Special thanks to Oscar Cafaro for allowing me to model his concept. This concept was just a small sketch that left a lot to the imagination in the way of details and direction to take it. I went with a militaristic fuel depot of some kind focusing on the signs that were visible in the concept and the eclectic feel of the different building components.


This model was mostly modeled in Autodesk 3ds Max. Some unwrapped objects were poly/uv painted in Pixologic Z Brush along with sculpting some finer details like the wood. Render passes were composited in Adobe Photoshop.

This particular concept was just one iteration out of several that Mr. Cafaro created on a splash page. Here is the original concept page.

The challenge with this project was the amount of detail in all of the building components and the shear size of the project since it was built in true scale. Using Photoshop I would routinely compare my progress through out the blocking stage. This ensured my model was on concept.

The blocking was refined until the model was ready for the higher level modeling. While most was done in Max, some details like the wood were sculpted in Z Brush and imported back into the scene.

This is how the Edificio was looking after the modeling stage. At the time these renders were made, there were just a few small details to work out but the overall look was coming together.

Once the modeling stage of the pipeline was completed it was on to the surfacing and creating textures. However, the concept was black and with little lighting information. I made a splash page to explore possibilities.

I wanted to be efficient in my time surfacing so I explored the use of multi maps with the mental ray engine. By using these I could create variation in diffuse and reflection color and re use a map that worked with it looking completely different.
Once the scene was surfaced it was time to focus on lighting. For the day time scene, a photometric day light system was used. The night scene was a bit more complicated using a combination of photometric spot lights, free lights and lights using IES photometric webs in order to get interesting shadows. Here is the progression of lighting.
These were low quality renders I used to gauge the progress and make sure certain assets were lit so they weren't lost. Now it was time to move on to the larger, high quality renders. Below is the process used to composite the renders together in Photoshop and paint in other details like rain.