Introduction
There exists a sketch of a headless nude male torso that looks alive, caught as if in the act of turning. Even more amazing, accompanying it is a sketch of a tall, slender building that captures the twisting torsion and movement shown in that figure. (1) The building that resulted from the inspiration provided by this figure drawing is "Turning Torso," a breathtaking tower built in Sweden that appears as if a giant hand reached out of the sky and twisted the building on its base. This building, an abstraction of the original idea, twists as if it possesses a spinal column. Santiago Calatrava is the architect, sculptor, artist and engineer who created and connected both the preparatory drawn images and this architectural marvel. It is but one of many of his architectural feats.
It is impossible to view Calatrava's work without some sort of personal response. What better way to interest and engage students in architecture is there than through the study of the graceful elegance of Calatrava's artistic structures? I want them to develop a sense of wonder and curiosity that will make them thirst for more. The particular focus of this unit is Santiago Calatrava's work because of the unique way in which he studies human, vegetative and animal forms in nature and applies his findings to architectural structures in general and bridges in particular. Since I am a high school art teacher and this unit is intended for my three 3-D Design art classes for next year, art will be an integral part of this unit. In this unit, students will develop an understanding of the rationale for creating bridges, study bridges in their historical contexts, and follow the development of new ideas, techniques, processes and materials and other considerations for the building of bridges. The unit will culminate with the students building their own individual bridges, assessing them and then displaying them in an art exhibit. Even though the emphasis of this unit is on art, it can be adapted for use in other disciplines, particularly those of science and math.
In 10 years the students will probably have forgotten details such as which bridge is the longest or tallest in the world. Those memorized facts are not enduring understandings. What is really important is that they remember the idea of bridges as paths of travel. Never again should they cross a bridge without thought or an awareness of that structure in its environment. Perhaps they will occasionally think about the impact that particular bridge has on that community. Students could be part of a community that is planning the building of a future bridge and they can have a more informed voice in its development.
Before taking Professor Emeritus of Architectural Engineering Martin Gehner's seminar at Yale on "Bridges: The Art and Science for Creating Community Connections," I must confess that I used to traverse bridges without giving them much thought. After studying bridges, I will not be guilty of that again.
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