dionisio gonzalez imagines disaster resistant surrealist structures
dionisio gonzalez imagines disaster resistant surrealist structures dionisio gonzalez imagines disaster resistant surrealist structures
mar 12, 2014

dionisio gonzalez imagines disaster resistant surrealist structures

dionisio gonzalez imagines disaster resistant surrealist structures
(above) dauphin island II (detail)
image courtesy of yusto / giner gallery





dionisio gonzález: architecture for resistance
gallery yusto / giner, malaga, spain
now through march 20th, 2014


contemporary art gallery yusto / giner presents ‘architecture for resistance’, the first solo exhibition of spanish artist dionisio gonzález in malaga. the show is structured around two of gonzález’ series of surrealist photographic manipulations, ‘dauphin island’ and ‘inter-actions’, both of which express fantasy landscapes integrated within an urban fabric.


dionisio gonzález – arquitectura para la resistencia – galería yusto/giner
video courtesy of graciela giner




a fascination with architecture — a trademark theme that runs throughout gonzález’ oeuvre — and his concern for the social sphere have led him on a lasting search for physical sites where chaos and beauty coexist. the examples he has found include dauphin island, land located in the gulf of mexico which suffers from incessant and devastating hurricanes. impressed by the vitality of its inhabitants to repeatedly recover from what nature destroys, dionisio has been motivated to design habitable and sustainable constructions, like real futuristic forts made of iron and concrete, replacing unstable wood.


the meticulously manipulated dwellings intend to provide answers to the problems of the world and as the artist explains, ‘give shape to new habitable structures in the vacuums in the perception of spaces that had previously been devastated’.

dauphin island II
image courtesy of yusto / giner gallery

dauphin island II (detail)
image courtesy of yusto / giner gallery

dauphin island X
image courtesy of yusto / giner gallery

dauphin island II
image courtesy of yusto / giner gallery

dauphin island II (detail)
image courtesy of yusto / giner gallery




a second series of fictional recreations is ‘inter-actions’, a sequence which proposes a relationship between humans and the environment, establishing a use of natural resources by the inhabitants. these black and white images describe buildings grafted to the environment, literally rooted to the earth they are situated on.

inter-actions 9
image courtesy of yusto / giner gallery

inter-actions 8
image courtesy of yusto / giner gallery

from the series ‘inter-actions’
image courtesy of yusto / giner gallery

inter-actions 11
image courtesy of yusto / giner gallery




gonzález’s 2011 ‘favelas’ series proposes a visualization of an urban space where the decomposing homes of the inhabitants feature rendered architectural outbursts of a futuristic and abstract style.

novaacqua-gasosa II
image courtesy of dionisio gonzález

ipiranga 3
image courtesy of dionisio gonzález

ipiranga 3
image courtesy of dionisio gonzález

roberto marinho I
image courtesy of dionisio gonzález

roberto marinho I (detail)
image courtesy of dionisio gonzález


  • These pictures show how these structures relate to the surrounding environment. But I am curious to know how they look inside, in relation to humans. More pictures please. I wonder whether these are comfortable places to live in, and energy-efficient..

    Helen says:
  • Those are photograhic manipulations, so I dare to say if they are comfortable to live in (; But surely they are interesting in the way to think about architecture.

    Julie says:
  • This is art, of a sort, but nothing more.

    Ron Smith says:
  • Wait, what? First off, when did steel and concrete become sustainable compared to wood? Second off those structures hardly look disaster resistant. Half of them look like they will topple over any second, let alone when a hurricane comes in.

    Very interesting to see the expressions, but I believe placing them in such a context is a complete fallacy of function.

    Nick says:
  • there is something very liberating in the organic forms of architecture and the ability to disconnect from the reality of the physical world. I see that more as a creative exercise that can nourish the artist and inform the real design process later on. My guess FWIW.
    Either way, I love it

    Christian Fekete says:

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