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It contrasts early twentieth-century manual claims with contemporary digital visualization practices, discussing how “hand” calculation and the ability to “move the sun” function as assertions of technical control. The chapter links rendering to two models of experience: experience as sensory input from external reality and experience as bodily skill shaped through repetition, showing how each frames intuition, craftsmanship, and knowledge.",{"@graph":69,"@context":122},[70,84,105],{"@type":71,"itemListElement":72},"BreadcrumbList",[73,77,79,82],{"item":74,"name":75,"@type":76,"position":8},"https://docshare.wps.com","Home","ListItem",{"item":78,"name":9,"@type":76,"position":14},"https://docshare.wps.com/document/",{"item":80,"name":40,"@type":76,"position":81},"https://docshare.wps.com/document/research-report/",3,{"item":83,"name":65,"@type":76,"position":19},"https://docshare.wps.com/document/rendering-on-experience-and-experiments/650856/",{"url":83,"name":65,"@type":85,"image":86,"author":91,"headline":65,"publisher":94,"fileFormat":97,"inLanguage":63,"description":67,"dateModified":98,"datePublished":99,"encodingFormat":97,"isAccessibleForFree":100,"interactionStatistic":101},"DigitalDocument",{"url":87,"@type":88,"width":89,"height":90},"https://docshare.wps.com/thumbnails/rendering-on-experience-and-experiments/650856.png","ImageObject",300,407,{"name":92,"@type":93},"Franzy","Person",{"url":74,"name":95,"@type":96},"DocShare","Organization","application/pdf","2026-10-30","2026-10-24",true,{"@type":102,"interactionType":103,"userInteractionCount":19},"InteractionCounter",{"@type":104},"ViewAction",{"@type":106,"mainEntity":107},"FAQPage",[108,114,118],{"name":109,"@type":110,"acceptedAnswer":111},"How does the chapter define architectural rendering beyond drawing skill?","Question",{"text":112,"@type":113},"It presents rendering as a practice that assigns architects a role within an epistemic framework, projecting mathematical certainties onto buildings and their shadows.","Answer",{"name":115,"@type":110,"acceptedAnswer":116},"What contrast does the chapter draw between 1904 and 2015 rendering practices?",{"text":117,"@type":113},"It compares Henry McGoodwin’s 1904 manual, which treats shades and shadows as “architectural things,” with an interview from 2015 where rendering calculations are described as being done “by hand” despite digital work.",{"name":119,"@type":110,"acceptedAnswer":120},"How does the chapter distinguish two meanings of “experience” in rendering?",{"text":121,"@type":113},"It contrasts experience as sensory input from external reality with experience as a constructed output of bodily practice and repetition that develops technique.","https://schema.org",{"og:url":83,"og:type":124,"og:title":65,"og:site_name":95,"og:description":67},"article",{"robots":126,"canonical":83},"index,follow",{"doc_id":128,"site_id":62},650856,1792903921,{"code":4,"msg":5,"data":131},{"doc_id":128,"user_id":132,"nickname":92,"user_avatar":133,"doc_module":4,"category_id":39,"category_name":40,"doc_title":65,"doc_description":67,"doc_content":134,"file_id":135,"file_url":136,"file_type":137,"file_size":138,"view_count":19,"is_deleted":4,"is_public":8,"is_downloadable":8,"audit_status":8,"page_count":139,"language":140,"language_code":63,"site_id":62,"html_lang":63,"table_of_contents":141,"faqs":142,"seo_title":143,"seo_description":67,"update_tm":144,"read_time":145},2336478945519,"https://ap-avatar.wpscdn.com/davatar_085a072bc5b1113ac321206ff7593b45","Chapter Title: RENDERING: On Experience and Experiments  \nChapter Author(s): LUCIA ALLAIS  \nBook Title: Design Technics  \nBook Subtitle: Archaeologies of Architectural Practice  \nBook Editor(s): Zeynep Çelik Alexander and John May  \nPublished by: University of Minnesota Press  \nStable URL: [http://www.jstor.com/stable/10.5749/j.ctvtv938x.5](http://www.jstor.com/stable/10.5749/j.ctvtv938x.5)  \nJSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [support@jstor.org](support@jstor.org).  \nYour use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at [https://about.jstor.org/terms](https://about.jstor.org/terms)  \nUniversity of Minnesota Press is collaborating with JSTOR to digitize, preserve and extend access to Design Technics  \nThis content downloaded from [128.59.222.107](128.59.222.107) on Wed, 10 Jun 2020 01:54:23 UTC All use subject to [https://about.jstor.org/terms](https://about.jstor.org/terms)  \nRENDERING  \nOn Experience and Experiments  \nLUCIA ALLA IS  \nThe shades and shadows of architectural objects are architectural things, not mathematical things. . . . The fact that a draftsman of great skill and long experience will often make a very admirable drawing with poor instruments or materials is no reason why the beginner can do so.  \n—Henry McGoodwin, Architectural Shades and Shadows (1904)  \nI can’t imagine that anyone without an architectural training could produce a good picture. . . . Often in our office it is not the computers that calculate the reflections, rather we do it ourselves by hand. . . . If I want shadows, I integrate these into the picture; if I don’t, I move the sun.  \n—Eric de Broche des Combes (2015)  \nTwo lessons in architectural rendering, published more than a century apart,  \nemphasize that when architects learn how to render, they are not only vested with a drawing skill but also implicated in a vast epistemic scheme that projects mathematics and its certainties onto buildings and their shadows. Today, digital renderings are the kind of image that elicit principled convictions. Commercial renderings, especially, images used to sell buildings, are seen as engines of superficiality because they are aimed at nonarchitects and also often outsourced to unseen software workers.“Architectural renderings are meant to seduce,” readsa recent critique; they are “produced by people with no design training” who work in “image factories” creating “fantasies” unrelated to any “working building.”1 To preempt these critiques, architectural visualization firms reassure their clients that rendering is handiwork. In the 2015 interview cited above, Eric de Broche des Combes explains that in his firm, Luxigon (Figure 1.1), they do calculations“by hand.”2 These may sound like the modest words of an artisan, but they are  \n1  \nThis content downloaded from  \n[128.59.222.107](128.59.222.107) on Wed, 10 Jun 2020 01:54:23 UTC  \nAll use subject to [https://about.jstor.org/terms](https://about.jstor.org/terms)  \n2 LUCIA ALLAIS  \nFigure 1.1. Digital rendering of Rex’s design for the Calgary Central Library, 2017. Image and copyright by Luxigon.  \na way to claim technical control far beyond architecture. Thus des Combes cannot resist adding that he is able to “move the sun,” as if the goal of architectural rendering was not only the predictable appearance of buildings but the mathematization of the world itself.  \nToday the agent of this calculative power is imagined to be a computer. But the promise that rendering is a technique for channeling the forces of a possibly pervasive mathematical enslavement long predates the digital revolution. When the American architect Henry McGoodwin, who had trained at the École des Beaux-A","cbCaibWY2ig9oOCP","https://ap.wps.com/l/cbCaibWY2ig9oOCP","pdf",2601983,45,"English","# RENDERING\n## On Experience and Experiments\n## Rendering as epistemic control through mathematics\n## From manual geometry to digital calculation","[{\"question\":\"How does the chapter define architectural rendering beyond drawing skill?\",\"answer\":\"It presents rendering as a practice that assigns architects a role within an epistemic framework, projecting mathematical certainties onto buildings and their shadows.\"},{\"question\":\"What contrast does the chapter draw between 1904 and 2015 rendering practices?\",\"answer\":\"It compares Henry McGoodwin’s 1904 manual, which treats shades and shadows as “architectural things,” with an interview from 2015 where rendering calculations are described as being done “by hand” despite digital work.\"},{\"question\":\"How does the chapter distinguish two meanings of “experience” in rendering?\",\"answer\":\"It contrasts experience as sensory input from external reality with experience as a constructed output of bodily practice and repetition that develops technique.\"}]","RENDERING - On Experience and Experiments | PDF",1792848464,113]