2008 Milwaukee Art Museum 700 N. Art Museum Drive, Milwaukee, WI 53202 www.mam.

org



Santiago Calatrava
and the Dream Machine
School Program for Grades 6 8
(a collaboration with Discovery World at Pier Wisconsin)

Docent Resource Packet

Prepared by Jane Nicholson, School and Teacher Programs Manager

January 2008
[Updated February 2009]
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About This Docent Resource Packet

This docent resource packet describes the Santiago Calatrava and the Dream Machine
school program, a collaboration with Discovery World at Pier Wisconsin. It includes
background information, program goals and objectives, tour implementation ideas, and
program logistics.

The Milwaukee Art Museums docent-guided Calatrava tour is an opportunity for
students to explore Santiago Calatravas innovation and the creative design process
from the idea through the product using the Museums Quadracci Pavilion and Reiman
Pedestrian Bridge as an example of his work. Also, students will have the opportunity to
continue to explore the creative design process through technology, including
prototyping and industrial automation, using Discovery Worlds interactive Rockwell
Automation Dream Machine exhibition and hands-on Prototyping Lab.

If you have suggestions or questions regarding the Santiago Calatrava and the Dream
Machine school program, please contact our School and Teacher Programs Manager by
calling (414) 224-3827.























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Table of Contents

What is the Santiago Calatrava and the Dream Machine
School Program? 7
Program Summary
Goals and Objectives
Program Description
Program Outline

Santiago Calatrava and His Creative Design Process 9
Santiago Calatrava 9
Introduction
Biography
Santiago Calatravas Creative Design Process 12
Introduction
Drawings
Sculptures
Interviews with Santiago Calatrava
Summary of Calatravas Design Process for the Milwaukee Art Museum

Santiago Calatrava and the Milwaukee Art Museum
Quadracci Pavillion 19
Introduction
A Short History of the Milwaukee Art Museum
The New Addition Design Evolves
Fun Facts
Interview with Santiago Calatrava
Santiago Calatravas Statement About the Milwaukee Art Museum Addition

Visit Descriptions and Information 31
Visit to the Milwaukee Art Museum
Visit to Discovery World at Pier Wisconsin
Calatrava Tour Implementation at Milwaukee Art Museum

Calatrava Quadracci Pavilion Study Worksheet for Students 37

Vocabulary 39










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What is the Santiago Calatrava and the Dream Machine
School Program?

PROGRAM SUMMARY
The Milwaukee Art Museums and Discovery World at Pier Wisconsins Santiago
Calatrava and the Dream Machine collaborative school program provides students in
grades 68 an opportunity to learn about the creative design process combining art,
science, and technology. This program includes a one-hour docent-guided Calatrava
tour at the Milwaukee Art Museum and a one-hour hands-on experience in Discovery
Worlds Rockwell Automation Dream Machine exhibition and Prototyping Lab. Using
the work of Santiago Calatrava at the Milwaukee Art Museum, students explore
Calatravas innovation and the creative design process from the idea through the
product. Using the interactive Rockwell Automation Dream Machine exhibition and
hands-on Prototyping Lab at Discovery World, the students continue to explore the
creative design process through technology, including prototyping and industrial
automation.

PROGRAM GOALS AND OBJECTIVES
The primary goals of the Santiago Calatrava and the Dream Machine collaborative
school program are:
To provide students in grades 68 with an opportunity to learn about the creative
design process combining art, science, and technology.
To help students make personal and practical connections with the creative
design process.
To engage students in discussions and the creative design process.
To raise an awareness about careers in art, architecture, engineering, science,
and technology.
To help teachers use art, science, and technology with their existing classroom
curricula to teach about the creative design process.
To utilize both the Milwaukee Art Museum and Discovery World at Pier
Wisconsin as teaching resources.

The primary learning objectives of the school program are that students will:
Understand that innovation/creativity begins with an idea.
Identify basic steps of the creative design process, including:
o defining the problem or goal
o finding solutions and ideas
o documentation of ideas
o testing, reflecting, and refining ideas
o production
Explore connections between Santiago Calatravas creative design process and
their own creative design process.
Discuss the relationship of art, architecture, science, and technology.
Develop a basic understanding of prototyping and industrial automation.
Create a product prototype using science/technology.

PROGRAM DESCRIPTION
The Milwaukee Art Museums and Discovery World at Pier Wisconsins Santiago
Calatrava and the Dream Machine collaborative school program provides students in
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grades 68 an opportunity to learn about the creative design process combining art,
science, and technology.

Trained docents lead The Milwaukee Art Museums one-hour thematic visit, actively and
creatively engaging the students in the specific topic of the tour. Tours include various
questioning and critical thinking strategies, along with use of gallery teaching aids.

After the Calatrava tour at the Milwaukee Art Museum, students walk to Discovery World
at Pier Wisconsin for a one-hour hands-on experience in the Rockwell Automation
Dream Machine exhibition and the Prototyping Lab. Students explore and discuss the
exhibition, which uses models of local landmarks to show how automation and control
are a part of our daily lives, and create an automata prototype.

This 2-hour program is developed for school groups of 10 30, maximum, students.
Groups of 26 or more students will rotate activities while at Discovery World. This
program is available Tuesday through Friday, except Thursday mornings. Lunch facilities
are available at Discovery World upon request.

Call the Milwaukee Art Museum at 414-224-3842 to schedule your Calatrava tour, and
then call Discover World at 414-765-8625 to schedule your Rockwell Automation Dream
Machine and Prototyping Lab visit.

FEE
Regular general school group tour fees of $2 per student apply to your Milwaukee Art
Museum visit. One adult chaperone per ten students is required; these adults are
admitted free of charge. An additional fee of $5 per student is charged by Discovery
World at Pier Wisconsin for this collaborative school program.

PROGRAM CONTACT
For more information about how your school can participate in this collaborative school
program, contact:

School and Teacher Programs Manager
Milwaukee Art Museum
700 N. Art Museum Drive
Milwaukee, WI 53202
phone: 414-224-3827
fax: 414-271-7588






February 24, 2009






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Santiago Calatrava and His Creative Design Process




SANTIAGO CALATRAVA
Introduction
In a century dominated by specialization and fragmentation, Santiago Calatrava is one of
the few designers who can be called universal. His numerous buildings, engineering
projects, sculptures, and furniture designs, consistently create a unique poetics of
morphology that merges structure and movement. He transgresses the artificial
distinctions between art, architecture, science, and technology, between reflection and
action, between memory and creation, between problem-solving and wonder, in order
both to posit a cultural vision permeating personal and professional lives, and to
establish a new paradigm for practice.

Within this new paradigm, Calatrava selectively recalls established knowledge, then
reuses and reinterprets it to serve each projects requirements. He casts seemingly
hackneyed analogies in a new light. He critically reassesses architectural rules and
deepens our understanding of the more fundamental, more comprehensive problems of
architecture. He invites us to rethink form, construction, and use of buildings by
breaching current professional routines and by overcoming existing barriers between
professional institutions. His sculpture serves as a research laboratory for highly
technical projects. His technical infrastructure projects, in turn, offer the text and plot for
highly abstract aesthetic essays, sculpture, and engineering techniques that promote
cultural quality, life, and meaning in the human community.

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Calatravas designs work on three levels. First, they solve problems by providing optimal
schemes. These solutions, in turn, represent the core beliefs and desires that explain the
designs. And finally, Calatravas design solutions encourage us to question where these
beliefs and desires come from and why they are essential to humanity. Calatrava
responds to all three issues. His basic design strategy is to make the search for optimal
solutions, the discipline of critical inquiry, and the spirit of experimentation and adventure
work together in the same scheme. His projects are unique because they satisfy views
not through compromise but through a higher level of synthesis. This requires not only
an excellent grasp of multiple domains but also the cognitive competence to create. The
offspring of this process is a new type of design artifact: an amalgam of sculpture and
tool, a new, broader, definition of technology, and a new type of contemporary practice
for architects, engineers, and artists. By overcoming the borders separating art,
architecture, and engineering, Calatrava broadens our collective understanding of the
artificial environment and provides new ways to improve cities and landscapes and the
human communities within them.

[Excerpted from Tzonis, Alexander. Santiago Calatrava: The Poetics of Movement. New York: Universal
Publishing, 1999. pp. 9-10.]

Speaking Spanish, English, French, and German with almost equal fluency, crossing
barriers between art, architecture, and engineering as easily as he seems to change
countries, Santiago Calatrava is clearly a figure to be reckoned with, a leading light of
the genration that is now beginning to dominate world architecture.

Biography
Santiago Caltrava is an architect, artist, and engineer. He was born in the town of
Benimamet, near Valencia, Spain, in 1951. Calatrava is an aristocratic name, passed
down from a medieval order of knights. The family on both sides was engaged in the
agricultural export business, which gave them an international outlook that was rare
during the Franco dictatorship.

Santiago Calatrava attended primary and secondary school in Valencia, Spain. From
the age of eight, he also attended the Valencia School of Arts and Crafts, where he
began his formal instruction in drawing and painting. When he was thirteen, his family
took advantage of the recent opening of the borders and sent him to Paris, France, as
an exchange student and to learn French. At age seventeen, his mother sent him to
Zurich to learn German. He later traveled and studied in Switzerland as well. His travels
and the challenge of mastering new languages quickly enriched Calatravas cultural and
design experiences, while simultaneously establishing a sense of independence, self-
mastery, and responsibility.

Immediately after completing high school in June 1968, Calatrava enrolled at the Escole
des Beaux-Arts in Paris only to discover the school, students, and city in total upheaval.
The social unrest of Mau 1968 had not only closed the Ecole, but its proponents
declared dead the very institutes of art, design, and architecture that Calatrava had
come to Paris to embrace. Returning to Valencia out of practicality, Calatrava enrolled in
both the Architecture School and the Arts and Crafts School.

He received his undergraduate degree from the Escuela Tecnica Superior de
Arquitectura, Valencia, Spain. His undergraduate years were bracketed with formal
study in two other subjects that also exort strong influences on his built work: one year of
study in art and a graduate course in urban studies.

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Trained in the 1970s, Calatrava felt undernourished by the functionist rhetoric then in
vogue in European architecture schools: It was time for a revolution. To discuss
aesthetics was considered bourgeois, decadent. He was frustrated by didactic
instruction and wanted to find his own way to understand architecture: Learning was
handed to meI preferred to hear a bird singing rather than a person singing like a bird.
Dissatisfaction with his architectural education was one reason he went on to study
engineering, but his intellectual hunger was stronger. Instead of choosing a major he
chose everything. I love drawing and painting and sculpture. I also love the rigor of
mathematics. My descision was to stay in between.

Soon after graduating in 1975, he departed for Zurich, Switzerland, to refine his art and
architecture training. Calatrava earned a doctorate in civil engineering at the Swiss
Federal Institute of Technology (ETH) in Zurich. Caltrava spent four years on his
doctorate in engineering. His thesis was a systematic examination of foldable or
movable structures. Until I was 30, I worked rigorously at this. In that program,
Calatrava felt he was unshackled. He received his Ph.D. in 1981.

To those who think structural engineering is a purely technical field, the idea that it was
liberating to Calatrava may seem odd. Engineering design does not mean calculating
things; that is just a small part of it, Calatrava says. For him, engineering supplies the
last piece: with it he could solve the entire problem himself. So finally, the architecture
design and the engineering design became the same thing.

After completing his studies, Calatrava took a position as an assistant at the Federal
Institute of Technology in Zurich and began to accept small engineering commissions.
He also began to enter competitions, believing this was his most likely way to secure
commissions. His first winning competition proposal, in 1983, was for the design and
construction of Stadelhofen Railway Station in Zurich, the city in which he established
his office.

In 1984, Calatrava won the competition to design and build the Bach de Roda Bridge,
commissioned by the Olympic Games in Barcelona. This was the beginning of the
bridge projects that established his international reputation. Among the other notable
bridges located in Spain that followed were the Alamillo Bridge and La Cartuja Viaduct,
commissioned for the Worlds Fair in Sevilla (1987-92); Lusitania Bridge in Merida
(1988-1991); Ondarroa Bridge in Ondarroa (1989-1995); Campo Volantin Footbridge in
Bilbao (1990-1997); and Alameda Bridge and Underground Station in Valencia (1991-
1995). The attendant growth of his practice led him to establish a second office in Paris
in 1989.

During this phase of his career, Calatrava won a reputation for designing other large-
scale public projects as well. These included BCE Place Mall in Toronto (1987-1992);
Lyon-Stolas Airport Railway Station in France (1989-1994); Sondica Airport in Bilbao
(1990-2000), Tenerife Concert Hall in the Canary Islands (1991-2003); the City of Arts
and Sciences in Valencia (1991-2004); and the Orient Railway Station in Lisbon (1993-
1998). He also won the design competition to complete the Cathedral of St. John the
Divine in New York City (1991), a project that has not been realized.

A large number of Calatravas projects are engaged with movement. They do this in two
principle ways: first, through parts of the structure that serve functional needs by
explicitly moving (unfolding, rising, revolving, or channeling) objects, people, and
vehicles; and second, through parts of the structure that implicitly represent movement
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through their form. In the latter case, the very designs prompt us to reenvision the
problem-solving process of the designer.

He has developed a rare knowledge set and it informs all of his design work. The
Milwaukee Art Museum addition is such a complete synthesis of design and engineering
that it could not have been conceived by someone without training in both fields.

[Excerpted from Kent, Cheryl. Santiago Caltrava Milwaukee Art Museum Quadracci Pavilion. New York:
Rizzoli, 2005. p. 39, 114-115; and excerpted from Tzonis, Alexander. Santiago Calatrava: The Poetics of
Movement. New York: Universal Publishing, 1999. pp. 15-29.]


CALATRAVAS CREATIVE DESIGN PROCESS
Introduction
Santiago Calatravas projects recall the way the body of a complex living organism is put
together. This is one of the reasons his bridges, observation towers, and building
complexes fit and enhance the landscape like enormous organisms growing out of it or
living within it. His forms, however, are not mimetic. His is not an organic style. His
schemes, rather, draw on nature, taking cues from the way the skeleton, the circulatory
system, and the skin of organisms especially the human body function and flourish.
In searching to develop a morphology of movement, he draws dramatic significance from
the human bodys acrobatic action the dancers gravity-defying gestures to capture
the shape of change and immerse it in a world of flux. As a result, Calatravas structures,
when embedded in the landscape like a tree, tend to enhance that landscapes own
uniqueness rather than subjugate its character. When placed in forgotten, peripheral
parts of a city, Calatravas creation brings about hope and renew desire.

[Excerpted from Tzonis, Alexander. Santiago Calatrava: The Poetics of Movement. New York: Universal
Publishing, 1999. p. 12.]

There are two highly polarized ways to invent a design scheme: the analytical and the
analogical. In the context of the division of labor and the institutional split of Western
architecture and design, engineers prefer the first, and architects and artists the second.
Calatrava employs both.

In his theoretical study On the Foldability of Space Frames, completed at the Swiss
Federal Institute of Technology, Calatrava took the analytical path. He developed a
general method to transform all possible types of space frames into planar shapes and
lines, similar to the way an umbrella opens a broad plane or folds into a stick. As a result
of his research, Calatrava found in the method a very useful tool that enabled him to
make structures spread easily in all directions, taking different forms. He could give
concrete form to his visions of fluid, waving structures, and incorporate them into any
component of a project that could move with and adapt to a world in flux.

It is obvious that designers rely on analysis only to a very limited degree. In most cases
creative design is motivated by imagination, intuition, or insight. These terms, however,
indicating the act of looking inside, disclose very little about the complexity of thinking
that generates original designs or about the nature of the mysterious mind that gives
birth to what Herbert Read (author of The Forms of Things Unknown, Ohio, 1963) has
called the form of things unknown. The concepts of analogy and metaphor come
closer to the process of transferring knowledge from one domain to another, the mental
leaps that underlie creativity. In contrast to the process of analysis, which begins with a
very simple list of principles and definitions to construct carefully, step by step, a rich
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world of new objects, the process of analogy creates unprecedented design through the
rethinking of precedents. Most artists, architects, and even some engineers do not build
their inventions on unformed experiences and knowledge. The new does not come from
nowhere as much as the avant-garde has often claimed. In fact, the unprecedented
design often emerges from a thorough understanding of history. The best ally of
invention is memory.

Looking at the work of Santiago Calatrava from this perspective, and considering the
notebooks full of drawings of the natural world and the human body alone or in groups,
loosely gestured or carefully detailed, and combined with bridges or buildings or animals
we see the role such precedents played as sources for analogies and metaphors in his
architecture and engineering projects. Positions, gestures, profiles, skeletons, muscles,
organs, skin, wings, trees, plants, and birds are constantly recalled, reinterpreted, and
projected into project schemes. They invite new ways of looking at structure and
enclosure. They make the unfamiliar familiar and make possible inventive solutions to
difficult problems of structure and site.

Drawings
As we look through Calatravas notebooks and the strange forms of his projects, we
rediscover the components of the human form and bird wings from the sketchbooks in
the mobile elements of his architectural projects. And the fronds of the palm tree, human
spine and ribs, or once again fingers in this case, interlocking hands reappear as
roof components in the Kuwait Pavilion and Milwaukee Art Museum Quadracci Pavilion.

In Calatravas sketchbooks, eyelids are transformed into the roof of an observatory, a
birds beak into a roof shell, dancing men into interlocked support nets. Calatravas
projects are compositions that involve seeing one thing as something else. For
Calatrava, new objects/structures (or solutions) are born from pairing previously
unrelated objects (or problems). They become fused because of a common formal
similarity, a homology of parts, a parallelism between contour lines, or co-location of
figures. It is this property that permits the seeing of one thing as another. Out of its
similarity a new form may be inferred in analogy to an old one. Again and again,
Calatravas sketches/designs reveal the subtle similarities between configurations he
has drawn from trees, blossoms, birds, human bodies, hands, eyes, or fish and his
schemes. Calatravas drawings/ideas, however, not only disclose similarities between
static objects or forms at rest but also between the movements carried out by different
objects. Thus, the movement of one object prototype is applied to a new design project.
Buildings, sculptures, or engineering projects expand and contract, burgeon and bloom,
open and close, dilate and billow, rise and fall in analogy to a movement characteristic of
a bird, a flower, a part of a human body. In other words, in addition to reframing life
forms into architectural features, Calatrava also redesigns life processes themselves.

Calatravas sketchbooks reveal that whenever he is compelled to invent the form of a
new column, or beam, or roof structure to fulfill new programmatic requirements or
contextual conditions, he gives shape to objects not yet born by using the forms of
existing objects to fulfill a certain task. By bridging past and future objects, he engages in
a transfer of design knowledge instead of assembling it piece by piece. Analogies such
as those on which Calatravas design thinking is founded reveal our innate ability to act
upon and react to new environments by using forms found in nature and artifacts.



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Calatravas work has the following characteristics:
o He draws human figures, bodies, faces, hands, eyes, plants, birds, all shapes
from which he draws inspiration for his structures. In his sketches he develops
and transforms his ideas into architectural forms: his projects are illustrated in
great detail, and he makes clear their technical and constructional requirements.
In his creative design process and work, the drawing plays a fundamental part.
o The prevalence of curves in tension, used not as static, geometrical forms but as
dynamic figures, the product of points or forces in sequence; or rather of a point
or force moving in space; lines whose reduplication, multiplication, and
organization into systems generate surfaces and structures; lines evoking, or
containing, a movement.
o Some kind of empathy with building materials, prior even to that with natural
form, leading to wisdom in the selection, use, and modeling of materials and their
combination steel, wood, glass, marble, reinforced concrete that stems from
an almost tactile familiarity with the material, and understanding of its suitability
for a particular shape or form.
o The relationship between the single element and the whole, that repeated,
defines the rhythm, and the proportions between the various parts of the building,
create a fourth dimension elevated by explicit and implicit movement. The fixed
structural shapes, crucial to defining architectural space, become unpredictable
under the changes and movement of the natural light, and moveable forms
appear to follow the solar cycle.
o A concern for defining and controlling every last detail of the work, allied to the
creative intent more even than to any technical necessity.
o The great stimulus and inspiration to his architecture is in the natural world of
plants and human and animal forms -- bones and their articulation into the
machines that underlie the flesh organs and connective tissue of complex
animals. For example, wings so prominent among his most striking roofs are
really a sub-department of skeletal articulation. They are conceived as bony
webs that open and close controlling light and shade as with a brise soleil or on
which a fabric or covering is stretched. His architecture is organic, not in the
sense that it reproduces the shapes of humans, animals or plant fossils, but
because it applies structural solutions that have already been found and tested
by Nature.

Sculptures
How can the human body be envisioned as a building? How is an analogy drawn? For
Calatrava the answer lies in another series of his artworks: the sculptures, which have
been as important and as numerous as his figure sketches. Made of elementary parts
often cubes and prisms, rods, cables, or planar folded surfaces they are the first level
of the concrete through which Calatrava maps and matches forms and ideas, reframes
bodies as design schemes, and begins to think metaphorically. His sculpture serves as a
research laboratory for highly technical projects.

Calatravas abstract sculptural forms are unique in their intention to discover through
abstract combinations of form the rules of morphology and movement of the concrete
body in motion. In combining both the analysis and analogy approaches, Calatravas
morphological investigations are close to the humanist tradition to Leonardo da Vinci
(1452-1519) and Johann Wolfgang von Goethe (1749-1832) in their interest in
understanding the structure of natural organisms and abstract forms and linking
structure to movement. In fact, Calatravas use of mathematics brings him closer to da
Vinci than to Goethe, who found mathematics inappropriate for analyzing organic nature.
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The relationship of Calatravas sculptures to his built designs is complex, even if some
forms, such as the bird-like wings of the Milwaukee Art Museum addition, are readily
identifiable in his sculptures. Sometimes I create structural compositions, which you can
call sculptures if you like, says Santiago Calatrava.

They are based on very personal ideas. Just like Federico Fellini (1920-1993, Italian
film director) or Akira Kurosawa (1910-1998, Japanese film director and screenwriter)
made drawings before their movies, I make sculptures. Santiago Calatrava makes
frequent references to the art, and this is undoubtedly one of the keys to his work.


INTERVIEWS WITH SANTIAGO CALATRAVA
By Architectural Records
AR: How do you formulate your ideas and develop them?

CALATRAVA: I try to emphasize the importance of place. The very first impression will
come from the place. And I think it is fundamental to establish a link of feeling with this
place.

Another relevant element that I would like to emphasize is the human context. So along
with the topographical landscape, climatic environment, and cultural landscape as a
natural event, we also have the human climate. And with those elements I then begin a
work of synthesis. I try to express ideas as best I can maybe by sketching on paper. At
this point, the sketch is the first manifestation of the idea. In terms of a graphic language,
it is just the result of an idea that comes from these factors combined.

I explained that in a very rational way, but things dont always happen so rationally.
Sometimes you think this is the real shape for a place. But, when you say the real shape
you also mean this is the shape that solves the problems or part of them, because you
are also able through your experience or capacity for synthesis to understand that
[problems can be solved] in this shape or in this volume. Understand?

This is most easily done in buildings that dont have very complex structures in terms of
function. For example, if we are thinking of a bridge, which is a simple link, or a station.
When I work on projects with more complex structures I subdivide the objects in two
parts. One we could call a container, in which many things can happen, and another will
be a single part.

This technique, this method of approach, was used at the station in Lyon and in Lisbon.

AR: In Lisbon?

CALATRAVA: And in Milwaukee also. You design a part of the building that is much
more the idea part and then the rest of the building, because the rest of the building in
all its complexity needs a certain operational understanding of the development of the
architecture, in terms of economics, in terms of the structure, in terms of modulation and
division.

Very briefly, I dont believe very much in causality. As an architect I think you have to
control your ideas and your shapes, which should emerge very much from a rational
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effort. For this it is necessary to create a theoretical background or a background of
research. In my work this research is based on morphology, that I do through sculpture.

AR: Your research involves what we call art. Do you use sketching as a method of
seeing?

CALATRAVA: The sketch is the instrument that helps me materialize the ideas to
another level. And the most abstract way to do studies of morphology probably is
sculpture. One draws the human body to understand the movement, the gesture. The
place, the landscape, the human landscape, and topography are important for me.
These will inspire or bring the essence [to a project]. Then, also the analysis of the
functional program is important. You can channel all the impulses of free thinking, free
feeling, shape, form, the natural [flow], and this goes from the sketches and the human
body into the sculptures.

[Excerpted from an interview of Santiago Calatrava by Rober Ivy, editor-in-chief at Architectural Records
http://archrecord.construction.com/people/interviews/archives/0008Clatrava-1.asp]


By John Tusa from BBC Radio
JT: Lets talk about this business of biomorphism, that is the fact that your buildings, not
just some but a lot of yours, look like shapes from the physical world: birds, inside
ribcages, etcetera. Why is biomorphism important to you? Is it important from the
metaphorical point of view, or is it important from an engineering point of view as well?

CALATRAVA: In the beginning you see of my work I was very much looking for patterns
of understanding a way you know to, to lets say who will permit me to get out of the
academic standards from which I was merging, you understand, so I came after forty
years of studies you see as a free professional, and of course you see the first reflects
will be almost you know repeat..?.. this what you has learnt, what it is what your teachers
has shown you that you should do, so

JT: It is just, were you taught essentially in the modernist post Bauhaus tradition?

CALATRAVA: Exactly, and the first thing I approached was the fact of finding patterns
of thought. For example, it could be one like this: the larchitectura depende del la
membra deluomo, which is just a very old Italian sentence written in the Renaissance:
the architecture depends on the human members, of the human

JT: Human limbs?

CALATRAVA: Yes, and it means that your body almost is architecture. So indeed you
see if you put your hands together you see or, or your face you see the expression of
your mouth, you see even your, the proportions.

Of your body, all those things you see has an archi, lets say are patterns of
understanding of architecture. And it is very interesting looking at the human person
because finally its the use also of the building. Isnt it? So the, the human person
became the cannon not only for the measurement and the proportion of the internal and
more intimate parts of the building: the things that you can touch, where you sit, where
you sleep and things like that; but it became also the cannon and the pattern for the
overall building. I thought that quite a fascinating idea.
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. . . JT: So theres no reason why buildings should just be matchboxes, you can design
them to do anything?

CALATRAVA: Yes, and although if you look at the engineers approach to know and
study the water, you know, by watching water, and study lets say the slopes of the soil,
you understand what I mean by watching the soil and, and will make a retaining wall you
know to retain water and has to deal with something so natural like wild stream or things
like that, so the relation of engineering and natural is a wonderful key. Its you see
whatever you think is artificial, you understand, whatever we think so I can draw an
apple, you see I can draw an apple, but you see nothing to do with an apple its just a
drawing, you understand it is similar to an apple so you can also note you see its not
edible, you understand so I mean its, its just to tell you that as soon as you project a
thought you are in an artificial world. So this is all faculty also, so featuring natural we
create, we create craters you see who has following the patterns of the natural belongs
to a completely different world which it is the world of our mind and through that they
become art, artifacts, they became artificial, they became artifacts and they may, even
maybe they may become art.

JT: So they, of course, are not animals, or the fact they look like animals is an
engineering solution rather than a, well it is a metaphorical solution but youre saying
that it has been modified. The original idea of saying let us make something which is like
a human being so to say, but by the time you have made the building it doesnt matter
that its like a human being, it is a building, its completely artificial?

CALATRAVA: Its very beautiful as you define it, it looks like animals. You see, another
author you know who impressed me very much is Victor Hugo, he has a wonderful book
called Notre Dame de Paris, and he describes in Notre Dame de Paris the cathedral as
an animal, you know with the legs inside the column. Indeed when you go there nothing
to do with an animal, but its a way, its a metaphorical way to introduce you in a world of
understanding something. So you see, even artists like Victor Hugo you know needs
also the use of metaphor to express something about a wonderful building, so you can
now feed back, you see you could have started by the metaphor and you may maybe be
in a way you see close to undertanding a poetic issue to wrap a building.

[Excerpted from an interview of Santiago Calatrava by John Tusa at BBS Radio
http://www.bbc.co.uk/radio3/johntusainterview/calatrava_transcript.shtml]


Summary of Calatravas Design Process for the Milwaukee Art Museum
1. Look at nature for inspiration after viewing project site; sketches of natural
objects and human forms
[2-dimensional]
2. Pencil sketches and watercolor drawings of architectural ideas
[2-dimensional]
3. Prototype/maquette scale model (white model) of proposed architectural idea
[3-dimensional]
4. Photomontage/computer-generated image of exterior architecture (color)
[2-dimensional]
5. Formal architectural drawings and mechanical plans
[2-dimensional]
6. Construction of full-scale building
[3-dimensional]
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Santiago Calatrava and the Milwaukee Art Museum
Quadracci Pavilion

INTRODUCTION
In 1994, Spanish-born architect, artist, and engineer Santiago Calatrava (b. 1951) was
chosen to design the Milwaukee Art Museums new addition. In 1996, his dynamic
design was unveiled and ground was broken in December 1997.

The Calatrava-designed Quadracci Pavilion, completed in October 2001, was his first
completed building in the United States. The new addition features a 90-foot high glass-
walled reception hall enclosed by the Burke Brise Soleil, a sunscreen that can be raised
and lowered creating a unique moving sculpture. The Quadracci Pavilion, itself a work of
art, is a stunning mixture of white concrete, glass, maple wood floors, white Carrera
Italian marble floors, and breathtaking views of Lake Michigan and the City of
Milwaukee. This work also encompasses an elegant cable-stayed bridge, connecting the
Museum and lakefront to downtown streets.

A SHORT HISTORY OF THE MILWAUKEE ART MUSEUM
Milwaukee in the 1880s was a thriving port city, mostly German-speaking, with an
industrial base that included wheat traders, meat packers, tanneries, shipyards,
brickyards, and breweries. The stream of new immigrants arriving daily was mainly
northern Europeans Irish, German, Scandinavian, Polish, Czech, and Italian. They
brought with them their culture languages, traditions, and renowned craftsmanship.

These craftspeople included a large group of talented German artists who specialized in
panorama painting. These large-scale panoramas were hugely popular entertainment at
the time a precursor to the movies. The experience included narration and music.
Civil War battles were especially popular. After their run in Milwaukee, the giant
canvases were rolled up and sent on tour to other cities. These panorama artists, along
with several Milwaukee businessmen, formed the Milwaukee Art Association, which
organized its first public exhibition in 1888.

The Milwaukee Art Association encouraged Frederick Layton, owner of a meat packing
business to fulfill a promise he made earlier to establish Milwaukees first art gallery. A
classic-styled building was built downtown on the corner of Mason and Jefferson Streets
and opened in 1888 as the Layton Art Gallery. By 1912, the Milwaukee Art Society, an
outgrowth of the Milwaukee Art Association purchased a building on Jefferson Street
near the Layton Art Gallery. By 1918, the Society changed its name to the Milwaukee Art
Institute.

After World War II several groups began looking for a suitable memorial for the war
dead. After several years, plans for a center on the shore of Lake Michigan took shape,
to include county veterans organizations and an art center. Famed Finnish architect
Eliel Saarinen was commissioned to design the building. After the architect died in 1950,
his son Eero Saarinen took over the project. Construction began in 1955, supervised by
Milwaukee architects Maynard W. Meyer & Associates.

Eero Saarinens innovative design for the War Memorial Center was influenced by the
abstract geometry of modern French architect Le Corbusier. Saarinen incorporated
many of Le Corbusiers ideas: lifting the bulk of the building off the ground on reinforced
columns; eliminating load-bearing walls to allow a freeform faade and open floor plan;
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and using plazas, courtyards, and rooftop terraces to allow an interaction between
internal and external spaces.

The building, a concrete, steel, and glass cruciform floating on a pedestal, included three
major components, as Saarinen described:

One is the base, which builds the mass up to the city level and contains the art
museum; the second, on the city level, is the memorial court with a pool The court is
surrounded by the polyhedron-shapes piers, which support the building and also make
frames for the breathtaking views of the lake and sky. The third part is the
superstructure, cantilevered outward thirty feet in three directions, which contains the
meeting halls and offices of the veterans organization.

In 1957, the War Memorial Center was opened and dedicated To Honor the Dead by
Serving the Living. The western face of the building features a memorial mural by
Wisconsin artist Edmund Lewandowski, a mosaic of 1.4 million pieces of marble and
glass.

The Milwaukee Art Institute and the Layton Art Gallery merged their collections and
projects to form the Milwaukee Art Center. In the late 1960s, Peg Bradley, wife of Harry
Lynde Bradley who co-founded the Allen-Bradley Company offered her entire collection
of more than 600 modern American and European artworks to the museum. She also
made a $1 million challenge to Milwaukeeans for an addition to the Art Center.


Eero Saarinen Architect David Kahler Architect
Milwaukee County War Memorial Center (1957) T he New Wing (1975)

In 1970 architect David T. Kahler of Kahler, Slater, Fitzhugh Scott, Inc. (a local firm now
know as Kahler Slater Architects, Inc.) drew a plan for expanded galleries, a changing
exhibition space, a theater, and an educational center. The new addition opened in
1975. In 1980 the name was changed to the Milwaukee Art Museum, to reflect the
developing role of American art institutions. Museum attendance and membership
increased dramatically. The Milwaukee Art Museum also had an ever-increasing role in
educating Wisconsins youth through its programs. More space was needed to house
the collection and conduct educational programs.

By the 1990s, the groundwork was being laid for yet another major addition. In 1994,
Santiago Calatrava was chosen as the architect to design the new addition. The
building opened on September 14, 2001.


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THE NEW ADDITION DESIGN EVOLVES
People say when somebody writes his first novel it is always autobiographical. I think in
a way, that this [Milwaukee Art Museum addition] is a little like that autobiographical
because it has part of my interest in movement and the bridge.
Santiago Calatrava, Zurich, August 30, 2004

In the Milwaukee Art Museum, Calatrava found a problem that could be solved with the
things he most liked to design and to build, a bridge and a large moving architectural
form. But origianlly neither the bridge nor the brise soleil was a part of the design.

The first scheme was bold. Santiago Calatrava imagined a great hall suspended out past
the Lake Michigan shore and hovering above the water. Not only was the idea
impractical because of what damage ice and waves could do to the building, but it also
placed the buildings emphasis on the waterfront, away from the city. Returning to the
design, he focused on connecting the Museum to the city. The rough outlines of the
solution came to him: long galleries running north-south brought the museums new
entry near its southern end in line with one of Milwaukees principal east-west streets,
Wisconsin Avenue. The basic building layout would be similar to cathederals in Western
ecclesiastical architecture. A long central nave [made up of the Museums Lubar
Auditorium, Museum Store, and Baker/Rowland Galleries] flanked by aisles [includes
both the Baumgartner (east) and Schroeder (west) Gallerias] and with a transept
[forming the main entrance to Windhover Hall and prow] sticking out past the sides of the
building. The bridge also became a part of the design, literally connecting the Museums
front door with downtown Milwaukee. In July 1995, Calatrava presented this design to
the building committee, which embraced it.


Watercolors by Santiago Calatrava

At the same time, Calatrava had begun to think about the brise soleil. Calatrava had
made one rough model that was operated by pulling a string. By February 1996, the
architect had a refined model and a video he showed to the building committee.
Immediately, the building committee agreed to add the brise soleil.


Prototype models by Santiago Calatrava
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The completed Milwaukee Art Museum project features the new Santiago Calatrava-
designed Quadracci Pavilion, renovated and reinstalled galleries in existing Museum
buildings designed by Eero Saarinen (1957) and David Kahler (1975), and an elegant
network of gardens, hedges, plazas, and fountains designed by landscape architect Dan
Kiley.


Photo: Christophe Valtin Photo: Jim Brozek
Galleria, Quadracci Pavilion

The first Calatrava-designed building to be completed in the United States, the
Milwaukee Art Museums Quadracci Pavilion, 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.


Drawing courtesy Milwaukee Art Museum


Computer-generated photomontage of Photo: Christophe Valtin
the Reiman Pedestrian Bridge
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Signature elements of the Calatrava design include the Reiman Pedestrian Bridge, a
250-foot long suspended pedestrian bridge that links downtown Milwaukee directly to the
lakefront and the Museum. The bridge features a distinctive 200-foot angled mast with
cables that reflects Calatrava's unique experience in bridge design throughout Europe.

Windhover Hall is the grand entrance hall for the Quadracci Pavilion. It is Santiago
Calatravas postmodern interpretation of a Gothic Cathedral, complete with flying
buttresses, pointing arches, ribbed vaults, and a central nave topped by a 90-foot-high
parabolic-shaped glass roof. An average-sized, two-story family home would fit
comfortably inside the reception hall.



The halls chancel is shaped like the prow of a ship, with floor-to-ceiling windows looking
over Lake Michigan. Adjoining the central hall are two-arched promenades, the
Baumgartner Galleria and Schroeder Foundation Galleria, with expansive views of the
lake and downtown.

The Burke Brise Soleil, the movable, wing-like sun screen comprised of 72 steel fins,
rests on top of the glass-enclosed reception hall and is raised and lowered to control
both temperature and light in the structure. With fins ranging in length from 26 feet to
105 feet, the Burke Brise Soleil wingspan spreads 217 feet at its widest point, wider than
a Boeing 747-400 airplane, and 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.

According to Santiago Caltrava, in the crowning element of the brise soleil, the
buildings form is at once formal (completing the composition), functional (controlling the
level of light), symbolic (opening to welcome visitors), and iconic (creating a memorable
image for the Museum and the city).

Calatrava's designs are often inspired by nature, featuring a combination of organic
forms and technological innovation. The Milwaukee Art Museum expansion incorporates
multiple elements inspired by the Museum's lakefront location. Among the many
maritime elements in Calatrava's design are: movable steel louvers inspired by the wings
of a bird; a cabled pedestrian bridge with a soaring mast inspired by the form of a
sailboat; and a curving single-storey galleria reminiscent of a wave.

"Rather than just add something to the existing buildings, I also wanted to add
something to the lakefront. I have therefore worked to infuse the building with a certain
sensitivity to the culture of the lake - the boats, the sails, and the always changing
landscape". - Santiago Calatrava, ca. 2001

[Excerpted from http://www.arcspace.com/architects/calatrava/milwaukee_art_museum/]
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FUN FACTS
Quadracci Pavilion
30% increase in gallery space from 90,000 sq. feet to 117,000 sq. feet
Pavilion length = 293 feet
Total building weight = 93 million pounds
Structural mast: length = 198 feet; lean angle 41.64
Cable-stayed Reiman Pedestrian Bridge:
o length = 280 feet
o supported by 3,300 feet of locked coil cables
o suspension cable diameter is 50 mm (approximately 2 inches) or
35 mm (approximately 1 inches)
o 200-foot long angled mast
o Longest tension cable is 252 feet long nearly as long as a
football field
Windhover Hall: parabolic-shaped glass enclosed with a 90-foot high
ceiling
o parabola (pronounced /p rbl/)



Quadracci Pavilion Architect: Santiago Calatrava, Spain.
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Cudahy Gardens
Fountains have seven separate sump pumps that hold approximately
12,000 gallons of water each supplying the two fountains and five
troughs.
Main garden site is 600 feet long and 100 feet wide and parallels the new
addition/pavilion
Fountains rise to 35 feet within a 40-foot pool
Cudahy Gardens landscape Architect: Dan Kiley (1912-2004), Boston

Burke Brise Soleil
Wingspan: 217 feet at its widest point, individual fins range in length from
26 to 105 feet, wider than a Boeing 747-400 airplane
The 72 fins weigh 90 tons and are operable via 22 hydraulic cylinders.
Two ultrasonic wind sensors automatically close the wings if the wind
speed reaches 23 mph or greater.

Materials Used:
Concrete: roughly 20,000 cubic yards, weighing 81 million pounds.
Steel: approximately 2,100 tons of reinforcing rod has been used in the
concrete, laid end-to-end, would stretch 339 miles (or roughly from
Milwaukee, WI to the Twin Cities, MN).
Glass: approximately 915 separate panes. Fewer than 6% are standard
orientation window glass; the rest are either tilted, curved, or both. 235
panes of glass for the roof of the grand reception hall were imported
from Greanollers, Spain.
Marble: one acre of marble from Carrera, Italy, for the floors. Consists of
six miles of PVC piping through which water circulates for heating/cooling.

Comparing the Milwaukee Art Museums Calatrava-designed Addition
to a Boeing 747-400 Airplane:

Burke Brise Soleil wingspan 217 feet Boeing 747-400 wingspan 211 feet
Quadracci Pavilion length 293 feet Boeing 747-400 length 240 feet
Windhover Hall capacity 800; 500 if seated Boeing 747-400 capacity 416, not including
crew
MAM total building weight 83 million pounds Boeing 747400 weight 398,780 pounds


The Milwaukee Art Museums Calatrava-designed Addition
Compared to other Famous Structures:

MAM structural mast length 198 feet Leaning Tower of Pisa height 185 feet
MAM mast lean angle 41.64 degrees Leaning Tower of Pisa lean angle 5.25
degrees
MAM suspension cable diameter 50 mm
(approximately 2 inches) or 35 mm
Brooklyn Bridge suspension cable diameter
15 inches
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(approximately 1-3/8 inch)
INTERVIEW WITH SANTIAGO CALATRAVA
About Milwaukee Art Museums Pavilion
By Opera Progetto International Review of Contemporary Architecture
(Excerpts are from magazine edition OP/O pp. 27- 53; interview took place in Zurich,
Switzerland, September 3, 2001, between Umberto Trame and Santiago Calatrava.)

OP: Your sketches show very different solutions for the extension of the work and its
location vis vis the pre-existing museum (Milwaukee Art Museum).

CALATRAVA: In fact, we had lots of doubts about the extension of the plan. Then I
added a precise geometric definition that went way beyond the initial estimates The
entire process lasted about a year, which led to definition of the design and then, two or
three important elements were further refined. And maquettes were used to this
purpose: a first, a second, and a third one. We were able to design the moveable roof,
not originally in the plan, with general optimism. This design emerged fairly organically
and with the combined efforts of the customer.

OP: How was your project influenced by the fact that the new pavilion is located near a
building designed by an architect of the caliber of Eero Saarinen and is set in the
unusual lakefront position?

CALATRAVA: I was quite aware of the difficulties involved in working opposite
Saarinens buildingIt is a cruciform building in concrete, fairly heavy, with dramatic
connotations there is a list of names of those who lost their lives in the war and
therefore, it has very special meaning. So, I said to myself, how can I design this
museum and still safeguard the relationship with the existing building? I tried to read the
texture of the city, and used it as a benchmark. The building by Saarinen is located at
the end of Mason Street. I walked about a city block away, then another block. Then I
crossed Wisconsin Avenue, Milwaukees most important thoroughfare, which bisects the
city from east to west, and I put the bridge of the building-pavilion on its axis. It lies about
one hundred meters from Milwaukee, about the same distance between the axis of my
building and Saarinens. I introduced a low building (seven meters high on average)
connected to the foundation of Saarinens building and the one by Kahler. I intentionally
designed a low building so that the view of the park would be left unobstructed. I also
wanted the horizon and the lake to still be visible. I wanted the pavilion to complement
Saarinens building as much as possible, and tried to establish a sort of parallelism, but
at the same time I wanted to avoid mimicry. In fact, the War Memorial is a concrete
building, while the new pavilion is entirely constructed in a glass and steel structure and
can open. If the former is a building suspended in the air by supports, the letter is quite
the opposite, bound to the earth.

OP: Lets talk about this aspect of the construction. It surely emerges from the design,
from the idea that you aimed to express with this sort of project, but it also requires
perfect execution, without errors or modifications. As we know that frequently solutions
made on site can modify the initial program.

CATATRAVA: I had proposed to make the structural elements in concrete (practically
90% of all structural elements), cast on siteit entailed working with very sophisticated
moulds that required extremely high concentration and great care in order to achieve a
qualitatively high result.

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There were shapes that crossed, horizontal lines along the walls that followed a rhythm
seeking modulation. With one module, we obtained one height, with a double mould we
obtained the height of one step, with a quadruple mould we obtained the height of the
external lines and so forth. T-shaped forms were also used. Then there was the issue of
the proportion of concrete to steel. The building is supported almost entirely on a single
point under the car park, and there, there are large iron joints. On the first floor, the
arches reverse their direction and there too, there are iron joints. Therefore, there is
rhetoric in the way to guide the forces, in the way to make the transitions between the
arches and the lateral walls, from the lateral walls through the slab up to the final central
element, and from the central element to the foundation. There is an entire rhetoric that
stems from using reinforced concrete and steel. Then we have two independent
elements that are exclusively in steel: the roof covering the reception hall and the
suspension bridge. The bridge is a steel structure with a steel mast anchored in the rear
according to a precise geometry of cables fastened to a reinforced concrete structure.
This geometry in the cables is echoed in the geometry of the great roof on the reception
hall. Therefore they are coherent geometries because they share the same origin, only
that one lies on one side and the other is on the other; one is somewhat flatter and the
other is a bit longer. However, when you look at them in the longitudinal sense, they
overlap and cover each other. Two vastly different elements like the stayed bridge and
the roof communicate with each other through that fact that they belong to the same
geometric family. This could have been accomplished in many ways, for instance, by
using a similar color, but I thought the result would be more effective if they shared
geometry. Aside from the very large overhanging portions that we have to the south and
east of the entrance hall, the rest of the building is very serene and quite peaceful from
the outside. By contract, the interior of the museum is fairly dynamic. I designed the
inside in concrete and the outside in steel. The ceiling in the reception hall has a sort of
covering made with steel fins that rise up 32 and a half meters, from the iron joints to the
peak, and open mechanically. While they have structural character, they speak in a
sculptors language. In constructing the sail, I forewent the use of reinforced concrete
even though in the past we had created moving shapes in concreteI mean to say we
could have built the sail in concrete, but we deliberately built it in steel in order to use
concrete exclusively for the interior spaces. We used the less expensive grey concrete
instead of the white variety, which is not even produced in the United States. Then we
cured it and painted it white

OP: Lets talk more about this building, so tied as you say to the nature and feel of the
place, and examine some aspects of the composition of the internal space of the
building. I noticed that the layout of the pavilion is very elementary

CALATRAVA: Very, very simple...the best projects always have simple layouts.

OP:And yet the section is particularly complex. As you mentioned earlier, some
structural aspects interact with this complexity while others are more functional.

CALATRAVA: Ive come to the conclusion that it is better to do simple layouts. In my
mind, the order comes from the layout in the respect for clarity of circulation, orientation,
and the logic between the spacesI made a tremendous effort to simplify things as
much as possible in the layout. And also in Milwaukee I wanted the purity of the layout to
be left uncontaminated

The entrance hall has a roof of glass and steel and above that there are ribs that give a
complementary protection to the interior against sunlight. These are a sort of brise soleil,
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a half functional and half sculpture element in which I used my research work as sculptor
along with the architectural experience required to make these ribs open.


ARCHITECT SANTIAGO CALTRAVAS STATEMENT ABOUT THE
MILWAUKEE ART MUSEUM PAVILION

For me, the project of expanding the Milwaukee Art Museum was an opportunity to help
people make the most of an extraordinary situation. They had the institution, first of all,
with its dramatic, original building by Eero Saarinen, which is very strong, and whose
integrity had been preserved by David Kahlers understated extension. They had the
topography of the city, which descends to Lake Michigan from hilltop terraces. And of
course, they had the whole sweep of the shore, looking out as far as the horizon.

These were the invaluable assets that the people of Milwaukee entrusted to me. And
they offered me something else as well, which is absolutely crucial for any architect. In
the trustees of the Milwaukee Art Museum, I had clients who truly wanted from me the
best architecture that I could do. Their ambition was to create something special for their
community.

So the design did not result from a sketch. It came out of a close collaboration with the
clients, who enthusiastically accepted the key idea that emerged from our discussions.
Instead of adding something more to the Saarinen building, I proposed to add something
to the lakefront.

The extension, as such, is a kind of pavilion, transparent and light, which contrasts with
the massive, compact Saarinen building. Reaching out from the Quadracci Pavilion, like
an arm extended to the city, is a bridge. I thought this design might establish a pattern
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of events for possible future additions; a bridge to the city, and a very shallow pavilion
that interrupts the view of the lake as little as possible.

Besides being a link to the city, the bridge is a part of a composition. Its leaning mast
conveys a sense of direction, of movement, which is taken up by the roof, the cables,
and the canopies that extend on each side. These strong lines culminate in the Burke
Brise-Soleil, which translates their dynamism into actual motion. In the crowning element
of the brise-soleil, the buildings form is at once formal (completing the composition),
functional (controlling the level of light), symbolic (opening to welcome visitors), and
iconic (creating a memorable image for the Museum and the city).

It is because of the strong encouragement and support of the Milwaukee Art Museum
that the building has taken shape as it did. Thanks to them, I was able to give my best.
Thanks to them, the magnificent landscape architect Dan Kiley has designed the
beautiful plaza in front of the Quadracci Pavilion. Thanks to them, this project responds
to the culture of the lake: the sailboats, the weather, the sense of motion and change.

I hope that when the new Milwaukee Art Museum opens and people see its realized
form, that they will feel we have designed not a building, but a piece of the city.
-- Santiago Calatrava, ca. 2000


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Calatrava and the Dream Machine
School Program

Visit Descriptions and Information

PROGRAM SUMMARY
The Milwaukee Art Museums and Discovery World at Pier Wisconsins Santiago
Calatrava and the Dream Machine collaborative school program provides students in
grades 68 an opportunity to learn about the creative design process combining art,
science, and technology. This program includes a one-hour docent-guided Calatrava
tour at the Milwaukee Art Museum and a one-hour hands-on experience in Discovery
Worlds Rockwell Automation Dream Machine exhibition and Prototyping Lab. Using
the work of Santiago Calatrava at the Milwaukee Art Museum, students explore
Calatravas innovation and the creative design process from the idea through the
product. Using the interactive Rockwell Automation Dream Machine exhibition and
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hands-on Prototyping Lab at Discovery World, the students continue to explore the
creative design process through technology, including prototyping and industrial
automation.

PROGRAM GOALS AND OBJECTIVES
The primary goals of the Santiago Calatrava and the Dream Machine collaborative
school program are:
To provide students in grades 68 with an opportunity to learn about the creative
design process combining art, science, and technology.
To help students make personal and practical connections with the creative
design process.
To engage students in discussions and the creative design process.
To raise an awareness about careers in art, architecture, engineering, science,
and technology.
To help teachers use art, science, and technology with their existing classroom
curricula to teach about the creative design process.
To utilize both the Milwaukee Art Museum and Discovery World at Pier
Wisconsin as teaching resources.

The primary learning objectives of the school program are that students will:
Understand that innovation/creativity begins with an idea.
Identify basic steps of the creative design process, including:
o defining the problem or goal
o finding solutions and ideas
o documentation of ideas
o testing, reflecting, and refining ideas
o production
Explore connections between Santiago Calatravas creative design process and
their own creative design process.
Discuss the relationship of art, architecture, science, and technology.
Develop a basic understanding of prototyping and industrial automation.
Create a product prototype using science/technology.

Visit at Milwaukee Art Museum
One-hour docent-guided Calatrava tour at the Milwaukee Art Museum.
Using the work of Santiago Calatrava at the Milwaukee Art Museum (Quadracci
Pavilion and Reiman Pedestrain Bridge), students explore Calatravas innovation
and the creative design process from the idea through the product.
Topics included in docent-guided tour:
o Who is Santigo Calatrava?
o Relationship between careers architect, engineer, artist
o Calatravas creative design process for Quadracci Pavilion, from the idea
through the product including inspirations, concepts, two-dimensional
images and plans, three-dimensional images and structures.
o Nature as model for architecture (biomimicry and morphology)
o Calatravas inspirations from nature and use of elements and principles of
art in architecture
o Function and aesthetics of architecture

After the Calatrava tour at the Milwaukee Art Museum,
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students walk to Discovery World at Pier Wisconsin.

Visit at Discovery World at Pier Wisconsin
One-hour hands-on experience in Discovery Worlds Rockwell Automation
Dream Machine exhibition and Prototyping Lab facilitated by Discovery World
Staff
Using the interactive Rockwell Automation Dream Machine exhibition and
hands-on Prototyping Lab at Discovery World, the students continue to explore
the creative design process through technology, including prototyping and
industrial automation.
Educational Objectives:
Rockwell Automation Dream Machine Tour
Students will:
will engage with CNC machines, sample cutters, as well as Discovery
Worlds original Dream Machine to learn how technology can influence
design and manufacturing.
investigate the practical application of three axes spatial mathematics as
related to computer aided drafting (CAD).
learn how computer assisted design functions for the designer and the
engineer.
explore analogue programming and investigate how it automates the
manufacturing process.
investigate the practical applications of technologies explored in the
exhibit and how they benefit the precision, efficiency, flexibility, and
standardization in the manufacturing world.



Prototyping Project:
Students will:
follow technical instructions to assemble a three-dimensional
mechanical model from a two-dimensional template.
relate the use of the laser cutter to the fabrication of the tangible product
they will take away with them.
explore the design process from conception to the final product by
examining stages of product development specific to their final project.

Rockwell Automation Dream Machine exhibition Docent Presentation
(20 minutes):
Introduction/Welcome/Overview
Docent leads students through the Rockwell Automation exhibit area
focusing on each of the following components:
o Lynde Bradley Exhibit
Theme: Space and time (sensory devices)
Focus: Presentation will feature an interactive demonstration of
proximity sensing devices.
Exhibit detects presence of movement in the area
Display activation
Recognition and reaction to movement
Removal of stimulus=discontinues operation
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Application of demonstrated technologies in industry
o CNC Milling Machine
Theme: Organizing design into workable elements (X, Y, Z
coordinates)
Focus: Use of Computer Assisted Design (CAD) to translate
ideas into code that can provide directions for machines
to fabricate, assemble, and test usable products.
Demonstration of machine in use (Dream Machine
Cloudburst Logo)
o Explain the use of codes that create instructions based
upon tool position (X, Y) and depth (Z).
o Sample Maker
Theme: Application of CNC technology
Focus: Flexibility/economic savings afforded by CNC
technologies
Present Scenario: Client needs prototype cartons for
customers and manufacturers of corrugated products
companies.
o Fitness for use concepts (size, strength, appearance,
durability)
o Expense of developing tools for high volume
production- allows instead for prototypes (cheaper,
flexible)
Demonstrate operation of machine
o Using multiple tools
o CAD information system
o Flexibility of machine-other applications
o Dream Machine
Theme: Pulling it all together
Focus: History, applications, and function of the Dream Machine
Created by Rockwell Automation for Discovery World (one-
of-a-kind)
Showcases all stages of the manufacturing process:
o warehouse
o production
o distribution
Designed as educational piece rather than for high
production output
Demonstration of technology:
o Order entry process
o Performance of individual components
Remstar storage
Cognex camera and proximity sensing
devices (4)
Robot controller
Laser cutting device (CAD driven)
Die cutter/die storage machine
Pick N Place robot
Conveyors
Recognition and reporting Sensors
Order entry and inventory evaluation
sensors
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o Technological Advantages
Theme: Technology and Practicality
Focus: Explore how the use of technologies such as those in the
exhibit makes for better manufacturing operations.
Time and space efficiency
Repeatable performance
Interchangeability
Regional production
Precision control=higher quality

Prototyping Project Educator Presentation (30 minutes):
Welcome/Introduction/Overview
o Butterfly Assembly
Students will follow technical directions to assemble the butterfly
project they will take home.
The Design Process
Students will learn that the design process is lengthy often
resulting in numerous versions of the same design that work to
improve function, efficiency, and aesthetic.
o Compare to the work of Calatrava and his many
designs for the Milwaukee Art Museum expansion.
o Apply how this practice influences all areas of
innovation and design.
Students will observe the design process of the butterfly
project by comparing and contrasting early prototypes with the
final project.



Calatrava Tour Implementation Ideas at Milwaukee Art Museum

Gallery Teaching Aids
Santiago Calatravas Creative Design Process for the Milwaukee Art Museum
binder of images: Calatravas watercolors, models, photomontages, and
architectural drawings for the Museums addition
Pages from Santiago Calatravas Sketchbooks (various projects and ideas)
binder
Santiago Calatrava, Nature, and Milwaukee Art Museum Architectural Features
packet
Calatrava-designed Quadracci Pavilion Study worksheets and pencils/clipboards

For Discussion with Students
Calatravas Design Process for the Milwaukee Art Museum
Using the Santiago Calatravas Creative Design Process for the Milwaukee Art
Museum binder of images: Calatravas watercolors, models, photomontages, and
architectural drawings for the Museums addition, discuss Calatravas creative
design process with the students.

Summary of Calatravas Design Process for the Milwaukee Art Museum
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36
o Look at nature for inspiration after viewing project site; sketches of natural
objects and human forms
[2-dimensional]
o Pencil sketches and watercolor drawings of architectural ideas
[2-dimensional]
o Prototype/maquette scale model (white model) of proposed architectural idea
[3-dimensional]
o Photomontage/computer-generated image of exterior architecture (color)
[2-dimensional]
o Formal architectural drawings and mechanical plans
[2-dimensional]
o Construction of full-scale building
[3-dimensional]

Santiago Calatrava said when describing the brise soleil that While they have a
structural character, they speak in a sculptors language. What do you think
Calatrava meant by this statement?

Calatrava has stated, The principles I follow are based on repetition. This
reminds you of nature because nature often works in patterns. Have the
students find examples of this in the architecture and discuss how the examples
are reminiscent of nature.

Consider having the students complete the Calatrava-designed Quadracci
Pavilion Study worksheets and then discuss their responses as a group,
connecting their responses to similar patterns found in nature.

Beyond function, architecture is about experiencing space and evoking feeling(s)
within a space. What feeling(s) do you think Santiago Calatrava was trying to
evoke from the pavilion? Have students list feeling and/or adjectives that
describe the space and explain their word/feeling choices. What about the space
or architecture makes you say that?
Nature as Model for Architectural Forms and Shapes
When people build structures, they often use shapes and designs that are found
in nature or are inspired by nature. Santiago Calatrava is an architect who uses
forms in nature and the human body to inspire his buildings and other structures.
Calatrava believes that nature offers architects many ideas. Folded hands, birds,
eyes, trees, human body, flower blossoms, fish, bones, and the rest of the
natural world all give Calatrava ideas for structures. The best designs, he thinks,
develop from within, so that their form is matched to their function.

Calatrava stated, I approached this project [Milwaukee Art Museum addition]
with nature as the teacher. I am always trying to learn from nature.

Looking closely at the images of objects from nature, what shapes and forms do
you see? Can you match each of them with an architectural component or
feature of the Calatrava-designed Quadracci Pavilion that it may be an inspiration
for its design?

What other shapes and forms in nature do you think Calatrava used as
inspiration for the pavilion and components of the pavilion?

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Using Santiago Calatrava, Nature, and Milwaukee Art Museum Architectural
Features packet, give each student or pair of students an image from nature and
have them find the architectural feature with the pavilion that may be inspired by
the natural object. Have students look on own, and then regroup to discuss
findings.

KEY OF IMAGES
Nature Image: Quadracci Pavilion Feature:
pigeon with wings spread
human spine and rib cage
fern frond compound
leaves
butterfly wings
compound leaves on a
branch
Burke Brise Soleil
wave on lake exterior view of each galleria

cliff swallow nests
barnacle shell group
grouping of circular vents on upper walls
near main entrance

leaves
stink bug
pine cone
tulip single petal shape
looking up at vaulted, glass-enclosed,
parabolic-shaped reception hall; outer
edge shape
sea shell clam pattern of glass supports/grid of pavilion
roof
line of trees with bending
branches
supports along each galleria
geological cave entrance triangular supports along each gallerias
exterior walls


Calatrava has stated, The principles I follow are based on repetition. This
reminds you of nature because nature often works in patterns. Have the
students find examples of this in the architecture and discuss how the examples
are reminiscent of nature.

Consider having the students complete the Calatrava-designed Quadracci
Pavilion Study worksheets and then discuss their responses as a group,
connecting their responses to similar patterns found in nature.

Calatravas projects are engaged with movement. They do this in two principle
ways: first, through parts of the structure that serve functional needs by explicitly
moving (unfolding, revolving, rising, or channeling) objects, people, and vehicles;
and second, through parts of the structure that implicitly represent movement
through their form and repetition of forms/shapes. Have the students discover
explicit and implicit movement in the Calatrava-designed addition and discuss
how each function within the building.

Calatrava has stated that his designs are based on morphology. Assist students
with defining and discussing morphology and how Calatrava uses it in the
pavilion. Consider including the following statement by Santiago Calatrava as
2008 Milwaukee Art Museum 700 N. Art Museum Drive, Milwaukee, WI 53202 www.mam.org

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part of the discussion with regard to moving from nature/organic shapes/forms to
geometrical shapes/forms.

The shape represents the elements, the idea of fluidity and
growth, the beauty and perfection of the geometrical force.

Use the Pages from Santiago Calatravas Sketchbooks (various projects and
ideas) binder to illustrate Calatravas creative ideas and designs as they relate to
morphology.

Discover and discuss the elements of art [line, shape, form, color, value, texture,
space] and principles of art [balance, rhythm/repetition, pattern, contrast/variety,
emphasis/focal point, movement, and unity] Calatrava has included in the
Quadracci Pavilion. Using the Calatrava Quadracci Pavilion Study Worksheet,
have the students document the shapes, lines, and patterns they see in the
Quadracci Pavilion by drawing them on paper with pencil. Have the students
spend a few minutes walking around and collecting the images, and then have
them share what they found as a group. Discuss what architectural feature
corresponds to each shape and if it is repeated or makes a pattern. Discuss how
the space feels, as per their responses to the worksheet question.

Part of Calatravas philosophy for architecture is that architecture should
enhance the environment and site. Do you think Calatrava achieved this
philosophical goal with this building? Have the students explain why or why not
and support their responses with examples.

Some people have said that each of Calatravas projects recall the way the body
of a complex living organism is put together. Calatrava has stated, There is life
in buildings. Looking at the Quadracci Pavilion as a whole structure, discuss
how it may relate to the way the body of a complex living organism is put
together and functions. Help students think about supports/skeletons, traffic
flow/circulatory systems, exterior structure materials/skin, etc. and the similar
functions of each pair.

Calatrava has stated, Architecture can be art and can be beauty. What is your
opinion about his statement? Is architecture art? Explain.















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Santiago Calatrava and the Dream Machine
School Program

Calatrava-designed Quadracci Pavilion Study Worksheet

Please print:

Your first name: ___________________ and last name: ____________________________

Your schools name: ________________________________________________________

Santiago Calatrava used shapes, lines, and patterns
in the Quadracci Pavilions architecture.
2008 Milwaukee Art Museum 700 N. Art Museum Drive, Milwaukee, WI 53202 www.mam.org

40

1. Look for different lines and shapes in the buildings architecture and draw them
below. [Remember: There are positive shapes and negative shapes.]















2. Find patterns of shapes and lines in the buildings architecture and draw them below.









3. Beyond function, architecture is about experiencing space and feelings within the
space. Describe how the architectural space feels as you stand in the pavilion under
the brise soleil. Complete the sentence below.

The space in the pavilion under the brise soleil feels ____________________________

______________________________________________________________________

______________________________________________________________________

______________________________________________________________________

______________________________________________________________________

______________________________________________________________________

because ______________________________________________________________

______________________________________________________________________

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______________________________________________________________________

______________________________________________________________________

______________________________________________________________________

______________________________________________________________________


4. If you could talk to architect Santiago Calatrava, what question(s) would you ask
him?


















Santiago Calatrava and the Dream Machine
School Program

Vocabulary

architect (n.)
a person who designs and directs the construction of buildings and other large structures

architecture (n.)
the art and occupation of designing and directing the construction of buildings and other
large structures; a style of building; buildings and other large structures; the orderly
arrangement of parts

art (n.)
human effort to imitate, change, or counteract nature; the creation or production of
something that is beautiful, as in painting, sculpture, poetry, or music; the study of these
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activities, especially the study of visual arts; a work resulting from these activities; a
practical skill; a craft

asymmetrical (adj.)
relating to visual balance, it is achieved with dissimilar objects that have equal visual
weight or equal eye attraction in a work of art; two halves of the artwork are not identical
in elements of art and/or arrangement

balance (n.)
a principle of art; the achievement of equilibrium among various parts of a composition;
the way that different elements of art in an artwork relate to one another and are
distributed in space by apparent visual weight; balance can be symmetrical,
asymmetrical, or radial in an artwork

biomimicry (n.)
a science that studies natures models and then imitates these designs and processes to
solve human problems; innovation inspired by nature

biomorphic (adj.)
relating to form or mechanical system that resembles a living organism in shape,
appearance, or motion

built environment (n.)
human-made buildingd and structures, as opposed to natural features

brise soleil (n.)
a sunscreen that can be raised and lowered

cable-stayed bridge(adj.)
a bridge that has one or more towers, each of which anchors a set of cables attached to
the roadway or walkway; as traffic pushes down on the roadway/walkway, the cables, to
which the pathway is attached, transfer the load to the towers, putting them in
compression

contrast/variety (n.)
a principle of art; occurs when an artist creates something in the artwork that looks very
different from the rest of the artwork; it is the relationship between extremes, an
expression of difference in a work of art: light against dark, vertical against horizontal,
geometrical against organic, bright color against neutral color, etc.

elements of art (n.)
basic visual factors or vocabulary common to all that we see sensory properties;
ingredients that artists use to create a work of art - line, shape, form, color, value,
texture, and space

engineer (n.)
a person who is specially trained or works in a branch of engineering

engineering (n.)
the use of scientific and mathematical principles to design and build structures,
machines, and systems

focal point or emphasis (n.)
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a principle of art; a dominant area of major interest upon which your eyes focus more
frequently than on others; usually occurs in an artwork when one element of art differs
from the others an element of art contrasts or is emphasized

form (n.)
the shape and structure of an object; the body or outward appearance of a person or an
animal; the figure

function (n.)
the normal or proper activity of a person or thing; purpose

geometric (adj.)
of or relating to geometry and its methods and principles; consisting of or using simple
shapes formed from straight lines and curves

gesture (n.)
movement of the limbs, head, or body to help express meaning

horizon line (n.)
the apparent intersection of the earth and sky as seen by an observer; actual and
implied horizon lines are used in two-dimensional works of art for determining
perspective and developing an illusion of three-dimensional space

imagination (n.)
the act or ability of forming mental images of something that is not real or present; the
ability to use the mind effectively

landscape (n.)
a type of subject matter; an image representing a portion of the natural scenery, usually
from a distant vantage point



line (n.)
the path traced by moving a point, having length but no thickness; a thin continuous
mark, as one made on paper by pen or pencil

maquette (n.)
a preliminary model of a planned sculpture or architectural work

medium (n.)
the physical material with which an artist works (marble, clay, ink, oil paint, watercolor,
steel, paper, concrete, etc.)

morphology (n.)
the branch of biology that deals with the form and structure of living organisms; the form
and structure of a living organism; using forms found in nature to fulfill human tasks

movement (n.)
a principle of art; movement is not the physical or illusionary movement of a work of art;
it is the way (visual path) the viewers eyes move around and through an artwork; the
elements of art are used to help move the viewers eyes along a visual path within a
work of art

naturalistic (adj.)
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imitating or producing the effect or appearance of nature

non-representational or non-objective or (adj.)
a type of subject matter; used to describe visual art that is not based on existing,
observable forms, but rather on abstract or idealized forms; natural objects are not
represented realistically; images are an arrangement of the elements of art

organic (adj.)
of, relating to, or derived from living things

panoramic (adj.)
an unobstructed and complete view of an area in every direction

pattern (n.)
a principle of art; a visual pattern is the repetition of one or more elements of art in a
recognizable arrangement

pavilion (n.)
an open structure with a roof; one of group of buildings, as of a hospital

perspective (n.)
a scientific method used by artists to represent three-dimensional objects on two-
dimensional surfaces; linear perspective uses vanishing points and orthogonals (lines
that are perpendicular to the picture plane) to make objects seem as if they are receding
in space

photomontage (n.)
a composite picture made up of many photographs or parts of photographs or
photographs and computer-drawn images.



principles of art
methods artists use to help organize the elements of art in an effective, unified manner
balance, rhythm/repetition, pattern, contrast/variety, emphasis/focal point, movement,
and unity

prototype (n.)
a working scaled or full-size model; prototyping is the process of quickly putting together
a prototype in order to test various aspects of a design, illustrate ideas or features, and
gather early feedback

radial (adj.)
relating to visual balance, it is achieved with similar or dissimilar objects that have equal
visual weight or equal eye attraction in a work of art; the artworks balance is achieved
from a center point or area that elements of art and/or the arrangement radiates from

rhythm/repetition (n.)
a principle of art; based on repetition, rhythm uses the same elements of art over again
in an artwork; can recur alternately or in regular sequence, so one may speak of quick,
moderate, measured, and slow rhythms

sculpture (n.)
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the art or practice of shaping or making figures or designs, as by carving wood,
chiseling stone, or casting metal

style (n.)
a distinctive manner of expression (as in writing, speech, dance, or art)

symmetrical (adj.)
relating to visual balance, it is achieved with similar objects that have equal visual weight
or equal eye attraction in a work of art; two halves of the artwork are identical in
elements of art and/or arrangement

tabula rasa (n.)
the mind before it receives the impressions gained from experience;

three-dimensional (adj.)
possessing or appearing to possess the dimensions of height, width, and depth

two-dimensional (adj.)
describes a figure that has length and width but no depth; describes a work of art such
as a painting or drawing that exists on a flat surface

unity (n.)
a principle of art; when all parts of an artwork combine to create a sense of oneness; a
congruity or agreement exists among the elements of art they look as though they all
belong together; a feeling of wholeness or harmony in a work of art

urban studies (n.)
an area of research that one learns about the characteristics of the city and city life

vantage point (n.)
point of view; in a work of art, the position from which the artist or viewer would be
observing that which is depicted

February 24, 2009