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Its form was generated from a single cell Alonso morphed and mutated using film-animation Public porn Metropolis. His work is best described as narrative and image-driven, which hints at his onetime interest in becoming a filmmaker.

His inspirations—science fiction, cartoons, and the darker side of alternate worlds—are also classic movie material. Below are excerpts from that conversation.

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There were a whole series of aesthetic issues that were happening. It was never super-specific, but we wanted to work with that.

We also wanted to embrace cinematic behavior. We wanted to develop the project more like a film Public porn Metropolis rather than an architecture piece—with these ideas of a singular cell and then a series of resulting transformations, all from the same origin.

Porn then was trying to be serious, and at the end it was just about sex. We Public porn Metropolis to see if we could produce an architecture that behaved differently than traditional architecture.

Most architects always take the premise of the client or the boundaries in that they operate; on this project, we worked more like a Public porn Metropolis or filmmaker, who operates within a territory of his own agenda and wants to produce a critical reading of it.

We had a high level of autonomy, which I know is a polemical statement in relation to architecture, because architecture Public porn Metropolis supposed to be about a larger environment beyond.

One of the Public porn Metropolis that we were pushing was to solve more architectural problems and less sculptural ones. We know that this project is a crossover between the two, but whenever possible we pushed to make it an architectonic problem. We used [ Sur ] as an opportunity to see how far we can push a certain kind of structure.

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Not really. There are more than pieces of aluminum tubes, straight and curved, each unique.

We have a complex system for double-checking everything. We have elevations, plans, and rotation angles.

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My whole design process is always computer-based, but not necessarily the fabrication. I have a more intuitional approach.

I think my Public porn Metropolis is driven by images: I think we are more willing to explore what the tool can give us. He never shows the creature, he just shows parts.

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When you look at the third David Fincher movie, the Public porn Metropolis swims in the water because the computer allows it to do that. Facebook 0 Twitter More. June 13, Cities Are Not Technology Problems: The World's Best Design Cities Friend's email. Message https: