Ricky Doshi : Final Project preliminary renderings

Here area few rendered images of the exterior of my structure along with the surrounding environment. I used QTown for my surrounding buildings and kept their transparency to 50%, so that the main focus is still on my structure.
This is just a preliminary rendering.

Basim Kutbi - KludgeCity

Here I tried to use the KludgeCity option to make an environment to surround the building.

Basim Kutbi - Using Light

In the Mental Ray rendering sitting I have created Physical sun and sky. then I have changes the angel of the light direction and place. The renderings can provide shade study during different times of the day.

Basim Kutbi - Using Mental Ray Ambient Occlusion

I have used Ambient Occlusion on my model first I had to create a Shader. Then I had to create an Ambient Occlusion. After that I linked them and tried different sittings and got different results.
Image # 01: Ambient Occlusion options: Samples:16.
Image # 02: Ambient Occlusion options: Samples:128.
Image # 03: Ambient Occlusion options: Samples:128, Max Distance: 8.
Image # 04: Ambient Occlusion options: Samples:128, Max Distance: 6.
Image # 05: Ambient Occlusion options: Samples:128, Max Distance: 4.
Image # 06: Ambient Occlusion options: Samples:128, Max Distance: 2.
Image # 07: Ambient Occlusion options: Samples:128, Max Distance: 1.
Image # 08: Ambient Occlusion options: Samples:128, Max Distance: 20.
Image # 09: Ambient Occlusion options: Samples:128, Max Distance: 40.
Image # 10: Ambient Occlusion options: Samples:128, Max Distance: 40, changed rendering sittings.
Image # 11: Ambient Occlusion options: Samples:128, Max Distance: 40, changed rendering sittings; Material Alpha Gain: 0.618.
Image # 12: Ambient Occlusion options: Samples:128, Max Distance: 40, changed rendering sittings; Material Alpha Gain: 0.618, also changed the material of the bright to give an effect to make the building look as if were on Mars!
Image # 13: Ambient Occlusion options: Samples:128, Max Distance: 40, changed rendering sittings; Material Alpha Gain: 0.618, also changed the material of the bright to give an effect to make the building look as if it were on the Moon!
Image # 14: Ambient Occlusion options: Samples:128, Max Distance: 40, changed rendering sittings; Material Alpha Gain: 0.618, also changed the material of the bright to give an effect to make the building look as if it were under the SEA!!!

Andrew F. Scott: grass using fur

This is a practice image in maya using the fur shader to create grass in maya.

Andrew F. Scott:week 9 inspiration

Guangzhou Opera House by Zaha Hadid Architects | DESIGN DAILY ™

The Guangzhou Opera House by Zaha Hadid Architects has opened in Guangdong province, China.

Like pebbles in a stream smoothed by erosion, the Guangzhou Opera House sits in perfect harmony with its riverside location.

The Opera House is at the heart of Guangzhou’s cultural development. Its unique twin-boulder design enhances the city by opening it to the Pearl River, unifying the adjacent cultural buildings with the towers of international finance in Guangzhou’s Zhujiang new town.

Andrew F. Scott: Week 7 Inspiration: Context

Evolo2010: Mixed-Use Skyscraper in Damascus:

Special Mention
2010 Skyscraper Competition

Rocky Marchant, Ergin Birinci
United Kingdom

As I anxiously await the results of the 2011 Evolo Skyscraper competition I decided to write a post to provide some inspiration for week 7 of the quarter. We need to begin to turn our attention to the context and place of our architectural visualizations. This entails two main ideas, The integration of our structure into its hardscape environment. Don't be happy with just a flat ground plane for your design. The plan view is an important view and it can be used to heighten the sense of realism in your design. Consider the overall landscape and hardscape elements that set the stage for your composition.

Nested Skyscraper in Tokyo

Third Place

2010 Skyscraper Competition

Ryohei Koike, Jarod Poenisch
United States

The second consideration is how your object will integrate with the its environment from the site and pedestrian view. There are several choices you will need to make. The most import choice will be whether the elements are created digitally or will you combine them with photographic backplates. Each of these approaches entails it own set of compositing decisions that will need to be made in order to create a believable illustration. You may also choose to do a combination of both. What both approaches share in common in how EMPHASIS will be used to integrate or separate your structure from its environment.

In the illustration above the integration of the skyscraper into its environment is achieved by using a monochromatic palette. Color is used in the trees to create a sense of depth in the composition. The emphasis is established by the contrast of the biomorphic nature of the skyscraper and the geometric nature of the surrounding buildings. Sky Bridge by Violeta Sabaliauskaite, Lukas Gadeikis presents another example of this compositional strategy.


Sky Table – A Social Implant

Special Mention
2010 Skyscraper Competition

Ayrat Khusnutdinov of Russia employs color to create emphasis in the Sky Table – A Social Implant architectural visualization above. This is a very effective method for separating what you want the viewer to see and what is background within the image. You can see how the sky shader and color can be combined using computer generated elements to create a realistic visualization. Note also how different levels of detail are also used to establish context.

Art of Building High – Skyscraper in Paris

ATELIER ZÜNDEL ET CRISTEA by Gregoire Zündel, Irina Cristea, Nicolas Souchko, Mario Russo of France uses color effectively integrate their architectural visualization into it's environment. This provides the approach that creates the most realistic renderings especially when we consider context. Yet the question always remains is this the most effective way to communicate the ideas and forms that tell the story of our structures. The Strait of Messina Skyscraper by Maurizio Pino, Filomena Francesca Pastore of Italy employs the same strategy of color integration into their architectural visualization. To this they also use focus to separate the building structure from its environment.

Consider these approaches as we move forward. The images used in this post were cited from the 2010 Evolo Skyscraper Competition. Please go there to review more that will help provide guidelines for you compositions as we move forward.

Luciano Carfagna Final Project - Material Selection

Here is a look at some material choices. The ground has been rendered with a mountain terrain and an added bump. The building forms are given a brown marble appearance with copper accents.

Hina Hameed - Ambient Occlusion Exercise

max distance : 10

output: 3

Spread: 2

Spread: .8

Spread: .2

Ambient occlusion shaders allow quick simulation of shade and shadow in a model, which can be layered over a "beauty image" to add depth to the final rendering.

Method:

1) Remove all materials and lights from model 2) In Hypershade window, select Surface Shader 3) Add mib_amb_occlusion 4) Apply surface occlusion material to model objects

Ricky Doshi: Emerging structural element

Here I have tried to create a thread-like structure emerging from a cell ( like a human emerges from a single cell), as a part of my thesis concept of self-assembling of structures.
I used MEL scripting to create this animation.

andrew f. scott: sun-sky play

bright sunlight with glossy glass

bright sunlight with transparent blinn glass

dusk with translucent blinn glass

Luciano Carfagna Final Project - Beginning phase

here is my inspiration and research for the project



These are a objects I manipulated to get the form I want. Next step is to add structural elements and placement of openings

Miguel Martín - Ambient Occlusion

This is a quick and dirty modeling effort to illustrate the application of ambient occlusion rendering in a composite method.

This is the original rendering of the model with its material applied:

1

At this point I have only dropped in a generic sky composite:

2

Now I have created a separate rendering of just ambient occlusion set at a spread .08 and a distance 10

3

As an added effect I have added a bluish colorization to the shadow.

4

As a final effect of adding a richer shadow, an ambient occlusion rendering (spread 2 distance 10) is added: