This July 4, New York City can celebrate one nation, indivisible, with Liberty Park and justice for all. The World Trade Center's long-anticipated one-acre Liberty Park is set to open this Wednesday. Designed for the Port Authority by New York–based Joe Brown, a design and planning advisor to AECOM, the $50 million park sits 25 feet above an entrance for security vehicles. Planted with a mini-forest of 50-plus trees, the park will provide a welcome respite from the glare of surrounding skyscrapers for visitors and office workers alike. A multihued, 25-by-336-foot-long living wall, designed by Plant Connection, shrouds one side of the security entrance, while angular concrete and recycled teak benches, blessedly free of deterrent barriers, are configured for socializing and sunbathing. An overlook on Liberty Street skates 200 feet along the park's perimeter, affording views of the 9/11 Memorial. Given the setting, loss and repatriation are central themes of the design and programming. A sapling grown from a horsechestnut tree that grew outside of Anne Frank's home in the Netherlands has found its home in the park. Additionally, Douwe Blumberg's 2011 America’s Response Monument (De Oppresso Liber), a sculpture that depicts a Special Forces soldier on horseback who fought the Taliban in the early years of the war in Afghanistan, will be mounted near While most of the green space will open this week, construction will continue on the Santiago Calatrava–designed St. Nicholas National Shrine, a reconstruction of the Greek Orthodox St. Nicholas Church that was destroyed on September 11. For those who'd like an advance look at St. Nicholas 2.0, Calatrava produced an animation of the church's interior and exterior that depicts its relationship to Liberty Park and the WTC memorial across the street. The church is expected to open in late 2018, DNAinfo reports. The park is open to the public year round from 6AM to 11PM.
Posts tagged with "Santiago Calatrava":
Dubai doesn't do half measures. The city's latest endeavor, a Calatrava-designed super-tower, continues that trend. Emaar Properties would usually be outraged that their Burj Khalifa, the tallest building on the planet, was to be cast in shadow by a new building. However, they're also backing Spanish architect and engineer Santiago Calatrava's new tower along the city’s creek. Mohamed Alabbar, Chairman of Dubai-based Emaar Properties, has estimated costs at around $1 billion, $500 million cheaper than the Burj Khalifa when it opened in 2010. However, the final height of the building is yet to be confirmed—all we now know is that Calatrava's tower will rise above 2,700 feet, the height of the Burj Khalifa. https://youtu.be/tb8eOV0s5bA The tower itself will feature fully-glazed rotating balconies and observation decks (of course) as well as interior landscaping that takes influence from the hanging gardens of Babylon (now at dizzying heights). The showpiece observation area will be called "The Pinnacle Room" and will offer views over Dubai. Alongside this, up to 20 stories will house mixed-use facilities such as restaurants and a boutique hotel. Calatrava's design is said to be inspired by the profile of a lily flower while also mimicking a minaret (Arabic for lighthouse/beacon), a distinctive building commonly found in Islamic architecture and symbolism. The contours of his design will be formed using a cable system that will also anchor the tower to the ground. The core of the building, as depicted, will rise up supported by the cable structure, housing all the building facilities and services. At the top, where the diameter is widest, will be the Pinnacle Room that will house an array of greenery. "The slender stem serves as the spine of the structure and the cables linking the building to the ground are reminiscent of the delicate ribbing of the lily’s leaves," said Calatrava's firm. "The structure also provides a beacon of light at night, with lighting that will emphasize the flower-bud design of the building." Speaking of the project, Calatrava said: “From the beginning, my team and I have tried to put the best of ourselves into this project, since it is very special and [it's] a great honour to participate." "The design has clear reference to the classic art from the past and the culture of the place while serving as a great technological achievement. In my whole career, I have perceived technology as a vehicle to beauty and to art. This project envisages an artistic achievement in itself, inspired by the idea of welcoming people, not only from Dubai and the UAE, but from the entire world. It is a symbol of an abiding belief in progress."
Alabbar added that he intends to present the tower as a "gift to the city" before Dubai's 2020 World Expo, with which Norman Foster, Bjarke Ingels and Nick Grimshaw are all involved.
If you find yourself in Valencia, Spain, and you're tired of Santiago Calatrava's immoderate, Jurassic Park–like Ciudad de las Artes y las Ciencias, there is a much smaller and more interesting cultural space for you. The Alfaro Hofmann Collection is a small compound in an industrial quarter of the city that includes a collection of sculptures by the important Valencian artist, Andreu Alfaro; a small research institute; and the architectural offices of Fran Silvestre/Andres Alfaro, who created the complex. The Hoffman Collection focuses on the culture of everyday objects of the 20th century. It features a collection of hundreds of home and personal appliances (irons, toasters, radios, etc.) that includes some of the most important industrial designs of the century. Unlike, say, the Museum of Modern Art’s design collection, which really highlights design, this collection looks at the importance of these objects as they contributed to the evolution of the appliances' function and their importance to our culture. The collection of commercial refrigerators would never be found on West 53rd Street, but here they make a convincing argument for the evolution of this cooling machine. The Alfaro also features a collection of artwork and promotional literature on each of the objects in a research center that is open to the public. The collection is located at Fusters, s/n, Pol. d’Obradors 46110 Godella, Valencia, Spain.
The Port Authority declines to celebrate the grand opening of the world's most expensive train station
The Port Authority of New York and New Jersey has declined to celebrate the March grand opening of the Santiago Calatrava–designed World Trade Transportation Hub. Why is the agency snubbing its own baby? Because it's monstrously over-budget. The $4 billion taxpayer-financed project cost $1.8 billion more than expected, and construction extended years over schedule. These issues have dogged Calatrava personally and professionally, and cast a shadow on his otherwise bright reputation. Pat Foye, the Port Authority's executive director, told POLITICO New York that the project's been a fiscal fiasco from the start: “Since I arrived here, I have been troubled with the huge cost of the Hub at a time of limited resources for infrastructure so I’m passing on the [now-cancelled opening] event.” The Hub is expected to serve 100,000 daily passengers, far fewer than the Port Authority Bus Terminal (230,000), Grand Central (750,000), and Penn Station (906,708). In a follow up statement, Foye was unequivocal about what New York's newest piece of public infrastructure represents to him: “The thing is a symbol of excess.” In an interview with AN last year, Calatrava delineated the project's design goals and ethos behind the Hub:
I tried from the very beginning to do that whole network of connections extending from the oculus as a single unit. So the character of the structural members you can see with the ribs, and a certain character in the paving, and a certain character in the front of the shops is already delivering a character that a person will see all the way through. So if you are in the oculus or the mezzanine, or in the other corridors to Liberty Street or the other internal streets towards Liberty Plaza, or towards Wall Street or towards Fulton, all these areas are marked with the same character. My goal is to create a space where as soon as I arrive in the transportation hub I know I am in the transportation hub, no matter what corner I enter from. Also, something that the corridor delivers is a sense of quality of spaces. I have built seven of the major transportation hubs in Europe, in Lisbon, in Lyon, in Zurich, in Italy, and so on. Getting out of this experience, it’s very important to create places of quality, because people behave according to that. You see after all the enormous effort to bring all the subways and the trains to this place and see to maintain the service through all the construction—why shouldn’t these places have a certain material and structural quality that you can enjoy in a day-to-day way, not just commuters but visitors who arrive in this place. I think the station will match with the tradition in New York of great infrastructural works, as you see today in Grand Central and in the former Penn Station. If it had not been demolished it would be recognized as one of the greatest stations worldwide. I hope people can see some of these material qualities in the East/West corridor.On the eve of the opening, New York architecture critics are divided on the aesthetic and functional value of the Hub. AN toured the Hub this afternoon, so check back here for our assessment. In the meantime, picture Calatrava riding a Zamboni, polishing the smooth white Italian marble floors world's most expensive train station.
Santiago Calatrava took the top spot in an international design competition for an observation tower in the Ras Al Khor district of Dubai, commonly known as Creek Harbour. Awarding the prize was Vice President and Prime Minister of the UAE and ruler of Dubai, His Highness Sheikh Mohammed Bin Rashid Al Maktoum. The project has been hailed as an "architectural wonder" by His Highness Sheikh Mohammed, who also compared it to the Burj Khalifa and the Eiffel Tower. Beating five other firms in the competition, Calatrava's design draws on forms found in traditional Islamic art and architecture, while merging modern and sustainable design paradigms with the aesthetic. The curvature of the towers appears, from the render, to be derived from bézier curves (a form of mathematical parabola) which are comprised from straight lines. These lines, most likely to be steel cables, would be attached to a central core which rise up and punctuates the Dubai skyline. "Combining Islamic architecture with modern design, the tower at Dubai Creek will become a national monument as well as a cultural and tourist destination,” said Mohamed Ali Al Alabbar, president of Emaar Properties. The same developer was also behind the Burj Khalifa. "In our proposed design, we have united local traditional architecture with that of the 21st century,” said Calatrava in a press release.
Like cheese and crackers, music and architecture is a natural pairing. Last November, Steven Holl debuted his ballet, Tesseracts of Time. This year is shaping up to be a promising one for synergy between the two practices: A Marvelous Order, the opera based on Jane Jacobs' and Robert Moses' epic feud, is in previews this March, and last weekend, concertgoers at the 92nd Street Y's "Seeing Music" festival were treated to a Gabriel Calatrava–designed installation that dialogues with Bach's “The Art of the Fugue." The installation, mounted in a 24-foot-by-17-foot frame, is meant to evoke the strings on musical instruments, Bach's fugues, and a game of Cat's Cradle, the children's game played with an endlessly transfigured loop of string. While the Brentano String Quartet performed Bach's piece live, dancers manipulated Calatrava's installation in response to the music. https://www.youtube.com/watch?v=d2ePyvNgVJA New shapes, spaces, and patterns are created as the dancers work. “My fascination with moving architecture inspired me to design a set piece that serves as both a work of art and a functional installation that reacts to music,” Calatrava said in a statement. In the video below, he dives into the design process and the challenge of syncing architecture, a medium with material products, to music, tangible but non-physical. https://www.youtube.com/watch?v=wsHXd-8p0PE The Calatrava name should be eminently familiar to anyone who follows architecture. The younger Calatrava, trained as an engineer, is now an architect, working on his own and with his father's firm, Santiago Calatrava Architects & Engineers. An affinity for white, sinewy geometries may run in the family: the 92Y piece recalls the elder Calatrava's recently completed Museum of Tomorrow and the soon-to-open World Trade Center Transportation Hub, below. For those interested in checking out more musical pairings, the 92Y’s “Seeing Music” festival runs through February 18.
It’s a bird, it’s a plane…. it’s a soaring, white Calatrava design in Rio de Janeiro. The Museu do Amanhã (The Museum of Tomorrow) opens December 18 on Maua Pier in the up-and-coming Puerto Maravilha neighborhood. Inspired by the endemic Carioca culture, "The idea is that the building feels ethereal, almost floating on the sea, like a ship, a bird or a plant. Because of the changing nature of the exhibits, we have introduced an archetypal structure inside the building. This simplicity allows for the functional versatility of the museum, able to accommodate conferences or act as a research space," Santiago Calatrava said in a press release. The museum’s content will focus on answering five questions: Where did we come from? Who are we? Where are we? Where are we going? And how do we want to live together over the next 50 years? The 5,3820-square-foot structure is surrounded by an additional 8,1806-square-foot plaza that wraps around and extends out to the water, connecting it to the Guanabara Bay. A cantilevered roof extends into 246- and 148-foot-long overhangs facing the square and the bay respectively. Constructed in relation to the nearby UNESCO World Heritage Sao Bento Monastery, the height of the building was capped at 32 feet to protect the view monastery’s views of the surrounding landscape. In the museum, Calatrava created multiple opportunities for panoramic views of the monastery. The Museu do Amanhã is oriented on a north-south axis to create additional outdoor space along the pier for gardens, paths, green spaces, and a reflection pool. The pool will be used to filter water that is pumped in from the bay and then released back in. Water from the bay will also be used to regulate the building’s temperature, while solar panels will generate energy for the museum. A permanent exhibition, located on the second floor, will be curated by physicist and cosmologist Luiz Alberto Oliveira and designed by Ralph Appelbaum with Andrés Clerici. In addition, there will be temporary exhibitions, a 400-seat auditorium, a cafe, a restaurant, a gift shop, an educational lab, and the Observatory of Tomorrow, which will be a place for technological and scientific research. "The city of Rio de Janeiro is setting an example to the world of how to recover quality urban spaces through drastic intervention and the creation of cultural facilities,” Calatrava said in a press release.
Tuesday night at a ceremony on the 33rd floor of World Trade Center 7, high above his World Trade Center Transportation Hub, Spanish architect Santiago Calatrava was awarded the European Prize for Architecture by the Chicago Athenaeum Museum of Architecture and Design and the European Centre for Architecture. The accolade is awarded to architects each year who have made substantial contributions to the field. Last year's winner was Alessandro Mendini, who was given the award at a ceremony in Milan. In the crowd was a host of construction industry professionals, each with a table. Calatrava and his family had a table in the front, and Calatrava was giddy as the representatives of the Chicago Athenaeum and European Centre praised his long and prolific career. The highlight of the night was then he was presented with a crown made of olive leaves from the Parthenon in Athens. Calatrava gave a short lecture about his work, from his first projects in Zurich and Spain to his over 50 bridges around the world. He explained how he was trained as an engineer, but was eventually inspired by the human form and eyebrows, which evolved into his signature reptilian style.
Amidst cost overruns and delays, the Santiago Calatrava–designed Oculus, the visual centerpiece of the $3.7 billion World Trade Center Transportation Hub, has encountered another setback: leaky ceilings. According to the Port Authority, the water comes from the construction of Tower 3 and building crews spraying concrete as they break it up, to reduce dust. The spindly Oculus is a public event space that connects commuters with PATH trains and the subway. The main space is surrounded by two levels of restaurants and retail totaling 635,000 square feet. More than 100 high profile tenants, including Apple, Michael Kors, and Daniel Boulud, have leased space in the building. Barring additional delay, the project should open in the first half of 2016. Though Calatrava bristles when the media points out this project's shortcoming, the architect has had a strong year overall: last month, he was awarded the 2015 European Prize for Architecture. The awards ceremony, coincidentally, will take place at the World Trade Center on November 17. Attendees should bring ponchos, just in case.
Since 2008, there has been a giant hole where Santiago Calatrava’s Chicago Spire was supposed to rise some 2,000 feet out of the ground. The project lapsed due to financial woes by Irish developer Garrett Kelleher. The foundation is in place, and it looks like a place where a giant swimming pool or music venue would fit nicely, but AN is hearing that developers are working with Bjarke Ingels' Danish firm BIG on a possible Spire part to.
The Chicago Athenaeum and the European Centre for Architecture, Art, Design and Urban Studies have revealed Spanish architect Santiago Calatrava as the 2015 winner of the European Prize for Architecture. In awarding Calatrava the European Prize, the jury recognized the Spaniard's notable works including the Stadelholfen Railway Station in Zurich, the Bac de Roda Bridge in Barcelona, the Peace Bridge in Calgary, Canada, the Milwaukee Art Museum in Milwaukee, Wisconsin, the Innovation, Science and Technology Building at Florida Polytechnic University in Lakeland, Florida and the City of Arts and Sciences of Valencia, Spain. “Calatrava is more than just an architect,” explained Christian Narkiewicz-Laine, the president of the Chicago Athenaeum, in a statement. “He is a visionary theorist, philosopher and utopian and a true artist in the craft of engineering and architectonic expressionism. His buildings are not just ‘buildings.’ They are powerful works of art, inspired by a master’s gifted hand and sculpted by a superior, critical eye: immensely evocative and fiercely intellectual.” The award ceremony will be held at the World Trade Center in New York City on November 17 this year. Calatrava's works are set to be published the Metropolitan Arts Press and will be available via the European Center. Past winners include Finnish architect Marco Casagrande (2013), Italian architect Alessandro Mendini (2014), and Dane Bjarke Ingels (2010).
World Trade Center Transportation Hub World Trade Center, Manhattan Downtown Design Partnership; STV, AECOM, and Santiago Calatrava A team from the Port Authority of New York & New Jersey wowed the crowd of lucky Archtober fans this morning with a full-length tour from the Hudson River to the beating heart of the new World Trade Center. Robert Eisenstat, the chief architect at the Port Authority Engineering Department, was joined by Thomas L. Grassi, a program manager on the World Trade Center construction, and a number of others along for the ride. These dedicated people, along with many others, have been working on the site since “the day.” Today was a little reminiscent of that day, over 14 years ago—a crisp sunny day with only wisps of clouds. It is hard to visit the site at all, for some of us. But now because of the sublime poetry of the World Trade Center Transportation Hub—they call it the “oculus”—a brighter future can be imagined. It is a futuristic creature born from the construction chaos that still defines the neighborhood, with white, spiked ribs rising up like the barbs of a chalky peace dove’s feather. Peace is not easy. I kept thinking, we have to tell the crowd how complicated this all was, how many levels, how many logistical nightmares, how many times its seemed like it could never be completed. I have to do my thing about how architects are problem solvers, which of course is true. But some problems are spiritual ones, hard to put in the brief for a nearly $4 billion transit integration project. This is where the architect’s special poetry comes in. Whatever you may say about this project, and there has been a lot of negative press with Santiago Calatrava certainly taking some knocks along the way, it is uplifting. The spirit soars; the room has an ineffable majesty of great architecture that defies easy explanation. While the Port Authority was getting its “network cohesion” out of the tangle of subway lines and trans-Hudson modalities, it also got a cathedral that looks like the waiting room for heaven. Cynthia Phifer Kracauer is the managing director of the Center for Architecture and the festival director for Archtober: Architecture & Design Month NYC. She was previously a partner at Butler Rogers Baskett, and from 1989–2005 at Swanke Hayden Connell. After graduating from Princeton (AB 1975, M.Arch 1979) she worked for Philip Johnson, held faculty appointments at the University of Virginia, NJIT, and her alma mater. Tomorrow: Brooklyn Botanic Garden Visitor Center, Entry Building, and Arch.