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Indigo Winter Garden - Jiang TaiBeijing - Chine
HDA : Specialist Design consultants
Client : Swire Properties Ltd. in Joint Venture with Sino-Ocean Land
Architect: Benoy
Date : 2007 - 2012
See more at : www.hda-paris.com/
Equilibre - France
HDA : Pylon Designer
Client : RTE - ERDF
Architect : HDA
Date : 2013 -
See more at : www.hda-paris.com/
Initial concept rendering of aurora. Actual design does not include fader caps on sliders or infilled engravings on the top panel.
Yantram a Architectural Rendering Studio - Architectural 3d Visualization Company offering services like 3d Rendering, render companies, 3D Renderings, Photorealistic design, Interior 3D Rendering, Conceptual 3D Rendering, 3d Renders, 3drandring design firms.
Do you dream in dark turquoise? There are still a few 'how am I gonna do that' problems with this render, but overall it's doable. SD80ACes are basically just uprated SD70ACes that can produce 5000 horses. There emissions production make them illegal in the US or Canada, but for Brazil they are A-OK. They are also the last GM units to be built in Canada. Time to hit BL for dark turquoise again!
During 1916 the British born Australian architect Walter Richmond Butler (1864 – 1949) designed a new Anglican Mission to Seamen to be built on an oddly shaped triangular block of land at 717 Flinders Street on the outskirts of the Melbourne central city grid, to replace smaller premises located in adjoining Siddeley Street, which had been resumed by the Harbour Trust during wharf extensions.
The Missions to Seamen buildings, built on reinforced concrete footings, are in rendered brick with tiled roofs. Walter Butler designed the complex using an eclectic mixture of styles, one of which was the Spanish Mission Revival which had become a prevalent style on the west coast of America, especially in California and New Mexico during the 1890s. The style revived the architectural legacy of Spanish colonialism of the Eighteenth Century and the associated Franciscan missions. The revival of the style is explicit in the Mission’s small, yet charming chapel with its rough-hewn timber trusses, in the bell tower with its pinnacles and turret surmounted by a rustic cross and in the monastic-like courtyard, which today still provides a peaceful retreat from the noisy world just beyond the Missions to Seamen’s doorstep. The chapel also features many gifts donated by members of the Harbour Trust and Ladies’ Harbour Lights Guild, including an appropriately themed pulpit in the shape of a ship's prow and two sanctuary chairs decorated with carved Australian floral motifs. Some of the stained glass windows in the chapel depict stories and scenes associated with the sea intermixed with those Biblical scenes more commonly found in such places of worship.
The adjoining Mission to Seamen’s administration, residential and recreational building shows the influence of English domestic Arts and Crafts architecture, with its projecting gable, pepper pot chimneys and three adjoining oriel windows. The lobby, with its appropriately nautically inspired stained glass windows, features a large mariner's compass inlaid in the terrazzo floor. Built-in timber cupboards, wardrobes, paneling and studded doors throughout the buildings evoke a ship's cabin.
Walter Butler, architect to the Anglican Diocese in Melbourne, had come to Australia with an intimate knowledge and experience of the Arts and Crafts movement and continued to use the style in his residential designs of the 1920s. The main hall has a reinforced concrete vaulted ceiling. Lady Stanley, wife of the Mission's patron, Governor Sir Arthur Lyulph Stanley, laid the foundation stone of the complex in November 1916. The buildings were financed partly by a compensation payment from the Harbour Trust of £8,500.00 and £3,000.00 from local merchants and shipping firms. The Ladies' Harbour Lights Guild raised over £800.00 for the chapel. Most of the complex was completed by late 1917 whilst the Pantheon-like gymnasium with oculus was finished soon afterwards. The substantially intact interiors, including extensive use of wall paneling in Tasmanian hardwood, form an integral part of the overall design.
The Missions to Seamen buildings are architecturally significant as a milestone in the early introduction of the Spanish Mission style to Melbourne. The style was to later find widespread popularity in the suburbs of Melbourne. The choice of Spanish Mission directly refers to the Christian purpose of the complex. The Missions to Seamen buildings are unusual for combining two distinct architectural styles, for they also reflect the imitation of English domestic architecture, the Arts and Crafts movement. Walter Butler was one of the most prominent and progressive architects of the period and the complex is one of his most unusual and distinctive works.
The Missions to Seamen buildings have historical and social significance as tangible evidence of prevailing concerns for the religious, moral, and social welfare of seafarers throughout most of the Nineteenth and Twentieth Centuries. The complex has a long association with the Missions to Seamen, an organisation formed to look after the welfare of seafarers, both officers and sailors, men "of all nationalities". It had its origins in Bristol, England when a Seamen's Mission was formed in 1837. The first Australian branch was started in 1856 by the Reverend Kerr Johnston, a Church of England clergyman, and operated from a hulk moored in Hobsons Bay; later the Mission occupied buildings in Williamstown and Port Melbourne. In 1905 the Reverend Alfred Gurney Goldsmith arrived at the behest of the London Seamen's Mission to establish a city mission for sailors working on the river wharves and docks. The building reflects the diverse role played by the Mission with its chapel, hall and stage, billiards room, reading room, dining room, officers' and men’s quarters, chaplain's residence, and gymnasium. It is still in use to this day under the jurisdiction of a small, but passionate group of workers, providing a welcome place of refuge to seamen visiting the Port of Melbourne.
Walter Butler was considered an architect of great talent, and many of his clients were wealthy pastoralists and businessmen. His country-house designs are numerous and include “Blackwood” (1891) near Penshurst, for R. B. Ritchie, “Wangarella” (1894) near Deniliquin, New South Wales, for Thomas Millear, and “Newminster Park” (1901) near Camperdown, for A. S. Chirnside. Equally distinguished large houses were designed for the newly established Melbourne suburbs: “Warrawee” (1906) in Toorak, for A. Rutter Clark; “Thanes” (1907) in Kooyong, for F. Wallach; “Kamillaroi” (1907) for Baron Clive Baillieu, and extensions to “Edzell” (1917) for George Russell, both in St Georges Road, Toorak. These are all fine examples of picturesque gabled houses in the domestic Queen Anne Revival genre. Walter Butler was also involved with domestic designs using a modified classical vocabulary, as in his remodelling of “Billilla” (1905) in Brighton, for W. Weatherley, which incorporates panels of flat-leafed foliage. Walter Butler also regarded himself as a garden architect.
As architect to the diocese of Melbourne from 1895, he designed the extensions to “Bishopscourt” (1902) in East Melbourne. His other church work includes St Albans (1899) in Armadale, the Wangaratta Cathedral (1907), and the colourful porch and tower to Christ Church (c.1910) in Benalla. For the Union Bank of Australia he designed many branch banks and was also associated with several tall city buildings in the heart of Melbourne’s central business district such as Collins House (1910) and the exceptionally fine Queensland Insurance Building (1911). For Dame Nellie Melba Butler designed the Italianate lodge and gatehouse at “Coombe Cottage” (1925) at Coldstream.
Modeled in Structure Synth, Rendered in Sunflow.
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Dewailly Cloister Roof - Amiens -France
HDA : Architect
Client : Ville d’Amiens
Architect: H²O& HDA
Date : 2007
See more at : www.hda-paris.com/
I admit it - I've become render mad. I had this old version of my Berkshire sitting in my LDraw folder and decided to run it through the new light and color settings.
Even if she's not fully updated in this shot, for my first LEGO train MOC she's a looker.
I actually had a scene with multiple locomotives all set up, but for some reason the LGEO library deletes the Flex tube work around that Tim taught me, so I aborted it.
Bridle’s search for the lost ghosts, the architectural spectres wandering the renders of our possible futures, had all but failed. His project had been shown around the globe, he’d gained glorious reviews in the pages of art journals and magazines, his ghosts had been discussed on many a panel. However, none of ‘the originals’ had been located.
There had been the odd false hope; a mythical photoshoot in albuquerque, a photographers convention in Milton Keynes, but the trail always went cold. He’d been approached by people claiming they were an original, but it didn’t take long to dismiss their claims. The ghouls, as he called them, went to extraordinary lengths to convince him. They dressed up in similar clothes, posed in the same positions, they’d even been known to return to the construction site where their hopeful ghost image had once occupied; placing their flesh bodies into, yet another, distanced layer of our hyper real existence.
It wasn’t until he returned to Korea, that he discovered where the ghosts had come from. After a particularly poorly attended lecture, an elderly man approached him and reprimanded him for accessing ‘the unknown’. The ghosts that he’d been searching for would never appear. The man claimed they’d come from ancient space, a pre-architectural world of possibility. Their projection into the render world, somewhat akin to Edwin Abbott Abbott’s Flatland, was to discover whether architects had evolved since their last contact. Sadly, the man said, they still felt us too primitive in our spatial practice to materialise, they’d returned to the unknown to wait out our spatial puberty.
Initial 3d render for the yacht building... dusk time like i usually like to do. hopefully, the pitch for the client will go OK and I'll get a chance to elaborate this further. Modeled with SketchUP and rendered with VRay 1.5 sp3a. VRay RT was a saver on this one to cut production time.
Hace 7 horas que estoy haciendo un render, y tiene para rato. Y me acordé de una idea que tuve hace tiempo, sobre los renders que no llegan a "nacer", renders interminables que nunca llegarán a conformar la imagen final, y de los cuales sólo puedo rescatar el intento, en esta imagen que representa el cálculo de iluminación global: