Making of Taliesin Mod.Fab
Architectural visualization artist Matt Guetta shares his process of making Taliesin Mod.Fab – A project designed and built
by students of the Frank Lloyd Wright School of Architecture. Matt was motivated in exploring Taliesin Mod.Fab as a personal
3d project, being fascinated by the well designed and sustainable project made by students, focusing mostly on lighting and
materials. He also took the liberty to create a
different environment for the house then the Arizona desert it was originally situated in.
Author: Matt GuettaMatt Guetta is a CG and 3D Architecture Visualization artist based in France. Starting 3D as a hobby,
he quickly became fascinated by the subject, and in 2009 decided to direct his career path towards 3D CG. Matt also has
a blog in french about the subject which provides free VRay tutorials atmattguetta.com
作者简介：Matt Guetta是一位法国CG和3D建筑可视化艺术家。最开始做3D是作为业余爱好，但他很快就沉迷于其中，并在2009年决定将3D CG作为他的主要职业。Matt 有一个博客网站，上面有他免费的VRay教程，网址是：mattguetta.com
In this article, I will review the essential steps for the establishment of an architectural rendering. It took me three weeks
on my free time to complete the work on Taliesin Mod.Fab. This was a personal project so I was totally free to do what I
wanted. The goal was not just being realistic, but also, and most importantly, to express the architectural design.
The choice of field of view is essential to achieve this. Here I am more interested in the technical aspects of implementation.
The Taliesin Mod.Fab is a model of sustainable architecture created by the prestigious Frank Lloyd Wright Foundation
(www.taliesin.edu) conducted by the architect Michael P Johnson.
要实现这个，视野的选择是至关重要的，但我在这里更感兴趣的是技术方面的实现。塔列辛预制建筑由建筑师Michael P Johnson创作，是弗兰克·劳埃德·赖特基金会所创造的可持续建筑的典范。
I loved working on an existing project and at the same time with the freedom to interpret it the way I wanted. I Did
not find any plans on the web and I mostly “eyeballed” it focusing a great deal on the environment, which I made up
for this project.
o start, this project has a history. Never being full of the exciting Arizona desert location (see map), I started
looking at the side projects of great architects to express myself freely on a subject. So I searched on the side
of Frank Lloyd Wright on the Internet and found the Taliesin Mod.Fab. I loved it at first glance!
The photos were taken by – Bill Timmerman.
1. THE GROUND PLANE
In order to highlight the architecture of the project, I chose to create an environment that has nothing to
do with the existing (Arizona desert), so I immediately start working in the field. First step, a low-poly
terrain that gives the general form.
2. THE GROUND TEXTURE
Second, is the beautiful piece of land the house will perch on, and unfolding of UV texturing in Photoshop.
I started with the diffuse map, which is around 10k pixels. Then, I’ve created the bump maps, reflection,
and finally displace maps.
Displacement & Reflections
In order to get maximum details for displacement, I’ve worked with 16-bit Tiff. In order to add details
and more randomness, I always add a little noise modifier after the displace.
3. THE GROUND MATERIAL
The shader is pretty simple, all work was done in Photoshop. The only little trick is to lower the IOR
(Index of Refraction) to 1.4 in order not to have a highly reflective floor. Basically the earth is not
light but with the ground (under the posts of the house) that can add some glossy reflections and give
the feeling of a mixture of material (soil and gravel)
4. SCATTERING THE FOLIAGE
The foliage was scattered with the MultiScatter plugin, and this way I was able to multiply at random a
few models of plants. The placement was controlled with a texture mask that I painted in Photoshop.
For better, and added, control I also redraw areas with curves to include or exclude objects in them.
The MultiScatter Blend Mask…
The general scattering…
Here is the viewport with the various spline that control which type of plants goes where…
5. THE ROCKS
For the rocks I used a free script – Rock Generator, to model a first base. I then applied a FFD
modifier to add variations and get to the shapes
I wanted. In order to place them accurately, I preferred to do place them “by hand” so that
each stone has at a specific place and in correlation to the site composition I was after.
The modeling part was quite simple, the architecture does not have any complex shapes, so
this is a polygonal modeling from flat surfaces or boxes. The only details added to the model
were chamfer edges to minimize the hardness of sharp angles.
The interior has been dressed with some models that I transferred from other scenes I have
(books, vases, etc.). Some models come directly from banks of professional design studios.
The models that were too low poly, were reworked to refine the details of the modeling. Some
objects are not visible in the final images, however I like to have a complete 3d model so any
view can be considered at any time… so it is worth the effort of making it all work all round.
3. METAL PARTS
To add a lot of detail in modeling, UV unwrapping and maps are essential. For example for the
base metal, I unfold the UV and added some traces of dirt, dust etc. It is such details that give
richness to your compositions. We have to give a worn look, even slightly, to each object so
that it feels natural. Nothing is completely brand new and clean.
Close-up on metal part…
Metal Reflection & Bump…
The Metal Material Slate View…
View of how the Metal Holes are Modeled…