Architectural Rendering and the Slippery Slope of the Uncanny Valley
Fifty-one years ago, in 1970, a Japanese roboticist named Masahiro Mori came up with the concept of the “Uncanny Valley”. Around the same time, architectural renderings done using analog methods were still in vogue – collages and photomontages used to get ideas across to clients. A decade later, personal computers came along, and that saw the emergence of CAD and the wider adoption of digital rendering. Today’s architectural renderings are almost imperceptible from reality, with the increase in sophistication of rendering sofware. We struggle to tell the difference between what is a rendering and what is not – or rather we are able to tell a slight difference and it leaves us slightly uncomfortable, which brings us to Mori’s uncanny valley.
© Matthew Maganga
Fifty-one years ago, in 1970, a Japanese roboticist named Masahiro Mori came up with the concept of the “Uncanny Valley”. Around the same time, architectural renderings done using analog methods were still in vogue – collages and photomontages used to get ideas across to clients. A decade later, personal computers came along, and that saw the emergence of CAD and the wider adoption of digital rendering. Today’s architectural renderings are almost imperceptible from reality, with the increase in sophistication of rendering sofware. We struggle to tell the difference between what is a rendering and what is not – or rather we are able to tell a slight difference and it leaves us slightly uncomfortable, which brings us to Mori’s uncanny valley.
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