Beyond Modernism: Santiago Calatrava’s Aesthetics

Santiago Calatrava stands as one of the world’s greatest contemporary designers, arguably one of history’s greatest (Gardner). Holding worldwide recognition and awards ranging from the Gold Medal of the Institute of Structural Engineers in London to Global Leader for Tomorrow by the World Economic Forum, he is mostly known for his architecture and engineering, though he works as an artist as well (“Biography”). For those who know his works beyond a passing glance, it may be difficult to distinguish which occupation precedes the others. His prolific work reveals him as a reincarnation of the Renaissance man, a polymath. Eschewing the common tendency to specialize, Calatrava has studied several of the humanities and sciences, and his lateral thinking has deepened and nuanced his designs in architecture, engineering, sculpture, ceramics, and furniture, as evinced by his work (Fox).

Valencia’s City of Arts and Sciences, Spain

Moreover, Calatrava’s capacities have resulted in more than standalone single works: from the unification of his broad study emerges a singular aesthetic language with different dialects for each subject. An analysis of this language must include speculation as to what and why certain connections are made. This essay explores the manifestations of Calatrava’s aesthetics, as well as their unity.