4,132 research outputs found
Santiago Calatrava Public Spaces
No full textPresented on March 30, 2017 at 11a.m. in Clough Undergraduate Learning Commons, Auditorium 152.Architect, Artist and Engineer Santiago Calatrava earned a degree in architecture at Valencia’s Escuela Técnica Superior de Arquitectura. In 1975 he enrolled at the ETH (Swiss Federal Institute of Technology) in Zurich, receiving his Ph.D. in 1981 with the thesis: Concerning the Foldability of Space Frames. Santiago Calatrava has received numerous prizes and awards from renowned institutions and organizations such as the UIA Auguste Perret Prize in 1987, The Gold Medal of the Institution of Structural Engineers, the Royal College of Art “Sir Misha Black Medal” (2002), the Principe de Asturias Art Prize, Oviedo. He also received AIA Gold Medal (2005), the Premio Nacional de Arquitectura (2005), the Grande Médaille d’Or d’Architecture, Académie d’Architecture (2003) and the AIA National Medal (2012). Santiago Calatrava’s personal contribution has been recognized by many renowned institutions and organizations. He was named a “Global Leader for Tomorrow” by the World Economic Forum in 1993 and was named as one of the 100 most influential people by Time Magazine in 2005. At an academic level, Santiago Calatrava is a permanent guest lecturer at Universities such as the ETH Zurich (Swiss Federal Institute of Technology Zurich), MIT School of Architecture and Design, University of Yale, Azrieli School of Architecture in Tel Aviv and Columbia University in the city of New York. Throughout his career so far, he has received over 20 honorary doctorates (Doctor Honoris Causa) from many of the most prestigious universities around the world.Runtime: 53:43 minutesCalatrava’s works are remarkable as they present a multidisciplinary approach, combining architecture, sculpture, art and engineering with great artistic sensitivity and technological innovation. His projects inspire one’s emotional perceptions due to the innovative aesthetical language he encompasses
J. A. Calatrava Escobar, La teoría de la Arquitectura y de las Bellas Artes en "Encyclopédie" de Diderot y D'Alambert, Granada, 1992, pp. 703, 115, 1995, p. 120.
No full textSi tratta della recensione “La teoría de la Arquitectura y de las Bellas Artes en «Encyclopédie» de Diderot y D'Alambert” di J. A. Calatrava Escobar
Puente de la Exposición
No full textView where it meets the road on the south side, looking south; Both an architect and civil engineer (with a doctorate on the technology of space frames), Calatrava produces dynamic structural forms that challenge traditional practice in both architecture and engineering. His approach to bridge design, for example, is based on the view that bridges can be used ‘to add energy to the landscape’. [Alameda Bridge is an arch bridge which is a roadway and pedestrian walkway.] Source: Grove Art Online; http://www.oxfordartonline.com/ (accessed 7/18/2010
Ponte della Costituzione
No full textSteel lower arch running under the girders of the top arch; The fourth pedestrian bridge over the Grand Canal in Venice, it was fabricated off-site and towed into place by a large barge. Calatrava designed an arched truss bridge; the girders consist of steel tubes and plates, which form closed section boxes. The stairway on the bridge is paved with pietra d'Istria, a stone traditionally used in Venice, alternating with tempered glass steps illuminated from below by fluorescent lights. The parapet is also tempered glass, terminating in a bronze handrail with concealed lighting. The concrete abutments on both sides are surrounded by a small plaza and steps up to the bridge, which has been criticized because it is not handicapped-accessible. Source: Wikipedia; http://en.wikipedia.org/wiki/Main_Page (accessed 8/2/2013
Stadelhofen Railway Station
No full textGeneral view of pedestrian level, depicting structure; Between 1979 and 1981 Calatrava worked at the ETH (Eidgenössische Technische Hochschule) and obtained a doctorate on the technology of space frames. After establishing an independent architectural and engineering practice in Zurich in 1981, he rapidly gained an international reputation for his integration of technology and aesthetics, producing dynamic structural forms that challenged traditional practice in both architecture and engineering. Calatrava's most important building designs include the Stadelhofen Railway Station (1983-1990), Zurich, a long, curving, three-level structure that includes a basement underpass and upper-level walkway with connecting bridges. The nature of these spaces is emphasized by the structure: the basement is dominated by heavy, inclined concrete supports, and the upper walkway by the skeletal steel ribs of its cantilevered glazed roof. Source: Grove Art Online; http://www.groveart.com/ (accessed 2/3/2008
Itinerario por los hervideros o cultura de los baños: recurso didáctico para el estudio y conservación del paisaje volcánico del Campo de Calatrava (Ciudad Real, España)
No full textLos “hervideros” del Campo de Calatrava son una de las manifestaciones más
características y singulares de la Región Volcánica del Campo de Calatrava. El
itinerario escogido refleja una clara interdisciplinariedad aunando, combinando e integrando principalmente tres criterios: el puramente geológico-geomorfológico por la procedencia y las características físicas de éstos; el histórico-sociológico, al convertirse
en una actividad cotidiana y extendida a ámbitos nacionales e internacionales, durante casi un siglo (desde mediados del siglo XIX hasta la década de los años 50 en el siglo
XX) y el ambiental, dentro de la línea de conservación y protección de un elemento
destacable del paisaje volcánico calatravo. De ellos nos han quedado restos de sus construcciones, actualmente en claro deterioro.PublishedVol I, pp. 287- 2984V. Vulcani e ambienteN/A or not JCRope
[Documentos relativos a la Orden de Calatrava] (Ms. 2196)
No full textManuscrito número 2196 de la Biblioteca Histórica de la USAL1 hoja, xxxix hojas, 375 hojas, 2 hojas : papel ; 305 x 212 mmTítulo y datación deducidos del contenidoColación: 12+20+11/9(8)+6(10)+12/13(8)+14/3(16)+14/5(8)+7. -- Reclamos de cuaderno y signaturas alfanuméricasVarias foliaciones: moderna en romanos independiente para f. i-xxxix, dos foliaciones de la época en arábigos y romanos para f. 1-148, sigue foliación moderna correlativa hasta el final, los f. 149-266 y f. 329-375 tienen además foliación de la época en romanos -- En blanco 35-38, 39vCaja de escritura: caja y número de líneas variablesEscritura: Letra humanística cursivaDecoración: en f. 1r, 2r, iniciales en negro y morado, calderones en negro; en f. 39r escudo de la orden en morado, rojo y negro, en f. 148v escudo de la orden en rojo y negro, con la indicación en la parte inferior: Año 1547Procede del Colegio de San Bartoloméf. 1r-148r: Capítulo general de Sevilla (1511) ---
f. 149r-266v: Capítulo general de Burgos (1523) ---
f. 267r-287v: Copia del inventario de la iglesia del convento mayor de Calatrava (1548) ---
f. 288r-318r: Mandamiento para el prior e freyles del convento de la Horden e Cavalleria de Calatrava (1548) ---
f. 318v-328v: Tratado muy neçessario de saber a qualquier persona eclesiastica es obligado por su horden e profesion o benefiçio a rezar cada dia las horas ---
f. 329r-375r: Estatutos de la orden de Çistel (1317) (Precede la bula Ad hoc in apostolice sedis de Calixto II por la que se confirman los capítulos y constituciones del Císter (23 de diciembre de 1119)
Itinerario por los hervideros o cultura de los baños: recurso didáctico para el estudio y conservación del paisaje volcánico del Campo de Calatrava (Ciudad Real, España)
No full textLos “hervideros” del Campo de Calatrava son una de las manifestaciones más
características y singulares de la Región Volcánica del Campo de Calatrava. El
itinerario escogido refleja una clara interdisciplinariedad aunando, combinando e integrando principalmente tres criterios: el puramente geológico-geomorfológico por la procedencia y las características físicas de éstos; el histórico-sociológico, al convertirse
en una actividad cotidiana y extendida a ámbitos nacionales e internacionales, durante casi un siglo (desde mediados del siglo XIX hasta la década de los años 50 en el siglo
XX) y el ambiental, dentro de la línea de conservación y protección de un elemento
destacable del paisaje volcánico calatravo. De ellos nos han quedado restos de sus construcciones, actualmente en claro deterioro.PublishedVol I, pp. 287- 2984V. Vulcani e ambienteN/A or not JCRope
Quadracci Pavilion
No full textDetail of the south wing, showing where the projecting south bay meets the wing; The graceful Quadracci Pavilion is a sculptural, postmodern addition designed by Spanish architect Santiago Calatrava. Highlights of the building are the magnificent cathedral-like space of Windhover Hall, with a vaulted 90-foot-high glass ceiling; the Burke Brise Soleil, a moveable sunscreen with a 217-foot wingspan that unfolds and folds twice daily; and the Reiman Bridge, a pedestrian suspension bridge that connects the Museum to the city. The structure incorporates both cutting-edge technology and old-world craftsmanship. The hand-built structure was made largely by pouring concrete into one-of-a-kind wooden forms. The Museum's signature wings, the Burke Brise Soleil, form a moveable sunscreen with a 217-foot wingspan. The brise soleil is made up of 72 steel fins, ranging in length from 26 to 105 feet. The entire structure weighs 90 tons. It takes 3.5 minutes for the wings to open or close. Sensors on the fins continually monitor wind speed and direction; whenever winds exceed 23 mph for more than 3 seconds, the wings close automatically. Source: Milwaukee Art Museum; http://www.mam.org/ (accessed 5/30/2008
Quadracci Pavilion
No full textDetail, looking east, showing Windhover Hall with the Burke Brise Soleil ("wings") up, depicting the spine; The graceful Quadracci Pavilion is a sculptural, postmodern addition designed by Spanish architect Santiago Calatrava. Highlights of the building are the magnificent cathedral-like space of Windhover Hall, with a vaulted 90-foot-high glass ceiling; the Burke Brise Soleil, a moveable sunscreen with a 217-foot wingspan that unfolds and folds twice daily; and the Reiman Bridge, a pedestrian suspension bridge that connects the Museum to the city. The structure incorporates both cutting-edge technology and old-world craftsmanship. The hand-built structure was made largely by pouring concrete into one-of-a-kind wooden forms. The Museum's signature wings, the Burke Brise Soleil, form a moveable sunscreen with a 217-foot wingspan. The brise soleil is made up of 72 steel fins, ranging in length from 26 to 105 feet. The entire structure weighs 90 tons. It takes 3.5 minutes for the wings to open or close. Sensors on the fins continually monitor wind speed and direction; whenever winds exceed 23 mph for more than 3 seconds, the wings close automatically. Source: Milwaukee Art Museum; http://www.mam.org/ (accessed 5/30/2008
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