Heres a story and interview with Calatrava from WSJ
Trade Center Hub
The architect on the opening of his biggest U.S. project yet: New York’s World Trade Center Transportation Hub, which took more than 10 years and nearly $4 billion to complete
By
ALEXANDRA WOLFE
Feb. 26, 2016 9:49 a.m. ET
As architect Santiago Calatrava was designing the World Trade Center Transportation Hub in lower Manhattan, his priority, he says, was to make it the sort of place that his late mother could have navigated. Admittedly, the building’s extravagant design doesn’t immediately prompt such thoughts: Its centerpiece structure, the Oculus, features soaring white wings that rise, birdlike, into the air and a retractable skylight. But Mr. Calatrava says that he always had simplicity in mind.
When it opens the first week of March, the 150-foot-tall structure will connect 11 subway lines with a commuter train, several bus routes, ferry service and parking garages, with more than 250,000 commuters expected to come through every day. The complex, Mr. Calatrava says, “has a serious character but is very calm”—even if its construction was anything but that. The new hub has taken more than 10 years and nearly $4 billion to complete, twice the estimated time and cost.
It will be the architect’s highest-profile U.S. work to date. Known for his
dramatic, sculptural structures, Mr. Calatrava, 64, is often inspired by shapes in nature. His previous structures include the Turning Torso in Malmo, Sweden, a building that twists as it rises; the Quadracci Pavilion at the Milwaukee Art Museum; and the harplike Alamillo Bridge in Santiago, Spain. Last fall, he won the European Prize for Architecture.
Mr. Calatrava hopes that visitors will feel uplifted by his latest creation. The brilliant white steel arches of the building’s exterior sit atop a light-filled main concourse, clad in white marble and steel. It calls to mind the interior of a massive cathedral, albeit one lined with retail stores. The goal, he says, is for each commuter to feel, “This station is built for me.” Good design inspires people to be respectful, he adds: “If you have a beautiful station, the station remains clean and has better security.”
When Mr. Calatrava was pitching his ideas for the commission to the Port Authority of New York and New Jersey, he wanted to think of a way that the site could respond to the attacks of 9/11. He came up with the idea of a child releasing a dove into the air—an image that he thought would offer optimism and hope. “It was a message of faith in the future,” he says.
Yet
his reputation suffered during construction, as he came under fire for the cost overruns and delays. Critics said that his design was too complex, his materials too costly: It will be the most expensive train station ever built.
The ‘Oculus’ at the World Trade Center
Commuters looking skyward get grand views at new World Trade Center train station
The main concourse of the World Trade Center Transportation Hub, which will open on a yet-to-be announced date the first week of March.
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The ‘Oculus’ of arched steel ribs and glass was designed by the Spanish architect Santiago Calatrava to resemble a bird flying out of ...
A worker cleans the windows between the ribs of the Oculus of the World Trade Center Transportation Hub on Friday.
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The centerpiece of a transit hub linking the PATH and New York City subways is set to open early next month.
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The windows and ribs of the ceiling of the Oculus.
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The project is long delayed and about $2 billion over budget.
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Stores and restaurants are expected to open in the new transportation hub.
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‘We tried to do something that inspires optimism,’ says architect Santiago Calatrava.
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An exterior view of the Oculus.
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The main concourse of the World Trade Center Transportation Hub, which will open on a yet-to-be announced date the first week of March.
CLAUDIO PAPAPIETRO FOR THE WALL STREET JOURNAL
The ‘Oculus’ of arched steel ribs and glass was designed by the Spanish architect Santiago Calatrava to resemble a bird flying out of child’s hand, a symbol of hope for a scarred city.
CLAUDIO PAPAPIETRO FOR THE WALL STREET JOURNAL
Mr. Calatrava thinks that the criticism has been unfair. “The beautiful is difficult,” he says, adding that it’s particularly hard to control budgets with railway projects because of their complexity.
Part of the problem with the World Trade Center hub was that multiple rival agencies were involved; local officials also decided to keep a subway line underneath the construction operational rather than close it down temporarily, adding to the costs and logistical issues.
The hub will be the eighth railway station that Mr. Calatrava has built. The others, including the Oriente metro station in Lisbon, Portugal, and the Liège-Guillemins station in Belgium, are in Europe. Train stations there, he says, used to be lofty, airy places so that the train’s steam had ample room to be released. Although steam is no longer an issue, he still likes to celebrate that open feel.
Mr. Calatrava was born in Valencia, Spain, to a family that worked in agricultural exports. In college, he studied both architecture and engineering. Today, he and his wife, Robertina, who runs the business side of his practice, live mainly between New York and Zurich. He also has an office in Doha, Qatar, that his son Micael opened. Of his three other children, another son, Gabriel, has his own architectural practice. His son has found success on his own, he says, but “sometimes it is difficult when your father is in front of you and occupying so much space.”
The advice he gives to all of his children is to persevere. He thinks that the people he admires most in his profession—I.M. Pei, Le Corbusier, Eero Saarinen—produced their best work later in life. “You need to know a lot to become master of your profession,” he says.
These days, Mr. Calatrava has settled into a routine. He usually wakes up at 6 a.m. and exercises for an hour, then walks his dog. By 7:45 he’s ready to go to his studio. He is an artist as well as an architect, and he likes to spend his mornings drawing. After lunch at noon he heads to his office, where he works until 7 or 8.
Lately, he’s spent most of his time in New York as he gears up for the opening of the downtown hub. New York, he thinks, is the most exciting city right now in both architecture and art. “Often I compare New York to Paris at the turn of the [20th] century,” he says. “You can meet a lot of artists here.”
Completing the hub is bittersweet. “The architect works for so many years building it, and the moment you deliver it to the people is the moment when you are unnecessary,” he says with a smile.
Just as Grand Central Terminal has endured for over a century, he hopes the hub will be around for a long time. There’s only one problem. “This station is a milestone” in his career, he says. “What can I do now?”