Almost three decades ago Architectural Visualisation became an independent field, with many emerging studios focusing exclusively on it, having no involvement in the design process. Traditionally, the visual representation of an architectural project was one of the architect’s tasks.

An ArchViz studio should have a distinct vision and a set of core values. What do these images that you produce mean to you? What do you aim to achieve by creating them? Is your desire to make art, be creative and express your inner self? Or is it to contribute to a better society and

As finite beings, we perceive the world around us through a range of mediators. The goal of perception is by no means to offer an accurate image of the world, but rather to help us survive, orient in space and make use of what is around us. Furthermore, neuroscientists tell us that our brains

Since our approach on art is heavily influenced by the aesthetic category of sublime, it is worth posting a short article that will hopefully help others to become familiarised with this concept and expand their creativity. Known since the 1st century AD, the term ‘sublime’ was rediscovered in

1. EXPLORING THE LANDSCAPE The main goal of the Architectural Visualiser is to represent a particular landscape in a creative way. But why would anyone think that visualisation is about landscape? Many see it as being related to a particular 3D object – the building or public

The movie ‘Sunshine’ illustrates the concept of ‘sublime‘ better than anything else I came across so far. It emphasises every aspect of it and in the end it presents two typical reactions humans have when confronted with greatness beyond comprehension. If you haven’t watched

“The Elder Scrolls V: Skyrim” (video game) seems to be the perfect case study that illustrates the ways in which designers of virtual worlds create sublime aesthetic effects. As shown in the 4th article in this series, the aim of ‘alternate history’ designers is to create an environment characterised

1. BRIEF INTRODUCTION TO PHENOMENOLOGY For practical purposes, I have divided the creative processes involved in the production of architectural visualisations into two categories: first – the exploration of the particular landscape that needs to be represented; second

1. ARCHITECTURAL VISUALS – MORE THAN STAGE SETS FOR THE EYE In the previous article we discussed the role played by our senses while exploring a particular landscape. Now we will turn our attention to the process of representation and find concrete ways in which a visualiser can evoke

This site’s description page states that ‘our images have been appreciated for their distinct nostalgic and melancholic aesthetic.’ It is also obvious that the studio’s name and visual identity draws inspiration from Norse mythology. “Wyrd” is an Old English word for ‘fate’ or

In the previous article we have split nostalgia into three categories: longing for traditional communities, nature’s eternal return and flâneur’s love at last sight. In this particular one we will continue to examine the phenomenon while dealing with the fashionable criticisms of our

Artists create dispatches from ecstatic realms. They offer people a sense of a lived experience in the realm of the timeless – the mythopoetic. Chronos and Kairos The Greeks made a distinction between chronos and kairos. Chronos is mechanized cognition, life by the clock, whereas kairos is the mythopoetic, timeless flow state. One of the […]