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  1. 1. ‫جامعي الزقازيق‬ ‫كليي الهودسي‬ ‫قسم الهودسي المعماريي‬ ‫مادى هظريات العمارى 4‬ ‫3102-4102‬ ‫ساهتياغو كاالترافا‬ ‫مقدم من‬ ‫مقدم إلى الدك تور‬ ‫محمد عاطف عاشور‬ ‫احمد سليمان محمد رضا‬ ‫حمودى سمير غريب محمد‬ ‫مى محمد‬
  2. 2. Milwaukee Art Museum city of arts and sciences CHORDS BRIDGE COMUNICATION TOWER Torre Turning Torso 80 SOUTH STREET
  3. 3. Name: Santiago Calatrava Valls Date of Birth: 28th July, 1951 Country: Spain Firm: Santiago Calatrava Spanish-born architect (born 1951) born in Benimámet,Spain, where he pursued undergraduate studies at the Architecture School and Arts and Crafts School. gained international celebrity for structures that suggest the shapes and the motion of organic entities Following graduation in 1975, he enrolled in the Swiss Federal Institute of Technology (ETH) in Zurich, Switzerland, for graduate work in civil engineering. In 1981, after completing his doctoral thesis, "On the Foldability of Space Frames", he started his architecture and engineering practice Santiago Calatrava Valls is an internationally recognized and award-winning Valencian Spanish architect, sculptor and structural engineer whose principal office is in Zurich, Switzerland WE CAN SAY THAT Santiago Calatrava IS ARTIST – SCULPTURE – CIVIL ENGINEER - ARCHITECT
  4. 4. gothic antony Gaudi human figure and nature‟s materials and their properties Calatrava‟s style has been heralded as bridging the division between structural engineering and architecture. He derives his inspiration from,a tradition of Spanish modernist engineering that includes Félix Candela and Antonio Gaudí The Art of Structural Engineering An Exhibit on the Work of Félix Candel MIT Los Manantiales Restaurant City of Arts and Sciences
  5. 5. 80 SOUTH STREET Milwaukee Art Museum Torre Turning Torso city of arts and sciences COMUNICATION TOWER CHORDS BRIDGE
  6. 6. The city of Milwaukee was looking for a “strong architectural statement in an exciting yet functional building” that would “set an architectural standard for the next millennium” Calatrava‟s response was to design “a glowing „lantern‟ on the downtown lakefront, radiating light in all directions”. He chose to execute this concept through a pavilion featuring a “vast, glass-enclosed reception hall” with a “transparent, boat-like prow of unique design, facing the lake” and a “huge, wing-like sunscreen ِ‫ٔضٕح كايم نهجظاء‬ ّٛ‫االَشائ‬ ‫ٔاظٓار ػُاصزِ ٔانذيج‬ ‫تٍٛ انشكم ٔانٓٛكم‬ The design did not result from a sketch. It came out of a close collaboration with the clients… who truly wanted from me the best architecture that I could do. Their ambition was to create something exceptional for their community.
  7. 7. ‫انٕصٕل القم انتفاصٛم‬ ‫االَشائّٛ ٔاتتكار دهٕل جذٚذِ‬
  8. 8. The City of Arts and Sciences, developed by Santiago Calatrava, is a large-scale urban recreation center for culture and science. As the site is close to the sea, and Valencia is so dry, I decided to make water a major element for the whole site using it as a mirror for the architecture. Santiago Calatrava
  9. 9. theatre and planetarium its form from the human eye and functions
  10. 10. The bridge is located near the main entrance to the city, near the Central Bus Station. The bridge was built to carry Jerusalem's future light rail lines across a dense urban area, resolving traffic and pedestrian issues, and to create a new landmark for the entrance to the city. The slender and streamlined triangular-shaped steel box of the pylon is inclined backwards to show visible tension, as well as create a clear visual direction towards the city. The cables are arranged in a parabolic shape, which develops three-dimensionally in space, thus amplifying the impressive visual impact unique to this bridge. Overall the strings and form of this structure suggest a giant harp - the harp of King David as a symbol of the holy city inspiring residents to refer to it as the "Bridge of Strings."
  11. 11. ‫نقطاخ يٍ اجشاء انجظز قثم انتزكٛة‬ ‫قطاػاخ كايهّ يٍ انصهة‬
  12. 12. The tower is 136 meters high, leaning gently from a three-point foundation, with the tower‟s feet resting on a brick drum. some sketches for The Montjuic Communications Tower When I just looked at an image of the tower, I was thinking something related with a NEEDLE or a SWORD? The straight line on top of the tower just took my brain to something sharp and thin. But after I saw his sketches for the tower, I know I‟m wrong-same as usual, he started his inspiration with a human body- leg, or a movement, and yes,when I‟m lookeing at the tower, I can see the shape of the tower relates with his inspiration perfectly
  13. 13. The base of tower, is closed by a door formed using metal blades. It‟s renewing his interest in moveable elements in architecture, and also it related to his studies of the human eye, designed an “eye-shaped” for opening area. Calatrava used broken tile around a circular shell of white concrete.
  14. 14. The 190 meter tall concrete and steel tower turns 90 degrees from bottom to top. Designed for a prominent urban site on the occasion of the European Housing Expo 2001, Calatrava's residential tower for Malmö, at the city's West Harbor, is based in form on his sculpture Turning Torso. Conceived to enhance and enlarge a public area, defined by the intersection of two main roads, the "Turning Torso" building is meant to be seen as a free-standing sculptural element posed within the cityscape
  15. 15. In the original sculpture of Turning Torso, seven cubes are set around a steel support to produce a spiral structure, which resembles a twisting human spine .‫إػطاء االطتقزار نألدجاو انصهثح‬ ٖ‫قطاع ٔيظاقط افقّٛ تٕضخ انذم انًؼًار‬
  16. 16. The building will be Mr. Calatrava's first residential project in the United States. The principal units of the building are twelve 45foot glazed cubes. Each of which contains four floors of residential space. The core contains the building plant, main elevators, service elevator, and emergency stair. So that usable space within the cubes is maximized.
  17. 17. The roof of each cube will be the outdoor garden for the unit above
  18. 18. ‫‪ٚ ‬ؼتقذ تؼض انُقاد نثزَايجك فٙ يتزٔتٕنٛتاٌ انتٙ تذأل تقذٚى َفظك كفُاٌ‬ ‫يثم تزاَكٕس٘، ٔأتذٖ ػًهٓا قزب نك، ٔنٛض كًُٓذص يؼًار٘.‬ ‫‪ ‬تكهفّ تُفٛذ ٔاَشاء تصًًٛاخ كانٛتزافا .‬ ‫‪ ‬تجاَة ارتفاع اتؼاتّ انًادّٚ فقذ تقاضٗ يقاتم يشزٔع يذُّٚ انفٌُٕ ٔانؼهٕو‬ ‫001 يهٌٕٛ ٕٚرٔ‬ ‫‪ ‬فًثاَٗ كانتزافا تضزب ارقاو قٛاطّٛ فٗ انُادّٛ انًادّٚ‬ ‫‪ٚ ‬ظتخذو كاالتزافا انًظطخ تطزٚقح كالطٛكٛح فانًظطخ تانُظثح نّ ْٕ‬ ‫ػُصز أطاطٙ نتُظٛى انفضاء تشكم ػقالَٙ تًُٛا ٚؼتثز انًقطغ كًٕنذ‬ ‫نشكهٛح انًثُٗ انًؼقذج، إٌ انًقطغ ْٕ انؼُصز انجًانٙ انذ٘ ًُٚخ انًثُٗ‬ ‫جًانٛتّ.‬