![]() ![]() The effect of the new technologies is compelling and thrilling to all involved, to the point where a large and growing cottage industry of renderers are flooding everyone’s inbox with unceasing business solicitations. The medium of digital rendering has created an aesthetic in which the effect on the screen is often the desired outcome for what architects design. Not only used for selling a design, or facilitating the expertise of consultants, 2D rendering has evolved to simulate reality with a quality that evokes and encourages an aesthetic that is at once exquisitely controlled and antiseptic. Virtual reality has, in turn, made rendering “old school.” The stark realities of computer-driven drawing on a screen went beyond presentation and became a tool for design, which had instant and obvious PR value. ![]() That breakthrough made those midcentury models antiques within a generation. Pei’s Johnson Art Museum at Cornell, built down the Quad walkway from my adviser Don Greenberg’s office. Greenberg had virtually discovered the brave new world of computer rendering. In my freshman year of architecture school in 1973, Scientific American thrilled everyone by showing I.M. Antonio Gaudi, Eero Saarinen, Paul Rudolph, Kevin Roche-all went a little nuts reality-checking their designs by creating amazing “mini-me’s” before building them.īut the last 50 years has seen computerization take 2D and 3D into new realms. Usually, humans are involved.Ĭontrolling all those variables has obsessed architects since they were called “Master Builders.” With the advent of the 20th century, technology exploded beyond drawings and wooden maquettes to allow miniature explorations of extreme accuracy. ![]() Every building has a site, with natural and social features every building has space and shape, is made of material, formed of pieces, planes, masses and voids. But architects have to understand how a structure is put together to design a building. But the designs for them start as creations that are as conceptual-even fantastic-as anything we can imagine.Ĭreativity requires exploration. Buildings are as real as anything we encounter. A group of volunteer model builders continues to work on additions and detailing.Architecture is uniquely conflicted. ![]() The Mystic River Scale Model has been evolving since 1958. Sound-and-light shows help visitors understand what went on in the active communities of Mystic River (in the Town of Groton) and Mystic Bridge (in the Town of Stonington) during the height of shipbuilding, between about 18. At the Greenman Brothers’ yard (on the current site of Mystic Seaport Museum) the record-breaking clipper David Crockett is on the ways and other vessels lie in the water or at dockside all along the river. After years of continuing research and construction, the model features more than 250 detailed dwellings, shops, barns, and lofts, as well as five local shipyards. It provides Museum visitors with a dramatic bird’s-eye view of history. What did the Mystic River area look like in the mid-1800s? This spectacular Mystic River Scale Model, 12-feet wide by 40-feet long, is built to the scale of 3/32 inch=1 foot, or 1/128th. ![]()
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