Casa Horitzó - RCR Arquitectes - Designed for Fina Puigdevall, owner of Les Cols Restaurant
Author: Gino Giampaolo
Software: 3ds Max, Vray Next, Forest pack, Photoshop
Date: Jul 2019
Worktime: 3 weeks, 3 images.
Inspirations: Photographs by Sophie Mayer and other photographs of the project and its location. El Croquis (architectural magazine).
Goals: To imitate the natural surroundings of the house within a 3D environment.
W – Hi Gino, Thank you for sharing with us today. Would you like to introduce yourself first?
When and how did you start your career? GG – Hi Guys, my name is Gino Giampaolo. I am a mix of Venezuelan, Italian, and Lebanese traits. The year was 1988 when I was born in Caracas.
My career path has taken many turns throughout my life as changes of circumstances forced me to adapt its direction, so it is not easy to say when exactly I started my career. Main scenario would be that I started my career at the age of 13 when I got into the conservatory of music "Simon Bolivar" and the National System Of Youth Orchestras And Choirs Of Venezuela. Later on, due to some circumstances, I began to study and later work as an architect. I got myself into a few busy studios, the first one in Caracas, followed by another in Quito, Ecuador. During those years, I started to develop a strong interest in the visual side of the craft so I slowly shifted to Architecture Visualization. I didn't want to abandon the skills and experience I had gained, but to find a new way to apply them. But compiling all my past learnings, I still had to close a gap in terms of quality and workflow to improve my transformed vocation. Two years ago I heard that Carla Jovine, Adan Martin, and Eduardo Martinez were opening a master's in Architecture Visualization in Madrid, so I moved to Europe and rolled in School-ing, their new school. Months later, I got a call from Kilograph to join their team. That's about it for now.
W – Do you think your initial background,music & Architecture, a combination of creative and technical mind, plays a role in your visualization works, atmosphere, and storytelling? If so, what are these connections? GG – Music has definitely played a major role in shaping every aspect of my personality and overall discipline, sensibility, and productivity within the orchestra environment, as an architect and later as an architectural visualizer. My architecture thesis was a reinterpretation of Rachmaninoff's second piano concert. Having a music and architecture background is definitely my strongest asset as an architecture visualizer. The knowledge within these fields could easily be translated horizontally across them. Terms like texture and color, silence and noise, light and dark, hierarchy and rhythm, harmony and contrast, can be heard and seen. It is also a lot easier to understand the architects' ambitions and dreams when you speak their language.
Xi'an Maike Center's Bookstore - IKEGAI & Bross
Date: June 2019
Worktime: 2 Weeks, 2 shots.
Inspirations: Takeshi Nakasa's photograph
Goals: Understand artificial lighting in a complex scene
W – Who inspires you? Who are your CG heroes? GG –These days I find myself looking into so many talented artists from such a wide variety of fields that is hard to put a pin on anyone, too many inspirations everywhere you look, especially in the film photography industry. However, I'll take a shot here. Of course, I have Adan Martin and Eduardo Rodriguez. Then, like many others, I always find myself in awe at the work of studios like MIR, Plomp, and NMachine. Some of the dope stuff of Alt/Shift and Alex Hogrefe are very inspirational for me too.
W – What are your favorite tools? Do you have any specific styles/ characters/ techniques?
GG – I can tell you what I can't do. I have never been able to start any project or idea on a computer. Pen and paper have always been the only way in which I feel free enough to start giving a timid shape to whatever will be later detailed on any 3D software. The next step is always building up a reference library with photographs matching the lighting and mood I have in mind. That is where PureRef comes in handy. It is a lovely and extremely useful tool for collecting and organizing references. I am also getting in shape with my matte painting skills with Anthony Eftekhari's masterclass, where he shares some interesting techniques and ways of evaluating/taking the relevant aspects of each reference (color, balance, light...) so you can move your project ahead on the right track.
W – The final question that we ask everyone, how do you see the future of this profession? GG – I am not on the optimist side of the spectrum when it comes to thinking what the future holds in general for us humans. However, in the case of the CGI world, I tend to be much more on the bright side. The potential of Virtual Reality and the always-evolving and smarter graphics will serve as an escape hatch from many limitations, leading to unthinkable ways of creating, interacting, and sharing experiences we may not be able to get in the real world anymore.