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A Quality Design Rendering Is as Much Art as Architecture
Art and Architecture
Each building tells a story. Illustrator Guillaume Paturel ensures it’s effectively conveyed.

By:John Gendall

Despite what some architects might wish, image is frequently everything. In a discipline predisposed to the visual and in an age saturated with design confections, a high-quality rendering can help a project stand out from a crowded field. Achieving this goal is the task of Guillaume Paturel, the director of By-Encore, a Brooklyn, N.Y.–based architectural visualization firm.

For even for the most complex project, renderings can communicate the essence of the design concisely. In this capacity, they become powerful—and persuasive—tools. Calling them “absolutely essential,” Roger Soto, a senior vice president at HOK and the design director of its Houston office, says, “You must have quality renderings in order to compete effectively.”

Or, as Paturel simply puts it, “Renderings win competitions.”

Their benefits extend beyond the competitive edge, though. Sudhir Jambhekar, a senior partner at New York–based FXFowle Architects, has worked with Paturel on more than 15 projects. “Clients expect visualization. They want to see what the buildings look like,” he says. But renderings also offer the designers themselves a chance to examine a project. “Internally, we study the project, test our own ideas, see if what we have designed is right,” Jambhekar notes, adding, “I would recommend highly that visualization is done by outside consultants. It brings in a different perspective, and it frees up valuable time for design.”

Yet not all renderings are created equal. The best communicate “more than just the raw realism of a project,” says Soto. “They have a story to tell. They should capture the spirit of a site.” This is where hiring a specialist such as By-Encore is critical. Colin Montoute, a senior designer at FXFowle, says the firm is “exceptional at creating context, understanding … the place in which the architecture sits.” Jambhekar agrees: “The sky is not the same in New York as it is in Dubai. The blueness is very different. By-Encore captures that.”

For Paturel, architectural renderings are an art. As such, they should not just meticulously convey a project’s program and design elements—they should also convey light and shadow, what he calls the “heart” of a project. And Paturel aims to convey a single message with each image. “You have to show just one thing, whether it’s one building, one aspect of a building, or one effect,” he explains. “When you look at a rendering and you understand quickly what’s happening, then you’ve got it.”

Likening renderings to film, Paturel underscores the importance of frame and shot. “The most important thing is the point of view,” he says. “I find the place to establish the perspective.” This, he suggests, is key to a quality rendering. Drawing a distinction from physical models, which lay projects bare and allow anyone to view them flexibly, Paturel cites the rendering’s capacity to dictate perspective. “You have to control what the person sees,” he explains. “I want you to look in this direction in this particular moment.”

As with many fields, architectural visualization has undergone systemic changes because of technological advances. “When I first started, for about eight years, I worked with pastels and collage,” says Paturel, who studied architecture in his hometown of Marseilles, France. With a passion to create images, the young artist started a firm in Paris in the mid-1990s, working with a kit of now-outdated tools. Seven years ago, however, Paturel turned to digital technologies—primarily Autodesk 3ds Max and Photoshop—and has used them ever since to execute renderings.

The artistry, however, remains. “The tools today are very powerful, but you have to know how to use them well,” says Paturel. “If you buy a great guitar, that doesn’t guarantee you’ll be able to play beautiful music. Even though I do all my work on computer, that early experience was very valuable.”

Over 15 years, Paturel has rebranded himself periodically (previous monikers have included Graphic Work and Louis & Fils), and he has maintained a presence in France and New York for several years. When he relocated to New York in 2007—his office currently has fewer than a dozen employees—he created By-Encore to reflect this new shift.

And his clients couldn’t be happier. “There is a definite artistry in what By-Encore does,” says HOK’s Soto, “with the way they manipulate light, express materials, do the entourage,”—the people that appear in renderings—“and with the views they select. They don’t just inform,” he concludes. “They seduce.”

But despite the technology available to Paturel and the expertise he possesses, it still comes down to the product itself. “The best way to do a nice rendering is to have a nice building,” says Paturel. “It’s very difficult to make a good rendering with bad architecture.”

Art, Image and Artists
Sacred art, inspired by faith, both reflects and informs the culture
by Joseph Cardinal Ratzinger

With the emergence of Gothic, a change slowly takes place. Much remains the same, especially the fundamental inner correspondence between the Old Testament and the New, which for its part always has a reference to what is still to come.

But the central image becomes different. The depiction is no longer of the Pantocrator, the Lord of all, leading us into the eighth day. It has been superseded by the image of the crucified Lord in the agony of His passion and death. The story is told of the historical events of the Passion, but the Resurrection is not made visible. The historical and narrative aspect of art comes to the fore.

It has been said that the mystical image has been replaced by the devotional image. Many factors may have been involved in this change of perspective. Evdokimov, in The Art of the Icon: A Theology of Beauty, thinks that the turn from Platonism to Aristotelianism during the thirteenth century played a part.

Platonism sees sensible things as shadows of the eternal archetypes. In the sensible we can and should know the archetypes and rise up through the former to the latter.

Aristotelianism rejects the doctrine of Ideas. The thing, composed of matter and form, exists in its own right. Through abstraction I discern the species to which it belongs. In place of seeing, by which the super-sensible becomes visible in the sensible, comes abstraction. The relationship of the spiritual and the material has changed and with it man's attitude to reality as it appears to him.

For Plato, the category of the beautiful had been definitive. The beautiful and the good, ultimately the beautiful and God, coincide. Through the appearance of the beautiful we are wounded in our innermost being, and that wound grips us and takes us beyond ourselves; it stirs longing into flight and moves us toward the truly Beautiful, to the Good in itself.

Something of this Platonic foundation lives on in the theology of icons, even though the Platonic ideas of the beautiful and of vision have been transformed by the light of Tabor. Moreover, Plato's conception has been profoundly reshaped by the interconnection of creation, Christology, and eschatology, and the material order as such has been given a new dignity and a new value. This kind of Platonism, transformed as it is by the Incarnation, largely disappears from the West after the thirteenth century, so that now the art of painting strives first and foremost to depict events that have taken place.

Salvation history is seen less as a sacrament than as a narrative unfolded in time. Thus the relationship to the liturgy also changes. It is seen as a kind of symbolic reproduction of the event of the Cross.

Piety responds by turning chiefly to meditation on the mysteries of the life of Jesus. Art finds its inspiration less in the liturgy than in popular piety, and popular piety is in turn nourished by the historical images in which it can contemplate the way to Christ, the way of Jesus himself and its continuation in the saints. The separation in iconography between East and West, which took place at the latest by the thirteenth century, doubtless goes very deep: very different themes, different spiritual paths, open up. A devotion to the Cross of a more historicizing kind replaces orientation to the Oriens, to the risen Lord who has gone ahead of us.

Nevertheless, we should not exaggerate the differences that developed. True, the depiction of Christ dying in pain on the Cross is something new, but it still depicts him who bore our pains, by whose stripes we are healed. In the extremes of pain it represents the redemptive love of God.

Though [Matthias] Grünewald's altarpiece [at Isenheim] takes the realism of the Passion to a radical extreme, the fact remains that it was an image of consolation. It enabled the plague victims cared for by the Antonians to recognize that God identified with them in their fate, to see that He had descended into their suffering and that their suffering lay hidden in His. There is a decisive turn to what is human, historical, in Christ, but it is animated by a sense that these human afflictions of His belong to the mystery.

The images are consoling, because they make visible the overcoming of our anguish in the incarnate God's sharing of our suffering, and so they bear within them the messages of the Resurrection. These images, too, come from prayer, from the interior meditation on the way of Christ. They are identifications with Christ, which are based in turn on God's identification with us in Christ. They open up the realism of the mystery without diverging from it. As for the Mass, as the making present of the Cross, do these images not enable us to understand that mystery with a new vividness?

The mystery is unfolded in an extremity of concreteness, and popular piety is enabled thereby to reach the heart of the liturgy in a new way. These images, too, do not show just the "surface of the skin", the external sensible world; they, too, are intended to lead us through mere outward appearance and open our eyes to the heart of God.

What we are suggesting here about the images of the Cross applies also to all the rest of the "narrative" art of the Gothic style.

What power of inward devotion lies in the images of the Mother of God! They manifest the new humanity of the faith. Such images are an invitation to prayer, because they are permeated with prayer from within. They show us the true image of man as planned by the Creator and renewed by Christ. They guide us into man's authentic being.

And finally, let us not forget the glorious art of Gothic stained glass! The windows of the Gothic cathedrals keep out the garishness of the light outside, while concentrating that light and using it so that the whole history of God in relation to man, from creation to the Second Coming, shines through. The walls of the church, in interplay with the sun, become an image in their own right, the iconostasis of the West, lending the place a sense of the sacred that can touch the hearts even of agnostics.

The Renaissance
The Renaissance did something quite new. It "emancipated" man. Now we see the development of the "aesthetic" in the modern sense, the vision of a beauty that no longer points beyond itself but is content in the end with itself, the beauty of the appearing thing.

Man experiences himself in his autonomy, in all his grandeur. Art speaks of this grandeur of man almost as if it were surprised by it; it needs no other beauty to seek. There is often scarcely a difference between the depictions of pagan myths and those of Christian history. The tragic burden of antiquity has been forgotten; only its divine beauty is seen. A nostalgia for the gods emerges, for myth, for a world without fear of sin and without the pain of the Cross, which had perhaps been too overpowering in the images of the late Middle Ages.

True, Christian subjects are still being depicted, but such "religious art" is no longer sacred art in the proper sense. It does not enter into the humility of the sacraments and their time-transcending dynamism. It wants to enjoy today and to bring redemption through beauty itself.

Perhaps the iconoclasm of the Reformation should be understood against this background, though doubtless its roots were extensive.

The Baroque
Baroque art, which follows the Renaissance, has many different aspects and modes of expression. In its best form it is based on the reform of the Church set in motion by the Council of Trent.

In line with the tradition of the West, the Council again emphasized the didactic and pedagogical character of art, but, as a fresh start toward interior renewal, it led once more to a new kind of seeing that comes from and returns within.

The altarpiece is like a window through which the world of God comes out to us. The curtain of temporality is raised, and we are allowed a glimpse into the inner life of the world of God. This art is intended to insert us into the liturgy of heaven.

Again and again, we experience a Baroque church as a unique kind of fortissimo of joy, an Alleluia in visual form. "The joy of the Lord is your strength" (Nehemiah 10). These words from the Old Testament express the basic emotion that animates this iconography.

The Enlightenment pushed faith into a kind of intellectual and even social ghetto.

A New Iconoclasm
Contemporary culture turned away from the faith and trod another path, so that faith took flight in historicism, the copying of the past, or else attempted compromise or lost itself in resignation and cultural abstinence.

The last of these led to a new iconoclasm, which has frequently been regarded as virtually mandated by the Second Vatican Council. The destruction of images, the first signs of which reach back to the 1920s, eliminated a lot of kitsch and unworthy art, but ultimately it left behind a void, the wretchedness of which we are now experiencing in a truly acute way.

Where do we go from here? Today we are experiencing not just a crisis of sacred art, but a crisis of art in general of unprecedented proportions.

The crisis of art for its part is a symptom of the crisis of man's very existence. The immense growth in man's mastery of the material world has left him blind to the questions of life's meaning that transcend the material world. We might almost call it a blindness of the spirit. The questions of how we ought to live, how we can overcome death, whether existence has a purpose and what it is -- to all these questions there is no longer a common answer.

Positivism, formulated in the name of scientific seriousness, narrows the horizon to what is verifiable, to what can be proved by experiment; it renders the world opaque.

True, it still contains mathematics, but the logos that is the presupposition of the mathematics and its applicability is no longer evident. Thus our world of images no longer surpasses the bounds of sense and appearance, and the flood of images that surrounds us really means the end of the image.

If something cannot be photographed, it cannot be seen. In this situation, the art of the icon, sacred art, depending as it does on a wider kind of seeing, becomes impossible.

What is more, art itself, which in impressionism and expressionism explored the extreme possibilities of the sense of sight, becomes literally object-less. Art turns into experimenting with self-created worlds, empty "creativity", which no longer perceives the Creator Spiritus, the Creator Spirit. It attempts to take his place, and yet, in so doing, it manages to produce only what is arbitrary and vacuous, bringing home to man the absurdity of his role as creator.

Again we must ask: Where do we go from here? Let us try to sum up what we have said so far and to identify the fundamental principles of an art ordered to divine worship.

1. The complete absence of images is incompatible with faith in the Incarnation of God. God has acted in history and entered into our sensible world, so that it may become transparent to Him. Images of beauty, in which the mystery of the invisible God becomes visible, are an essential part of Christian worship. There will always be ups and downs in the history of iconography, upsurge and decline, and therefore periods when images are somewhat sparse. But they can never be totally lacking. Iconoclasm is not a Christian option.

2. Sacred art finds its subjects in the images of salvation history, beginning with creation and continuing all the way from the first day to the eighth day, the day of the resurrection and Second Coming, in which the line of human history will come full circle. The images of biblical history have pride of place in sacred art, but the latter also includes the history of the saints, which is an unfolding of the history of Jesus Christ, the fruit borne throughout history by the dead grain wheat. "You are not struggling against icons", said Saint John Damascene to the iconoclastic emperor Leo III, "but against the saints". In the same period, and with the same view in mind, Pope Saint Gregory III instituted in Rome the feast of All Saints (cf. Evdokimov, p. 164).

3. The images of the history of God in relation to man do not merely illustrate the succession of past events but display the inner unity of God's action. In this way they have a reference to the sacraments, above all, to Baptism and the Eucharist, and, in pointing to the sacraments, they are contained within them.

Images thus point to a presence; they are essentially connected with what happens in the Liturgy. Now history becomes sacrament in Christ, who is the source of the Sacraments. Therefore, the icon of Christ is the center of sacred iconography. The center of the icon of Christ is the Paschal Mystery: Christ is presented as the Crucified, the risen Lord, the One who will come again and who here and now, though hidden, reigns over all.

Every image of Christ must contain these three essential aspects of the mystery of Christ and, in this sense, must be an image of Easter. At the same time, it goes without saying that different emphases are possible. The image may give more prominence to the Cross, the Passion, and in the Passion to the anguish of our own life today, or again it may bring the Resurrection or the Second Coming to the fore. But whatever happens, one aspect can never be completely isolated from another, and in the different emphases the Paschal Mystery as a whole must be plainly evident. An image of the Crucifixion no longer transparent to Easter would be just as deficient as an Easter image forgetful of the wounds and the suffering of the present moment. And, centered as it is on the Paschal Mystery, the image of Christ is always an icon of the Eucharist, that is it points to the sacramental presence of the Easter Mystery.

4. The image of Christ and the images of the saints are not photographs. Their whole point is to lead us beyond what can be apprehended at the merely material level, to awaken new senses in us, and to teach us a new kind of seeing, which perceives the Invisible in the visible.

The sacredness of the image consists precisely in the fact that it comes from an interior vision and thus leads us to such an interior vision. It must be a fruit of contemplation, of an encounter in faith with the new reality of the risen Christ, and so it leads us in turn into an interior gazing, an encounter in prayer with the Lord. The image is at the service of the Liturgy. The prayer and contemplation in which the images are formed must, therefore, be a praying and seeing undertaken in communion with the seeing faith of the Church. The ecclesial dimension is essential to sacred art and thus has an essential connection with the history of the faith, with Scripture and Tradition.

5. The Church in the West does not need to disown the specific path she has followed since about the thirteenth century. But she must achieve a real reception of the Seventh Ecumenical Council, Nicaea II, which affirmed the fundamental importance and theological status of the image in the Church. The Western Church does not need to subject herself to all the individual norms concerning images that were developed at the councils and synods of the East, coming to some kind of conclusion in 1551 at the Council of Moscow, the Council of the Hundred Canons. Nevertheless, she should regard the fundamental lines of this theology of the image in the Church as normative for her. There must, of course, be no rigid norms. Freshly received intuitions and the ever-new experiences of piety must find a place in the Church. But still there is a difference between sacred art (which is related to the liturgy and belongs to the ecclesial sphere) and religious art in general. There cannot be completely free expression in sacred art. Forms of art that deny the logos of things and imprison man within what appears to the senses are incompatible with the Church's understanding of the image. No sacred art can come from an isolated subjectivity. No, it presupposes that there is a subject who has been inwardly formed by the Church and opened up to the "we". Only thus does art make the Church's common faith visible and speak again to the believing heart. The freedom of art, which is also necessary in the more narrowly circumscribed realm of sacred art, is not a matter of do-as-you-please. It unfolds according to the measure indicated by the first four points in these concluding reflections, which are an attempt to sum up what is constant in the iconographic tradition of faith. Without faith there is no art commensurate with the liturgy. Sacred art stands beneath the imperative stated in the second epistle to the Corinthians. Gazing at the Lord, we are "changed into His likeness from one degree of glory to another; for this comes from the Lord who is the Spirit" (3:18).

But what does all this mean practically? Art cannot be "produced", as one contracts out and produces technical equipment. It is always a gift. Inspiration is not something one can choose for oneself. It has to be received, otherwise it is not there. One cannot bring about a renewal of art in faith by money or through commissions. Before all things it requires the gift of a new kind of seeing. And so it would be worth our while to regain a faith that sees. Wherever that exists, art finds its proper expressions.


What Is Rendering

''Where do architects and designers get their ideas?'' The answer, of course, is mainly from other architects and designers, so is it mere casuistry to distinguish between tradition and plagiarism?
Stephen Bayley

A building is akin to dogma; it is insolent, like dogma. Whether or no it is permanent, it claims permanence, like a dogma. People ask why we have no typical architecture of the modern world, like impressionism in painting. Surely it is obviously because we have not enough dogmas; we cannot bear to see anything in the sky that is solid and enduring, anything in the sky that does not change like the clouds of the sky.
Gilbert K. Chesterton

A doctor can bury his mistakes, but an architect can only advise his clients to plant vines.
Frank Lloyd Wright

A modern, harmonic and lively architecture is the visible sign of an authentic democracy.
Walter Gropius

A structure becomes architectural, and not sculptural, when its elements no longer have their justification in nature.
Guillaume Apollinaire

Ah, to build, to build! That is the noblest art of all the arts. Painting and sculpture are but images, are merely shadows cast by outward things on stone or canvas, having in themselves no separate existence. Architecture, existing in itself, and not in seeming a something it is not, surpasses them as substance shadow.
Henry Wadsworth Longfellow

All architects want to live beyond their deaths.
Philip Johnson

All architecture is great architecture after sunset; perhaps architecture is really a nocturnal art, like the art of fireworks.
Gilbert K. Chesterton

All fine architectural values are human vales, else not valuable.
Frank Lloyd Wright


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