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Santiago Calatrava : Structure and Expression Matilda Mcquaid

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Santiago Calatrava : Structure and Expression Matilda Mcquaid Santiago Calatrava : structure and expression Matilda McQuaid Author McQuaid, Matilda Date 1993 Publisher The Museum of Modern Art: Distributed by H.N. Abrams ISBN 0870701649, 0810961288 Exhibition URL www.moma.org/calendar/exhibitions/391 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art SANTIAGOC 'jU////////, ession '///////; SANTIAGOCALATRAVA SANTIAGOCALATRAVA Structureand Expression MATILDAMcQ UAID THEMUSEUM OF MODERNART,NE WY ORK Distributed by Harry N. Abrams, Inc., New York < C^: y£> - oKA Published on the occasion of the exhibition Santiago Calatrava: Structure and Expression, March 25- May 18, 1993, organized by Matilda McQuaid, Assistant Curator, Department of Architecture and Design, The Museum of Modern Art, New York This publication is made possible by a generous grant from the Government of Valencia, Spain. Produced by the Department of Publications The Museum of 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 Press Inc., West Haven, CT Copyright © 1993 by The Museum of Modern Art, New York Library of Congress Catalog Card Number 93-77206 Certain illustrations are covered by claims to copyright 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 United States of America Published by The Museum of Modern Art I I West 53 Street, New York, N.Y. 10019 Distributed in the United States and Canada by Harry N. Abrams, Inc., New York. A Times Mirror Company Distributed outside the United States and Canada by Thames and Hudson, London PHOTOGRAPHYCREDITS The Museum of Modern Art, New York, Department of Architecture and Design: photo: John Edward Linden, London: front cover, 18 bottom, 39 top left, back cover; photo: Ellen Grossman, New York: frontispiece, 8, 19 bottom left and right, 22 left top, center, and bottom, 24 right top and center, 26 top, 27 top, 28 top, 29 top and center, 30 top right and left, 3 1 top left to right, 32, 33 bottom, 35 top and center, 37 top left and center left, 38 bottom, 39 top center; photo: Mischol, Schiers, Switzer land: 9; 10 top; photo: Oscar Savio, Rome: 10 bottom; photo: Erwin Lang, Los Angeles: I I ; photo: copyright Paolo Rosselli Milan- 12 top right, 16, 17 bottom left, 17 bottom right, 20 top, 22 right, 23 top left, 23 bottom, 24 top left, 25 left center and bottom, and top right, 36 top, 37 top right, 37 right center, 38 top, 39 top right, 39 bottom left; from II Codice Atlantico di Leonardo da Vinci [Facsimile of the restored manuscript in the Biblioteca Ambrosiana, Milan] (Florence: Gaspare Barbera: Giuntr New York- Johnson Reprint, Harcourt Brace Jovanovich, ©1973, 1975), fol. 844r, Courtesy Avery Architectural and Fine Arts Library Columbia University in the City of New York, photo: Heinrich Helfenstein, Zurich: 12 top left; photo: Frei Otto, Berlin: 13 top right; photo: Heinrich Helfenstein, Zurich: 12 bottom, 13 center right; photo: Clemens Kalischer, Stockbridge, MA: 14 top left and right; 15; courtesy of Santiago Calatrava Vails: 17 top, center, and left top, 18 top, 19 top left to right, 20 bottom, 2 1, 23 top right, 24 left bottom, 25 top left and bottom right, 26 bottom, 27 bottom, 28 bottom, 29 bottom, 30 bottom left and right, 3 I right center and bottom, 32 top, 34, 35 bottom, 36 bottom, 37 left center and bottom, 39 left center and right center and bot tom; photo: Kate Keller: 24 right bottom. Front 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 of Saint John the Divine, Rene Dubos bioshelter (project) 199 1. Pen and ink on paper, 9'h x 7" (24. 1 x 17.8 cm) Inside front and back covers: Santiago Calatrava. Preliminary sketches for Stadelhofen Railroad Station, train platform /s and entrance to underpass, c. 1983. Pencil and colored pencil on trace, 117 x 24W (30.2 x 53.5 cm) HSR AAuseum of Modern Art CONTENTS 6 FOREWORD 7 ACKNOWLEDGMENTS 9 SANTIAGOCALATRAVA Structureand Expression by MatildaMcQuaid WORKS 16 Ernsting'Ws arehouse 18 KuwaitPavilion 20 LyonsAirport Railroad Station 24 StadelhofenRailroad Station 26 SpandauRailroad Station (Project) 30 Cathedralof SaintJohn the Divine;Rene Dubos Bioshelter (Project) 32 ScienceMuseum,Planet arium,and Telecommunications Tower 36 Bachde Roda- FelipeII Bridge 38 AlamilloBridge and Cartuga Viaduct 40 TRUSTEES FOREWORD This survey of selected works of Santiago work in the last decade, however, has suc Lloyd Wright's Broadacre City project — Calatrava is the first of a series of exhibi cessfully transcended these boundaries, the revival of public works on a heroic tions presenting significant developments redefining the relationship between archi scale is remarkable. That they have been in contemporary architecture. Thresholds tect and engineer and between their received so enthusiastically is also note in Contemporary Architecture will focus respective disciplines. Perhaps more than worthy, indicating the extent of the pub on themes and issues in recent work, in any other, he has helped to revive the role lic s need for meaningful expressions of the form of monographic exhibitions, as of engineer as proactive designer, in the communal effort. well as other formats, rather than on tradition of John Augustus Roebling, As the conditions of American broad retrospective assessments. The Alexandre-Gustave Eiffel, and, more urban life once again surface on this nation's series will identify designers whose work recently, as Matilda McQuaid discusses, political agenda, so too will the construc is innovative and also promises important Robert Maillart, Pier Luigi Nervi, Eduardo tion and reconstruction of public works. future developments. Torroja, and Felix Candela. Santiago Calatrava's contributions to the Santiago Calatrava: Structure and Just as importantly, Calatrava's exu increase of the public realm, the intuitive Expression is a particularly appropriate berant designs for civic commissions have power and urbanity of his structures, exhibition to inaugurate this series. reinvigorated the concept of public works should be well noted in planning for the Throughout most of this century the prac as meaningful symbols of urban pride. Giv revitalization of our cities' infrastructures. titioners of architecture and engineering en the frequent hostility of modern archi have been sharply divided: the architect tects toward the symbols and structure of Terence Riley has been the designer, the engineer has the traditional city — as expressed in both Director been consultant and analyst. Calatrava's Le Corbusier's Plan Voisin and Frank Department of Architecture and Design ACKNOWLEDGMENTS Education Center; John Wielk, Manager of Exhibi On behalf of The Museum of Modern Art I would man have been extremely helpful and forthcoming tion and Project Funding, Development Depart like to thank the sponsors who made enormous with the beautiful photographs included in this ment; and Nestor Montilla, Assistant Registrar, in commitments to the various parts of the exhibi publication. the Registrar's Department; Exhibition Production tion: for their very generous support of the exhi At the Museum, I would like to thank and Design, directed by Jerome Neuner has, as bition, catalogue, and the special installation of James S. Snyder, Deputy Director for Planning and always, done a superb job of organizing a compli tree structures at the entrance to the exhibition, Program Support, and Kirk Varnedoe, Director, cated installation, and I am very grateful to Douglas the Government of Valencia, Spain, and in partic Department of Painting and Sculpture, for gra Feick, Production Supervisor, for his magnanimous ular Mr. Joan Lerma I Blasco, president of the ciously permitting the special installation in the efforts and quick responses to my numerous Generalitat Valenciana. I am also indebted to Mr. Sculpture Garden. Eleni Cocordas, Associate Thomas Schmidheiny for underwriting the fabri Coordinator of Exhibitions, provided invaluable requests. In the Department of Architecture and cation and installation of the sculpture Machine support in organizing a complicated budget and Design, Terence Riley, Director, has been for Making Shadows, in the Abby Aldrich Rocke advising on so many areas of the exhibition. The extremely supportive and offered me valuable feller Sculpture Garden. I am especially grateful Department of Publications has contributed an criticism on my essay, and Assistant Curator for Robertina Calatrava's efforts toward securing abundance of enthusiasm and support. My special Peter Reed's intelligent comments about the the support for the exhibition. thanks to Osa Brown, Director: Harriet Bee, Man essay were also welcome. Anne Dixon, Study Without the cooperation of the Santiago aging Editor; Nancy Kranz, Manager of Promotion Center Supervisor, was indispensable in the plan Calatrava Vails office, this exhibition would have and Special Services; and Tim McDonough, Pro ning stages and installation of the exhibition, and been impossible to put together. I would especial duction Manager, who all saw the potential of Cala provided me with important insights and limitless ly like to thank Anthony Tischhauser for his trava's work; to Alexandra Bonfante-Warren, who support. Jennifer Brody, Assistant to the Director, patience and for his ability to answer all of my clarified my thoughts and writing and showed and Timothy Rohan, Executive Secretary, have, as questions at times when he was juggling many oth enormous devotion to the project; and to Marc usual, managed effortlessly and very well many of er projects in the office. Others in the office who Sapir, whose admirable production skills kept us all provided help were: Jose Luis Moro, Kim on schedule.
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