Very often, when we talk about architectural visualization, better known as archiviz, we refer to the photorealistic visualization technique of a project that brings spaces and solutions proposed to life. The term denotes a profession that ranges from the generation of real estate marketing film-like images, VR / AR, touch-screen installations, apps and is therefore “the ability to represent imminent and incomplete space in the present” (Victor Bonafonte)
This practice not only consists in rendering an abstract idea concrete, but also in transmitting emotions through a virtual architectural scenario that speaks about you and your desires.
The idea of highlighting the importance of the artistic aspects of the image is born from the need to focus on the creative process. Today this aspect has become a real trend of the creative industry.
It is important, however, to specify that the so-called Archiviz is closely linked to the world of photography and the visual arts but, unlike them, architectural visualization has very little standardization due to the close relationship with CG Artist methods.
Its affinity with photography and the interpretation of reality
Architectural visualization (Archiviz) and photography share both technical and artistic aspects. The technical similarity is evident above all to 3D Studio Max, Maya and 4D Cinema users, which are already used to camera systems for their shots. The parameters that govern its operation are usually traceable to any digital camera; the difference lies in the fact that the software’s camera is a virtual one, for which the limitations imposed by the DSLR do not apply.
We now dive into the technicalities that make this practice innovative with respect to the traditional presentation of a product that uses photography as a dissemination tool:
1- The virtual camera is not subject to the deterioration of the image that derives from the increasing of the ISO.
2- This practice, does not suffer from blurring problems due to shots made without a tripod and allows an absolute flexibility in terms of focal length, even allowing to obtain identical perspectives to those realized with a tilt-shift lens.
Having said that, it would be impossible to apply the technical concepts of photography directly to images in computer graphics, and then include them in the creative process. The rendering engines allow us to apply to our images the same techniques that in photography are the result of the physical limits of the lens and optical lenses.
Turning instead our attention to the creative process, what really matters is all that is at the base of a render, which is the definition of the basic idea. It is precisely at this stage that the most important analogy with the world of visual arts becomes evident: the one with the artistic and communicative.
As for photography, even for Archiviz, the technique becomes a fundamental element through which to model one’s vision and therefore one’s creativity. The quality of a render is not only determined by a simple combination of technical parameters and, above all, it should not be confused with photorealism.
However, photorealism remains the guiding tool when confronted with renderings destined for the real estate sector or product design; in architectural renderings, instead, we prefer images that have the peculiar characteristic of being very similar to reality despite presenting very strong conceptual elements that are able to communicate an emotion, in addition to the intrinsic characteristics of the project.
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