Nick Bouyelas, Johnny Rotondaro, Ana Lucia Teran
Hernan Diaz Alonso is a principle of Xefirotarch, a Los Angeles-based architecture, product and motion design firm. Hernan Diaz Alonzo is a graduate of Columbia Universities AAD program, and now teaches at SCI-arc in California. He is described as one of the most influential architects of this generation. Due to his huge success in the digital design and processing he uses with his designs. He uses a very unique and almost untouched way of envisioning his work. When doing most of his work on the computer one would think it would be precise and almost engineering orientated, but on the contrary it is actually more painterly and abstract. He gets his inspiration from cinematic movies and cartoons. He particularly likes Ridley Scotts Alien. Most of his projects resemble genetics and mutant like forms. That’s because Hernan takes a lot of his projects and starts out thinking of it as a single cell and by morphing and mutating it he gets his final form. He is simultaneously integrating mutation/morphing and movies/cartoons into the projects for a dynamic nature of thinking about architecture. Instead of simply thinking about architecture as a mere creation of buildings he applies his own art of thinking. With each project you can catch a glimpse of the genius behind Hernan Diaz Alonzo. His work is described as narrative and image-driven, hinting that he once wanted to be in a career of filmmaking. Cartoons, science fiction and the darker sides of the alternative world usually inspire Alonso’s creations. Alonso's main ideas are to create digital designs using film-animation software before transforming his works into actually structures.
One of his more recent projects is called the Sur (2005). It was a snaking-skeleton that weaves its way through the museum's courtyard with area for seating and points of cover. This masterpiece's base is composed of fiberglass and rubber while the freestanding armature is aluminum covered with latex and polyurethane-sprayed spandex. The form was generated from a single cell Alonso morphed and mutated using his film-animation software. The Sur's genesis was based on a whole series of aesthetic issues that were occurring. In the Sur, Alonso wanted to display cinematic behavior. He wanted to create a project with a film sequence rather than an architecture piece- with ideas of a singular cell, and then a series of resulting transformations, all from the same original idea. Alonso says, "with this project, you never get to see the whole project to the end, and when you walk away you get a kind of science fiction/alien character, but with a playful attitude, making it somewhat cartoonish." Sur was basically an experimental, research oriented project to see if we could produce an architecture that behaved differently from traditional architecture. Alonso's whole design process is computer based other than the fabrication. Design process and construction is 85% computer and 15% human while fabrication is the complete opposite. Sur isn't the only form of Alonso's work that appears this way. Most of his projects are skeleton-like and are image driven making it very cinematic.
Other smaller projects include the Sciarc Café (2004), the San Jose University Art Museum (2003), and the U2 Tower (2002). The café is a project where the surface and plane conditions of the program react and interact with the public. This interaction suggests visitors to return to the café. The skin does not stage the body, but rather works and cooperates with it. The purpose and use of the building become a way to express one’s posture. The museum, although a very modern and urban object, still compliments the campus’ context by following and flowing with the public landscape: it continues with the low-level public setting put under the higher-level boxes on the surroundings of the site. It ties circulation with the campus’ context and shares publicity with the campus, overlapping strands, vines, and curls like paths and open spaces. Finally, the tower, also called Arach (Gaelic for dragon), is an architectural form mimicking a mythical body. It has posture, it sees, it hears, it waits, it resides. It was built as a glass enclosing surface sheltering commercial and residential spaces and as a meditation on elevation. There are three main parts to the program, so there are three buildings. The three buildings are dynamic volumes which float over the site in Dublin, and defying gravity. The continuous volume transformation forms one condition of understanding to another.
Hernan Diaz Alonso is a principle of Xefirotarch, a Los Angeles-based architecture, product and motion design firm. Hernan Diaz Alonzo is a graduate of Columbia Universities AAD program, and now teaches at SCI-arc in California. He is described as one of the most influential architects of this generation. Due to his huge success in the digital design and processing he uses with his designs. He uses a very unique and almost untouched way of envisioning his work. When doing most of his work on the computer one would think it would be precise and almost engineering orientated, but on the contrary it is actually more painterly and abstract. He gets his inspiration from cinematic movies and cartoons. He particularly likes Ridley Scotts Alien. Most of his projects resemble genetics and mutant like forms. That’s because Hernan takes a lot of his projects and starts out thinking of it as a single cell and by morphing and mutating it he gets his final form. He is simultaneously integrating mutation/morphing and movies/cartoons into the projects for a dynamic nature of thinking about architecture. Instead of simply thinking about architecture as a mere creation of buildings he applies his own art of thinking. With each project you can catch a glimpse of the genius behind Hernan Diaz Alonzo. His work is described as narrative and image-driven, hinting that he once wanted to be in a career of filmmaking. Cartoons, science fiction and the darker sides of the alternative world usually inspire Alonso’s creations. Alonso's main ideas are to create digital designs using film-animation software before transforming his works into actually structures.
One of his more recent projects is called the Sur (2005). It was a snaking-skeleton that weaves its way through the museum's courtyard with area for seating and points of cover. This masterpiece's base is composed of fiberglass and rubber while the freestanding armature is aluminum covered with latex and polyurethane-sprayed spandex. The form was generated from a single cell Alonso morphed and mutated using his film-animation software. The Sur's genesis was based on a whole series of aesthetic issues that were occurring. In the Sur, Alonso wanted to display cinematic behavior. He wanted to create a project with a film sequence rather than an architecture piece- with ideas of a singular cell, and then a series of resulting transformations, all from the same original idea. Alonso says, "with this project, you never get to see the whole project to the end, and when you walk away you get a kind of science fiction/alien character, but with a playful attitude, making it somewhat cartoonish." Sur was basically an experimental, research oriented project to see if we could produce an architecture that behaved differently from traditional architecture. Alonso's whole design process is computer based other than the fabrication. Design process and construction is 85% computer and 15% human while fabrication is the complete opposite. Sur isn't the only form of Alonso's work that appears this way. Most of his projects are skeleton-like and are image driven making it very cinematic.
Other smaller projects include the Sciarc Café (2004), the San Jose University Art Museum (2003), and the U2 Tower (2002). The café is a project where the surface and plane conditions of the program react and interact with the public. This interaction suggests visitors to return to the café. The skin does not stage the body, but rather works and cooperates with it. The purpose and use of the building become a way to express one’s posture. The museum, although a very modern and urban object, still compliments the campus’ context by following and flowing with the public landscape: it continues with the low-level public setting put under the higher-level boxes on the surroundings of the site. It ties circulation with the campus’ context and shares publicity with the campus, overlapping strands, vines, and curls like paths and open spaces. Finally, the tower, also called Arach (Gaelic for dragon), is an architectural form mimicking a mythical body. It has posture, it sees, it hears, it waits, it resides. It was built as a glass enclosing surface sheltering commercial and residential spaces and as a meditation on elevation. There are three main parts to the program, so there are three buildings. The three buildings are dynamic volumes which float over the site in Dublin, and defying gravity. The continuous volume transformation forms one condition of understanding to another.
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