Bauhaus Archiv

Bauhaus Archiv

After some fooling around with abstract, parametric and generative toys, here is a rather more conventional archviz project, the latest in a series of reconstruction of existing architecture–this time the Bauhaus Archiv in Berlin.

Originally intended for Darmstadt, the building was replanned and built in 1976-79 by Alex Cvijanovic and Hans Bandel based on an original design by no other than Walter Gropius. It now houses Berlin’s Bauhaus museum.

The modeling was done in 3ds Max 2014 and the project rendered in V-Ray 3. The scene makes heavy use of Itoo’s Forest Pro scattering plugin. The main challenge here was the unwrapping and texturing of the entire building while making sure it would still look good at close range. The asset has custom, hand-painted textures on three different UV coordinate sets, with some procedural details added. A very laborious process.

After some hesitation, I decided to go for a flat, overcast look, with only a tiny bit of directional sunlight. For this, I used a couple of HDRs but the main ones were Peter Guthrie’s 1044 Overcast Sun and 1313 Cloudy. In some images, I added my own backplates. Others use the HDR itself as background.

The post-production was mainly done using ArionFX for Photoshop, a new tool by Random Control, which makes the Arion real-time render engine. ArionFX is a fully featured photographic tonemapper designed for CGI artists and, most importantly, capable of operating with 32-bit images.

I also modeled some classic outdoor furniture for this, which will find its way to the warehouse shortly.

Below is the rest of the series, which you can also find here and here.

Bauhaus Archiv

Bauhaus Archiv

Bauhaus Archiv

Bauhaus Archiv

Bauhaus Archiv

Bauhaus Archiv

Bauhaus Archiv

Bauhaus Archiv

Bauhaus Archiv

Bauhaus Archiv

    • LC3D
    • September 18, 2014

    Seriously amazing images, Alex Roman would be envious! πŸ™‚

  1. Very impressive work: both on modeling and shaders stages, bravo !
    Did you use RailClone for the fences ? And what is your workflow to create the textures ? Do you think this kind of software could be of interest to speed up things http://bit.ly/1uJxyRD ?

    • nycoom
    • September 18, 2014

    great amount of subtle and skilled details, as usually. light, shader, composition….everything is perfectly balanced.

    one question : what object(s) in your scene needs 3 uv sets ?

  2. Unbelievable ….. !!! I would be proud if I could do only one of this images with this photorealistic look …. πŸ™

  3. Thank God you are back to the section “WOW!” architectural projects.. I desperately need some tips about these distorted wall edges..
    πŸ™‚

    • Erick
    • September 18, 2014

    Bon, je te prie de bien vouloir me passer l’expression, mais tu m’as encore trouΓ© le c……

    hope u don’t need translation πŸ™‚

    • mparsons
    • September 18, 2014

    Bertrand, the level of detail in the textures, vegetation and the mood fits perfectly with the rest of your Berlin series. Absolutely stunning as always. I particularly like how little post there appears to be as well which only speaks volumes about your work.

    Stepping aside from the technical aspects, I really have to say that your composition is second to none and any architectural photographer worth her/his salt would be jealous. Thanks so much for these!

    • GabrielF
    • September 18, 2014

    joder! menudo pasote. unbelievable work as usual, I’m speechless

    • Villts
    • September 18, 2014

    The most realistic I’ve even seen. Even more than Maison de Verre which was (and still is) awesome.

    Congratulations, impressive work. Awesome details, lighting is giving a very distinctive and beautiful mood. The dirty wall is amazing.

    P.S.: The grass is absolutety fantastic. Never tried to replicate this subtle variation that happens in reality.

  4. ….Speechless… You’re my master…
    Thanks for sharing so amazing pictures!
    Really hope you’ll make a breakdown of one of your project some day, I’m really curious about your workflow on such huge project.
    Keep making people dreaming!

  5. First of wall, great project. I always find cloudy weather a lot easier in terms of photorealism to do that other lightings – especially sun lighting seems to never hit the right look for me and sincerely I have never seen convincing sun – lit exteriors. Maybe its the fact that diffused light makes use of reflections everywhere you look.

    • natanaelbrandas
    • September 21, 2014

    Wow.. this is amazing!! I’m speechless!! What kind of lightning technique did u used. Dome+HDRI ? Thank you!

  6. Yes. Exactly. Nothing else.

    • Juraj
    • September 22, 2014

    Amazing work.

    I thought you would like this photo-set by Loic LeQuere, I don’t think he published them outside of FB. Sort of reminiscent of your look you gave to urban scenes in past projects.

    https://www.facebook.com/loic.lequere.photographie/photos/a.755352174536595.1073741831.233789790026172/755352464536566/?type=1&theater

    • pixela
    • October 14, 2014

    Hi Bertrand,
    Great set of images.
    Can you talk a bit more about “The asset has custom, hand-painted textures on three different UV coordinate sets” ?
    Would like to hear the details of your workflow.
    All the best,
    Alfa

    • Lionofjudah
    • October 21, 2014

    @Pixela. My guess is he used more than one uv tile, similar to workflow you would use when painting textures with Mari. You place the uv patches on more than one uv tile, that way you get higher resolution on the different uv patches. Then you can use the composite map to get the textures where they suppose to be. The workflow explained here for example: http://www.neilblevins.com/cg_education/multiple_uv_tiles/multiple_uvs_tiles.htm.

    If you paint textures with Mari you could use the udim tag inside the vrayhdri map without needing the composite map.

    But I’m only guessing here. I’ll let Bertrand explain. (I’m interested to know about his workflow too)

  7. Nothing that sophisticated I’m afraid. I just used three different UVunwrap modifiers, each map to a different UV layer, to paint high and low frequency details. This allows me to use a tiling base map that repeats across the model for fine detail, mixed (in a composite map) with two non-repeating maps painted on the UV islands.

    • Lionofjudah
    • October 22, 2014

    When you write uv layer, you mean uv channel right? By the way I’m curious if you ever convert high resolution textures to tiledexr? What resolution did you use for the non-tiling parts?

    • pixela
    • November 4, 2014

    Hi πŸ™‚
    I was going to ask the same thing, by uv layer, do you mean the channel?
    So as far as I understand, you have a base (tilable texture) on one channel and the details are painted on a different channel uv layout.
    Right?

    My question is if you had to use different detail levels (textures and shaders) for far shots and close-up shots? (Don’t mean just high reso for close-ups but mean high detail textures )

    I have a exterior project that I am working on and I make high detailed elements for different architectural elements. The problem I face at the moment is that textures which look great on the close-ups, look weak when camera is far in general shots.

  8. Yes, that’s right. The goal here precisely was to have something that looked good both from a distance and in close ups. In your case, it might be worth doing two versions. Another trick I wanted to experiment with is to use camera projection on an extra layer to add shot-dependent details.

    • SeBass
    • December 4, 2014

    Great job!!! Just one silly question: Do you use any pen table for creating textures or just the mouse?

    I’m relatively new at archviz and I’d like to improve my skills.

    thanks

  9. SeBass: I use a tablet for texturing and a mouse and 3D controller for modeling.

    • SeBass
    • December 11, 2014

    Thanks for answering. I’d also like to ask you about the concrete floor: did you model the tiles or just applied a texture?

  10. These are not really modeled. They’re individual polys, each with its own texture for more randomness.

    • SeBass
    • December 18, 2014

    Hi bertrand. Just one more question about texturing: Did you use photoshop or the native 3ds Max canvas for hand painting the textures?

    Once again, your work is amazing!

  11. The canvas is a bit rough. I use it mainly to paint masks when working with difficult UV islands. Here I used just Photoshop and some procedurals too.

    • SeBass
    • December 18, 2014

    Thanks Bertrand. I really love your work. Keep going.

    • SeBass
    • January 10, 2015

    Hi bertrand. I’m wondering if you could tell me more about the wall material. it’s just amazing!

    How did you create the dirt details?

    Is it a Blend material with layers or is it a large single texture created in photoshop?

    Thanks.

    • mr big
    • January 12, 2015

    Fantastic job, as always…

    Have you used 2 HDRI? one for light and the other for background?
    Or the same for both?

    Thx…

    • SeBass
    • February 3, 2015

    Hi Bertrand,

    I have a question about the building material.
    You said you unwraped the hole building.
    what about the parts of the building that are not seen in the images, did you unwrapped them too or used a diferent and more simple material? thanks

    • sia
    • February 24, 2015

    I have one big question besides looking into all your great texturing workflows πŸ˜‰ How long does it take you to finish such an impressive work, because even with years of expierence this seems to be a hell lot of work πŸ˜€

Leave a Comment