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Santiago Calatrava: Movement As the Key ARCHITECTURE SANTIAGO CALATRAVA: MOVEMENT AS THE KEY SANTIAGO CALATRAVA. TELECOMMUNICATIONS TOWER. ELONA HIS WORK TAKES ITS MEANING FROM MOVEMENT ITSELF, REAL OR VIRTUAL, EXPLICIT OR SUGGESTED; FROM THAT POINT WHERE THE CONSTRUCTION IS DECONSTRUCTED, LATER TO BE UNEXPECTEDLY RECONSTRUCTED BEFORE YOUR VERY EYES; OR AT THAT PRECISE MOMENT WHEN IT CHALLENGES, IMMOBILE, THE LIMITS OF AN EQUILIBRIUM FLUCTUATING BETWEEN MAGIC AND PHYSICS. ELlSEU T. CLlMENT JOURNALIST FOR THE MAGAZINE "EL TEMPS" ARCHITECTURE cenarios Remembered nic University and, especially, the hours It would be dangerous -as well of study in its library. as presumptuous- to try and Although after his stay in Zurich his life sum up Santiago Calatrava with a few was immersed in the constant, progres- adjectives and phrases that can ob- sive acceleration of time's one-way viously be no more than just superficial journey, Calatrava didn't let the success impressions. But some features can help of his first large projects go to his head. to understand this hermetic and yet un- On the contrary, this Valencian engi- complicated Valencian architect. The neer and architect is firmly, almost ob- fact is that. Santiago Calatrava, who is sessively determined not to believe in 43 this year, has in little more than a fame. "Fame is for the dead", he once decade of projects, bridges, buildings confessed with characteristic humility. and one or two rehabilitations captiv- His life will have posthumous value; at I ated the whole world, from Toronto to the moment, it's no more than an accu- New York, via Berlin, Barcelona and mulation of unconnected events and Lyons. work, without that key moment that His time is spent between Paris, Zurich comes at the end, the catalyst that and Valencia. These three cities, in each makes the whole journey meaningful. of which he has an office, take Calatra- Existentialist thinking, you might say, va back to the most significant scenarios although this sceptic caustically de- of his memory. He arrived in Paris al- clares that "l'm nota child of '68, I'm the most three years ago. His home in a child of farm labourers". And this dis- middle-class building on the Boulevard credit is precisely why the genius doesn't Beaumarchais combines functional sim- believe in fame, what drives him on in plicity and rationalist beauty. Spacious search of a paradise that takes shape rooms, warm in their coolness, altered in each of his creations. only by the presence of furniture by Le Corbusier, Mies Van der Rohe and Movement as the Key some of his own design. In the study, Everything moves in the work of this which communicates very discreetly with versatile character with the complexity the kitchen, Calatrava whiles away the of a Leonardo. Engineering, architec- hours before daybreak drawing. As he ture and sculpture are fused in a trinity said in El Temps in a special supplement of perfect harmony, ever changing and devoted to him in May 1993, "Paris is undefinable. His works take their the cosmopolitan city par excellence, meaning from movement itself, real or everyone's and no-one's; therefore, virtual, explicit or suggested, at the very familiar: everyone feels at home point where the construction is de- there". constructed, only to reconstruct itself Zurich, during his years as an engin- unexpectedly before your very eyes; or eering student, was the most fruitful at that precise moment, frozen in time, period of his life, following after his when it challenges, immobile, the limits training as an architect at the Polytech- of an equilibrium fluctuating between nic University of Valencia. But Zurich also magic and physics. While the Telecom- represents Robertina, his wife. In Valen- munications Tower, one of the symbols cia he studied baccalaureate and later of the Olympic Barcelona, challenges took his degree. For Calatrava the Es- the laws of gravity and soars far above coles pies were a break with his idyllic the formulas of statics, the gates of the "country shack" life, as he likes to cal1 it, Ernstings textile factory, on the other in his home town of Benimhmet, which hand, form part of the facade when he still looks for today in the silence and closed, and on opening take on the ap- remoteness of his existence. Later on, pearance of a canopy. Valencia was to represent the Polytech- Statics is compensation and balance, a ARCHITECTURE SANTIAGO CALATRAVA. BAC DE RODA BRIDGE. BARCELONA crystallized sequence; an instant free of The Natural Solution to a higher reality. This organic solution, temporal constraints; movement de- Nature all-powerful, the source of life. in spite of its classical origins, contains fined by its negation, in which the vec- Natura mater et magistra. This was the something of Gaudi's work in its es- torial forces acting on the construction subtitle of Santiago Calatrava's thesis sence. The fluidity of the Catalan Moder- are made explicit. Dynamics, on the on the pliability of materials. It was a nist's curves is today stretched in steel other hand, is variability and surprise; children's book belonging to his son, El and concrete, in the same way that the apparently chaos but microscopically desert viu (The Living Desertl, that re- clowns on the Zurich railway station ordered; organic metamorphosis like the vealed to him the secrets of the plant maintain links in their essence with the roof of Kuwait's pavilion at Expo'92 in and animal world, with its order and crypt of the Colonia Güell. But Santiago Seville, which slowly opened, with a harmony. The image of a cactus flower Calatrava goes beyond senseless re- movement like the fingers of a hand, to opening in the twilight led the architect production of natural motifs. lnstead he reveal the interior of the building. But and engineer to the classical concept of uses them to catapult his art into still dynamics, when all's said and done, is Maternatura. "Buildings grow natur- virgin dimensions in today's architec- metamorphosis and life; animation ally", says Calatrava. His constructions, ture. His work doesn't belong to either which in the case of Santiago Cala- by analogy with the natural universe, figurative or very surrealist concepts. trava's work adopts organic solutions. adopt an organic syntaxis in which steel Originality is subversive and doesn't And this movement, explicit or suggest- cables, like ligaments, are anchored to allow categories. His creations come ed, variable or not, could, as Calatra- an articulation joining bone-like el- across as independent living organisms, va declared in the same weekly, "open ements. Forests of columns like trees on and not as an accumulation of elements up a future development in architec- the soaring Gothic-style cathedral of joined together and put in motion on ture". Saint John the Divine in New York point the basis of the laws of mechanics. These ARCHITECTURE SANTIAGO CALATRAVA. BAC DE RODA BRIDGE. BARCELONA works give off a transcendent, paral- eral disciplines ranging from painting ization with leisure activities. The 327- le1 reality, expressed in concrete, which and sculpture to literature or myth- metre tower will dominate the city of is the reality of genius. A higher uni- ology; all, of course, combined with ar- Valencia and, along with the City of the verse that keeps in touch with the im- chitecture and engineering. So it's not Sciences, will become a setting for dia- mediate reality through his works with surprising that the unequal vaults in the logue and coexistence between science their unmistakable impregnation of form of an open book in the library at and society. But above all, with this pro- Gaudí-like animism. the Swiss school of Kawo Wohlen iect, Valencia will by the end of the should come together in a single point, century have found the modern and Working Freehand a column with a classical outline. This cosmopolitan side she still lacks today. Santiago Calatrava uses neither symbology, in which classicism blends The new century will probably dawn in draughtsman's square nor triangle; with with the form of a book in the scenic Barcelona with the Pompeu Fabra Uni- the same tools as the artist, and fr&m space of a library, associates the versity's new Faculty of lnformation his painter's easel, he conceives his library with wisdom. Sciences in the Mercat del Born. At the works with a solid, expressive line, the moment, though, negotiations between testimony to spontaneity. He draws; his New Proiects for a New Century the university and the architect are at a team of architects and engineers trans- Work on Santiago Calatrava's large- standstill. Doubtless it will still be some late the idea into the technicalities re- scale project for a City of the Sciences time before they bear fruit, which will quired by the profession and they make and a Telecommunications Tower in Va- emerge in steel, glass and concrete out the necessary calculations. For this lencia will start this year. This complex, of a sensitive reality floating in the reason, his creations are a point of dia- which will be amongst the largest in the magic and fantasy of this architect- logue and convergence between sev- world, combines technological special- artist. .
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