The Visionary Behind The Spanish Architect Santiago Calatrava

The Visionary Behind The Spanish Architect Santiago Calatrava Intuitive vision that lures experienced and studied phenomena greatly enriches human endeavor, just as much as structural theory and geometry have the ability to inspire monumental works of architecture. Further down the line, the visionary behind the Spanish architect, Santiago Calatrava shall be unveiled, on the basis of the aforesaid statement. The Sculptor Calatravas early interest in art and the aesthetic sense that drew him to a small book on Le Corbusier, would remain another constant factor in his work, and one of the things that sets him apart in the world of contemporary architecture. Calatrava evolved his art, and his sculpture into architecture. Time and time again, his work leaves architecture critics perplexed because of his tremendous ability to translate his sculptures into real structures, into architecture. He never fails to generate a great deal of mystery and curiosity in his works. Calatrava goes so far as to even suggest that his art (sculpture) must be considered as a source of ideas for architecture. Julio Gonzalez explains the Architecture-Sculpture equation. Architecture and sculpture are two rivers in which the same water flows. Imagine that sculpture is unfettered plasticity, while architecture is plasticity that must submit to function, and to the obvious notion of human scale (through function). Where sculpture ignores function, unbowed by mundane questions of use, it is superior to architecture as pure expression. But through its rapport with human scale and the environment through its penetrability and interiority architecture dominates sculpture in these specific areas. (Julio Gonzalez Dessiner dans lespace, Skira, Kunstmuseum, Bern, 1997) In 1914, in his book Les Cathà ©drales de France, sculptor Auguste Rodin wrote, The sculptor attains great expression only when he gives all his attention to the harmonic play of light and shadow, just as the architect does. The fact that one of the most famous phrases of modern architecture was inspired not by an architect but by a sculptor underlines the significance of art. The Engineer It is not enough to be an engineer. We are not allowed to confine ourselves within our own professions, but must live in full view of the entire scene of life, which is always total. The supreme art of living is a consummation gained by no single calling and no single science; it is the yield of all occupations and all sciences, and many things besides. -Josà © Ortega y Gasset, Man the Technician Calatravas expressive use of technology and inventive form would be impossible without an awareness that goes beyond architecture and engineering. Music, painting and the natural sciences are as vital to his work as any other calculation. His work becomes and intertwinement of elastic expression and structural revelation, producing results that possibly can be best described as a synthesis of aesthetics and structural physics. (Anthony C. Webster Utility, Technology and Expression, The Architectural Review 191, no.1149, November 1992: 71) Calatravas design process reflects his eclectic education. He began as an art student, then went on to earn a degree in architecture, from Escuela Technica Superior de Arquitectura de Valencia, and then finally a doctorate of Technical Science from the Eidgenosische Technische Hochschule (ETH) in Zurich, all in his birthplace Valencia. He spent his time making and then developing numerous sketches. His sketches emphasize his preference for resolving a design in section, which for him reveals not only the strength of the building but also its structural beauty. Often, his sketches are followed by scale models, or what he generally refers to as toys and games. (Santiago Calatrava, The synthetic Power of Games and Metaphor. In Bridging the Gap: Rethinking the Relationship of an Architect and Engineer. New York: Van Nostrand Reinhold, Building Arts Forum/New York, 1991, p. 173). Used as experiments and primarily inspirational tools for resolving technical problems such as dynamics or tension, they are also seen as sculptures that borrow the language of Engineering. They are creative statements about structural force. Calatravas comprehension of technical information and science is what grants his work the starting point, that is paralleled to Leonardo Da Vincis own interconnected scientific and artistic connections. Just as Da Vinci made use of his art and science background, translating human and animal movement into mechanical movement and added depth and the third dimension in his paintings; similarly, Calatravas fantastic educational knowledge in engineering as well as architecture, enables him to translate his sculptural work (which depicts motion) into crystallized movement in his architectural work. Movement has always fascinated Calatrava, and for parts of his structures, it has been a source of evolution and inspiration. Even in his engineering thesis of foldable space frames, he investigated movement as an inherent part of architecture. His doctoral thesis, On the Foldability of Frames had to do with the fact that a geometric figure can be reduced from three dimensions to two, and ultimately just one. A polyhedron can be collapsed, making it a single planar surface. Another transformation can further reduce it to a single line, a single dimension. He thus concluded that any building is not just a visual image, consisting of different volumes and textured surfaces, but a dynamic object Although, it is very noticeable from his works and he himself has also stated that nature is his structural inspiration, it is also seen that he doesnt imitate any particular organic form. Instead, he closely observes the strong visual movement in natural objects that derives from the fact that their shapes are the traces of the physical forces that created them. His structures have the same dynamic quality emphasized in Rudolf Arnheims explanation of nature. It is alive to our eyes partly because its shapes are fossils of the events that gave rise to them. (Rudolf Arheim, Art and visual Perception: A Psychology of the Creative Eye, Los Angeles: University of California Press, 1969, p.351) The Essence of Architecture The fact that some are uncomfortable with the multiple forms of expression chosen by Santiago Calatrava is probably the best indication that is he onto something important. Joseph Seymour , the former executive director of the Port Authority of New York and new Jersey said, We think he is the Da Vinci of our time. He combines light and air and structural elegance with strength. His architecture captivates the imagination, showing the potential of sculptural form and dynamic structure, and what it can accomplish. His vision elevates the human spirit by creating environments in which we live, play and work. He does not seem disturbed by the coexisting forms of art, architecture and engineering in his mind and thought. With all of his combined interests, he is able to amaze everyone with his phenomenal designs each time. He develops forms that are anonymous, yet universal. Turning Torso, Sweden In sculpture, I have used spheres, and cubes and simple forms often related to my knowledge of engineering. I must admit that I greatly admire the liberty of a Frank Gehry, or Frank Stella as a sculptor. There is a joy and a liberty in Stellas work that is not present in my sculpture, which is always based in the rough business of mathematics. (Interview with Santiago Calatrava, Zurich, February 22, 2006) Ernstings Warehouse, Germany It has been made clear through Calatravas Ernstings Warehouse, in Coesfeld Germany (1983-85), that architecture is not static. The warehouse doors continue the aluminium wall surface when closed, but when open, the faà §ade is pierced and set in motion and the doors are transformed into a beautiful scalloped canopy. Bac De Roda Bridge, Barcelona Like many 20th Century engineers, Calatrava considers concrete to be the most noble construction material. The Spanish word for concrete, hormigon, from the word meaning form, describes most directly the unique quality of concrete- Its ability to take any form or shape. Of course, Calatrava has his favorites, but doesnt limit himself to concrete. The marvelous dialogue he establishes between concrete and steel, for example and the detailing of these connections reveal a great deal of his ideas on structural composition. In the Bac De Roda- Felipe II Bridge (1984-1987) in Barcelona, the arches are transformed from steel into concrete, as they majestically bend to meet the earth. Concrete abutments are anchored firmly into the ground, while steel , because of its obvious lightness compared to concrete, soars over the roadway. Stadelhofen Station, Zurich The three pronged steel columns seem to bite into the glass canopy and concrete promenade to ensure support and grip. These junctures embody Calatravas fascination with the way load are carried to the ground. Conclusion His work is an inspiration to numerous architects across the globe not only because it counteracts the thrusts of arches, and domes of massive stone construction, but because it also conveys structural clarity and rhythmic qualities. Calatravas work can captivate, communicate, and inspire though a visual process. We sense a familiarity with it that is often definable yet not attributable to a single source. At a time when specialization in architecture is increasing, Santiago Calatrava has the ability to combine the somewhat contradicting disciplines of architecture and engineering, with his very own creative vision. It is the vision that has the capability to rejuvenate not just the built environment but ultimately the very spirit of building itself.

Womens Rights :: American America History

Women's Rights It was long ago when women were looked upon as slaves to the hard Working, man. In today's society women now are more respected and are acceptable for many jobs as men are. Yet, long before our time during World War II, women were thought many different things that they could only imagine. During the postwar, women were, then equipped with many different abilities colliding with their home chores and knowledge. Women then took their stand and many acts were passes in their favor. In this essay I shall be discussing the many different requirements women went through during World War II, their postwar abilities, and the discussion of what the men in the past had against the women of today. The war's demand, the war had made the proposition to the women to do the man's work (Leahy, pg.35). Women were encouraged to take these jobs for the first time in history. To some it was a shock but to many it was a divine privilege. By 1942 a poll showed that only 13% of Americans opposed women in the workforce (Leahy, pg.36). Many of them also became war nurses and helped many of the men recover. It would seem that women's interests in occupational equality were directly linked to the nation's state of distress. Many women were exceptionally well at making bombs and took the place of men. During the war women received many different opportunity and advancement in their lives. Even though there were many laws prohibiting women from working they still came through for our country (Walker, pg.2). For once women were looked at as producers and not reproducers. After the war the men had returned home and back steps began to take place with the women. In 1945, 3/4 of the women polled by the Women's Bureau of the Department of Labor wished to continue working which showed their interests in the skills they possessed. During this point much frustration ran through these women for the men had created "homemaker" for the description of a women's job and life. Women continued working during the postwar and grew stronger. The veterans of the war were not so opposed but more rejecting to the fact of women taking their places. Knowing that the women would help the war's progress greatly many issues were discussed before allowing them to work. The government wanted power towards them, to have possession of influence that the women undergoes.

Colors in the Caves Narrative Essay

It was Spring Break of 2010, the already steamy, hot temperatures of the Southern air rising despite the full blast of the air conditioning blowing through my hair as we drive through the seemingly never-ending desert of Arizona. My family, consisting of four, is headed toward Picacho Peak to take on the strenuous 6. 2-mile hike along the Sunset Vista Trail. We pull up to the Sunset Vista Trail Head parking area, our medium-sized Camelbaks having already been packed somewhere along the 1,060 miles of flat, boring road, we start up the trail with the sun beating down our backs.Automatically, I fall in step with my long-legged brother while my sister gratefully stays behind with our mother, adopting a preferred slow, steady pace. The sun is bright, the jagged rocks and occasional stream receiving its pale, yet blinding reflection. My brother and I make a good team; he supplies the food while I supply the water, all the while sharing laughs and memories, memories that I will later on th ink to be my last.After a couple hours, the scalding sun is taking on its inevitable journey toward the western horizon, being replaced with the cool breeze of the moon. My brother and I decide to take a refueling break on two enormous rocks after four hours of walking in the moonlight. â€Å"Here, take my Camelbak,† I say, â€Å"I’m going to the bathroom. † I take my flashlight as I walk off the trail for two minutes, keeping track of the monotonous rocks and brush I pass by. When I am finished, I start to head back towards our temporary resting place.Passing the familiar rocks, I crouch down to inspect with my LED flashlight a peculiar zigzag shape on the ground. Tracing my finger along the sharp edges of the shape, I realize it’s a narrow fracture in the ground, leading to a larger web of intricate fractures that rest just under my feet. Just then I hear a whisper of rushing water. Before I have time to react to the sudden realization that the ground c ould collapse from under my feet, I fall through the Earth. The fall seems endless though it may have taken no more than two seconds.I land with an echoing crash as my body penetrates through hot water. My body is violently thrown to the side with the sharp current and I am struggling to reach the surface. I reach out, my hands sliding on the slick floor as my body is carried by the flow of the hot spring. My wrist catches on a column jutting up on the floor of the cave. I wrap both arms around it to haul myself up. I cough to catch my breath, throat burning. The flashlight is still on. I wave the blue light around the darkness.The blue light winks as I shine it on my surroundings, the battery will die soon. I spot a tunnel not far off to the right. It must go somewhere, I thought. I can see a clear enough path towards it, so I reluctantly click off the safety of the blue light. I am instantly swallowed by darkness as I crawl my way towards the tunnel. Black, black, black is all I s ee. Without my vision, I have to be careful of where I move. The blue luminosity from the flashlight leaves me with the hesitant desire to not be wasteful.How many hours has it been? No food, no water. The sun should surely be up soon. Just as the thoughts have formed I see a faint light up ahead. The yellow glimmer of the sun’s rays gives me the hope I so crave. The light is still nowhere near enough to be able to see anything. The overwhelming pitch-blackness, the winking blue of the LED flashlight, and the steady growing yellow shine of the sun is all I see in my slow, crawling trek along the cave’s floor.With my cautious travel, thriftiness, and hopeful thoughts, the growing light is suddenly all around me. I am squinting as I collapse to the ground. Almost immediately I am pulled up from under my shoulders, faint cries of relief and concern swarm through my ears, but with the overbearing silence and lack of energy, I cannot make out the words. All I see is brightn ess, as the hope I so desperately clung to is turned into overwhelming relief and happiness as survival is achieved. That’s when I black out.More brightness, a different kind of light. Not the hopeful yellow of the sun shining through the rocks, but of a white fluorescent one. I am in a hospital. My family is suddenly all around me, throwing hugs and kisses and joy. A nurse comes in with a doctor, they give my family time to pull themselves together. I can hear the nurse speaking to the doctor, â€Å"How could she possibly have made it through those awful caves? † The doctor responds to her, flashing me a knowing smile, â€Å"Colors go a long way in finding our inner character†.

Theme Of Guilt In Maus - 1301 Words

Guilt is a great consumer of lives, but exactly what do people know about guilt? People only know what theyve learned from experience, both theirs and others. Art Spiegelman is no exception to this concept. Throughout his graphic novel, Maus, he consistently expresses his guilt. Spiegelman experiences extreme guilt over not suffering the Holocaust, being a disappointment of a son, and for writing Maus. First of all, Spiegelman expresses constant survivors guilt over his being born after World War II. He did not suffer through the horrors of the World War II Holocaust, but his father, mother, and step-mother suffered. Spiegelman feels guilty because his life has been much easier than theirs’. This is his survivors guilt, which having a†¦show more content†¦She made some wrong choices, some reckless choices, and one of these ended with her waking up to find Lily dead. She feels extremely guilty that she did not make good enough choices as a mother, and that these choices killed her daughter. Whether Elisa’s choices were directly correlated with her daughter’s death is not absolutely certain, but either way Elisa needs to find peace with it, just like Spiegelman needs to find peace with the fact that he cannot change who he is to please his father. Spiegelman’s Maus even expresses his guilt over creating it. He feels that he should not be profiting from telling the world his fathers pain. The Jews in the story even haunt his dreams. Multitudes of other people also feel guilty over someone elses experiences so deeply that they cannot enjoy their own triumphs. The person in pain makes another feel guilty, which in turn causes that person pain. A study surveyed 107 families with children in which at least one parent had once had depression to test if there was a correlation between a formerly depressed parent ´s guilt being placed on the child and the child taking his or her parent’s pain to heart. The results showed that the more the formerly depressed parent placed guilt on their child, the more seriously the child took the parent’s pain. Spiegelman, likeShow MoreRelatedMaus Themes790 Words   |  4 PagesChoose one or two themes from the following list and show how Spiegelman conveyed this in Maus: Lonel iness; Discrimination; Abuse of Power; Loss of Innocence, Guilt, Survival. The graphic novel Maus by Art Spiegelman conveys many varied and powerful themes to the reader. Spiegelman has conveyed the themes Guilt and Survival by using various methods including narration, dialogue and several comic book techniques to show the expressions and feelings of the central characters. Guilt is an especiallyRead MoreThe Comic Book Maus1662 Words   |  7 PagesIn the comic book Maus, Art Spiegelman shows the readers what people endured during the Holocaust terror. Art mostly spoke about persons of Jewish descent. He utilized great imagery, and characteristics to allow readers to get a mental image and painting of the immense pain and suffering Jews endured during the Holocaust. His use of symbolism of mice and cats helped to show how Jews were just pawns, and experimental factors to Germans. Art allows for the reader to see how terrifying and horrificRead MoreAnalysis Of The Book Maus 864 Words   |  4 Pagesthroughout his career, working for numerous comic lines. There’s no doubt that Maus certainly was his greatest work. You could consider Spiegalman’s experience to be his best credential. Maus is a graphic novel that depicts basically a cat and mouse representation of the Holocaust. A graphic novel as defined by Webster’s dictionary is a â€Å"fictional story that is presented in comic strip format and published as a book.†(1) Maus tells the story of Spiegelmans father, and his experience as a Jew during theRead More`` Maus Trigger Me More Than Narrative Of The Life Of Frederick Douglass And Half Of A Yellow Sun966 Words   |  4 PagesMaus trigger me more than Narrative of the Life of Frederick Douglass and Half of a Yellow Sun since my country has been through similar experience. My country is the Republic of Korea, also called South Korea. It is small country located between powerful countries like China, Russia, and Japan. Thus, it is a place where war never stopped even till now. Too many times, we were t oo close to losing our country and one time, in 1910 we actually did. Lasted for Thirty-five years, it is called the KoreaRead MoreAnalysis Of A Survivor s Tale 1557 Words   |  7 PagesAt its very core Maus is, as the title states, â€Å"a survivor’s tale.† By the very nature of being the tale of a survivor, this story carries with it the baggage of memories. The memories of Vladek bring forth survivor’s guilt and a need to place blame. This all ties in to one of the central themes of Maus: the implications of recounting memories. These implications affect Vladek in various ways as he recounts his tale of survival to Art. In recounting this tale, Art shares in his father’s baggage toRead MoreSummary Of Maus By Art Spiegelman Essay1593 Words   |  7 PagesMaus by Art Spiegelman is a graphic novel about a man s story of surviving the holocaust and the son was asking his father to tell this story. By itself this is a great story a man trying to surviv e the Holocaust against the odds and reunite with his lost love. Outside the simple exterior there is a dark theme of guilt that enhances the text from cover to cover. This theme of guilt is something that can be seen throughout the story, in a surprising number of times and an even more surprising numberRead MoreMaus : A Survivor s Tale I And II902 Words   |  4 PagesLanguage and Composition 2 October 2016 Quarter 1, Long Form #2 Maus I and II In the nonfiction novels Maus: A Survivor’s Tale I and II, Art Spiegelman creates a multi-themed book by his use of various connection rhetorical devices. Guilt is one of the most prominent themes of the book. Two types of guilt are present in his books: survivor’s guilt and familial guilt. Spiegelman s, familial guilt comes from the death of his mother. The guilt that he was the cause of his mother suicide is a haunting thoughtRead MoreMaus1464 Words   |  6 Pages(optional). GUILT is an emotion one gets when he/she believes or discovers that he/she did a wrong deed and valuated his/her standard social, moral or penal code ( Chaplin, 1975). The intensity of guilt varies from one person to another. When some individuals survive a horrific event, they get this overwhelming feeling of guilt and blame themselves for surviving the abominable situation that others did not survive. This state of mind is a mental condition and is sometimes termed as imagined guilt. It mayRead MoreLiterary And Cinematic Works Of `` Maus ``1856 Words   |  8 Pagesthemselves but never the less even some of the most well-known works have come from second generation Holocaust victims or rather children whose parents were a part of it. One of the most renowned pieces is Art Spiegelman’s non-fiction graphic novel â€Å"Maus†. Originally published in 1980, it details the experiences of both Art as the son of a Holocaust survivor and his father Vladek as an actual eyewitn ess. The novel describes their individual struggles as well as the toll that has been taken on theirRead MoreAnalysis of The Complete Maus, by Art Spiegelman1101 Words   |  5 PagesWhen reading a traditional book, it is up to the reader to imagine the faces and landscapes that are described within. A well written story will describe the images clearly so that you can easily picture the details. In Art Spiegelman’s The Complete Maus, the use of the animals in place of the humans offers a rather comical view in its simplistic relation to the subject and at the same time develops a cryptic mood within the story. His drawings of living conditions in Auschwitz; expressions on the