Santiago calatrava family
Early Life and Education Santiago Calatrava, born on July 28, , in Spain, embarked on a remarkable career as an architect, engineer, and urbanist. Santiago Calatrava's Personal Life: Wife and Family Santiago Calatrava is known to be a private individual, and information about his personal life, including his wife and family, is not extensively publicized.
Like many public figures, he may prefer to keep his personal relationships and family life out of the spotlight, focusing instead on his professional achievements and contributions to architecture and engineering. Age of Santiago Calatrava Santiago Calatrava was born on July 28, , making him in his early 70s as of Despite his age, Calatrava continues to be active in the architectural and engineering fields, undertaking new projects and leaving a lasting impact on the built environment.
Residence of Santiago Calatrava Santiago Calatrava's exact place of residence may vary over time, as he often travels for work and has projects in different parts of the world. However, he has been associated with residences in various cities, including Zurich, Switzerland, and Valencia, Spain, where he has established offices and studios.
Professional Beginnings In , Calatrava established his architectural and engineering practice in Zurich, marking the beginning of his illustrious career. Expansion and Recognition Within a decade of professional practice, Calatrava had already gained international acclaim for his distinctive architectural style and groundbreaking projects.
Santiago Calatrava's Net Worth Santiago Calatrava has achieved significant success in his career, leading to a substantial net worth. While specific figures may vary, his net worth is estimated to be in the hundreds of millions due to his prolific architectural practice and numerous high-profile projects.
Iconic Projects Calatrava's portfolio boasts a diverse range of projects, spanning bridges, museums, concert halls, and towers. Continued Impact Even after nearly two decades in practice, Santiago Calatrava continues to shape the architectural landscape with his visionary designs and transformative projects. Legacy As one of the most influential architects of his generation, Calatrava's legacy extends far beyond his individual projects.
Famous Buildings by Santiago Calatrava Santiago Calatrava has designed numerous iconic structures worldwide, ranging from bridges and transportation hubs to museums and skyscrapers. Skyscrapers and Towers Turning Torso: A twisting residential tower in Malmo, Sweden, hailed as a modern architectural marvel and an emblem of urban regeneration.
Transportation Hubs Oculus: The centerpiece of the World Trade Center Transportation Hub in New York City, this grand transit hub features a majestic, wing-like structure that evokes a sense of hope and renewal. Cultural and Civic Buildings Milwaukee Art Museum: Renowned for its iconic "wings" that open and close, this museum in Wisconsin, USA, stands as a testament to Calatrava's ability to merge art and architecture seamlessly.
Landmarks and Monuments Dubai Tower: A proposed skyscraper in Dubai, United Arab Emirates, envisioned as the tallest man-made structure in the world, embodying Dubai's ambition and futuristic vision. Most Famous Building by Santiago Calatrava Determining the "most famous" building by Santiago Calatrava can be subjective, as his portfolio includes many iconic structures.
Santiago Calatrava's Architectural Legacy: Masterpieces and Innovations Milwaukee Art Museum: Why: Renowned for its iconic "wings" that open and close, this museum in Wisconsin, USA, stands as a testament to Calatrava's ability to merge art and architecture seamlessly. Architecture historian Emily Bagshaw adds, "The entire exterior of the structure was intentionally made of Pentelic marble to parallel the Pentelic marble that makes up the Parthenon in Athens.
The dome is made of thin stone and glass laminated panels that are beautifully illuminated from behind. The exterior of the church consists of four solid stone-clad towers that ultimately form a square shape, which hosts the dome-like building. The corner towers and two west-facing towers are clad in alternating large and small horizontal bands of white and grey marble reminiscent of the Church of the Holy Saviour in Chora, Turkey.
The church is situated approximately twenty-five feet above street level, which gently raises it above the canopy of the World Trade Center Memorial oak trees. The Church entrance, meanwhile, is reached via an open plaza which visitors enter through a low arch. Bagshaw writes, "Two small offices [ These spaces are a significant component of the building's program as they accentuate the church's open and welcoming relationship with the greater World Trade Center Memorial site as well as the community of Lower Manhattan.
His Eminence Archbishop Elpidophoros of America said on the Church's consecration: "This Shrine will be a place for everyone who comes to the Sacred Ground at the World Trade Center, a place for them to imagine and envision a world where mercy is inevitable, reconciliation is desirable, and forgiveness is possible.
We will stand here for the centuries to come, as a light on the hill, a shining beacon to the world of what is possible in the human spirit, if we will only allow our light to shine before all people, as the light of this Shrine for the Nation will illuminate every night sky to come in our magnificent City". His father had followed in his own father's footsteps by exporting produce to countries in Northern Europe.
Le corbusier
Calatrava recalls, "My father was very much inclined to art, and I remember being very small and travelling with him to Madrid to see the Prado [museum]" and being told by him that "being an artist is a superior thing". Calatrava inherited his father's love of art, enrolling in drawing and painting night classes at the Escuela de Artes y Oficios de Burjassot at the age of eight.
He was also something of a junior ornithologist, later recalling,"Birds were a big part of my childhood. I grew up in a house next to a tower full of doves and watched them come and go. Using nature as an approach to architecture has always fascinated me. Not in a decorative way, but as a purity of spirit". Sadly, Calatrava was just thirteen when his father passed away.
He became close to a childless aunt and uncle with whom he regularly stayed on their nearby farm. As a teenager he visited France and Switzerland as an exchange student with the dedicated aim of learning more about art.
However, he arrived amidst the great political upheaval of the student riots and opted to return home. Before he left, however, Calatrava found time to visit Notre Dame Cathedral as morning was dawning. It was a moment of creative enlightenment for the young Spaniard: "The light was streaming through the windows on the south side of the building and it was the first time I realised how sublime architecture could be, and how it can reach levels of expression that move your heart".
On his return to Spain, and having become enraptured by a book he had bought on the great Swiss modernist, Le Corbusier , the teenaged Calatrava enrolled in the architecture program at the Polytechnic University of Valencia, from where he graduated with honors in During his studies, he took part in a number of independent projects with his peers and worked on two books about the architecture of Valencia and Ibiza.
He received his PhD from ETH in with a thesis, entitled Foldability of Space Frames, that focused on the compression of geometric models in space. He said of his research: "I was determined to put to one side all that I had learned in architecture school, and to learn to draw and think like an engineer.
I was fascinated by the concept of gravity and convinced that it was necessary to begin work with simple forms". While in Zurich, Calatrava met his wife, Robertina Marangoni, a future lawyer who today manages her husband's business enterprise. In , the couple had their first son, Rafael. Two years later, Calatrava opened his first architecture and civil engineering office in Zurich.
While his first designs, for a factory, a library, and two bridges, never came to fruition, he soon won commissions for a series of warehouses, bus shelters and train stations.
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In and Robertina gave birth to two more sons, Gabriel and Micael. The art historian Joanna Kaszubowska notes that today, "European cities are peppered with bridges designed by Calatrava" - there are about 50 in the world today. The first was Barcelona's, Bac de Roda Bridge , which opened in the mids. Bringing him his first taste of international recognition, the foot-long bridge joins the city's Sant Marti and Sant Andreu districts and is thought to be the world's first leaning-type arch bridge.
The white tower was built to help transmit television coverage of the Barcelona Summer Olympics. The metre-tall tower is located in the Olympic Park and represents an athlete holding aloft the Olympic flame. Calatrava's Alamillo Bridge , that spans Seville's Guadalquivir river, was unveiled to mark the "Seville Expo '92" universal exposition held on the river island, La Isla de La Cartuja in The spectacular bridge has a single, tilting, steel and concrete, ft.
Calatrava's original design envisaged the "mirror construction" of a second bridge on the opposite side of the island but this addition was never realized. However, in , Calatrava did create a near identical cable design for the iconic bicycle and pedestrian Sundial Bridge at Redding, California. In the Calatravas welcomed into the world their fourth child, a daughter this time, named Sofia.
In his professional life, meanwhile, Calatrava continued to design bridges and transportation hubs. The cross-girder arch design spans the river Spree and replaced the former Schinkel's Schloss Bridge which was demolished in to stop asylum seekers fleeing from East to West Berlin. Calatrava experienced his first taste of controversy the following year with Bilbao's Zubizuri Footbridge.
Once the bridge was opened, however, it exposed a number of design flaws including an unsafe glass-tiled floor. The controversy reached its climax in when the local authority partially modified the bridge by removing metal bars to make room for an additional "non-slip" walkway. The architect issued a lawsuit to protect "the moral rights to the integrity of his creation".
Santiago calatrava works: Santiago Calatrava (born July 28, , Benimamet, near Valencia, Spain) is 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
The Biscay Provincial Appellate Court ultimately ruled in favour of Calatrava, stating that "general interest does not take precedence over the architect's moral rights". Toronto's Allen Lambert Galleria was designed by Calatrava having won an international competition. Unlike the traditional arcades, with purpose-built interior facades that date back to of 19th century France Calatrava's five-storey, weather-protected, gallery was conceived as a free-standing structure connecting existing buildings and streets in Downtown Toronto.
The Galleria is also a communal hub for entry into, "Path", the world's largest underground warren of pedestrian tunnels and elevated walkways. The architectural critic Nick Mafi says of the Galleria , "[Calatrava's] ability to design structures that provide the public with a space to work, shop, and move through a city are only heightened by his understanding of elegance in structural form".
Calatrava's rising status was further confirmed in with Valencia's, neo-futuristic City of Arts and Science , one of the largest scientific and cultural complexes in Europe. However, Calatrava was roundly criticized for going three times over the original budget, its poor accessibility features such as wheelchair-accessible elevators , and, in the site's opera house, the positioning of seats with obstructed views.
However, Calatrava defended his design, and successfully sued his client for defamation. The museum describes how Calatrava was "inspired by the 'dramatic, original building by Eero Saarinen Calatrava, himself stated, "the building's form is at once formal completing the composition , functional controlling the level of light , symbolic opening to welcome visitors , and iconic creating a memorable image for the Museum and the city ".
While his unique avant-garde design is characteristic of his "sculptural" concept, the project became mired in legal battles because of practical design faults with the roof.
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The large concrete structure features two panoramic terraces that overlook the sea, and an amphitheater-shaped main concert hall. The design of this expansive structure evokes an ocean wave about to break onto the shore and rises up to almost feet in height. On its opening, the international arts education network, RESEO, enthused: "Auditorio de Tenerife is a plural space, dynamic and in constant movement, where thought and reflection drive to creativity".
This time, Calatrava decided to restrict the glass flooring to a sidewalk, using a parapet to separate it from the main walkway. The bridge also featured benches for the first time that allowed pedestrians to sit and take in views of the river. Having only received the commission in the fall of , worries unfounded as it turned out had surrounded its construction, which was only completed a few days before the Olympic opening ceremonies on August 13, The design was ambitious and difficult; Calatrava at one point was forced to come to Milwaukee and earn state engineering certification in Wisconsin in order to keep the project on track.
Parts of the shade were eventually made in Spain and shipped to Milwaukee by plane, and its trademark opening and closing capability was not ready for the structure's unveiling in Despite these problems, Calatrava's structure proved a terrific crowd-pleaser. Architecture magazine critic Joseph Giovannini, even as he questioned certain aspects of the design, noted that "it is hard to argue with the sheer joy this exuberant museum has stirred in Milwaukee.
The organic forms of Calatrava's buildings appealed to ordinary users put off by the severity of other modern structures, and the ascending, reach-for-the-sky feel of his works often had a spiritual quality that was a perfect fit for American optimism. That spiritual quality helped win Calatrava a major commission in the wake of the September 11, , terrorist attacks at the World Trade Center in New York City.
The terminal of the PATH rail system, serving commuters in New York's western suburbs, had been destroyed in the attacks, and in Calatrava's design was chosen for its replacement. It too was birdlike, with the interior of the building divided into a pair of wings, and the white building seemed to suggest a phoenix rising from the ashes.
Slated to open in , the station was delayed several times as Calatrava's design was altered due to security concerns. Calatrava remained busy in Europe as well, designing an opera house in Tenerife, in the Canary Islands, that evoked a giant ocean wave. His commissions in Europe in the early s included the first modern bridge allowed to be built over the Grand Canal in Venice, Italy's historic city center, and an opera house in his hometown of Valencia, one of a whole complex of museum buildings that he designed there.
But Calatrava's most visible European design of the s was the roof of the Olympic Sports Complex in Athens, Greece, viewed by hundreds of millions of people on international television broadcasts. Resembling a double arch shape in distance shots, it proved on closer inspection to consist of a series of curved white spines that suggested the ribcage of an animal.
Little known in the United States even in the late s, Calatrava was something of an architectural star there by the mids. Cities vied for his services, and he began to attract commissions for top-dollar office and residential projects—somewhat underrep-resented in Calatrava's portfolio up to that point even though such projects were central to the work of most architects.
The structure consisted of a stack of ten cubes, offset from one another and held up by a giant scaffold. Calatrava also seemed ready to move into another area with a commission for the new Cathedral of Christ the Light in Oakland, California, a replacement for a cathedral leveled in the earthquake that shook the San Francisco Bay area. Calatrava's design featured moving vertical planes meant to evoke a pair of praying hands.
At the beginning of the s, Calatrava built several remarkable railway stations and bridges, but broadened his portfolio by designing a wider range of structures, including a Canadian shopping center, a new passenger terminal for Bilbao airport, and his first building in the United States, the new structure of the Milwaukee Art Museum.
The concrete pylon leans backwards, and seems to grasp the vertical broadcast antennas. Its form suggests an athlete about to throw a javelin. The circular building at the base of the tower, which contains the broadcast equipment, is clad in white bricks and is equipped with metal resembling an eye which opens and closes.
The square next to it is laid out like a giant sundial, on which the tower casts its shadow. The interior of the shopping mall is covered by a glass roof supported by columns like gigantic trees, a modern version of the Belle Epoque Les Halles market in Paris. This building was designed to be both a functional link between the airport and train station, the terminal for the high-speed TGV trains, and a symbol of the Rhone-Alps Region.
The station is covered by a giant shell of steel and glass, by metres by ft , suspended at a maximum height of 40 metres ft , and weighing 1, tonnes 1, long tons; 1, short tons. It is connected with the airport terminal by a metres ft long glass and concrete bridge. The glass and steel sides and skylights of the terminal from the inside resemble a modernistic cathedral; the glass panels at the top are intended to suggest flight.
From the outside, the station has been said to resemble a prehistoric animal, while the glass-and-steel bridge has been compared to a bird or a manta ray. The Gare do Oriente , or eastern train station, was constructed for the Lisbon World Exposition , and is located in a former industrial area. It was designed to bridge the wasteland which separated the residential area of the city from the Tagus River.
Similar to the galleria he designed in Toronto, but on a grander scale, the interior of the station features a forest of white columns like gigantic trees that support the glass roof, by 78 metres by ft , which covers the eight tracks. The station complex also includes a shopping center, and transport links by tram and metro to the center of the city.
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With its multiple arches and curves, the structure appears to be moving and ready to take off. One of his last projects in the 20th century was the Bilbao Airport in Spain, notable both for its unusual control tower, 42 metres ft high — made of concrete clad with aluminum, which widens as it grows taller, and which resembles a statue holding its hands in front of it — and for terminal buildings, where the white concrete structures are united with aluminum forms.
The terminal buildings themselves lift upwards and seem to be trying to take off, giving them the airport the popular nickname of "The Dove". 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 next to Lake Michigan , with a later addition in by David Kahler.
The purpose of the new pavilion, as defined by the museum board, was to give the museum a new entrance, and especially "to redefine the identity of the museum with a strong image. Calatrava's solution was a glass and steel entry hall 2 metres 6. The sunscreen, weighing tonnes long tons; short tons , 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 kilometres per hour 35 kn.
The interior of the structure has a conference hall, exposition space, shops, and a restaurant overlooking the lake. He also designed a suspension footbridge between the center of the city and edge of the lake. The Bodegas Ysios winery in Laguardia , Spain — was designed as a symbol of the Rioja wines made by that winery. Built on a sloping site surrounded by vineyards, the metre ft long building has an aluminum roof and a facade covered with laminated wood panels, alternating between convex and concave, with a roofline that ripples like a series of waves.
The Auditorio de Tenerife , Tenerife, in the Canary Islands , is a concert hall with seats and a smaller chamber music hall of seats. With a curving concrete cupola 60 metres ft high, crowned by a curving roof like a breaking wave, it dominates the city square and old town below. The shell is covered with ceramic tiles and the pavement and most of the floors are made of the local basalt stone.
The unusual sculptural form of the building gives it a completely different appearance depending upon from where it is viewed. The building was originally conceived by the architect as a sculpture of "seven cubes stacked on a steel support creating a spiral structure resembling a twisting spinal column. Each of the nine cubes cube is like a separate five-story building; each floor contains from one to five apartments.
The support holding the structure together is the column of elevators and escalators which communicate between the cubes. A system of discreet cross beams on the exterior frame manage the torsion of the twisting building. In , it was the tallest building in Scandinavia. For the Olympic Games in Athens, Greece, Calatrava won the commission to cover the existing stadium with a new roof, to make a similar roof for the velodrome, and additionally to build four entrance gateways, a monumental sculpture to symbolize the games, and other architectural features to give harmony and variety to the complex.
The roof for the stadium, in the form of bent "leaves" of laminated glass, is designed to reflect 90 percent of the sunlight. The roof covers 25, square metres , sq ft , and is supported by double-tied arches of tubular steel, with a span of metres ft and a height of 60 metres ft. It is metres ft long and 20 metres 66 ft high, suspended by cables from two parabolic arches.
The Velodrome has a white cap supported by two concrete arches 45 metres ft high, weighing 4, tonnes 3, long tons; 4, short tons , from which the glass and steel roof is suspended. Calatrava also designed an enormous parabolic arch at the entrance and the Wall of Nations, a mobile sculpture of tubular steel which moves in a wavelike patterns.
The largest group of buildings by Calatrava is found in his birthplace, Valencia, Spain, and was built in over a decade. It includes the City of Arts and Sciences — and the Opera house — , all constructed on a plot of 35 hectares between a highway and a river on the east side of the city. The dome is covered by a metal screen which opens and closes, and the entrance opens like a human eye.
On one side is the science museum , behind a line of leaning columns, and on the other is the newest structure, the massive shell of the opera house, described by Calatrava as a "monumental sculpture", which gives the impression of being continually in motion. The transparent roof seems to eliminate the distinction between indoors and outdoors. The conference center and exposition hall in the Spanish city of Oviedo combines two office buildings and a hotel, covered with horizontal bands of glass and steel and perched upon curving concrete pylons, with elliptical conference center, which includes a main theater, exposition hall and seminar rooms.
The Center include another signature feature of Calatrava's work; a sunscreen that was supposed to be able to fold and unfold, but was never functional. The ceiling of the concert hall is an ascending series of arcs, which echo the curving rows of seats. Calatrava constructed a series of extraordinary bridges, the type of structure which originally brought him global attention, for cities around the world that wanted a symbol of modernity and daring.
Among the largest and dramatic are three bridges over the Trinity River in Dallas , Texas. The bridge, carrying six lanes of traffic, is metres ft long, with the appearance of being [ 16 ] suspended from an arc-shaped tubular steel pylon forty stories or metres ft high by fifty-eight cables, ranging in length from to metres to ft. In form, the bridge resembles one of three bridges constructed in — on the Autostrada A1 in Reggio Emilia , Italy.
The Peace Bridge in Calgary, Canada, built between and , is a completely different bridge in purpose, scale and design. Built across the Bow River , and designed for pedestrians and cyclists, it is a glass and stew-wrapped tube metres ft long. It appears extraordinary long for a bridge with no towers or pylons to hold it up. Calatrava described the form in his own particular engineering vocabulary as "defined by a helicoidal movement, with an ovoid cross section, with two clearly materialized tangential lanes expressing an internal architectural volume.
The project for the new Florida Polytechnic University in Lakeland, Florida — gave Calatrava the opportunity to design an entire campus in a unified style. The site covers acres 69 ha of land which once contained phosphorus mines, many of which have been filled with water creating small lakes. Calatrava's plan combined several small lakes into a central lake, which serves as a setting for the central structure, the Innovation, Science, and Technology IST building.
The eye-shaped central building has an area of , square feet on two floors, and contains all the classrooms, faculty offices laboratories and public spaces until the other buildings are completed. The building has several signature Calatrava features, including an extendable sun scene on the roof, which entirely changes the appearance of the building when deployed, and whose form changes gradually as the sun moves.
The terraces of the building are covered by a curving pergola, or screen, of steel, which reduces the direct sunlight by thirty percent. Inside, the corridors and central courtyard are lit by the central skylight. Plans for the building call for the installation of 1, square metres 20, sq ft of solar panels on the sunscreen to provide energy for the building.