Hernan diaz alonso project

Solo Show. Vienna, Austria. San Francisco. Exhibitions Group Shows. Prague Experimental Architecture Biennial. Prague, Czech Republic. Maribor Institue of Architecture, Maribor, Slovenia. Austrian Pavilion, Venice, Italy. Permanent Collection Objects — P. Matters of Sensations. Archilab Collection. Seville Biennale, Seville, Spain. West Coast Pavilion.

Beijing Biennale, Beijing, China. Seroussi Pavilion Guest House Exhibit. Maison Rouge, Paris, France. France, Paris. Culver City, CA. London Biennale. Beijing Biennale. Beijing, China. Washington, DC. Florence, Italy. Ornament — M5 Gallery. Metamorph — Venice Biennale of Architecture, Arsenale. Beyond Media — Intimacy. Possible Futures — Miami Biennale.

Miami Beach, FL. Permanent Collections. Featured work: P. Winner, stereolithography model. Featured work: U2 Tower — 3d printed model, digital animation and digital prints, Nokia — 3d models, animation, Art Tower — 3d model and animation. Featured work: Pitch Black — installation objects. Archilab, Orleans, France. Featured work: Busan Opera House — 3d printed model, formal study models and digital animation.

Winner — 3d printed model. Luciano Benetton Collection, Treviso, Italy. Featured work: Carne — digital render. Project Stage: Design and Fabrication — Year of completion: Project Stage: Design proposal. Art Pieces. Beast 2. Miami, FL. Columbus, Ohio. Project Stage: Sculpture Proposal. Beast 1. Product Design. Sharpei Chair Collection. Augmented Fashion Collection.

Lip Chair — Commissioned by Xefirotarch. Project Stage: Design. Edison Lamp — Commissioned by Xefirotarch. Project Stage: Collection of product design objects. Office Table — Commissioned by Xefirotarch. Mask — Commissioned by Juan Azulay. Limoge Chandelier — Commissioned by Karelic Lighting. Limoges, France. Alessi Silverware — Commissioned by Alessi.

Silverware Design. Diaz Alonso, H. Thames and Hudson London , Forthcoming. Rouhi, P. Xefirotarch — Hernan Diaz Alonso. Ketabkadeh Kasra Kasra book house. Xefirotarch — Excessive. Steele, B. Rosa, J. Article, Authored. Diaz Alonso, H Architectural Design. Questions on the Module and Incompleteness. Mess, Mess, Mess…. Onramp No. Keep It All Inside.

Tom Wiscombe — Faculty Profile. Icon Magazine, Issue 50, August , p. Notes on Designing Surficial Elegance. From the Ugly to the Horrific. Book Chapters. Rappaport, N. Introduction — Southern California Institute of Architecture Masterclass Architecture, Frame Publications, Amsterdam, Cook, P. Hernan Diaz Alonso. Aiello, C. Los Angeles.

Hume, N. Goldemberg, E. Pulsation in Architecture. Ross Publishing, pp. Gage, M. Aesthetic Theory. Reisner, Y. Conversation with Hernan Diaz Alonso. Blasi, C. Xefirotarch — Ipotesi e Spermentazioni. Spiller, N. Long, K. Galindo, M Xefirotarch — P. Chronicle Books, July Diaz Alonso, H, Morais, J. Brizzi, M. Intimacy, Mandragora, Firenze, Lapunzina, A.

Selected Interviews. Moss, E. Exclama Magazine, No. Interview with Hernan Diaz Alonso. Rodriguez, J. Guest, M. Generations and the Generative: a Conversation. Log — Observations on the Contemporary City, No. Douglis, E. Woods, T. Gmeiner, F. Cover Story: Crossover Studio 2. Prinz Eisen Beton, No. Inaba, J. My Work is Like Salt — Interview. Volume Magazine, July , p.

Hagberg, E. Metropolis, Vol. Boira, F. Catalog Entry. Excessive — Hernan Diaz Alonso. Urban Strategies Postgraduate Program. Prague Experimental Architecture Biennale, Prague Maribor Mutations. Xefirotarch — Los Angeles, United States. Pitch Black, Vienna, Austria. Noever, P. Pitch Black. Keep Unquiet! Xefirotarch — Seingemer. Leach, N.

Emerging Talents, Emerging Technologies. Beijing, China: Architectural Biennial Beijing , pp. Keffer, R. Architecture in Focus. Glamour — Fashion, Industrial Design, Architecture. Archilab — L. Metamorph, 9.

Hernan diaz alonso project

Denari, N. The Architectural Review, December , pp. Project, No. Hawthorne, C. Chlorofilia, the Los Angeles Jungle. Levit, R. Esquire Japan, Vol. Berger, P. Form Follows Dysfunction. McGuirk, J. The New L. School — Hernan Diaz Alonso. Icon Magazine, Issue 52, October , pp. Timberg, S. Retooling Form and Function. Los Angeles Times, Entertainment, March 19, Busan Bay.

Goldin, G. Building His Own Creature Future. Ouroussoff, N. Hendler, A. Critica al Mundo Virtual. Michault, J. Glamour from A to Z. International Herald Tribune, December 21, , p. La Ciudad al Desnudo. AV Proyectos, Vol. Muzi, C. Como Entrar al Mundo Por una Ventana. Muschamp, H. Other Selected Publications. Gerfen, K. Ruhi, P. Hamashahri Memari, Spring , pp.

Garcia, M. Colletti, M. Itroduction: Advolution. Digital Poetics, , p. Bruno, F. Un Gaucho en Marte. Miret, S. Habitar Parametrico — El Campo Habitacional. Rodriguez, F. Southern California Institute of Architecture. Salmela, M. Helsingin Sanomat, May , p. Kuhlmann, D. Biomorphism in Architecture: Speculations on Growth and Form. Frieze, No.

Xefirotarch — MoMa P. Guenon, E. Buyukkoz, N. Grotesk Estetik. XXI, Summer , pp. Stegner, P. Spielplatz und Zirjus. Workbook — Maison Seroussi. Arq a, Vol. Xefirotarch — Maison Seroussi. Blueprint, November , p. Pavarini, S. Agora Dreams and Visions:. MAK 07 Austellungsprogramm, p. Baker, D. Going Organic. Orozco, X. Ambientes, Vol. Alvarez, A.

Warm Up! Proyecto Contract, Casaviva, Num. Digital Design. Design and Detail, Vol. Screen Vs. Perspecta, No. Eisenman, P. Duck Soup. Chang, J. Made in Hollywood: the Warner Bros. Metropolis Magazine, Vol. Bratton, B. A Prototype Of the Current Future. Szenasy, S. Craft and Technology. Metropolis Magazine, June Reynolds, C. Here that sensation is more like painting than engineering: driven by personal, idiosyncratic gesture more than an application of systematic procedure to material condition.

Having watched hours, weeks, months of bad Hitchcockian cinema. These codes cut here, blend there, match on action, shot-reverse-shot, false POV, staccato violins, scripting topologies etc. There image-forms are densely layered and then pulled back from themselves, balanced and unbalanced, such that their formal architecture within the frame always competes with the structure of the edit -the latent seam- for the organization of the screen-event.

In the course of such moments, HDA is the director, editor and audience all at once, watching the form materialize and interacting with that emergence. His decisions to speed up and slow down, slice and blend fuse and separate are repetitions of scenic rhythms he has learned from a lifetime of being awed by cinematic affect.