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The Margaret Hunt Hill Bridge in Dallas is a splendid example of aspirational, artisitc ambition. Like so much wonderful architecture, it is not merely more than the sum of its parts, but each of its elements exceeds its minimal function. Conversely, while its form follows its function, the bridge's designer chose the beautiful path in mapping that function.
Wikipedia notes the bridge's design, its awards. and its brief history:
The cable-stayed bridge supports its 1,206 feet (368 m) length and 603 feet (184 m) main span with a steel arch whose peak's height is 400 feet (122 m). An array of twisting cables connect the underside of the arch's curved pylon to the bridge's platform. Fifty-eight (58) white strands descend from the arch and secure themselves along the centerline of the platform. The 16 feet (4.9 m) diameter support is composed of 25 individual segments, secured with 20,000 pounds (9,100 kg) of bolts and additional 450 tons (408,233 kg) of concrete. The bridge provides six lanes for vehicular traffic.
The bridge closely resembles two of three bridges constructed in 2005-2006 above the Autostrada A1 motorway and connecting roads in Reggio Emilia, Italy, that Calatrava had earlier designed. In 2009, the European Convention for Constructional Steelwork gave the two bridges a European Steel Design Award, stating that the structures' original visual effects at different angles give the bridges "the aspect of huge musical instruments."
That last bit captures much of what is compelling about the bridge: it feels organic, alive. And sonorous. This piece is about that feel.
