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3.4.1 702 North The Strand, Oceanside, CA David Lucas describes his rendering style as the “fine arts approach,” drafting with pen and ink and applying watercolor by hand. For him, the difference between his approach and a more photorealistic one is that photorealistic renderings risk giving the client a false sense of reality that produces expectations that may not be met. Watercolors, on the other hand, maintain a certain level of ambiguity that does not produce the same expectations. Furthermore, photorealistic images may suggest that the project is already completed, removing a sense of ownership or individuality from a potential buyer who wishes to build a project to their own specifications. 4 project office type size image by client process purpose time frame software fee ownership 702 North The Strand (Oceanside, CA); residential Lucas Art Works (New Kensington, PA) Rendering and Visualization 2 employees Lucas Art Works, 2007 Robert Sachs, developer Several perspective views are presented to the client for feedback and adjustments before the rendering is drawn; minor cosmetic changes are made afterward in Photoshop Community approval, approval with California Coastal Commission. Image supplemented with site analysis and photographs, architectural plans and elevations, summary of relevant development criteria 30 days 3D model (SketchUp), 2D rendering (pen/ink and watercolor), post-processing (Photoshop) $900; price varies based on project and client (firsttime vs. returning) Lucas Art Works owns the image but the architect owns the design; image cannot be sold by Lucas Art Works to others 180 181
3.4.2 600 Harrison Avenue, Boston, MA For Michael LeBlanc, the design principal of the project, “the biggest role that the renderings play. . . is in the approvals process.” The style of the rendering depends on the party sought for approval; in some cases, abstraction is preferable to photorealism because it requires the viewer to impose their own vision onto the project. Renderings produced for 600 Harrison Avenue for the Boston Landmarks Commission required that particular attention be given to addressing the materiality and scale of the surrounding context; ultimately, these “constraints” became opportunities that motivated some of the overall design decisions. 6 project office type size image by client process purpose time frame software fee ownership 600 Harrison Avenue (Boston, MA); residential, retail Utile, Inc. (Boston, MA) Architecture and Planning 36 employees Utile, Inc., 2013–2014 Utile, Inc., architect Multiple rounds of revisions through design and rendering process Approval with Boston Redevelopment Authority, Boston Landmarks Commission, marketable image for Utile, Inc., also circulates in online press. Image supplemented with site analysis and photographs, proposed site plan-elevations-sections including surroundings, summary of relevant development criteria 5 1 week Software: 3D model (SketchUp, Rhinoceros), 2D rendering (Kerkythea, Maxwell), post-processing (Photoshop) Approximately $3400 Images are owned by Utile, Inc. but clients can use them as part of media related to project 182 183
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In 2013, in the United States, the
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The Temple Hoyne Buell Center for t
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Preface The Art of Inequality: Arch
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Introduction What is inequality? Or
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to tangible evidence drawn from rea
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1.1 Defining Inequality Jacob Moore
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ership rate, this became especially
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1.1.4 Race in Place Since the late
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American Apartheid (Cambridge, MA:
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Perhaps predictably, the practices
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According to the CEA’s narrative,
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50 51
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additional direct provision of aid
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22. U.S. Census Bureau, Statistical
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and renovated instead of demolished
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Residents displaced by the redevelo
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Page 41 and 42: ut the separation of residents of t
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Page 47 and 48: Part 2 Architecture 90 91
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