Erick Ortiz

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The gate depicts the unification between men and the gods (Quetzalxcoatl). It is the exit from the underworld and the entrance towards the real world, the representation of how mankind was crerated based on Aztec mythology. 

Huitzilopochtli is the Aztec God of the Sun and War. Although the Aztecs believed in at least 200 different deities, Huitzilopochtli is one of the most important. Of all the Aztec deities, he is the most fearsome and powerful. In fact, he was so highly revered by the Aztecs that they called themselves "the people of the sun" in reference to him.
Another reason is that Huitzilopochtli wasn’t just the Aztec Sun God, but also the Aztec God of War. He was usually seen as the bravest and most skilled warrior that had ever existed. This was very important to the Aztecs, as they considered themselves to be fearless warriors who prided themselves on the bravery, they displayed both in battle and their daily lives.

Huitzilopochtli is the Aztec God of the Sun and War. Although the Aztecs believed in at least 200 different deities, Huitzilopochtli is one of the most important. Of all the Aztec deities, he is the most fearsome and powerful. In fact, he was so highly revered by the Aztecs that they called themselves "the people of the sun" in reference to him.
Another reason is that Huitzilopochtli wasn’t just the Aztec Sun God, but also the Aztec God of War. He was usually seen as the bravest and most skilled warrior that had ever existed. This was very important to the Aztecs, as they considered themselves to be fearless warriors who prided themselves on the bravery, they displayed both in battle and their daily lives.

Huitzilopochtli is the Aztec God of the Sun and War. Although the Aztecs believed in at least 200 different deities, Huitzilopochtli is one of the most important. Of all the Aztec deities, he is the most fearsome and powerful. In fact, he was so highly revered by the Aztecs that they called themselves "the people of the sun" in reference to him.
Another reason is that Huitzilopochtli wasn’t just the Aztec Sun God, but also the Aztec God of War. He was usually seen as the bravest and most skilled warrior that had ever existed. This was very important to the Aztecs, as they considered themselves to be fearless warriors who prided themselves on the bravery, they displayed both in battle and their daily lives.

In Aztec mythology, the god Xolotl is associated with dogs, twins, lightning, fire, and guiding souls into the underworld when people die. Xolotl is frequently paired with Quetzalcoatl in various myths.
It is written that Xolotl along with Quetzalcoatl descended to the underground hell of Mictlan to gather the bones of the ancient dead. Those bones he anointed with his own blood, giving birth to the men who inhabit the present.

In Aztec mythology, the god Xolotl is associated with dogs, twins, lightning, fire, and guiding souls into the underworld when people die. Xolotl is frequently paired with Quetzalcoatl in various myths.
It is written that Xolotl along with Quetzalcoatl descended to the underground hell of Mictlan to gather the bones of the ancient dead. Those bones he anointed with his own blood, giving birth to the men who inhabit the present.

In Aztec mythology, the god Xolotl is associated with dogs, twins, lightning, fire, and guiding souls into the underworld when people die. Xolotl is frequently paired with Quetzalcoatl in various myths.
It is written that Xolotl along with Quetzalcoatl descended to the underground hell of Mictlan to gather the bones of the ancient dead. Those bones he anointed with his own blood, giving birth to the men who inhabit the present.

The most important Aztec buildings were of course their temples and places of worship. There were small temples, but the larger ones were constructed atop the Aztec pyramids. These temples were called “Teocalli” by the Aztec people meaning “god houses”. One of the most important of these temples was Templo Mayor which had a height of 60 meters and was completed in 1497. It had two temples dedicated to gods Huitzilopochtli and Tlaloc respectively. The temple was accompanied by various other smaller temples and public buildings. Other important religious buildings of the Aztecs included The Pyramids of Sun and Moon, The Great Pyramid of Cholula, The Great Pyramid of Teopanzolco, and others.

The most important Aztec buildings were of course their temples and places of worship. There were small temples, but the larger ones were constructed atop the Aztec pyramids. These temples were called “Teocalli” by the Aztec people meaning “god houses”. One of the most important of these temples was Templo Mayor which had a height of 60 meters and was completed in 1497. It had two temples dedicated to gods Huitzilopochtli and Tlaloc respectively. The temple was accompanied by various other smaller temples and public buildings. Other important religious buildings of the Aztecs included The Pyramids of Sun and Moon, The Great Pyramid of Cholula, The Great Pyramid of Teopanzolco, and others.

The most important Aztec buildings were of course their temples and places of worship. There were small temples, but the larger ones were constructed atop the Aztec pyramids. These temples were called “Teocalli” by the Aztec people meaning “god houses”. One of the most important of these temples was Templo Mayor which had a height of 60 meters and was completed in 1497. It had two temples dedicated to gods Huitzilopochtli and Tlaloc respectively. The temple was accompanied by various other smaller temples and public buildings. Other important religious buildings of the Aztecs included The Pyramids of Sun and Moon, The Great Pyramid of Cholula, The Great Pyramid of Teopanzolco, and others.

Aztec temples were usually found at the top of pyramids, and they are often called temple-pyramids. Designed using ancient Mesoamerican architectural traditions that went back thousands of years, temple-pyramids were tall structures forming four main platforms, with grand stairways running up one side; you can see them in the picture above, which comes from an old Aztec book, the Codex Ixtlilxochitl.
The Aztecs built temples at the top of sacred mountains as well as in the center of their cities. The temple we know most about is the Templo Mayor in the heart of what was Tenochtitlan, now Mexico City. At the top of this 197-foot-tall pyramid stood two shrines, one to Tlaloc, the god of rain and one to Huitzilopochtli, the god of war. Templo Mayor was in the center of a great plaza, one of 75 or 80 buildings which constituted the religious center of the city. Sacrificial victims walked up numerous steps to the top of the pyramid. After their hearts were extracted and given to the gods, their bodies were thrown down into the plaza.

Aztec temples were usually found at the top of pyramids, and they are often called temple-pyramids. Designed using ancient Mesoamerican architectural traditions that went back thousands of years, temple-pyramids were tall structures forming four main platforms, with grand stairways running up one side; you can see them in the picture above, which comes from an old Aztec book, the Codex Ixtlilxochitl.
The Aztecs built temples at the top of sacred mountains as well as in the center of their cities. The temple we know most about is the Templo Mayor in the heart of what was Tenochtitlan, now Mexico City. At the top of this 197-foot-tall pyramid stood two shrines, one to Tlaloc, the god of rain and one to Huitzilopochtli, the god of war. Templo Mayor was in the center of a great plaza, one of 75 or 80 buildings which constituted the religious center of the city. Sacrificial victims walked up numerous steps to the top of the pyramid. After their hearts were extracted and given to the gods, their bodies were thrown down into the plaza.

Aztec temples were usually found at the top of pyramids, and they are often called temple-pyramids. Designed using ancient Mesoamerican architectural traditions that went back thousands of years, temple-pyramids were tall structures forming four main platforms, with grand stairways running up one side; you can see them in the picture above, which comes from an old Aztec book, the Codex Ixtlilxochitl.
The Aztecs built temples at the top of sacred mountains as well as in the center of their cities. The temple we know most about is the Templo Mayor in the heart of what was Tenochtitlan, now Mexico City. At the top of this 197-foot-tall pyramid stood two shrines, one to Tlaloc, the god of rain and one to Huitzilopochtli, the god of war. Templo Mayor was in the center of a great plaza, one of 75 or 80 buildings which constituted the religious center of the city. Sacrificial victims walked up numerous steps to the top of the pyramid. After their hearts were extracted and given to the gods, their bodies were thrown down into the plaza.

Aztec homes for the nobles were naturally larger and better constructed than Aztec homes for the common people. Some nobles had homes of two floors with a central courtyard. Most of the nobles also included a garden in their homes with a lot of flowers. Materials used in the construction of Aztec homes for the nobles were relatively expensive. Further, instead of the straw roofs found in the Aztec homes for the common people, the roofs of Aztec homes for the nobles were made of stone. Nobles were also allowed to decorate their homes lavishly unlike the Aztec commoners.

Aztec homes for the nobles were naturally larger and better constructed than Aztec homes for the common people. Some nobles had homes of two floors with a central courtyard. Most of the nobles also included a garden in their homes with a lot of flowers. Materials used in the construction of Aztec homes for the nobles were relatively expensive. Further, instead of the straw roofs found in the Aztec homes for the common people, the roofs of Aztec homes for the nobles were made of stone. Nobles were also allowed to decorate their homes lavishly unlike the Aztec commoners.

The Aztec nobility, which included warriors, had grander homes that were located near the temple near the main square. Much like modern times, the house symbolized status, and this was just as true in Aztec times as it is now. The lavish structures owned by the nobles, sometimes called palaces, differ from the regular houses in decor, size, and the materials utilized.
The common Aztec building material was generally made up of sun-dried brick or a mixture of cement, sand and lime. For a noble, the entire house could be made entirely of stone if they were extremely rich. The outside walls were whitewashed to make them look clean. For the inner walls, a plaster called stucco may be applied and then painted with bright colors and designed with intricate murals.

The Aztec nobility, which included warriors, had grander homes that were located near the temple near the main square. Much like modern times, the house symbolized status, and this was just as true in Aztec times as it is now. The lavish structures owned by the nobles, sometimes called palaces, differ from the regular houses in decor, size, and the materials utilized.
The common Aztec building material was generally made up of sun-dried brick or a mixture of cement, sand and lime. For a noble, the entire house could be made entirely of stone if they were extremely rich. The outside walls were whitewashed to make them look clean. For the inner walls, a plaster called stucco may be applied and then painted with bright colors and designed with intricate murals.

The Aztec nobility, which included warriors, had grander homes that were located near the temple near the main square. Much like modern times, the house symbolized status, and this was just as true in Aztec times as it is now. The lavish structures owned by the nobles, sometimes called palaces, differ from the regular houses in decor, size, and the materials utilized.
The common Aztec building material was generally made up of sun-dried brick or a mixture of cement, sand and lime. For a noble, the entire house could be made entirely of stone if they were extremely rich. The outside walls were whitewashed to make them look clean. For the inner walls, a plaster called stucco may be applied and then painted with bright colors and designed with intricate murals.

The Aztec nobility, which included warriors, had grander homes that were located near the temple near the main square. Much like modern times, the house symbolized status, and this was just as true in Aztec times as it is now. The lavish structures owned by the nobles, sometimes called palaces, differ from the regular houses in decor, size, and the materials utilized.
The common Aztec building material was generally made up of sun-dried brick or a mixture of cement, sand and lime. For a noble, the entire house could be made entirely of stone if they were extremely rich. The outside walls were whitewashed to make them look clean. For the inner walls, a plaster called stucco may be applied and then painted with bright colors and designed with intricate murals.

Nobles or pipiltin as they were known, lived in larger, finer homes often built of stone, although some were also built of adobe. Noble homes were often built around a central courtyard, where flower and vegetable gardens and a fountain would be found. These homes were often made of carved stone, and contained finer furniture than a commoner would have.
Noble homes could have a peaked roof, or the roof could be flat and even terraced with a garden. As nobles were often involved in making laws and government, they tended to live nearer the city centers, around the central plaza and marketplace. At the top of society, the emperor lived in a luxurious palace, complete with botanical gardens and a zoo.

Nobles or pipiltin as they were known, lived in larger, finer homes often built of stone, although some were also built of adobe. Noble homes were often built around a central courtyard, where flower and vegetable gardens and a fountain would be found. These homes were often made of carved stone, and contained finer furniture than a commoner would have.
Noble homes could have a peaked roof, or the roof could be flat and even terraced with a garden. As nobles were often involved in making laws and government, they tended to live nearer the city centers, around the central plaza and marketplace. At the top of society, the emperor lived in a luxurious palace, complete with botanical gardens and a zoo.

No chimney, no windows, the floor was usually of earth, and the walls either ‘adobe’ (dried mud bricks), wattle and daub’ (wooden strips woven together, covered in cheapo plaster) or stone - or a mix: adobe bricks on stone foundations. In towns the outside walls were often whitewashed.
The roof was thatched and sometimes ‘gabled’ or low and flat. The main room was just for sleeping and eating, no-one spent much time there during the day. Lighting was caused by small flaming torches (made of pine resin) - and from the fire in the center of the house.

No chimney, no windows, the floor was usually of earth, and the walls either ‘adobe’ (dried mud bricks), wattle and daub’ (wooden strips woven together, covered in cheapo plaster) or stone - or a mix: adobe bricks on stone foundations. In towns the outside walls were often whitewashed.
The roof was thatched and sometimes ‘gabled’ or low and flat. The main room was just for sleeping and eating, no-one spent much time there during the day. Lighting was caused by small flaming torches (made of pine resin) - and from the fire in the center of the house.

In the highlands, dirt or mud and water, known as adobe, made up the brick walls of the house. These foundations supported the roof that would be made of plant stalks or wood. In the lowlands the Aztecs used clay to hold branches together, which would form a much simpler roof construction.
Aztec Homes for regular people and commoners, who were mostly workers or macehualtin were scattered on the outskirts of the city. The houses differed only in size and decor from the nobility houses. The general form of the homes was simple, there was a main house and then typically there was a separate building for the steam bath. The Aztec houses were only on one floor, and they could house up to twelve Aztec people.

In the highlands, dirt or mud and water, known as adobe, made up the brick walls of the house. These foundations supported the roof that would be made of plant stalks or wood. In the lowlands the Aztecs used clay to hold branches together, which would form a much simpler roof construction.
Aztec Homes for regular people and commoners, who were mostly workers or macehualtin were scattered on the outskirts of the city. The houses differed only in size and decor from the nobility houses. The general form of the homes was simple, there was a main house and then typically there was a separate building for the steam bath. The Aztec houses were only on one floor, and they could house up to twelve Aztec people.

For the final exhibition, I developed a stylized three-dimensional space highlighting the everyday life of the Aztec civilization using Unity’s software. A vivid display of ancient imagery and composition that allows the player to immerse themselves in an interactive environment, exploring the wonders of a new world based on mythology and symbolism. Appropriating certain aspects of Aztec culture and rendering them through software, an attempt to recreate my experience witnessing the lost art of my own heritage. Ultimately the exhibition showcases the culmination of my practice as an artist such as: rendering real life composition through technology, revealing subject matter through scale, and creating meaning through symbolism.

Technology becomes the means by which I render and deliver my work from an idea into reality, creating a shift and connection between the physical and the digital world. Accordingly, the scale and proportion of my art speak of its significance within a given space or time that amplifies the narrative of my work and enriches the experience of the viewer. Consequently, symbolism develops the style and composition of my work which in return evokes the unique expression of my artistic mind and cultural heritage. These ideas and concepts are the catalyst of my work and my way of self-expression. 

For the final exhibition, I developed a stylized three-dimensional space highlighting the everyday life of the Aztec civilization using Unity’s software. A vivid display of ancient imagery and composition that allows the player to immerse themselves in an interactive environment, exploring the wonders of a new world based on mythology and symbolism. Appropriating certain aspects of Aztec culture and rendering them through software, an attempt to recreate my experience witnessing the lost art of my own heritage. Ultimately the exhibition showcases the culmination of my practice as an artist such as: rendering real life composition through technology, revealing subject matter through scale, and creating meaning through symbolism.

Technology becomes the means by which I render and deliver my work from an idea into reality, creating a shift and connection between the physical and the digital world. Accordingly, the scale and proportion of my art speak of its significance within a given space or time that amplifies the narrative of my work and enriches the experience of the viewer. Consequently, symbolism develops the style and composition of my work which in return evokes the unique expression of my artistic mind and cultural heritage. These ideas and concepts are the catalyst of my work and my way of self-expression. 

For the final exhibition, I developed a stylized three-dimensional space highlighting the everyday life of the Aztec civilization using Unity’s software. A vivid display of ancient imagery and composition that allows the player to immerse themselves in an interactive environment, exploring the wonders of a new world based on mythology and symbolism. Appropriating certain aspects of Aztec culture and rendering them through software, an attempt to recreate my experience witnessing the lost art of my own heritage. Ultimately the exhibition showcases the culmination of my practice as an artist such as: rendering real life composition through technology, revealing subject matter through scale, and creating meaning through symbolism.

Technology becomes the means by which I render and deliver my work from an idea into reality, creating a shift and connection between the physical and the digital world. Accordingly, the scale and proportion of my art speak of its significance within a given space or time that amplifies the narrative of my work and enriches the experience of the viewer. Consequently, symbolism develops the style and composition of my work which in return evokes the unique expression of my artistic mind and cultural heritage. These ideas and concepts are the catalyst of my work and my way of self-expression. 

Quetzalcóatl was one of the most important gods in ancient Mesoamerica. Quetzalcóatl was the god of winds and rain, and the creator of the world and humanity. A mix of bird and rattlesnake, his name is a combination of the Nahuatl words quetzal (the emerald plumed bird) and coatl (serpent).

In Central Mexico from 1200, the feathered serpent god was considered the patron god of priests and merchants as well as the god of learning, science, agriculture, crafts and the arts. 

Quetzalcóatl was one of the most important gods in ancient Mesoamerica. Quetzalcóatl was the god of winds and rain, and the creator of the world and humanity. A mix of bird and rattlesnake, his name is a combination of the Nahuatl words quetzal (the emerald plumed bird) and coatl (serpent).

In Central Mexico from 1200, the feathered serpent god was considered the patron god of priests and merchants as well as the god of learning, science, agriculture, crafts and the arts. 

Quetzalcóatl was one of the most important gods in ancient Mesoamerica. Quetzalcóatl was the god of winds and rain, and the creator of the world and humanity. A mix of bird and rattlesnake, his name is a combination of the Nahuatl words quetzal (the emerald plumed bird) and coatl (serpent).

In Central Mexico from 1200, the feathered serpent god was considered the patron god of priests and merchants as well as the god of learning, science, agriculture, crafts and the arts. 

The Aztec warrior was highly honored in society if he was successful. Success depended on bravery in battle, tactical skill, heroic deeds and most of all, in capturing enemy warriors. Since every boy and man received military training, all were called for battle when war was in the offing. Both commoners and nobles who captured enemy warriors moved up in military rank or became members of military orders. Many nobles joined the army professionally and functioned as the command core of the army.

While the Aztec economy depended on trade, tribute and agriculture, the real business of the empire was war. Through war, the Aztec Empire gained tribute from conquered enemies. People captured during war became slaves or sacrifices in the Aztec’s religious ceremonies. Expanding the empire through further conquests strengthened the empire and brought more riches in tribute. For this reason, the emperor rewarded successful warriors of both classes with honors, the right to wear certain garments in distinctive colors, nobility for the commoners and higher status for nobles and land. Every Aztec warrior could, if he captured enemy warriors, advance far in society.

Eagle and Jaguar warriors were the two main military societies, the highest rank open to commoners. Warriors' rank was based on the number of enemy soldiers they captured.

Warriors wore a lightweight breastplate, leather strips on their legs, and brightly colored shields decorated with feathers.
Warriors' dress and hairstyles indicated their rank. For example, warriors who captured one enemy soldier wore a macuahuitl, a chimalli, and an orange cape. Warriors who captured four enemies became eagle or jaguar warriors and wore jaguar skin, expensive jewelry, and feathered headgear.