Santiago Calatrava Research Articles

현대 구조적 패션디자인에 나타난 구조미의 표현방식에 대한 연구 - 산티아고 칼라뜨라바의 건축특성을 중심으로 -

The structural aesthetics of architecture are becoming an inspirational source for many fashion designers and have been reborn in structural fashion. This study planned to analyze the method of expression of structural aesthetics expressed in modern structural fashion design and the construction method to maximize such an effect on the basis of the construction characteristic of Santiago Calatrava as the representative architect of the structural aesthetic. According to the study, the structural aesthetics expressed in modern structural fashion design are as follows: 1) The symbolical formative aesthetic expressed by symbolical inference and analyzation; 2) the dynamic beauty of physic expressed by visual emphasis and dynamics; and 3) the asymmetric beauty of symmetry expressed by metastasis toward the boundary between balance and imbalance. In addition, to maximize structural aesthetics, we used repetition and a progressive technique based on rhythm, asymmetry, and incision-based variances, such as balance, polygon flux, and inference, and analyzation-based distortion as the structuring principle. The following expression methods for maximizing structural aesthetics were found: 1) symbolical and structural exaggeration of appearance; 2) detail technique expansion and material property diversification; and 3) the three-dimensional transformation of structure and shell expression. Structural fashion design was found to have maximized structural aesthetics by using such expression methods to secure artistic esthetics, destroy existing shapes and patterns, and create unique shapes.

A study on expression methods for structural aesthetics in modern fashion design - Focus on the architectural characteristics of Santiago Calatrava -

A study on expression methods for structural aesthetics in modern fashion design - Focus on the architectural characteristics of Santiago Calatrava -

Santiago Calatrava and the ‘Power of Faith’: Global Imaginaries in Valencia

AbstractThe focus of this article is on the importance of collective imaginaries for urban policy mobility, and on the agents and modes of power through which imaginaries are translated, mobilized and become materialized in specific places. Through the case study of the monumental complex of the City of Arts and Sciences in Valencia, designed by Valencian global architect Santiago Calatrava, I discuss Calatrava's mobilization of ideas of modernity, tradition, democratization and self‐esteem already present in the collective imaginary of the people and the politicians of post‐Franco's Spain to promote his global architecture. In this process, I argue, global imaginaries were translated into local imaginaries and vice versa as they became embodied in persons and objects, represented in this case by Calatrava's figure as a local/global architect and by the architecture of the City of Arts and Sciences. Particularly, I analyse Calatrava's use of the power of seduction, persuasion and coercion to mobilize such imaginaries in order to build his ubiquitous signature architecture in Valencia.

산티아고 칼라트라바 건축의 텍토닉 특성과 빛의 역할에 관한 연구

산티아고 칼라트라바 건축의 텍토닉 특성과 빛의 역할에 관한 연구

Santiago Calatrava: Form, Function, and Structure Follow Gesture

Santiago Calatrava: Form, Function, and Structure Follow Gesture

Understanding Calatrava’s bridges: A conceptual approach to the ‘La Devesa-type’ footbridges

As a recent result of the modern structural mastery of developed societies, many designers concerned with aesthetics, most of them with low technical training, but with hardly any technical restriction to their creative freedom, have begun to collaborate with structural engineers. They play an increasingly important role in design teams, which are now interdisciplinary, mainly for short and medium-span bridges located in urban environments, where aesthetic quality may be a desired, or even the primary, objective. This paper is focused on understanding the complex structural behaviour of one of the most frequently built types of bridges born from this collaboration: the bridge composed of a straight deck supported by an eccentric inclined arch attached to its edge. This type of bridge was pioneered by the well-known Spanish engineer and architect Santiago Calatrava, who designed the ‘La Devesa’ footbridge.The study is carried out gradually. Firstly, the ‘classical’ arch bridge (with a vertical arch attached to the axis of the deck by means of a set of vertical hangers) is studied and taken as a reference. Then, the effect of moving laterally the vertical arch as far as the edge is described and analysed. After that, and keeping the arch attached to the edge of the deck, the effect of rotating the arch about a longitudinal axis is analysed. Finally, the effect of stiffening the hangers is discussed. The paper finishes by presenting some considerations about the structural response of these bridges and recommendations about their most suitable structural configuration.

Review: Félix Candela 1910–2010

Felix Candela 1910–2010 Institut Valencia d’Art Modern, Valencia, Spain 21 October 2010–2 January 2011 Museo Extremeno e Iberoamericano de Arte Contemporaneo, Badajoz, Spain 17 March–14 August 2011 Museo de Arte Moderno, Mexico City 22 September 2011–15 January 2012 Miriam and Ira D. Wallach Art Gallery, Columbia University 11 February–31 March 2012 The exhibition of the work of the Spanish-Mexican architect-engineer Felix Candela, known for his thin-shell concrete structures, resonates with global contemporary architecture culture. For example, Candela’s parabolic forms bear a family resemblance to the work of a fellow Spaniard, Santiago Calatrava. As is the case with Calatrava’s work, images of Candela’s structures were widely circulated in the architectural press at the time. This exhibition reveals that there were, in fact, many differences. While today’s spectacular forms result from sophisticated computer modeling and fabrication, Candela’s thin-concrete shells were often based on on-site experimentation and crude construction methods. Although Candela enjoyed an international career and even stardom, his career is deeply rooted in the culture of his adopted homeland of Mexico of the 1950s. Organized and circulated by Accion Cultural Espanola with the collaboration of the Universidad Nacional Autonoma de Mexico (UNAM), the exhibition Felix Candela 1910–2010 was originally presented in 2010 at the Institut Valencia d’Art Modern on the occasion of the centenary celebrations of Candela’s birth. From there it traveled to the Museo Extremeno e Iberoamericano de Arte Contemporaneo in Badajoz, Spain, the Museo de Arte Moderno of Mexico City, and finally to the Miriam and Ira D. Wallach Art Gallery at Columbia University in spring 2012, thus following the route taken by of one of the greatest architect-engineers of the twentieth century from his native Spain to Mexico and subsequently to the United States. In a similar reflection on Candela’s international life and career, Juan Ignacio del Cueto Ruiz-Funes, the professor at UNAM who curated the show, drew on archival resources on two continents. The exhibition included work drawn from the collections of the Avery Architectural and Fine Arts Library at Columbia University, the Department of Civil and Environmental Engineering at Princeton University, and the Archives of Mexican Architects …

Creating Public Realm through Urban Renewal- Learning from the City of Arts and Sciences for the Indian Urban Scenario

In a rapidly developing nation like India, the prime aspect of growth is development of private projects to cater to the need for generating revenue. Land is developed for closed housing communities, industrial and IT parks and areas for the private sector. Even though, open spaces may be provided inside and along the developments, they are used by a restricted clientele, since the spaces are not open to all tiers of the society and for public use. As a result, even with the generation of enough open spaces, there is no realization of a public realm in most of the urban zones. Since there are several conflicting demands from different participatory bodies in a development project, the resolution of this conflict is not possible, but selection of the best solution is within the human abilities of the decision-making bodies. The City of Arts and Sciences in Valencia of Spain by architect Santiago Calatrava is a good example of providing urban space from an architectural project, with infrastructural planning and integration with the environment involving public participation and creating a successful public realm through celebrating modernity of structure-oriented bio mimicry architecture applied to the project area. The paper aims to study the effect of a government-initiated urban renewal project in the development of a degraded urban space and the urban design elements applied in the conceptual stage in order to realize an attractive public realm. The integrated approach towards the planning disciplines is encouraged in a plural society like India where all development aspects are fragmented, with a special emphasis on the creation of open spaces for public use for all tiers of the society.

COMBINED PHYSICAL AND NUMERICAL MODELLING TO INFORM OPTIMAL MARINA DESIGN

A new Marina, capable of hosting up to 1,000 boats, is being constructed along the southern Tyrrhenian Sea coast of Italy. The Marina is separated from the shore by a 80 m wide channel and access to the harbour will be via a bridge designed by Santiago Calatrava. Design improvements and refinements were identified through physical and numerical model studies. This paper shows the important role of numerical and physical models in the design process of a marina. For this project the physical model study has confirmed the effectiveness of the optimised design

Santiago Calatrava’s Alamillo Bridge and the Idea of the Structural Engineer as Artist

The structures of Santiago Calatrava are noted for their adventurous forms, and Calatrava is heralded as a hybrid architect/engineer whose works represent an integration of both disciplines. While there have been a number of publications on the structures of Calatrava, nearly all have focused on the architecture or artistry of them without addressing how well they fulfill the requirements or represent great works of structural engineering. Here a thorough structural analysis of one of Calatrava’s most well known bridges is performed to determine how well it achieves the goals of structural engineering. This provides insight as to how well Calatrava’s works represent engineering as art and what we can learn from his works in the context of great works of structural art.

Schools 2012 Serves Up Tech Tips, Midwestern Hospitality

You have accessThe ASHA LeaderASHA News1 Apr 2012Schools 2012 Serves Up Tech Tips, Midwestern Hospitality Kellie Rowden-Racette Kellie Rowden-Racette Google Scholar More articles by this author https://doi.org/10.1044/leader.AN2.17042012.9 SectionsAbout ToolsAdd to favorites ShareFacebookTwitterLinked In ASHA Schools 2012 will welcome school-based professionals and assistants to the sunny shores of Lake Michigan to learn practical, hands-on information to help their students and districts. Opening this year’s conference, scheduled for July 27–29 in Milwaukee, Wisconsin, will be Jennifer Abrams, an international educational and communications consultant for public and private schools, hospitals, universities, and non-profits. Abrams trains teachers and administrators on successful instructional practices, new employee support, supervision and evaluation, generational savvy, and effective collaboration skills. She has presented at annual conferences such as Learning Forward, the New Teacher Center Annual Symposium, and the Teachers’ and Principals’ Centers for International School Leadership. Her publications include Having Hard Conversations, published by Corwin Press in 2009; the chapter “Habits of Mind for the School Savvy Leader” in Learning and Leading with Habits of Mind: 16 Essential Characteristics for Success, by Art Costa and Bena Kallick; and contributions to Mentors in the Making: Developing New Leaders for New Teachers, published by Teachers College Press. Other presenters include Judith Maginnis Kuster speaking about Web resources for school-based SLPs; Pam Wiley addressing social skills for students with autism spectrum disorders; Laura Justice discussing emerging literacy; Mike Campbell reviewing the ins and outs of telepractice in schools; and Sam Sennott covering the latest apps to help school-based SLPs deliver effective services and streamline their heavy workloads. The conference will emphasize use of technology in the classroom, and will feature a technology session in almost every time slot. Outside of sessions, attendees can browse exhibits, participate in roundtable discussions, and speak with members of ASHA’s Board of Directors during the Member Forum. Beyond the Milwaukee Conference Center, attendees can explore the reinvigorated city of Milwaukee by strolling the Milwaukee River Walk. Once known only as a powerhouse for beer brewing and manufacturing, Milwaukee has, over the past few decades, reinvented itself as a tourist-friendly city that is home to quaint neighborhoods and a high-profile restaurant scene. Registration is now open. The early-bird deadine is June 4; regular registration closes July 14. For more information visit ASHA’s School’s webpage. Lakeside Soiree for ASHFoundation Schools Conference participants can attend a fundraising event at the Milwaukee Art Museum, an architectural landmark overlooking Lake Michigan. Sponsored by the American Speech-Language-Hearing Foundation on Friday, July 27, from 6 p.m. to 7:30 p.m., the event supports ASHFoundation research grants and scholarships. The event, which includes light fare, will take place in the Quadracci Pavilion, a sculptural, postmodern addition designed by Spanish architect Santiago Calatrava. Highlights of the building are the cathedral-like space of Windhover Hall, with a vaulted 90-foot-high glass ceiling; the Burke Brise Soleil, a moveable sunscreen with a 217-foot wingspan that unfolds and folds twice daily; and the Reiman Bridge, a pedestrian suspension bridge that connects the museum to the city. Following the reception, participants can venture out to sample nearby restaurants, brewhouses, or the weekend’s German Fest. Because of the museum’s proximity to the convention center (about 1.2 miles), participants can walk, trolley ($1 round trip), or take a cab to the event. Advance-purchase tickets (nonrefundable) are $45; on-site admission (subject to availability) is $55. Tickets may be purchased on the conference registration form or by calling 800-498-2071. Author Notes Kellie Rowden-Racette, print and online editor for The ASHA Leader, can be reached at [email protected]. Advertising Disclaimer | Advertise With Us Advertising Disclaimer | Advertise With Us Additional Resources FiguresSourcesRelatedDetails Volume 17Issue 4April 2012 Get Permissions Add to your Mendeley library History Published in print: Apr 1, 2012 Metrics Downloaded 49 times Topicsasha-topicsleader_do_tagleader-topicsasha-article-typesCopyright & Permissions© 2012 American Speech-Language-Hearing AssociationLoading ...

A RECENT TREND IN TALL BUILDING DESIGN: TWISTED FORMS

The symbolic value of a tall building is very powerful in an urban landscape, and its design is influenced by the opportunity to create a unique iconic architecture for the city. For architects and the public, the form of a tall building is the primary concern, and the attitude is critical toward the outcome of the design. The approach to designing evolutionary tall buildings is an open subject of professional debate, and the role of the architect is very important, from the point of view of form generation. Today, an interesting approach in contemporary tall building design is the twisting forms and facades, which are employed as a reaction to the boxed forms of the recent and the past. A very popular example of this form is the Turning Torso in Sweden, designed by Santiago Calatrava. Many other tall buildings with twisting forms are designed and constructed worldwide, to achieve iconic structures for the cities. Twisting facades of a tall building perform various surface effects reflecting, refracting and distorting views of the city. However architecturally, structurally and aesthetically, it is a complicated task to develop a twisting form for tall buildings due to the interrelationship of a huge number of building components. The objective of this paper is to explain the morphological scheme and geometrical properties of twisting forms in a systematical approach, and to discuss the difficulties of designation and construction, such as selecting the supporting structure and detailing the facade system. A number of case studies are also presented in the paper. The intention of the paper is to inspire continued interest in new concepts of tall building forms and to investigate the design process for architects.

Law Faculty Library at the University of Zürich by Santiago Calatrava

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Review: Arquia/documental

Arquia/documental , documentary film collection, DVDs with accompanying text, each €18, Fundacion Caja de Arquitectos, Madrid, http://www.arquia.es/fq\_site/new\_documentales.asp 1. (2 films, 2 discs) Marc-Henri Wajnberg, director. Oscar Niemeyer: Un arquitecto Comprometido/Oscar Niemeyer, un architecte engage dans le siecle . Belgium, 2000, text by Josep M. Botey, Portuguese with Spanish subtitles, 60 min. Geraldo Motta, director. Lucio Costa: Brasilia y la Utopia Moderna/The Line: Lucio Costa and the Modern Utopia/O risco: Lucio Costa e a utopia moderna . Brazil, 2003, text by Josep M. Botey, Portuguese with Spanish subtitles, 76 min. 2. Daryl Dellora, director. Jorn Utzon: El Limite de lo Posible/The Edge of the Possible: Jorn Utzon and the Sydney Opera House . Australia, 1998, text by Rafael Moneo, English with Spanish subtitles, 56 min. 3. Nathaniel Kahn, director. Louis I. Kahn: Mi Arquitecto/Louis I. Kahn, My Architect: A Son's Journey . USA, 2004, text by Antonio Juarez, English with Spanish subtitles, 116 min. 4. (2 parts, 2 discs) Manu Rewal, director. Le Corbusier en la India, 1a Parte: Ahmedabad y El Capitolio de Chandigarh/Le Corbusier en Inde, 1re partie: Ahmedabad et Chandigarh. Le Corbusier en la India, 2a parte: El Capitolio de Chandigarh/Le Corbusier in India, 2nd part: The Capitol of Chandigarh . India/France, 2000, text by Josep Quetglas and M. Cecilia O'Byrne, English and French with Spanish subtitles, 52 and 48 min. 5. Mirjam von Arx, director. Norman Foster: Construir el Gherkin/Building the Gherkin . Switzerland, 2000–2005, text by Luis Fernandez Galiano, English with Spanish subtitles, 90 min. 6. Fredrik Gertten, director. Santiago Calatrava: El Socialista, el Arquitecto y la Turning Torso/Sossen, Arkitekten och det Skruvade Huset . Sweden, 2005, text by Josep Maria Montaner, Swedish and English with Spanish subtitles, 60 min. 7. Arun Khopkar, director. Charles Correa: Volumen Cero/Charles Correa: Volume Zero . India, 2009, text by Joseph Rykwert and Anatxu Zabalbeascoa, English with Spanish subtitles, 58 min. 8. Markus Heidingsfelder and Min Tesch, …

The new Guillemins station – a railway station for high‐speed trains

AbstractIn Liège, the existing railway infrastructure was not capable of being properly used by high‐speed trains. A number of elements handicapped the site of the old station: curved platforms that were too narrow, an approach speed to the station that was too low, numerous track intersections and poor positioning of the Brussels‐Germany line, even though it carries the most traffic. In comparison with the old building, the route through the new station has been moved 150 m in order to meet two requirements:– to enable straight platforms which make it easier for trains to enter and leave the station and for passengers to embark and disembark;– to establish a harmonious link between the station and the nearby motorway network.This link with the motorway network is provided by a bridge and a viaduct, designed by Santiago Calatrava. This Hillside entrance to the station has the advantage of the availability of a car park with 600 parking spaces, immediately next to the platforms. The station now has nine tracks and five platforms 8 m wide, thus allowing people to move around more freely. Three of the platforms, 450 m long, can accommodate double‐unit HSR units.

Antwerp Central and Liège‐Guillemins, Belgium

AbstractDavid Littlefield describes how Belgian railway company NMBS/SNCB is realising a new holistic vision for high‐speed rail in the country with railway stations that are being envisaged as destinations in themselves that connect their urban contexts. This is epitomised by Jacques Voncke's recently completed renovation and expansion of the fin‐de‐siècle Antwerp Central and Santiago Calatrava's dramatic white canopy for the new station at Liège‐Guillemins. Copyright © 2010 John Wiley & Sons, Ltd.

The Historic Centre in Spanish Industrial and Post-Industrial Cities

The congestion of the city area within the walls along the 19th century and the economic and social crisis of historic centres during most of the 20th century led to their deterioration. The theoretical conceptualization and practical implementation of domestic improvement and reform programmes have changed with time. With the beginning of the new century, urban dynamics in a globalized space are making historic places into real scenes for economic exploitation related to massive and residential tourism with a cultural brand design, as well as to property for well-to-do population. As a consequence, the social component took a secondary place in town planning theory. In this context, our essay is aimed at studying the response of town planning to the recovery of a historic city fully sharing the dynamics of a postmodernist and global metropolis. In the last few decades, the structure and morphology of the Spanish city have undergone dramatic changes. Spatial processes from the Anglo-Saxon world have an influence on the building of the contemporary Spanish city. In the global information society, film images of shopping malls, crowds in edge cities or theme parks are the best publicity for the building of these new urban landscapes (1), which are a reality in almost every city. The dense city developed until the 70's was followed by a dispersed city built with new elements from counterurbanization and suburbanization. The city organized around its heritage and the centrality of the pre-industrial city were followed by a new kind of city promoted by means of large heritage containers which -in too many ocasions- can even hide the importance and quality of the old town. In such a situation we wonder if a resident of Bilbao can feel more identified with the whole postmodern landscape built around the Guggenhaim Museum than with the Casco Viejo (historic core of the city) or the interesting 19th- century Ensanche de Poblacion (urban extension). Or if someone from Valencia boasts more about Santiago Calatrava's architecture (City of Arts and Sciences) than about the architecture in the Ciutat Vella (old town) and its extensive monumental heritage. It is not easy to answer these questions with certainty. In a way it could be so, but we must not forget that new architecture sectors are no more than leisure and shopping areas, mostly located in the outskirts - not in the case of Bilbao-, usually without a district structure and therefore places where no social relations exist. This is precisely a kind of relation easy to find in the dense and central city of the pre-industrial period (historic centre) and the first pre-industrialization (urban extension). In these conditions, the present historic city took on the principles of urban and intraurban competition in terms of tourism, leisure, business, population, cultural events, etc. The analysis of the 21st-century historic city is dealt with from a double point of view. Firstly, the analysis of the physical, social and landscape consequences of comprehensive town planning and restoration along the last three decades. In order to do this, a comparison is made on the evolution of intervention policies in historic centres, from the 19th-century renovation actions up to the all- embracing restoration carried out since the 80's. Secondly, the analysis of the resulting processes will help us understand some of the most important socio-territorial dynamics developing in the historic centre as a product of the present city. Specifically, the place of spatial organization in the current city, as competition or complement to the new urban areas resulting from suburbanization processes.

The Fourth Bridge over the Grand Canal in Venice: From Idea to Analysis and Construction

The new Fourth bridge over the Grand Canal, designed by the Spanish architect Santiago Calatrava; which was recently completed in Venice, is characterized by some original solutions in the Venetian panorama of traditional bridge design. Its stunning elevation, on a single 80 m span depressed ‘Vierendeel’ arch with a span/rise ratio of 1/16, implies an extraordinary challenge for the foundation system in the muddy Venetian soil. The cross section of the bridge presents an open star-shaped layout with a central triangular steel box girder, thus implying a remarkable torsional deformability. The loose mechanical properties of the Venetian soil, together with the peculiar intrinsic structural and geometric characteristics of the footbridge, imposed a careful revision of the original design and some modifications aimed at achieving a globally stiffer structure without any alteration to its external outfit. The footbridge was pre-assembled and loaded prior to erection trying to simulate its final condition in terms of external restraints. In this phase a monitoring instrumentation was installed in order to better investigate its response. The erection design was conceived in order to take into account the extremely bounding conditions of the project area. A set of full-scale static tests of the structure was carried out before and after the erection to check the behaviour of the bridge.

The Three Santiago Calatrava Bridges in Reggio Emilia, Italy

The three bridges in Reggio Emilia are singular steel structures designed by the Spanish engineer and architect Santiago Calatrava. These infrastructures are important links between the busy motorway A1, which links Milan to Bologna, passing the city of Reggio Emilia.The main structure is the central bridge that spans the motorway mentioned above and the adjacent railway. There are also twin bridges across two roundabouts next to the main bridge. Specifically, one across the south roundabout connects with the motorway, whereas the north one allows the connection with the exhibition center and the new railway station Mediopadana (Fig. 1).The three bridges have played an important role in the urban regeneration of the city and were inaugurated in October 2007.

The Fourth Bridge over the Grand Canal in Venice: From Idea to Analysis and Construction

The new Fourth bridge over the Grand Canal, designed by the Spanish architect Santiago Calatrava; which was recently completed in Venice, is characterized by some original solutions in the Venetian panorama of traditional bridge design. Its stunning elevation, on a single 80 m span depressed ‘Vierendeel’ arch with a span/rise ratio of 1/16, implies an extraordinary challenge for the foundation system in the muddy Venetian soil. The cross section of the bridge presents an open star-shaped layout with a central triangular steel box girder, thus implying a remarkable torsional deformability. The loose mechanical properties of the Venetian soil, together with the peculiar intrinsic structural and geometric characteristics of the footbridge, imposed a careful revision of the original design and some modifications aimed at achieving a globally stiffer structure without any alteration to its external outfit. The footbridge was pre-assembled and loaded prior to erection trying to simulate its final condition in terms of external restraints. In this phase a monitoring instrumentation was installed in order to better investigate its response. The erection design was conceived in order to take into account the extremely bounding conditions of the project area. A set of full-scale static tests of the structure was carried out before and after the erection to check the behaviour of the bridge.