曾有一段时间，一些不合时宜的建筑效果图出现在公众的视野中，它们就像是还没有成为“齐柏林飞艇”，就已经在不饱和的天空中盘旋（指效果图是半成品或无法表达建筑的主旨）；或像是身着高级时装成衣的名模大摇大摆地走过歌剧院门厅，而她毫无兴趣的表情和漠不关心的态度则表现出对这个空间的排斥。这些噱头仍然被广泛地使用着，但是由于先进的技术已经出现在早期的建筑渲染中，所以允许其使用恰当的电影技术，依靠色彩、灯光、取景、构图和角度的手法来传达情感。这些技法在建筑和电影学科中是重叠的，并且是使用相似软件和建模技术的根本原则，同时通过讲故事的方法拉近了两学科的距离。在建筑渲染中，如果图像的主旨或主要感觉没有足够的说服力和吸引力，那么它的作用就会削弱建筑通过图纸和图表已经提供的信息。      由于建筑出版的民主化，过度的视觉效果内容使得建筑风格的表达就如染上了情色的痼疾，这在技术应用方面尤其突出。计算机生成的图像在想法和现实之间不再只是一个概念，它本身就是一个完整的作品。既然建筑中不同的渲染风格已经出现多年，知名的电影特效与其在方法和风格上十分相似。所以，接下来我们就来认识一下七种最普遍的建筑可视化风格，同时它们也可以通过电影来表现出来。 There was a time when no self-respecting rendering would allow itself to be seen in public without a zeppelin hovering somewhere in its desaturated sky. Supermodels in haute couture garments strutted across opera foyers, uninterested expressions and blasé attitudes adding to the exclusivity of the space. These gimmicks are still widely used, but since its early days architectural rendering has seen major technical advancements that allowed it to appropriate cinematic techniques relying on color, lighting, framing, composition, and angles to convey moods. This disciplinary overlap between architecture and film is fundamental in the use of similar software and modeling techniques and has brought the two closer through the idea of storytelling, a notion inherent to both disciplines. In architectural rendering, if the spirit or the main feeling isn’t persuasive and engaging enough, the function of images is reduced to regurgitating information already provided through drawings and schematics. An overabundance of visual content, brought on partly by the democratization of architectural publishing, has produced an almost pornographic fixation on architectural representation, rendering techniques in particular. Computer generated imagery is no longer an intermediary between an idea and its realization, but a finished product on its own. Different rendering genres have emerged over the years, similar in approach and style to recognizable cinematic tropes.

                        自由广场，来自扎哈-哈迪德建筑事务所，使用Skyscrapercity

随着城市灯光变暗，“城市荒地”在静静等待着“新生命”的闪亮登场，它的灯光就像是几英里内生命活动的唯一标志。 The Mad Max City lights dimmed, the “urban wasteland” awaits the appearance of the new development whose lights seem to be the only sign of life for miles around.

                        凤凰塔，来自Chetwoods建筑事务所

该渲染通过减小饱和度或只用深蓝色和绿色色调取得了一种阴冷的氛围。风雨欲来的天空，暗淡的人影与强烈地反差，制造出了空间转换为潜在的黑色电影中犯罪现场的紧张感。 The Whodunit These renderings sport a menacing atmosphere achieved by desaturating the image or using only dark blue and green tones. Stormy skies, shadowy figures, and strong contrasts create tension that transforms spaces into potential film noir crime scenes.

                        高雄港码头，来自RTA-工作室

                        Park51，来自Spma建筑事务所

The David标榜其完美的贴图纹理，栩栩如生的草和对每个点的精准表现，就像是Spielberg在电影《A.I.》里具有人类特征的男孩David，看起来太过完美了。 The David The David flaunts its perfectly mapped textures, lifelike grass, and clinically precise reflections to the point that, like the android boy David in Spielberg’s A.I., the architecture looks a bit too perfect.

                        The Quest by Ström Architects

这类项目与周围环境完美地融合在一起，几乎隐身于其中。在这里你会发现建筑物不是水泥柱和楼板的代名词，而是由光和记忆支撑起来的它们自身梦幻般的回声。 Paranormal Activity Blended so well into their surroundings, these projects are practically not there. Buildings appear as dreamy echoes of themselves held up by light and memory, instead of concrete pillars and slabs.

                        Camellian歌剧院，来自Matteo Cainer建筑事务所

生硬的拼图技术看上去感觉有些过时，但是它旺旺能够制造出一种强烈的回归感。照片、效果图和绘画的结合产生令人惊异的美妙效果，这让人不禁想到米歇尔•冈瑞独特的视觉风格。在其最实验性的形式中，The Gondry可能会包括独角兽、电影明星、太空飞船和勒•柯布西耶的剪影照片。 The Gondry The stubborn collage technique may feel anachronistic but, every so often, it makes a powerful comeback. The combination of photos, renderings and drawing can be surprisingly effective and reminds of Michel Gondry’s distinctive visual style. In its most experimental form The Gondry may include unicorns, movie stars, space ships, and a cutout photo of Le Corbusier.

                        巨石度假村，来自Diller Scofidio + Renfro

The Theodore可能是超自然活动的一个子类别，但是和后者不同的是，它通常出现在室内表现形式中。通风的空间和大量的漫射照明设计让人很想像Spike Jonze（导演）的“her”中的Theodore一样，静静地躺在扶手椅上，写一封发自内心的情书 。 The Theodore The Theodore could be a subcategory of Paranormal Activity, but, unlike the latter, it is found mostly among representations of interiors. Airy spaces and more than generous amounts of diffuse lighting make one want to lay back in an armchair and dictate a heartfelt love letter, just like Theodore in Spike Jonze’s "Her."

                        绿谷。来自Schmidt Hammer Lassen Architects

白雪覆盖的浪漫街景、宁静的初雪之时，孩子们尽情玩耍，情侣手牵手在雪地里漫步，建筑作为这幅美妙图景的背景静静矗立。The Katherine Heigl通过这座画面中无所不在的新建筑内外的氛围，预示了轻松愉快的故事情节和一个大团圆结局。这样的情节往往包括日落以及通常会大量展现草地、森林、公园和各种田园风光的画面。 The Katherine Heigl Romantic snowbound streets, palpable silence of the first snow, kids having fun, couples holding hands, and a building in the background. The Katherine Heigl promises a happy ending and a lighthearted story enacted in and around the omnipresent new building. This category includes sunsets, images whose large portions show meadows, forests, parks, and all kinds of pastoral scenery.

                        瑞士piguet公司总部，来自BIG

                        萨马兰奇纪念馆，来自HAO Holm Architecture Office建筑办公室

出处：本文译自architizer.com/，转载请注明出处。 编辑：刘庆新、刘汁、卢荣姝