Artist of the day: Artist of the day, March 13, 2020: Santiago Calatrava, a Spanish architect (#941)

Friday, March 13, 2020

Artist of the day, March 13, 2020: Santiago Calatrava, a Spanish architect (#941)

Santiago Calatrava, (in full Santiago Calatrava Valls), (1951), a Spanish architect widely known for his sculptural bridges and buildings.

Calatrava studied architecture at the Polytechnic University of Valencia, Spain, from which he graduated in 1974. The following year he began a course in structural engineering at the Swiss Federal Institute of Technology in Zürich, receiving a Ph.D. in technical science (1979) for a thesis entitled “On the Foldability of Frames.” In 1981 he established his own architecture and engineering firm in Zürich. (He would later open offices in Paris, Valencia, and New York.)

Calatrava gained a reputation for his ability to blend advanced engineering solutions with dramatic visual statements, in both bridges and buildings. When Expo ’92 was going to Sevilla, Spain, the city needed to have bridges constructed to allow access to an island that would be used for exhibitions. Calatrava’s Alamillo Bridge (1987–92), built for this purpose, instantly received international attention. The dramatic structure’s central feature is a 466-foot (142 m) pylon that inclines asymmetrically away from the river, supporting a span with more than a dozen pairs of cables. The dramatic image, resembling a harp, transformed bridge engineering into a form of sculpture that can invigorate its surrounding landscape. Calatrava’s other innovative bridges include the Lusitania Bridge (1988–91) in Mérida, Spain, the Campo Volantin Footbridge (1990–97) in Bilbao, Spain, and the Woman’s Bridge (1998–2001) in Buenos Aires, Argentina.

In his architectural commissions, Calatrava used his knowledge of engineering to create innovative, sculptural structures, often in concrete and steel. He stated that nature served as his guide, inspiring him to create buildings that reflected natural shapes and rhythms. He was intensely interested in the architectural use of zoomorphic forms, a passion evident in such buildings as Turning Torso (1999–2005), his unique apartment tower in Malmö, Sweden. Its sculptural shape suggested a twisting spinal column. For the Lyon (France) Airport Railway Station (1989–94), he created a building that resembled a bird with outspread wings; the interior skeletal steel frame reinforced this birdlike effect. The bird allusion had symbolic meaning as well since the station served as the endpoint of the route from Lyon to the airport. Calatrava’s other memorable buildings include a renovation of the Stadelhofen Railway station (1983–90) in Zürich, the BCE Place Gallery and Heritage Square (1987–92) in Toronto, Tenerife Opera House (1991–2003) in the Canary Islands, and several structures (including an opera house, an arboretum, and a planetarium) for the City of Arts and Sciences (1991–2004) in Valencia.

The Quadracci Pavilion of the Milwaukee Art Museum (1994–2001) was Calatrava's first building in the United States and his first museum. It displayed the technical innovations and forms he had first used in his railway stations and airports, but with more freedom of form and architectural theatrics. It is an addition to an existing building, constructed by Eero Saarinen in 1957 next to Lake Michigan, with a later addition in 1975 by David Kahler. Calatrava's design was selected after a competition entered by seventy-seven architects. Calatrava's solution was a glass and steel entry hall 2 meters (6.6 ft) high with a moveable sunscreen roof, composed two large wings made up of twenty-six smaller wings, from 8 to 32 m (26 to 105 ft) in length. The sunscreen, weighing 115 tonnes, can be hoisted up by a single pylon, like an enormous bird's wing, or lowered when the wind from the lake is stronger than 65 kilometers per hour.

Calatrava received the contract to design the new rail station on the former site of the World Trade Center in New York City in 2004. The following year he was awarded the Gold Medal of the American Institute of Architects. Plans to build Calatrava’s design for the Chicago Spire, to have been the world’s tallest residential building (2,000 feet-610 meters), did not come to fruition.

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