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.
Posts tagged with "Santiago Calatrava":
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.
An important milestone for what is set to be Dallas' newest landmark was just reached as the first arch of Santiago Calatrava's Margaret McDermott Bridges project was completed in late August. As part of Dallas-Fort Worth region's Horseshoe Project, the Margaret McDermott Bridges, according to a press release, "are a major component of the city’s urban revitalization efforts." The project will span 1,200 feet across the Trinity River creating what is set to be a "central gathering place." Currently, the Eastbound Bridge Arch rises 275 feet above Interstate 30 and the project is due to be completed during the summer of 2017. The last arch piece, which was lifted roughly 28 stories on August 22, is approximately 1,024 feet long and weighs about 200 tons. The news is a boost for locals who eagerly anticipate its completion as it will provide pedestrian, cycle and car access to both sides. Costing a total of $113 million, the bridges barely take a chunk out of the $798 million Horseshoe project which looks to solve the city's infrastructure needs and traffic flow to the heart of Dallas’ downtown. For the entire duration of construction of the Margaret McDermott Bridge, Interstate 30 main lines have remained open.
Santiago Calatrava, currently the darling of George Clooney, has set up seven blade-like sculptures along Park Avenue in New York City. The installation is a collaboration between the Marlborough Gallery, the New York City Parks Department, and the Fund for Park Avenue. The aluminum sculptures each have an expressive form that is classic Calatrava, but are not the all-white creations that we have come to expect from the architect. No, these pieces are painted red, black, and silver. The installation runs until mid-November meaning that it should close right around the time that Calatrava's long-delayed World Trade Center Transportation Hub finally opens. Take a look at the gallery below for a closer look at the sculptures, and if you're in New York and want to see for yourself, the pieces are on Park Avenue's median between 52nd and 55th streets.
Santiago Calatrava really wants you to stop blaming him for the very delayed and very over budget World Trade Center Transit Hub. All of your snark and rude comments have really gotten to him, which he recently revealed to the Wall Street Journal. “It has not been easy for me,” he said. “I have been treated like a dog.” But there's now some good news that should help cheer up the Spanish starchitect: famous person George Clooney is staunchly on his side. https://www.youtube.com/watch?t=34&v=O6SinrRmuUU Clooney is in some new movie called Tommorowland that filmed at Calatrava's City of Arts & Sciences in Valencia, of which he is a big fan. At a recent press conference to promote the film, which took place on the modern campus, Clooney lavished praise on Calatrava. "This is an amazing place," he said. "If there's ever a question about whether or not there are dreamers in this world just come to look at this building, it is the most extraordinary place. There is such hope here, it's really fun to be in a place like this." The complex is striking, sure, but maybe Clooney hasn't heard about all the controversy and issues its run into over the years. We're talking ballooning budgets, crumbling facades, and lawsuits. As Susan Morris recently wrote on the AN Blog, Calatrava's City of Arts & Sciences is not the only high-profile piece of architecture featured in Tomorrowland. Philip Johnson's New York State Pavilion has a cameo too.
After all these years (read: delays), the public will finally be able to check out the grand oculus in Santiago Calatrava's $3.9 billion World Trade Center Transportation Hub—starting next month. The New York Times reported that beginning in June, a north-south passageway with direct views onto the building's main attraction will open to "limited pedestrian traffic." The entire building won't fully open until the end of this year, or early next year so don't get too excited. And you can always walk through an already open portion of the Calatrava station connecting to the Brookfield Place towers. The Times also noted that the World Trade Center redevelopment is set to check off milestone after milestone over the next few weeks and months. —The second of four PATH platforms in the Transportation Hub will open on Thursday. —Soon after that, a floor-to-ceiling barrier will come down as well. This will allow commuters to marvel at the immaculate space set beneath those already-iconic soaring white ribs, or wings, or spikes, or whatever you want to call them. —And on May 29th, the One World Trade Center Observatory will open, offering panoramic views to anyone willing to shell out $32 a ticket. As for 2 World Trade Center, well, we're still waiting to hear if Norman Foster's design will be replaced with something from Bjarke Ingels.
The Real Deal recently scored an interview with Santiago Calatrava, the so-called "symphonist of steel" behind the upcoming (and wildly over budget) World Trade Center Transit Hub, and the nearby Saint Nicholas Church. In the interview, Calatrava explained how New York City's building code impacted the two projects’ designs, offers his thoughts on the World Trade Center master plan, and comments on the construction quality of the Transit Hub. Overall, the controversial architect lavishes praise on just about everyone—from Daniel Libeskind to Larry Silverstein to the Port Authority.
When a huge piece of a starchitect-designed building comes crashing to the ground, the architectural world tends to notice. We are of course talking about the recent reaction to the 176-pound piece of concrete that fell off Zaha Hadid's Library and Learning Centre at Vienna University of Economics and Business. Making matters worse for Hadid, this is the second time the building has shed a piece of its skin. But Zaha is not alone; shed(-ding) happens. As we wait to hear what exactly happened in Vienna - an initial report suggests the issue stems from "defective installation" of the facade - we put together a list of some other starchitect buildings that have, let's say, lost a little bit of themselves. First, let’s go back in time—back to 1970s Boston when Henry Cobb's Hancock Tower is straight-up dropping 500-pound glass panes (at least 65 of them) onto the city below like in some sort of horror movie where buildings have rejected their human creators. Terrifying stuff. In a Pulitzer Prize–winning story, the Boston Globe reported on what exactly caused the building's window system to catastrophically fail:
Each panel was a sandwich: two layers of glass with an air space between, all held in a metal frame. To cut the glare and heat of the sun, a coat of reflective chromium was placed on the inside surface of the outside pane of glass. (This layer of chrome was what gave the building its mirror effect.) The window frame was bonded to the chrome with a lead solder. During the testing, it was noticed that when a window failed, the failure began when a tiny J-shaped crack appeared at the edge of an outside pane of glass. What was happening was this: The lead solder was bonding too well with the chrome—so well, so rigidly, that the joint couldn't absorb any movement. But window glass always moves. It expands and contracts with changes in temperature, and it vibrates with the wind. So the solder would fatigue and crack. The crack would telegraph through to the glass, and the cycle of failure would begin.Next we turn to Santiago Calatrava–the Spanish architect with a penchant for creating soaring buildings that are often accompanied by soaring budgets; for more on that, just Google Santiago Calatrava. Great. But right now let's focus on his Queen Sofía Palace of the Arts that opened in Valencia in 2005. The structure, which CityLab perfectly described as a mix between a bird's skull and a stormtrooper's helmet, had to be repaired because pieces of its tile mosaic facade were blowing off in high winds. And then just last year in London, two steel bolts the size of human arms dislodged from Richard Rogers' Leadenhall Building, which is better known as the "Cheesegrater." Thankfully, nobody was injured from the incident. But that's not the end of the Cheesegrater bolt story. As recently as last week, it was reported that a third bolt had fractured on the building. British Land, a developer of the building, said in a statement that the broken piece was "captured by precautionary tethering put in place last year." That's good. After some tests, it was concluded that "bolts had fractured due to a material failure mechanism called Hydrogen Embrittlement." Many bolts are now being replaced, but the developer insists there is, "no adverse effect on the structural integrity of the building." Now, let's head back stateside to Chicago. Do you remember that time the glass coating on the Willis Tower's observation deck cracked? If you were the tourists standing on the SOM-designed attraction 1,353 feet above the city you probably do. Sure, while everyone was fine and nothing was structurally wrong, just imagine being the people up there when that happened—just imagine that. Of course this list of high-profile architects would find its way to Frank Gehry. A while back the most famous architect of them all was sued by MIT for supposed flaws in his $300 million Stata Center. While pieces of the building didn't fall off, it was said to have leaks, cracks, and drainage problems. “These things are complicated,” Gehry told the New York Times after the suit was filed, “and they involved a lot of people, and you never quite know where they went wrong. A building goes together with seven billion pieces of connective tissue. The chances of it getting done ever without something colliding or some misstep are small.” And now let's end this list where we started it, with Zaha Hadid. Just a year after her dramatic Guangzhou Opera House opened in China, it began showing problems—lots of problems. In 2011, the Guardian reported that "large cracks have appeared in the walls and ceilings, glass panels have fallen from [Opera House] windows, and rain has seeped relentlessly into the building." In fairness to Zaha, the Wall Street Journal noted that when it comes to construction practices in China, architects have little say.
The World Trade Center Transportation Hub—or as its designer Santiago Calatrava likes to think of it, the "bird in flight"—is just blocks from AN's office, so we get to walk by and watch it try to take off regularly. But in the weeks before the holidays, odd “struts” started to be welded between the structure’s giant fins or blades. Not only do these lateral supports detract from the elegance of its long thin blades, I don’t remember seeing them in the renderings of the station. So I went back through every image I could find online and none show these connectors. In many of the renderings, the overlapping of the transit hub's fins obscures where the connectors would have been located. The renderings fades into solid white, obscuring those areas from clear view. Could it be that these were added later in the design process or did Mr. Calatrava know all along that these were needed to help support the weight of the fins? What do you think? Do they compromise the design?
With the final rafter installed on Santiago Calatrava’s World Trade Center Transit Hub the New York Times has done a deep-dive on how, exactly, the long-delayed structure ended up costing close to $4 billion. While the hub ultimately looks more like a stegosaurus than a dove taking flight, as Calatrava originally envisioned, it is undeniably a head-turning piece of dramatic architecture. But one that will be forever grounded by the reality of its staggering price tag. To find out how the Hub's budget soared right along with Calatrava's ambition, the Times conducted two dozen interviews and pored through hundreds of pages of documents. In the end, the Times said the problems go “far beyond an exotic and expensive design by its exacting architect, Santiago Calatrava.” The site's complexity, the hub's changing designs, security concerns, the lack of consistent oversight, and the price of labor and materials all slowed things down and increased costs, but, above all else, the $4 billion cost comes down to politics, politics, politics.
Earlier this week, AN went up to the 67th floor of the recently-opened 4 World Trade Center to get a progress report on the 16-acre redevelopment taking shape below. Inside the wide-open and raw space, Larry Silverstein, the site’s developer, told reporters that his vision for a new World Trade Center had finally become a reality. “I’ve gotten a bit of a reputation as a wild-eyed optimist,” he said in front of a wall of windows. “But even I have to admit that I didn’t see all this coming.” Noting that it had been 13 years since the attacks, he went on to refer to the anniversary as the site’s “bar mitzvah.” From high up in Fumihiko Maki’s celebrated 4 World Trade it’s easy to see how much has changed at the World Trade Center site over those 13 years—and how much still needs to get done. Looking straight down the tower’s western edge, you can see the pools of the 9/11 Memorial Plaza which opened in 2011 and the adjacent 9/11 Memorial Museum that came on-line three years later. Next to that is Calatrava’s bird-like transportation hub where workers could be seen busily welding on the structure's skeletal wings. That project is scheduled to open in the second half of 2015, years behind schedule and at a cost of nearly $4 billion. A few blocks north of the winged creature is 7 World Trade, the David Childs–designed building that opened in 2006 and is fully leased. Across Vesey Street is another Child's tower—the site’s centerpiece—the 1,776-foot-tall One World Trade. After years of delays, the building is expected to open some time this fall. As of now, the tower is about 60 percent leased. The same can be said for 4 World Trade. "I am both humbled and inspired by the process. It is never an easy process, and why should it be?" asked Daniel Libeskind, who crafted the site's masterplan. "This is New York City, there are so many stakeholders, so much to be done, and so much to think about." But there is obviously so much more to be done still—so many missing pieces in Libeskind's plan. Just this month, the board of the World Trade Center's performing arts center announced it had scrapped Gehry's decade-old design for the project. The board told the New York Times that is currently looking for a new architect to take over. And then there is Calatrava's other project at the site, the new St. Nicholas Greek Orthodox Church, which is still a few years off. While looking straight down from 4 World Trade shows how much has been rebuilt since 9/11, looking straight out reveals how much has not. The Midtown skyline that served as a backdrop for the event's speakers may have been impressive, but it was a blatant reminder of what has not been accomplished since the Twin Towers came crashing down. Because, at this point in the reconstruction process, employees in 4 World Trade Center shouldn’t have an entirely unobstructed view of Midtown—there should be two other glass towers in the way: 3 World Trade by Richard Rogers and 2 World Trade by Norman Foster. Silverstein said that the former should be completed by 2018, but as for 2 World Trade Center, it’s anyone’s guess. In a fact sheet distributed by representatives of Silverstein Properties, the tower's completion date is conspicuously left off.