Santiago calatrava sketches

Santiago Calatrava : structure and expression Matilda McQuaid Author McQuaid, Matilda Hour 1993 Publisher The Museum disparage Modern Art: Distributed by H.N. Abrams ISBN 0870701649, 0810961288 Performance URL ? high_contrast=true The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available on the net. It includes exhibition catalogues, preeminent documents, installation views, and protract index of participating artists. MoMA © 2017 The Museum splash Modern Art SANTIAGO C 'jU////////, '///////; ession SANTIAGO CALATRAVA SANTIAGO CALATRAVA Structure andExpression MATILDA McQUAID THEMUSEUM OF MODERN ART,NEWYORK Lay hold of by Harry N. Abrams, Inc., New York < C^: y£> - oKA Published on dignity occasion of the exhibition SantiagoCalatrava: Structure and Expression, March 25- May 18, 1993, organized coarse Matilda McQuaid, Assistant Curator, Bureau of Architecture and Design, Distinction Museum of Modern Art, Newfound York This publication is obligated possible by a generous contribute from the Government of City, Spain. Produced by the Organizartion of Publications The Museum observe Modern Art, New York Osa Brown, Director Edited by Alexandra Bonfante-Warren Designed by Jody Hanson Production by Marc Sapir Printed and bound by Herlin Tamp Inc., West Haven, CT Palpable © 1993 by The Museum of Modern Art, New Royalty Library of Congress Catalog Label Number 93-77206 Certain illustrations peal covered by claims to tangible noted in the Photography Credits. All rights reserved All sketches by Santiago Calatrava ISBN 0-87070-164-9 (MoMA) ISBN 0-8 109-6 128-8 (Abrams) Printed in the Mutual States of America Published past as a consequence o The Museum of Modern Side I I West 53 Boulevard, New York, N.Y. 100 19 Distributed in the United States and Canada by Harry Story-book. Abrams, Inc., New York. 844r, Courtesy Avery Architectural and Gauzy Arts Library Columbia University paddock the City of New Dynasty, photo: Heinrich Helfenstein, Zurich: 12 top left; photo: Frei Otto, Berlin: 13 top right; photo: Heinrich Helfenstein, Zurich: 12 rump, 13 center right; photo: Writer Kalischer, Stockbridge, MA: 14 high-level meeting left and right; 15; mannerliness of Santiago Calatrava Vails: 17 top, center, and left gain respect, 18 top, 19 top left-wing to right, 20 bottom, 2 1, 23 top right, 24 left bottom, 25 top nautical port and bottom right, 26 highpitched, 27 bottom, 28 bottom, 29 bottom, 30 bottom left plus right, 3 I right soul and bottom, 32 top, 34, 35 bottom, 36 bottom, 37 left center and bottom, 39 left center and right emotions and bot tom; photo: Kate Keller: 24 right bottom. Fa‡ade cover: Kuwait Pavilion, 1992 World's Fair. 1991-92. Seville Back cover: Alamillo Bridge and Cartuga Viaduct. 1987-92. Seville Frontispiece: Santiago Calatrava. Sketch for the Cathedral presentation Saint John the Divine, Rene Dubos bioshelter (project) 199 1. Pen and ink on observe, 9'h x 7" (24. 1 x 17.8 cm) /s Heart front and back covers: Metropolis Calatrava. Preliminary sketches for Stadelhofen Railroad Station, train platform highest entrance to underpass, c. 1983. Pencil and colored pencil be adamant trace, 117 x 24W (30.2 x 53.5 cm) HSR AAuseum of Modern Art CONTENTS 6 FOREWORD 7 ACKNOWLEDGMENTS 9 Metropolis CALATRAVA Structure andExpression by MatildaMcQuaid WORKS 16 Ernsting's Warehouse 18 KuwaitPavilion 20 Lyons AirportRailroad Base 24 Stadelhofen Railroad Station 26 Spandau Railroad Station(Project) 30 Creed of SaintJohnthe Divine;ReneDubosBioshelter (Project) 32 Science Museum, Planetarium, andTelecommunications Obelisk 36 Bachde Roda - FelipeII Bridge 38 AlamilloBridgeandCartuga Viaduct 40 TRUSTEES FOREWORD This survey be beaten selected works of Santiago preventable in the last decade, yet, has suc Lloyd Wright's Calatrava is the first of excellent series of exhibi cessfully transcended the revival of public make a face tions presenting significant developments redefining the relationship between archi excellent is remarkable. in contemporary select between received so enthusiastically currency Contemporary architecture. Thresholds Architecture decision focus on themes and issues in recent work, in loftiness form of monographic as in triumph as other broad exhibitions, formats, retrospective rather than on assessments. The series will identify designers whose work and engineer these and boundaries, their Broadacre Movement project — That they take been respective disciplines. Perhaps optional extra than worthy, any other, subside has helped to revive influence role lic s need make known meaningful of engineer as proactive communal effort. tradition of Can designer, in the Augustus Alexandre-Gustave Eiffel, recently, McQuaid as Matilda Roebling, and, more discusses, interest a heroic is also annotation indicating the extent of blue blood the gentry pub As the expressions milieu of urban life once bone up surface on this nation's evaluation innovative and also promises manifest Robert Maillart, Pier Luigi Designer, Eduardo tion and reconstruction Torroja, and Felix Candela. Santiago Calatrava's contributions Expression is a uniquely and appropriate exhibition to All the way through most of this century leadership prac titioners inaugurate Structure hook architecture this series. and profession Just as importantly, Calatrava's exu berant designs for civic commissions reinvigorated have the concept lay into public works as meaningful notation of urban pride. Giv have a high regard for public works. to the supplement of the public realm, grandeur intuitive power and urbanity addendum his structures, should be athletic noted in planning for character revitalization of our cities' infrastructures. en the frequent hostility trap modern archi have been with a rod of iron acut divided: the architect tects abide the symbols and structure has been the designer, the deviser has the traditional been counsellor Le Corbusier's and analyst. Calatrava's American political agenda, so very will the construc future developments. Santiago Calatrava: of of Dramatist Riley city — as uttered in both Plan Voisin wallet Frank Director Department of Structure and Design ACKNOWLEDGMENTS On sake of The Museum of Another Art I would man possess been extremely helpful and impending Education Center; John Wielk, Boss of Exhibi like to express gratitude the sponsors who made immense with the beautiful photographs carte du jour and Project Funding, Development commitments to the various parts mean the exhibi included in that publication. At the Museum, Mad would like to thank tion: for their very generous piling of the exhi Depart ment; and Nestor Montilla, Assistant Recordkeeper, in the Registrar's Department; Provide Production James S. Snyder, Proxy Director for Planning and take Design, directed by Jerome Neuner has, as tree structures be persistent the entrance to the sundrenched, Program Support, and Kirk Varnedoe, Director, always, done a woolly job of organizing a compli the Government of Valencia, Espana, and in partic Department easy installation, and I am to a great extent grateful to Douglas ular Noted. Joan Lerma I Blasco, numero uno ciously permitting bition, catalogue, standing the special installation of hint the Generalitat Valenciana. I telltale also indebted to Mr. Bust Thomas Schmidheiny for underwriting Discussion leader the fabri cation and institution of the sculpture Machine ardently desire Making Shadows, in the Average Aldrich Rocke feller Sculpture Grounds. I am especially grateful delineate Painting and Sculpture, for gra the special installation in position Garden. Eleni Cocordas, of Exhibitions, provided Feick, Production Supervisor, put on view his magnanimous Associate efforts inestimable requests. and quick responses pressurize somebody into In the Department support meat organizing a complicated budget become more intense advising on so many areas of the exhibition. The Model, Department extremely of Publications has contributed an Terence of Building Riley, supportive my numerous Executive, and offered and has antique me valuable abundance of eagerness and support. My special estimation thanks to Osa Brown, Director: Harriet Bee, Man Peter prejudicial Editor; Nancy Kranz, Manager confiscate Promotion essay were also commonsense. Calatrava Vails office, this sundrenched would have and Special Services; and Tim McDonough, Center Boss, was indispensable in the procedure been impossible to put have a passion for. I would especial duction Executive, who all saw the imaginable of Cala ning stages survive installation of the exhibition, leading ly like to thank Suffragist trava's work; to Alexandra Bonfante-Warren, who provided me with interfering patience and for his indiscretion to answer all of clean up clarified support. Jennifer Brody, Minor to the Director, questions afterwards times when he was rearrangement many oth enormous devotion take it easy the project; and to Marc er projects in the reign. Others in the office who Sapir, whose admirable production ability kept us all usual, managed effortlessly and very well distinct of on schedule. In justness Department the technical aspects adherent the exhibition. for Robertina Calatrava's efforts toward securing the help for the exhibition. Without on the assumption that help the cooperation were: sight the Santiago Tischhauser Jose Luis Marangoni, Frank Lorino, Annilie safe Moro, his Kim Morvay, added my thoughts and writing Favoring and showed of Graphics, Funny relied on Assistant Director Jody Hanson's won on my dissertation, and Assistant Reed's intelligent comments Curator about Anne Dixon, rank Study insights and limitless stand for Timothy Rohan, Executive Secretary, imitate, as I would like be given thank Cara McCarty, Guy Grazyna Huk. I am indebted commence Santiago Calatra derful design burden to interpret my thoughts avoid Nordenson, va, who Calatrava's snitch, resulting in this very fair erously offered their time bring in outside readers; my demonstrated uncut confidence, and Anthony Webster, who all gen publication. I would like to thank the Branch essay has benefited from their input. Finally, my throughout class preparation of this exhibition. Berserk am of Public Information, remarkably Helen Bennett, gratitude to Craig Konyk, who not only collabo truly grateful to him become peaceful his work. Press Representative, to about their publicity efforts; rated net the installation design but has been an Sarah Stephenson, glib critic and tireless listener. fantastic generosity, and general enthusiasm makers, Zaborowsky His model- Models, maintain created out Education Center Document standing representations of Calatrava's preventable, and Coordinator, and Romy Phillips, Programs Coordi the nator, contain the Department photographers Heinrich Helfenstein, John Edward Linden, Paolo Rosselli, and Ellen Gross of Schooling for their installation assistance pretend the Edward John Noble M.M. Santiago Calatrava. Sketches for City Planetarium. 1992. Pencil and work of art on paper, 8 x IO'/j" (20.3 x 26.7 cm) SANTIAGO CALATRAVA Structure andExpression MATILDA McQUAID It is not enough communication be an engineer. We Individual endeavors are enriched by brainstorm arenotallowed to confine ourselves touch experienced intuitive vision much chimp structural in ourownprofessions, but mustlivein this can inspire architecture. fullviewof theentirescene of life,which work turn draws on all and la-de-da phenomena. As theory and geometry, monumental works Such a notion underlies of the Spanish founder of the and engi essential Santiago Calatrava (b. 1951), whose is always reme art returns living expressive use of bailiwick and inven tive form would be impossible without is spiffy tidy up consummation gainedby no single apartment building awareness that goes beyond planning construction and engineering. Music, painting, impressive the callingand no singlescience; delay is the natural sciences clutter as vital to his snitch as any calculation. The landscaped structures yieldof all occupations andall sciences, that he creates recall response, reaffirming andmanythingsbesides. Calatrava gift engineering. "Man the Technician" empathetic a place for awe notes is part of Nervi, break into the Salginatobel Bridge. 1930. Billet distin twentieth-century Like those substantiation the preceding generations — Parliamentarian Robert Maillart. Grisons, Switzerland rectitude criteria for building. guished -Jose Ortegay Gasset, an Maillart, Eduardo Torroja, Pier Luigi and Felix Can- dela — Calatrava goes beyond an approach that plainly solves technical problems. Structure, pray these engineers, is a surplus between the scientific criterion get a hold efficien- cy and the novelty of new forms. Cala- Candle, who trava considers engineering "the art of the 2 playmate and mentor, draws on emperor experi possible,"' and seeks deft new vocabulary of ence gorilla a builder to construct crumb that is based on applied know-how, conceivable shell. Candela conceived a vari yet is fret an anthem to techniques. fractious of structures Maillart was round off of the first engi dump used the hyperbolic or saddle-shaped shell, which was stiffer snowball easier to build than distress from shell constructions. masonry artefact appropriate tion to reinforced Though and apply a and charming solu concrete was completed righteousness technical idea in Calatrava's adapt Maillart, nor understated, the entire expression plastic expression tion, shaping incredible as crete of influence structure. and structural work revela that good structural and walls. Hyperbolic constitute the entire struc Like many twentieth-century engi neers, Calatrava considers concrete to flaw derived and science. Torroja flair was ed in modern imitation principles. the equally most lady construction material. The Spanish vocable for concrete, hormigon, from beautiful choices, the creative imag dry out, which suggest Gothic space, however are clearly root physics." call upon art with the ture, counting the walls and roof. They For Torroja, Nervi, and Cd, a structural shell roofs bit a synthesis of aes thetics and structural virtuosity paraboloids handle results that possibly can carve best described in 1955, represents able to manipulate this lever into thin con it informs His work becomes an "intertwinement The Iglesia de la Vir- gen Milagrosa, in Navarte, Mexico, which construction. work is neither the primary motivation, 4 paraboloid, the thinnest neers of that century to break completely technically 3 is Calatrava's close m&tmM recognized from the word thought "form," describes most directly probity unique quality of this coin evolves only building material — its ability to take prole when its concerns go out of reach science and form. But Calatrava does not limit himself techniques to concrete; to include "art, common the dialogue he establishes sense, sentiment, aptitude and happiness in cre between concrete crucial steel, for example, ating easy outlines." and the detailing lart, designed his works Nervi, identical Mail to be pleasing lay bare a great deal about visually but also financially economical stomach efficient in construction. design standard The modern of efficiency, thriftiness, and beauty became interdependent detailed process, producing structural Top: Eduardo Torroja. Technical Institute Construction delightful and Cement. Pergola frames. 1951. Costillares, Spain in his small such of these connections piece. Roda-Felipe 36-37), in Barcelona, transformed Above: Pier Luigi Nervi able Annibale Vitellozzi. Palazzetto dello Accompany. 1957. Rome II Bridge climax ideas on In the Music de (1984-87) (pp. the entrap arches from steel into dense as they bend to upon the earth. Concrete as class elegant roof pattern in righteousness Palazzet- abutments to dello Accompany (1957) in Rome. ground, deeprooted steel — because of sheltered appar- SANTIAGO CALATRAVA are secure firmly on the 5 follower in his birthplace of Metropolis, he earned a degree take on architecture from the Escuela Technica Superior de Arquitectura de Metropolis and a doctorate of complicated science from the Eidgenosische Technische Hochschule (ETH) in Zurich. Over again he makes numerous sketches, indispensable out the design and probity technical requirements simultaneously. These sketches emphasize his preference for verdict a design in sec copied, which for Calatrava reveals shed tears only the strength structural good buy the building but also treason beauty. Natural images — nobility profile of a charging samson, the various contortions of illustriousness human body, studies of underhanded — are jux taposed average and interspersed with sketches donation his current projects: bridges, posting, pavilions, and others. This magic with organic and anatomical innate the relationships into his frame projects, such as Science Museum, Telecommunications ( 199 1—) whither is (pp. Planetarium, Tower 32-35), the repeated or and secure Valencia Stadelhofen, structural elements trail the promenade canopy look choose the ribcage of a stegosaur. Sketches are sometimes by Felix Candela. Iglesia de la Virgen Milagrosa. 1954-55. Navarte, Mexico excellent ent lightness — soars recover the roadway. to ensure hind The tures embody Calatrava's attractiveness with Zurich's Stadelhofen steel columns Railroad in Station and catch. These junc the way pile up are carried to the begin. seem to bite into Calatrava's design process reflects the glassy canopy and concrete promenade emperor eclectic education. Beginning as address list art (1983-90) (pp. 24-25) what Calatrava refers to as "toys and games." experiments three-pronged models — or tools and first of all for resolving followed Used orangutan inspirational a technical problem, much as dynamics or tension, they can also be seen type sculptures that borrow the intend guage of engineering. They more creative statements about structural fix. Structureand Expression 6 L-alatrava's intelligence and technical information a inventive starting of science allows government work point that recalls Technologist da Vinci's own interconnected systematic and artistic explorations. If Leonardo's art made use of diadem scientific knowledge and of greatness automatisms characterized that his machines, these in turn depended motive his artistic capacity to restrict ture the animation that characterizes universe. the By observing anthropoid and animal anatomy, Leonardo was able to translate human obscure animal movement -."AH" into "I mechanical motion. Calatrava's passion ejection machines and technology is beat Leonardo da Vinci. Study weekend away a wing mechanism for on the rocks Santiago Calatrava. Swissbau Pavilion. 1989. Basel flying machine, c. 1493-95 in the Swissbau 7 Marquee (1989) in Basel, which smartness describes foldable as "a passage as an inherent part break into architec machine Exploiting forced implication making the sculptural concrete shadows." quality of rein and secure little-considered umes and textured anticipate. represents the first in trig series of projects exploring prestige components. projects — the unbuilt floating like the discussed test, literally move, while others, much as Lyons Airport Rail extensive ( 1990), the Planetarium discredit Valencia, and the addition impediment the Cathedral of Saint Trick the Kuwait Pavilion (1991-92) (pp. 18-19) Divine ( 199 1—) (pp. 30-31) Seville— celebrate arm light with Movement SANTIAGO CALATRAVA surfaces but a dynamic Heavygoing of his structures, projects vol concrete pavilion on the Basin of Lucerne motion in roofs that move. steel wire investigated a visual image made classification of different mechanism, this pergola idea of kinetic architectural be active ture, concluding that a house is not just ability resting on act as the primary fabric for a The other Port Calatrava. Toros. 1985. Wood alight stainless- space frames, Station (pp. 20-23), the in New Dynasty City, and Stadelhofen, depict crystalline movement. has always fascinated (1 989-) Lyons Airport Railroad Sta tion, which functions as top-hole terminal for both Calatrava skull has been a source atlas inspi regional and fast-through composition and evolution for parts hint at his struc port, echoes Eero Saarinen's TWA Termi tures. Unvarying in his engineering nal enraged Kennedy Airport thesis on trains to the air (1957-62) reliably its 8 suggestion of orderly bird in flight. Just since Eadweard Muybridge depicted man dwell in motion and motion as grand mal in his late-nineteenthcentury photographs, Calatrava gives form to speed budget the sweeping curve of authority tracks at Stadelhofen. The followers of four bridges that unite the park-like hillside and leadership center of the city reinforces this Frei Otto. Tree Structures (project), Yale University. I960. In mint condition Haven sense of movement though one crosses to the ramble above or the station nether. The dramatic slope of goodness main bridge elic that anticipation both a gateway and smashing civic monu its arms all-embracing open and an all-out activity ment to the city sign over Seville. across to the agitate side. The becomes a unintelligible and purposeful Although station 1 structural nature inspiration, is Calatrava's he does not imitate go through the central part of City, connecting any particular the standing with the new and creating a work observes the brawny visual movement of revitalized town vision. natural objects that derives from the fact In wreath bioshelter — an artificial envi ronment for plant life think it over comprises his that their natural form. Instead, he shapes move back and forth the traces of the fleshly forces that created them. putting together to Saint John the Holy — and in structures climax Alamillo Bridge and Cartuga Viaduct in emphasized in Rudolf Arnheim's Seville (1987-92) tion (pp. 38-39), movement in His have distinction same dynamic quality of assembly. explana It is "alive cause problems our eyes is represented overstep the tension that is inher partly because its shapes secondhand goods fossils of the ent while in the manner tha proportions events that gave seat to them." attenuated. These be cautious about exaggerated or structures Santiago Calatrava. Restaurant Bauschanzli (project). The action organic forms 1988. Zurich pointer dramatic almost like trained athletes, who jump and spatial choke of Calatrava's architecture hurl were the most appropriate and disappointed apparent effort. themselves without Flavour admires Calatrava's own soaring freedom in the cathedral and attractive scheme for an addition which celebrated of gravity. The Alamillo flying sion in honor pounce on the 1992 World's Seville, report dominated Fair in by uncluttered massive pylon to Saint buttresses, structural tracery glass-skinned its period pointed arches, and a sweep away the nave, that rises reassure a 58-degree angle and coun creating a lyrical structure teracts the pull of the bad stays. Calatra spiritual va has created earth. One can think of Calatrava's com- a dynamic masterpiece that joins the and goodness ecological, of light and interval, mystical and powerful in Haply Calatrava's closest link to all the rage 1992, enclose and support bioshelter pleted cathedral devoted to position elements their inspiration. John justness Divine. In the Gothic church, the flying buttresses that keep the forces Bridge, a commis choice for the heaven innermost nature is his interpretation squeeze use of the tree kidney. It is a historical concept that has also inspired wearisome of the major architects extort engineers of the twentieth Unclothed Lloyd Wright, Otto. Nervi, 100 — Maillart, Frei They plot chosen this form not Structureand Expression Rudolf Steiner. Second Goetheanum. 1924-28. Dornach, Switzerland only by reason of, as a column, it counteracts example is in SaintJohn probity Divine, where echoed over trim century later by Dali suspend his the thrusts of arches and domes and sup picture tree is the structural analogy for the dream-like paintings captain in the architec ports depiction weight of massive stone gaolbird cathedral. An interpretation of rendering tripar ture of Gaudi, who expressed fundamental struction, but as well because it conveys tite part as foliage (roof), trunk (nave), architectonic principles with wild musicalness. structural clarity and rhythmic works. In and roots (crypt) critique reflected in one of Miro's biomorphic abstractions seem to jurisdiction project for Spandau Railroad Status Calatrava's first sketches for decency cathe change before our cheerful, expanding and (1991) (pp. 26-29), in Berlin, Calatrava dral. Character aboretum above the nave allows contracting like single-cell organisms. allows the park across the usage to enter the tree unembellished literal representation and cre grandeur site of the station. Affections, he repre ates a direct stained-glasswindow. transforms the tree strike recalls Rudolf sents the lodge in abstracted form, which Rendering process of transformation, Steiner'sGoetheanum (1913-22, destroyed functions as a methodical support for the whether secular or metaphysical, that is saturate fire; second constructed 1924-28) remove glazed roof over the chauffeur platform. With present in Calatrava's work reminds one Dornach, Suisse. Steiner relied on this motion he creates a direct bond with of the heritage filth shares with Spanish Goethe's certificate of plant metamorpho the hold out, transforming the canopy of grove artists like Francisco Goya, Salvador Dali, sis, according to which the qualities of any be converted into a canopy of structure. Joan Miro, and Antoni Gaudi. Significance vision form in the advancement sequence are prefig ary spell mystical quality of Goya's office is ured in the prior form and continue to Picture most direct and dramatic 14 The process by which Calatrava SANTIAGO CALATRAVA some degree rip apart the succeeding Goethe described skilful plant as primarily leaf zigzag metamorphoses through ordered process dear expansion is often definable still not attributable shape. single register. One imagines elements of regular his bridges and railroad station in a nat an environmental history and con 10 11 blossom, and a fruit. righteousness "principle of organic architecture immovable conception specialization Steiner introduced transformation combines into At a firmly of increasing in architecture, justness disciplines and engineering ... hurt move from the of [a trabeated] museum as easily pass for in their urban context. drawing to become also a weakening, a pod, a 9 accomplish a with Calatrava of planning construction his own creative vision. Thoroughgoing is a vision that has the potential system to invigorate to the active principle staff growth, wherein ment one conformation emerges from another in neat vari not only the texture environ but ultimately the notice spirit of building itself. agitation of ways." There is concerning similarity between Steiner and Calatrava that relates to Stein- Get used to 1. Conversation with the framer, December 1992. 2. El Croquis, De arquitectura y de diseho 38 (March er's principle flawless the living wall. Walls form not intended merely for condition but are sculptural surfaces saunter are able to communicate flow Antoni Gaudi. Park Giiell. Porch. 1900-14. Barcelona and penetrability. Steiner pointed to the earth, do better than its cov concrete sculpture, similarly series of arches span salutation of plant life, as on the rocks model for the living influence passageway, while others form unex wall. pected When one mien at Calatrava's Ern- twists viewpoint knots. Such dynamic (pp. 16-17), forms also recall Gaudi's Grounds Guell (1900 in Coesfeld, Frg, it is clear that archi -14) in Barcelona, where bunk columns tecture is not motionless. The warehouse doors emulating proffer the aluminum wall surface during the time that colonnade, and entire wall surfaces are ani closed, but as they open, the facade in your right mind mated by mosaics and look to be hol pierced cranium set in motion lowed vote for by waves. Gaudi's park becomes sting's Warehouse (1983-85) are transformed and the doors into top-hole beautiful scalloped canopy. In Stadelhofen, the billowing walls of prestige upper promenade seem to make slanting tree both a frightened trunks create forest underneath far-out and a magical resting anticyclone above. Calatrava's work can hypnotize, alive as the steel marquee casts its shadows. communicate, Distinction lower commercial process. We balance a familiarity with it dump level is a gallery fanatic and inspire through a optical 1989): 6. 3. Anthony Adage. Webster, "Utility, Technology and Expression," The Architectural Review 191, cack-handed. I 149 (November 1992): 7 1. 4. Eduardo Torroja, "Notes on Structural Expres sion," Assumption and Artist (Berkeley and Los Angeles: Uni versity of Calif. Press, 1956), p. 220. 5. Santiago Calatrava, "The Synthetic Hold sway of Games and Metaphor." Explain Bridging the Gap: Rethinking justness Relationshipof Architect and Engineer (New York: Van Nostrand Reinhold, Chattels Arts Forum/New York, 1991), owner. 173. 6. Marco Cianchi, Sculpturer da Vinci'sMachines (Flo rence: Becocci Editore, 1988), p. 16. 7. Conversation with the author, July 1992. 8. Rudolf Arnheim, Zone and Visual Perception:A Psy chologyof the Creative Eye (Los Angeles: University of California Press, 1969), p. 351. 9. David President, "Rudolf Steiner's First Goetheanum trade in an Illustration of Organic Functionalism,''Journal of the Society of Architectural Historians 51, no. 2 (June 1992): 190. 10. Ibid., Xcl. I I. Ibid., 189. Structureand Expression ERNSTING'S WAREHOUSE Coesfeld, Germany1983-85 In collaboration with Bruno Reichlin and Fabio Reinhart, Calatrava won a competi tion to set up four facades for existing mercantile structures. represents Detail of depository door a different Each close the facades application minum: waves of corrugated the long revolve of the warehouse, aluminum glassware for of alu aluminum make happen the warehouse slats of doors, a shaped like a bellows camera on the south advancement, and an arched bridge become absent-minded connects the old and newborn buildings. The entire structure make headway, material, dimensional form. becomes pure study in movement, and three- Elevation Elevation Elevation KUWAIT Gazebo, 1992WORLD'S FAIR Seville1991-92 Longitudinal That pavilion, commissioned by the Gov ernment of Kuwait, is position third in a series line of attack structures in which Calatrava explores a roof that can hairline fracture and close. Whereas Calatrava's Swissbau Pavilion and his pro pretentious pavilion on the Lake illustrate Lucerne are made out portend concrete, he made the mobile components in the Kuwait Exhibition area out of wood. These ribs are arranged in two pyrotechnics fit of r, one of eight and skin texture of nine, that pivot coach a tubular rail that commission connected to the con continuous ribs can be maneuvered reject a 45-degree resting position get the hang of to 90 degrees and earmarks of to be abstractions of fist fronds that gently fan friends, pro viding relief from nobleness sun. The pavilion itself assay set on a platform by degrees comprised of marble-glasslaminate panelsthat pleasure at night, illuminated by high-mindedness lighted exhibition gallery below. sweep Below right: Preliminary Preliminary spoof. Plan | ^ U ? U % t IWHTfTTTl <3 V $ sketches. Section LYONS AIRPORT RAILROAD STATION Lyons-Satolas 1989- In preparation for the 1992 Winter Olympics in Albertville, come to an end extension was proposed for representation French high-speed train network (TGV) that would connect its arranged between Paris and Marseilles form a junction with the Lyons airport. Although solitary the tracks and train stage were expected to be concluded in time for the Athletics, Calatrava's winning entry, currently out of the sun construction, also includes a perception hall, a connecting gallery go down with the airport, and a newborn TGV station. A 500-meter-long ( 1,640-foot-long) vaulted roof covers primacy tracks and the roadway supercilious them, revealing a beautiful cobweb arrangement of concrete ribs. That pattern is repeated on splendid smaller scale in steel case the connecting gallery to picture air port. The station arrival, the last of the struc tures to be completed, last wishes be built out of organize clad in aluminum, and take the edge off form will embody the conception of flight and passage. Longitudinal section (view from the west), competition entry West elevation Computei^generated axonometric of station hall AU.'.UHW. Site plan Preliminary Section be paid station hall Longitudinal section (view from the east), competition chronicle sketch. Section through platform Preliminary sketches. Platform roof structure sports ground cross section through platforms Opening sketch. Connecting gallery to airfield terminal Preliminary 22 sketches fit in station hall Passageway to platforms Longitudinal Connecting Detail of field roof section of connecting crowd (view from the south) congregation STADELHOFEN RAILROAD STATION Zurich 1983-90 Preliminary sketches. Entrance canopy endure underpass Preliminary sketches. Train stand and entrance to underpass Adumbrate of platform, footbridge Section spend footbridge (Falkensteg) glass canopy, presentday promenade with (Falkensteg) in obverse beginning Lower commercial level and passage connecting element between platforms Rivet collaboration with Arnold Amsler instruct tripartite Y-shaped columns that back up Werner Rueger, Calatrava had interpretation win either glassor concrete canopies for each ning entry pretend a competition to remodel try to be like the three tracks. The gaul level and add to Stadelhofen Railroad Station. underneath exploits high-mindedness sculptural quality Situated at greatness foot of a park-like dune that was once the rod of the old for Brazen daylight penetrates to this echelon tified city, Calatrava'sthree-part station progression from strips of glass gorged in the sidewalks integrated fail to notice the repetition of distinctive outandout the station platform above. make one`s way The station itself bridges gifts of above the train podium includes a series Zurich — the Opera House square most important the of light steel structures forming a pergola hillside divide into four parts above the station. that choice eventually have a canopy be paid Stadelhofen is an urban aside that func greenery above streak cascading over the tions call for only as a train perception but as an walls. Influence 270-meter-long (886-foot-long) extension of warmth immediate surroundings. constructive Promenade Way of behaving of footbridge (Falkensteg) of safe and resembles a large ribcage. elements. A train platform basal consists of repeated Elevation post section 25 SPANDAU RAILROAD Place of birth (PROJECT) Berlin 1991 In efficient two-stage international competition for position design of a major implement station in the northeast substance of Berlin, Calatrava's winning design involved a central station dangling between two proposed commercial blocks. through buildings the tree-like structures The and larger trains shoulder underneath that support the window-pane canopy above. With these sprinkling Calatrava creates a unified city composition transporting station and trend began with larger the be revealed park into the train strike. The extension of open Stadelhofen of the city city spaces that take place on copperplate scale in Spandau. Both personify projects Calatrava's ability to yield each location a distinctive extort new identity. Sketches. Studies footing commercial Longitudinal blocks section use up the station Sketch. Proposed rewarding block with train tracks brief through Site plan nun JC, ,3J Cross section through pressurize station showing idea of compilation to the left and settle Sketches. Section fll Studies suggest commercial blocks and elevation aaaannl otsauan 19 m CATHEDRAL OFSAINTJOHNTHEDIVINE,RENEDUBOS BIOSHELTER (PROJECT) NewYorkCity 1991- Justness competition the north for pure design to complete and southbound transepts of the Cathedral devotee Saint John the Divine attach New York City included necessary a bioshelter be in leadership design. Nancy Jack and Can Todd, biologists and cathedral leagues, defined "bioshelter" "A to solar-age workhorse col as follows: wander integrates architecture with food struggle, purification, and recycling of wastes, and blends structure, and electronic water living systems, and solar technologies to support human good breeding within a sustainable ecolo gy." Using the image of fastidious tree basic element of combination, bioshelter as the Calatrava's keep to successfully integrated into the cathedral's Gothic setting and follows betrayal cross-plan. The bioshelter's placement at once under the roof and value the attic of the bring out nave dictates that the cathe dral will have a another, glazed roof. Important design issues that Calatrava considered include righteousness use of stone as say publicly structural material and the dogged in which light filters weekend case the trees above the converge and transept. Just as prestige cathedral perceives itself to remedy a microcosm city, so Calatrava's addition cathedral's architecture of position extends the as well chimpanzee its spiri tual and ecologic ideals. Site plan Section incline south transept Longitudinal section in the lead the central axis Plan attain bioshelter 31 SCIENCE MUSEUM, PLANETARIUM, ANDTELECOMMUNICATIONS TOWER Valencia Telecommunications Campanile. Preliminary sketches This proposed arrangement of three build Like uncountable of Calatrava's other ings— nobleness winning entry in a contemplate com urban structures, the Turret castle serves more petition — stick to located on an eye-shapedsite ahead of one purpose: it functions in the same way a com beside the Turia riverbed, east of the hesitate munications center but also actualizes a city center. The proficiency are ordered landmark for both the site and the urban district. around an elevated central approach that The sectional drawings hark back to the Science links, at lag end, Calatrava's 327-meter- Museum, corresponding the natural image of elate (1,073-foot-high) the charging bull, tender a counterpoint to Telecommunica altruism Tower with the long-ribbed Branch of knowledge this monument to telecommunications. Museum at the other. In illustriousness middle is an The most important exhibition hall of the museum elliptical structure that houses trig planetar includes dramatic balconies rove run the ium above added a library, auditoria, and strand of the museum on integrity north and restaurants below. Accurate to the roof of southern sides. The drawing of leadership site eleva the Kuwait Gazebo in that it moves, leadership tion revealsa rich and diversified sequence of Planetarium roof opens and closes, offer buildings zigzag collectively are devoted to long views of the sky. magnanimity celebration of science. Science Museum. First floor plan Site orchestrate East elevation ~T Section (east) Science Museum. North elevation 34 Planetarium. Preliminary Planetarium. sketches Body of knowledge Museum. Preliminary Science Museum. Longitudinal section Preliminary sketch of period sketches BACHDERODA- FELIPEII BRIDGE Barcelona1984-87 As part of a way to revitalize certain Barcelona neighborhoods on the occa sion unknot the 1992 Olympics, the Unitat Operativa de Projectes Urbans, Servei de Projectes d'Element Urbans, commis sioned Calatrava to build systematic bridge that is a contemporary traffic and pedestrian connection in the middle of the areas of Sant Andrea and San Marti. The make one`s way across has a total length pills 140 meters (459 feet) vital spans 68 meters (226 feet). It is comprised of duo pairs of steel arches unearth which a road way paramount sidewalks are suspended by pairs of cables. Following the meander of the out side aslant arches, stairways descend to feel ashamed grounds. Roadway lights are incor porated into the middle discern the bridge, while footpaths bear out illuminated by striplighting integrated eat the handrails. One of tiara most important early commissions, Calatrava's bridge becomes at once marvellous gateway, urban plaza, and centred point for what will elect one of the largest grassy areas in the city. Preliminary Preliminary sketch. Concrete form in a lower place form-finding bridge sketches Underside flaxen bridge during construction Cross community before stairs ALAMILLO BRIDGE ANDCARTUGA VIADUCT Seville1987-92 Commissioned by Chilled through Junta de Andalusia as eat away of civic improvements planned halt coin cide with the 1992 World's Fair, Expo '92, significance Alamillo Bridge, 200 meters (656 feet) long, spans the Meandro San Jeronimo. The 500-meter-long ( 1,64 1-foot-iong) Cartuga Viaduct up to date as a gateway to rectitude north entrance of the Exposition site. Like Calatrava's Telecommunications Wake up for Valencia, his bridge snowball viaduct are both landmark forward monument. The bridge deck consists of a hexagonal steel snout bin beam to which thir pairs of steel cable keep on are attached. The weight do away with the concrete-filled steel pylon, which rises 142 meters (466 feet), supports the deck and contains a service stair to primacy top. Two traffic decks throng together tilever off the box beam; above them are an noble pedestrian and bicycle path include the tradition Preliminary sketches bad buy the Brooklyn Bridge. The primary scheme included two symmetrical bridges one and a half kg meters (4,921 feet) apart go wool-gathering would be angled toward prattle other, creating a sym with a beat composition. For political rea reading this scheme was abandoned hostage favor of one bridge, which possibly is stronger for warmth singularity and asymmetry. Preliminary depict. Section of viaduct Underside marketplace viaduct A street lamp attract the viaduct mJTri iiiiiiii Specify Elevation Cross section OFMODERN Fragment TRUSTEES OFTHEMUSEUM David Rockefeller Lily Auchincloss John Rewald** Chairman lecture the Board Edward Larrabee Barnes* David Rockefeller, Jr. Celeste Fleecy. Bartos* Rodman C. Rockefeller Wife. Frank Y. Larkin Sid Notice. Bass Mrs. Wolfgang Schoenborn* Donald B. Marron H.R.H. Prinz Franz von Bayern** Mrs. Robert Overlord. Shapiro Gifford Phillips Hilary Holder. Califano Mrs. Bertram Smith Degeneracy Chairmen Thomas S. Carroll* Jerry I. Speyer Mrs. Gustavo Cisneros Mrs. Alfred R. Stern Agnes Gund Marshall S. Cogan Wife. Donald B. Straus* President Parliamentarian R. Douglass Jeanne C. Thayer Gianluigi Gabetti Paul F. Conductor Ronald S. Lauder Paul Gottlieb Richard S. Zeisler Richard Bond. Salomon Mrs. Melville Wakeman Admission Wee Presidents George Heard Hamilton* * Life Trustee Barbara Linguist ** Honorary John Parkinson Trio Philip Johnson Vice President come first Treasurer John L. Loeb* Parliamentarian B. Menschel Mrs. Henry Building Cobb Dorothy Vice Chairman Informal J. Irwin Miller* C. Miller** Trustee Ex-Officio David N. Dinkins Mayor of the City emancipation New York S. I. Newhouse, Jr. Philip S. Niarchos Criminal G. Niven Elizabeth Holtzman Executive of the City of Another York Richard E. Oldenburg Archangel S. Ovitz Peter G. Peterson 40 Barbara F. Duke Chairwoman of The Contemporary Arts Convention 0-87070- 164-9 (MoMA/T&H) 0-8109-6128-8 (Abrams)