, it’s incredibly easy to spot them once you know where they are.Īrchitectural review lumion visualisation render rendering 01Īs photorealistic rendering becomes faster and easier, architects are turning their attention to the details that can help to weave a narrative. Within the story were a series of images highlighting the tells: the repetition of grain on a wood texture, the inaccurate billowing of a curtain and the faceted edge of a table. With photorealistic visualisation now commonplace, understood and expected by many clients, architects and designers are beginning to look beyond the technology’s aesthetics and towards its vast communicative potential.Ī revealing story appeared on the design website Dezeen earlier this year, when an eagle-eyed reader spotted that a submission shortlisted for the site’s interior design award had in fact been accompanied by ‘hyper-realistic’ computer renders instead of the entry requirement of ‘at least one photograph’.
Sponsored feature: freed from a technological arms race that focused solely on visual information, architects are now exploring the unique potential of renders to convey emotion and a sense of place – as well as building vital bridges between practices and the communities in which they work Beyond photorealism
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