Carlos Diniz was born in Phoenix, Arizona while his Brazilian father and German Pennsylvanian
mother were relocating from New Orleans to Los Angeles. Showing early promise in the arts,
Carlos was featured as a young teen in a Paramount Pictures short subject film because of
uncanny ability to recreate historic guns in model form.
Stationed in Venice, Italy during WWII, Carlos made his first sketches of the buildings and
architecture with which he would remain enraptured at his lifes end. In 1948, he enrolled in
Industrial Design program at Art Center School, but fate intervened when he was invited to spend
a weekend at Frank Lloyd Wrights Taliesin West. After that weekend, Carlos had no doubt over
the direction his future would take.
Working as an artist for various architectural studios, Carlos found employment at Victor Gruen
Associates in 1952. In the approximately five years that he was at Gruen, Carlos became
immersed in not only drawing, but in architectural design, planning and graphic presentation. In
1957, when Carlos left Gruen to establish his own studio, he modeled it after an architectural
office, and began production of architectural illustrations, paintings, presentations, brochures and
graphics in what he perceived to be a new and very open field.
Among the first commissions his new studio received was a house that Frank O. Gehry
designed for graphic designer Lou Danziger. Danziger was interested in a technique that would
allow the rendering to be used as a multiple graphic reproduction. This led Carlos to the
development of the silk-screened serigraphs that he was to employ in many future
commissions. It also necessitated the formations of a division of Carlos Diniz Associates
devoted exclusively to the development of catalogues, posters, brochures and other
presentational graphics offered as additional services to architects.
In the early 1960s Carlos met Minoru Yamasaki. Yamasaki was a great fan of Carlos work,
so brought him on board as Project Recording Artist to work on an exciting and innovative
project, the World Trade Center in New York. In Carlos own words, I was invited to visit
studio in Birmingham,
Michigan. Yamasaki showed me a model so tall it pierced the ceiling of his studio and left me
agog. How to make this project look right in scale with its surroundings was only one of the
problems. Carlos did indeed accomplish that and through the resulting fame, became the
preeminent renderer for the building boom of the 70s and 80s.
Carlos is one of the few Architectural Illustrators to be awarded an Honorary AIA. Transcending
the scope of its intent as a presentational work for architects, Carlos work has been featured
magazines, shows and exhibitions and was the subject of an autobiography book entitled,
Building Illusion, the Work of Carlos Diniz published in 1992. His rendering of the George C.
Page Museum in Los Angeles is part of their permanent collection and has been on exhibition
there for 30 years. His serigraphs have been featured in gallery shows as examples of late 21st
century graphic art. In 2002, Carlos Diniz was posthumously awarded the Pacific Design
Centers Stars of Design Award for Graphic Design. In 2005, Dinizs rendering of General
Electric Pavilion - New York World's Fair 1964-65, was included in the 100th anniversary
Welton Becket and Associates at Archlight. The Los Angeles County Museum of Art (LACMA)
has recently acquired several works of Diniz and will feature them in their Pacific Time project
entitled Living in a Modern Way.