Calatrava, Santiago( 1951 )
Sketch plan ( 05 ), 1999 , Tenerife Concert Hall, Santa Cruz de Tenerife,
Canary Islands, Spain, 30 40 cm, WatercolorAn architect and engineer known for his anthropomorphic structural systems, Santiago Calatrava
designs pavilions, bridges, and canopies that are both elegant and efficient. Calatrava was born in Spain
in 1951 , traveling to Paris and Switzerland as an exchange student in his youth. Intending to study at
the Ecole des Beaux-Arts, he instead enrolled in the Escuela Tecnica Superoir de Arquitectura in
Valencia. Finding an interest in the mathematical rigor of certain great works of architecture, he pur-
sued post-graduate studies in civil engineering at the Federal Institute of Technology in Zurich. He
began his career by winning the design and construction of the Stadelhofen Railway Station in Zurich
in 1983. Other notable projects are the Bach de Roda Bridge, commissioned for the Olympic Games
in Barcelona; the Alamillo Bridge and viaduct ( 1987 – 1992 ); Campo Volantin Footbridge in Bilbao
( 1990 – 1997 ); and the Alameda Bridge and underground station in Valencia ( 1991 – 1995 ). A few recent
projects by Calatrava include the expansion of the Milwaukee Art Museum ( 2001 ); Athens Olympic
Sports Complex ( 2004 ); and the Palacio de las Artes in Valencia ( 2004 ). He has received numerous
honors and awards such as the Gold Medal of the Institute of Structural Engineers, London, and the
Gold Medal of Merit in the Fine Arts, Ministry of Culture, Spain.
This sketch (Figure 8. 4 ) is from a series of design sketches for the Tenerife Concert Hall. The
‘Concert Hall is the gateway to a new park in the western part of Santa Cruz, designed to help revit-
alize a coastal strip that had been the site of industrial plants and oil refineries. The building is the
result of a specified desire for a dynamic, monumental building that would not only be a place for
music and culture but would create a focal point for the area.’^5
‘The all-concrete building is characterized by the dramatic sweep of its roof. Rising off the base
like a crashing wave, the roof soars to a height of 58 meters over the main auditorium before curving
downward and narrowing to a point. The building’s plinth forms a public plaza covering the site
and allows for differences in grade between the different levels of the adjacent roads. ... Geometric-
ally, the roof is constructed from two intersecting cone segments. By contrast, the symmetrical
inner shell of the concert hall, which is 50 meters high, is a rotational body, generated by rotating a
curve to describe an ellipse.’
The plan, section, and elevation sketches for this Concert Hall have been explored with graphite
and watercolor in hues of blue and yellow. The plan sketch on the opposite page is not a typical
floor plan that could be used for construction, but rather an instrument for design. Without the
written explanation of the building, it would be difficult to understand the abstraction of the plan.
It appears to show several levels and the exterior of the structure all at the same time.
The graphite under the watercolor has been sketched freehand. The form being slightly asym-
metrical did not prevent the sketch from assisting Calatrava in visualizing the building’s organiza-
tion. The slow, careful, and controlled strokes of the pencil imply a sketch in the development stage,
rather than the first fleeting concepts. The specifications for the project list white concrete and
broken ceramic tiles among the building materials.
For the interior, the principal materials include platinum blue granite and structural wood. Although
the sketch appears to illustrate the refinement of form, Calatrava was also employing color to help him
imagine the space and, possibly, represent the building materials.H5719-Ch08.qxd 7/15/05 3:51 PM Page 217