Tomorrowland's futuristic set was based on Santiago Calatrava’s City of Arts and Sciences in Valencia. Disney’s big non-superhero movie this summer, Tomorrowland, which opened in theaters Memorial Day weekend, is all about a mysterious place full of wonder and whiz-bang.
Despite cost overruns and leaky roofs, Santiago Calatrava’s buildings have the power to inspire. The West Concourse of Santiago Calatrava's PATH station at the World Trade Center opened on October 22. Shown here is its marble-lined walkway.
The renowned Spanish engineer and designer is the subject of an exhibition opening today at Russia's Hermitage Museum—the institution's first retrospective devoted to a contemporary architect. Calatrava speaks candidly with Architectural Record about the show, his work, and the criticism he often faces.
Its critics called it a “bridge to nowhere”—borrowing an epithet popularized by Sarah Palin—and it endured 15 years of civic wrangling, but a new span designed by Santiago Calatrava was finally welcomed by the city of Dallas with an opening party that took over its roadway on Friday night.
Last summer, Denver International Airport officials announced, with great fanfare, the selection of Spanish architect Santiago Calatrava to design a $650 million expansion, including a 500-room hotel, public plaza, and commuter-rail station.
As Rio de Janeiro prepares to host several high-profile events, including the United Nations’ 2012 “Rio+20” Earth Summit, and the 2016 Summer Olympics, the city is unveiling major architecture commissions and urban improvements. One such undertaking breaks ground this month: the Museu do Amanhã, or Museum of Tomorrow, designed by Santiago Calatrava. Located on Pier Maua, adjacent to Rio’s main cruise ship terminal, the museum will anchor a $2.8 billion
Denver International Airport’s main terminal, with its distinctive white peaked fabric roof, is getting some company: a 500-room Westin Hotel, a commuter train station, and a rail bridge, all designed by Santiago Calatrava.
The first two sections of Santiago Calatrava’s Trinity River Bridge arrived in Dallas on August 20. Ordinarily this would have been cause for celebration, a sign that the project was on track and under control. But in this case it may be just one more round in a 10-year dog fight involving the city, the U.S. Army Corps of Engineers, and the Federal Highway Administration over where or whether the vehicular bridge can be built.