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Description
We had thought that this City lay at the end of the road, that her great towers were created to confine us, to lead us in their canyon-like paths toward an end prescribed before our births. But then we are reminded that the entrance to each building contains within itself a beginning, within each one a future straining to break its bonds of steel and concrete asunder, and emerge as a newborn savage, a mystic, a mad god, into the splintering rays of dawn.

- A.S. Lytton, The Sign of the Hourglass

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This has been a busy week at my day-job and yet a momentary respite from commission work, so I have been taking advantage of it to do some fun pieces. This is the last of them before resigning myself to a big project that I have been putting off for too long.

The latest in my Art Deco series, I wanted to do one of the grand entranceways to a skyscraper. My favorite of those that I know is the basis of this image, the entrance to the Marine Building in Vancouver, which has been used as a location in several films and TV shows.

As a personal test, perhaps not undertaken without some amount of hubris, I decided to replicate as many details as possible, using only polygons and not textures.

The only textures in this scene are subtle finishes for the wood and concrete. Every other detail in the piece exists as polygons in the model.

It was done over the course of three evenings.

Description
We had thought that this City lay at the end of the road, that her great towers were created to confine us, to lead us in their canyon-like paths toward an end prescribed before our births. But then we are reminded that the entrance to each building contains within itself a beginning, within each one a future straining to break its bonds of steel and concrete asunder, and emerge as a newborn savage, a mystic, a mad god, into the splintering rays of dawn.

- A.S. Lytton, The Sign of the Hourglass

---

This has been a busy week at my day-job and yet a momentary respite from commission work, so I have been taking advantage of it to do some fun pieces. This is the last of them before resigning myself to a big project that I have been putting off for too long.

The latest in my Art Deco series, I wanted to do one of the grand entranceways to a skyscraper. My favorite of those that I know is the basis of this image, the entrance to the Marine Building in Vancouver, which has been used as a location in several films and TV shows.

As a personal test, perhaps not undertaken without some amount of hubris, I decided to replicate as many details as possible, using only polygons and not textures.

The only textures in this scene are subtle finishes for the wood and concrete. Every other detail in the piece exists as polygons in the model.

It was done over the course of three evenings.