-
SEATING TOGETHER
-
Este l ibro est dedicado con afecto al diseador Antonio Bonamusa
(Barcelona, 1929 - 2007), quien durante 40 aos trabaj de forma
estrecha y brillante con Figueras. Su entrega y su visin como
diseador han trazado la personalidad de la imagen corporativa que
caracteriza esta empresa. Bonamusa fue creador de numerosos
productos e impulsor del Figueras Design Centre.
This book is affectionately dedicated to the designer Antonio
Bonamusa (Barcelona, 1929 - 2007), who during 40 years worked
brilliantly and in close collaboration with Figueras. His
dedication and vision as a designer have sketched the personality
of the corporate image which distinguishes this company.Bonamusa
was the creator of a great many products and the instigator of the
Figueras Design Centre.
SEATING TOGETHERArquitectura de auditor ios en el siglo xx
iArchitecture of auditoriums in the 21st Century
JULI CAPELLA
-
NDICE CONTENTS
8 SEATING TOGETHER
24 AUDITORIOSAUDITORIUMS
26 Centro Cultural Miguel DelibesMiguel Delibes Cultural
Centre
32 Seating together with Ricardo Bofill
34 Palacio de Ferias y Congresos de MlagaTrade Fair and
Convention Pavillion in Malaga
40 Centro Internacional de Convenciones PutrajayaPutrajaya
International Convention Centre
46 CosmocaixaCosmocaixa
52 Petit Palau de la Msica CatalanaPetit Palau of the Catalonian
Music
58 Seating together with Oscar Tusquets
60 Medio Rhein ErftMedio Rhein Erft
66 The Sage GatesheadThe Sage Gateshead
72 Madrid Arena (Rockdromo)The Madrid Arena (Rockodrome)
78 Torre AgbarAgbar Tower
84 Seating together with Jean Nouvel
86 Estadio Internacional KhalifaKhalifa International
Stadium
90 Bufete GarriguesGarrigues lawyers Offices
96 Museo Nacional Centro de Arte Reina SofaThe Queen Sofia Art
Centre and National Museum
102 Universidad Lumire Lyon 2Lumire University Lyon 2
108 Capital OneCapital One
112 Instituto de Gentica Molecular AS CR, v.v.i. Academia de las
CienciasInstitute of Molecular Genetics AS CR, v.v.i. Science
Academy
118 LASALLE Colegio de las ArtesLASALLE College of the Arts
124 Casa Mil (La Pedrera)Mil House (La Pedrera)
130 Dansk Radio ByenDansk Radio Byen
136 Sala xx de la ONU de los Derechos Humanos y de la Alianza de
CivilizacionesThe UNs xx Hall for Human Rights and the Alliance of
Civilisations
142 Palacio de Congresos y Exposiciones de HuescaConvention and
Trade fair Hall in Huesca
148 Trifolion Centro Cultural, Turstico y de CongresosTrifolion
Cultural, Tourist and Convention Centre
154 Nuevo Ayuntamiento de MadridNew Town Council building in
Madrid
160 Teatros CanalCanal Theatres
166 Seating together with Juan Navarro Baldeweg
168 Distrito C Sede Central de TelefnicaTelefonicas Disctrict C
Headquarters
174 Casino de ParsParis Casino
180 Terminal T1 del Aeropuerto internacional del Prat de
BarcelonaT1 Terminal in Barcelona Prats International Airport
186 Estadio RCD EspanyolRCD Espanyol Football Stadium
192 Edificio YPFYPF Building
198 Seating together with Csar Pelli
200 Complejo de las Artes Escnicas Queensland Queensland
Performing Arts Centre
-
SEATING TOGETHER
-
La historia de la arquitectura es la historia del cobijo, pero
tambin es la historia simbli-
ca de la celebracin. sta es precisamente la que ha llegado hasta
nuestros das, gra-
cias a sus imperecederos vestigios. De las construcciones
ligeras donde habitaba la
gente, no tenemos apenas constancia. Han perdurado las ruinas de
las construccio-
nes celebrativas; Stonhenghe, los dlmenes y menhires son un
manifiesto del poder,
que an podemos visitar. Todas las civilizaciones primitivas han
dejado su rastro en la
arquitectura religiosa, siempre con la tendencia a elevarse
hacia el cielo alejndose del
nivel de la tierra. As, los zigurats mesopotmicos, las pirmides
egipcias y las pirmi-
des olmecas, mayas y aztecas. De la cultura mesoamericana de ese
perodo se con-
servan diversas canchas del juego de pelota, celebracin ms
ritual que deportiva,
donde se reunan los sacerdotes y el pueblo para ver jugar a
guerreros, cuyo ganador
sorprendentemente poda ser decapitado. El sacrificio se
realizaba en un templo si-
tuado en la parte superior de la pirmide, donde los sacerdotes
podan oficiar su cere-
monia siendo vistos por toda la poblacin. Miles de personas se
congregan en la ex-
planada adyacente a la pirmide, desde donde gozaban de una
excelente visibilidad.
Desde entonces el ser humano ha derivado en construir espacios
pblicos para
reunirse de forma masiva con dos fines principales: la
celebracin y la diversin.
Y para eso ha sido conveniente darle asiento. De los espacios
que requieren asien-
tos colectivos trata este libro. Espacios arquitectnicos donde
podemos sentarnos
juntos, seating together.
The history of architecture is the history of shelter but its
also the symbolic history
of celebration. That is exactly what has come down to our own
time, thanks to
its undying remains. We have little evidence of the light
structures where people
dwelt before. The ruins of celebratory structures have endured;
Stonehenge, its
dolmens and menhirs are an evident demonstration of power that
we can still visit.
All primitive societies have left their mark on religious
architecture, always tending to
reach for the sky and to leave the earth behind them. We have,
as examples, the
Mesopotamian ziggurats, the Egyptian pyramids and the Olmec,
Mayan and Aztec
pyramids. There are still ballgame courts from the Mesoamerican
culture of this
period; this game was more of a ritual celebration than a
sporting one, where the
priests and the populace got together to see the warriors play,
and whose winner
or winners could, surprisingly, be decapitated. The sacrifice
was made in a temple,
located on top of the pyramid, where the priests could officiate
the ceremony while
being watched by all the population. Thousands of people would
congregate on
the adjacent esplanade, where they would enjoy an excellent
view. Since then, hu-
mankind has ended up building public grounds to bring people
together massively
with two main objectives: celebration and enjoyment.
And for this reason convenient seating had to be developed. This
book is about
providing collective seating. Architectonic spaces where we can
sit together,
seating together.
La arquitectura griega nos ha dejado excelentes testimonios de
lugares de encuen-
tro, donde el motivo de reunin, adems de religioso, era asistir
a funciones teatrales
o musicales. Eran espacios sociales, como el gora, donde tambin
se fragu la
poltica y la democracia. Pero su estrategia constructiva era la
opuesta a las gradas
en altura de las pirmides. Se trataba de lo contrario, de ocupar
una hondonada, de
trabajar una ladera semicircular para situar el escenario al
final en la parte ms baja.
De esa forma se organizaban gradas que iban a servir para dar
asiento al pblico.
Fue una gran novedad, un gran paso en el confort del espectador,
que ya no iba a
estar de pie al asistir a la celebracin, sino sentado.
Desde el punto de vista conceptual, poco han evolucionado los
lugares de encuen-
tro colectivo desde los teatros romanos: un pblico alrededor de
un escenario.
Sin embargo, arquitectnicamente s han vivido una sofisticada
mejora. De entrada,
poner a cubierto al espectador a partir del Renacimiento. Pero
la disposicin funcio-
nal era similar a la forma habitual de dividir un auditorio
contemporneo. Haba tres
partes: koiln o cvea (por extensin theatron, lugar desde el que
se ve), orchestra
(el escenario donde estaba el coro) y sken (el fondo del
escenario por donde
salan y entraban los actores). Se conocen un centenar de teatros
griegos, que se
construyeron desde el siglo V a.C. hasta el ii a.C. Alguno lleg
a tener cabida con
gradas suplementarias hasta para 14.000 personas, como el de
Epidauro del arqui-
tecto Policleto el Joven. Nunca antes tantas personas haban
estado sentadas juntas!
Le Corbusier
La maison est une machine vivre
La chaise est une machine sasseoir
Pirmide del Sol, Teotihuacn, Mxico, 50-200 d.C. The Pyramid of
the Sun, Teotihuacan, Mexico, 50-200 A.D.
Teatro de Epidauro, Grecia, siglo iv a.C. The Epidaurus Theatre,
Greece, iv century B.C.
Greek architecture has left us excellent testimony of meeting
places, whose mo-
tives for gathering were, apart from religious reasons, those of
attending musical
or theatrical functions. They were social spaces, like the
agora, where politics and
democracy were forged. But their building strategy was very
different from the crea-
tion of high grandstands on the pyramids. In fact it was the
opposite, occupying a
clearing, creating a semicircular slope so as to locate the
stage at the end of the low-
est part. This way terraces were formed, which would act as
seatings for the public.
This was a huge breakthrough, a great step towards the comfort
of the specta-
tor, who no longer had to stand while attending celebrations,
but remained seated.
From a conceptual point of view, little has developed regarding
to collective meeting
places, including the Roman theatres: the public around a stage.
However, a sophis-
ticated improvement, architectonically speaking, has been
achieved. Firstly, to shelter
the spectator as of Renaissance times. Yet, the functional
layout was similar to the
usual way of dividing up a contemporary auditorium. There were
three parts: koiln
or cvea (by extension theatron, place from where one sees),
orchestra (the setting
where the choir was situated) and sken (the backstage from which
the actors came
on or left the stage). A hundred Greek theatres have been
discovered dated from the
V century B.C. to the ii century B.C. Some of them could hold
over 14,000 people
by way of supplementary stands; such as the Epidaurus created by
the architect
Polykleitos the Younger. Never before had so many people sat
down together!
10 11
Torre de Babel, Pieter Brueghel el Viejo, 1563The Tower of
Babel, Pieter Brueghel the Older, 1563
-
Al parecer los primeros teatros primitivos griegos eran casi
circulares, dejando ape-
nas una zona de entrada para los actores. El escenario estaba
rodeado de gradas
de madera. Para evitar el incendio o derrumbe habitual de
algunas de estas frgiles
estructuras, se buscaron laderas que de forma natural acomodaban
a la gente,
sentada en el suelo o bien sobre gradas de madera directamente
apoyadas en
el terreno. Tambin hay casos de algn teatro con las gradas
directamente es-
carbadas en la piedra de la montaa. Habitualmente se
regularizaba la estructura
de semicrculo con una geometra perfecta y se moldeaba el
terreno, rellenndolo
o excavndolo, y finalmente colocando losas ptreas para conformar
las gradas.
Exista ya una jerarqua clara en los asientos; en las primeras
filas se situaban las
autoridades y tambin aquellos personajes destacados,
benefactores de la ciudad.
Parece ser que la presencia de esclavos estaba vetada y se
discute si las mujeres
tenan acceso libre a segn qu convocatorias. Lo que an se
conserva son autn-
ticos sillones labrados en mrmol destinados a las mximas
autoridades (proedria)
y situados de forma privilegiada en primera fila y con el nombre
esculpido.
El teatro romano es una evolucin del griego, pero el espacio de
la orchestra se
disuelve y el escenario se enfrenta y unifica con las gradas.
stas se conforman de
forma semicircular, reduciendo la abertura de su arco y buscando
una mejor visi-
bilidad de los actores. Los teatros romanos proliferaron en gran
medida y no hubo
ciudad notable del Imperio sin su teatro. Hay cientos de ruinas
por Europa, Asia
Menor, Oriente Medio y norte de frica. Tambin se ensay una nueva
tipologa de
teatro rectangular pequeo, con muros laterales, sobre el cual se
construa una cubierta
para permitir celebraciones protegidas de la intemperie, pero
apenas queda testimonio.
Aunque en poca romana se siguieron construyendo teatros al aire
libre sobre
colinas, los avances edificatorios permitieron construir
edificios para celebracio-
nes sobre terrenos planos, levantando bvedas de ladrillo sobre
las que coloca-
ban las gradas. Ya no haca falta ayudarse por la orografa del
terreno; cualquier
lugar poda ser apropiado para levantar un teatro a base de
estructuras ptreas.
Nace adems otra nueva tipologa, el anfiteatro o circo, donde la
novedad reside en
crear un edificio cerrado con planta circular o elptica. Bajo
las gradas se situaban
las estancias para organizar grandes espectculos con caballos,
animales salvajes,
agua, luchadores... El Coliseo, o anfiteatro Flavio de Roma,
poda albergar ms
de 50.000 espectadores, aunque sufri un grave incendio de sus
gradas de
madera en el siglo iii. Su distribucin segn el tipo de pblico
era muy sofisticada.
Cada zona, en funcin de su relevancia y su visibilidad, tena su
destinatario.
El podium estaba reservado a senadores, magistrados y
sacerdotes, y era el lugar
donde se colocaban asientos confortables. Haba toda una serie
especificada de
palcos y exista un orden de asientos por filas y nmero de
asiento similar al actual.
Tambin unas salidas de evacuacin, los vomitorios, que permitan
un acceso y
evacuacin muy rpidos y fluidos. Casi nada nuevo bajo el sol
Teatro de Prgamo, Turqua, siglo iii a.C.The Pergamon Theatre,
Turkey, iii century B.C.
Proedria del Teatro de Dionisos, Atenas, 330 a.C. The Proedria
at the Theatre of Dionysus, Athens, 330 B.C.
Teatro Romano de Mrida, Espaa, 16 a.C. The Roman Theatre,
Merida, Spain, 16 B.C.
Coliseo o Anfiteatro Flavio de Roma, siglo i d.C.Coliseum or
Flavian Amphitheatre, Rome, i century A.D.
It seems that the first primitive Greek theatres were almost
circular, only conceding
an entrance and exit area for the actors. The stage was
surrounded by wooden
grandstands. To avoid fires or the frequent collapse of some of
these fragile struc-
tures, natural slopes were sought out to accommodate the
audience, sitting on
the ground or the wooden stands which were anchored directly
into the ground.
There are also cases of some theatre stands being carved from
the mountain rock.
The perfectly geometric, semi-circular structure was usually
standard and the
ground was moulded either by land refill or excavation, and
finally stone slabs were
placed to conform the stands. A clearly visible hierarchy
existed in the seating
arrangements; the front rows were occupied by the authorities
and other distin-
guished personages, like the benefactors of the city. It would
appear that slaves
were not allowed to be present and it is debatable as to whether
women had free
access, depending on the act in question. The original chairs,
sculpted from mar-
ble, which the highest authorities (preordain) used are still
preserved and situated
in a privileged position in the front row with their names
carved on them.
The Roman theatre was developed from the Greek one, but the
space designated
to the orchestra is done away with and the stage fronts onto and
unifies the stands.
These are semi-circular in shape, reducing its arch open with
the intention of giving
a better view of the actors. The Roman theatres proliferated on
a grand scale and
no important city in the Empire was without one. There are
hundreds of ruins all over
Europe, Asia Minor, the Middle East and the North of Africa. A
new type of small, rec-
tangular theatre, with side walls, over which a top was placed
to protect celebrations
from inclement weather, was also tried out, but little evidence
of these remains.
Although open air theatres were still being built on hills in
Roman times, archi-
tectural advances allowed the construction of buildings for
celebrations on flat
ground, by way of erecting brick vaults on which the stands were
placed. It was
no longer necessary to take advantage of the lands orography;
any place could
be appropriate for building a stone structured based theatre.
Moreover, a new
type of construction was born, the amphitheatre or circus, where
the novelty rests
in creating a closed building with an elliptical or circular
floor. Below the stands
were situated the places used to organise big shows with horses,
wild animals,
water, combatants... The Coliseum, or Flavian amphitheatre in
Rome, could hold
up to 50.000 spectators, although it suffered serious fire
damage throughout its
wooden stands in the iii century. It had a very sophisticated
way of distributing the
public. Each area, with regard to relevance and visibility, was
destined for different
publics. The podium was reserved for senators, magistrates and
priests, and it was
where the comfortable seating was located. There were a
specified series of boxes
and the seats were ordered in numbered rows, as they are
nowadays. There were
also exits called vomitorios that allowed extremely fast and
fluid entrance and exit of
the public. Almost nothing new on earth
12 13
-
La Edad Media supone un parntesis en lo que respecta a la
evolucin de los
espacios teatrales, pues son construcciones efmeras, carpas,
explanadas de-
limitadas con carromatos o espacios pblicos como, por ejemplo,
las plazas.
Tambin hay actuaciones colectivas en los patios de los castillos
y fortificaciones.
Pero la ceremonia cambia de escenario y surgen las iglesias como
lugar de con-
gregacin colectiva y representaciones religiosas. Primero en
pequeos templos,
ermitas y santuarios, pero a partir del siglo x comienza a
desarrollarse una eclosin
in crescendo en la magnificencia de las iglesias que llevar a la
apoteosis del Gtico.
Son grandes construcciones, smbolo del pujante poder catlico,
que monopo-
lizarn el rito colectivo. Aunque hoy en da pensemos que esos
grandes templos
estaban equipados con bancos, lo cierto es que los asientos
estaban reservados
para los oficiantes y posteriormente para los coros, construidos
en madera ricamente
ornamentada. Pero en las naves principales los feligreses se
aglomeraban de pie o
sentados en el suelo. Tambin podan dormir all tras un largo
viaje de peregrinacin,
incluso podan llevarse su silla, pero no estaba previsto un
amueblamiento colectivo
permanente. Los bancos de iglesia son una aportacin corriente
del siglo xix.
Las mezquitas rabes constituyen otro recinto de congregacin
religiosa, tambin
educativa y social del Islam, y proliferan a partir del siglo
vii. Pero en su interior tam-
poco encontramos mobiliario, la gente se sienta en el suelo
sobre alfombras para
hacer sus oraciones. Las mezquitas viven un gran auge durante el
Imperio Otomano
y de nuevo en el siglo xx, pero incluso hoy en da, a diferencia
de los templos ca-
tlicos, siguen manteniendo la limpieza vacua de sus interiores y
siguen usando el
suelo como nico asiento.
Los primeros lugares cerrados pensados especficamente para
audiciones de
msica o representaciones teatrales se crean en la Italia
renacentista a partir del si-
glo xvi. Primero son construcciones de planta rectangular y
techo de madera, pero
de dimensiones reducidas, las que permitan cubrir las
encaballadas superiores.
La gran novedad es que se separa el escenario de la sala del
pblico, y se inventan
los decorados con perspectivas, que simulan un escenario
tridimensional. El Teatro
Olmpico de Vicenza (1580), de Andrea Palladio, est considerado
el primer teatro
cerrado y cubierto del mundo y cuenta con perspectivas forzadas
y una gradera
semicircular muy pronunciada donde se sentaban los espectadores.
Es como un
pequeo teatro griego decorado pero cubierto.
El primer teatro donde Shakespeare estren sus obras fue
construido en 1576 y
consista en una sencilla estructura de madera de forma poligonal
donde la gente
se situaba de pie en un patio central interior abierto o bien en
las balconadas de
los dos pisos superiores sobre pequeas gradas. Si pagaban un
poco ms po-
dan sentarse en la parte delantera de los balcones y sobre
confortables cojines.
Pero eran teatros privados, mal vistos por las autoridades, en
constante conflicto con
los artistas y ubicados de forma precaria a las afueras de la
ciudad, cruzado el ro.
Baslica Santa Maria Maggiore, Roma, 360 d.C. The Basilica of
Santa Maria Maggiore, Rome, 360 A.D.
Hagia Sophia, Estambul, 537 d.C.Hagia Sophia, Istanbul, 537
A.D.
Teatro Olmpico, Palladio, Vicenza, Italia, 1580 Olympic Theatre,
Palladio, Vicenza, Italy, 1580
Teatro Swan, Londres, 1595The Swan Theatre, London, 1595
Corral de comedias de Almagro, Espaa, 1628The Corral of Comedies
in Almagro, Spain, 1628
Teatro The Globe, Londres, 1599The Globe Theatre, London,
1599
The Middle Ages meant a lapse with regard to the development of
theatre settings,
because they were ephemeral structures; marquees, esplanades
surrounded by
wagons or public places such as squares. There were also
collective gatherings in
castles or fortified courtyards. But the ceremonies changed
their venue and emerged
in churches as a place of collective congregation and religious
performance.
Firstly in small temples, hermitages and sanctuaries, but from
the x century
onwards an ever-increasing eclosion began to develop in the
magnificence of
churches, which would reach its apotheosis in the Gothic period.
They were great
buildings, a symbol of the rising power of the Catholic church,
which monopolised
collective rituals. Although nowadays we believe that these
great temples were
equipped with pews, the truth is that the seats were reserved
for the officiates and
in descending order for the choirs, made out of richly adorned
wood. Yet, in the
main naves, the parishioners crowded together standing or
sitting on the ground.
They could also sleep there after a long pilgrimage and even
bring their own seat,
but permanent collective furnishings were not provided. Church
pews became the
norm in the xix century.
The Arab mosques were the buildings dedicated to Islamic
religious congrega-
tion, both educative and social, and proliferated from the vii
century onwards.
But we would not find furnishings inside them either; the people
would sit on mats
or the ground to pray. The mosques acquired great importance
during the Ottoman
Empire and once again in the xx century, but even nowadays,
unlike Catholic
temples, they maintain their empty clean interiors and continue
using the ground
as their sole seating.
The first enclosed spaces specifically developed for musical or
theatrical per-
formances were created in the Renaissance Italy from the xvi
century onwards.
First of all, they were rectangular structures with wooden
roofs, very small so
as to be able to cover the upper overriding walls. The great
novelty is that it
separates the stage from the public, and perspective scenery is
invented to
simulate a three-dimensional stage. The Teatro Olimpico in
Vicenza (1580),
by Andrea Palladio, is regarded as the first enclosed and
covered theatre in
the world, employing forced perspective techniques and steep
semi-circular
tiers where the spectators sat. It resembles a small decorated
Greek theatre,
although its covered.
The first theatre where Shakespeare premiered his plays was
built in 1576 and
consisted of a simple wooden structure of polygon shape where
the people
stood in an open and interior central patio or on galleries at
the two upper floors,
on top of small stands. If they paid a little more they could
sit on comfor-table
cushions at the front part of the galleries. But these were
private theatres,
frowned upon by the authorities, in constant conflict with the
artists and pre-
cariously situated on the outskirts of the city across the
river.
14 15
-
En Espaa el teatro vive un momento de auge en su Siglo de Oro
(siglos xvi y xvii) y
se crea la tipologa del Corral de Comedias, que es en realidad
la fachada trasera
de un edificio de viviendas o posada que hace las veces de
escenario y a la que
se aade, en los laterales y en frente, una construccin ligera
con dos o tres pisos
con galeras donde se sitan los espectadores. Tambin se daban
configuraciones
ms o menos espontneas de corral de comedias en patios centrales
de manza-
nas de viviendas, donde las ventanas y los balcones hacan de
palcos improvisa-
dos, y donde se cubra el patio con lonas para protegerse del
sol. El teatro de esta
tipologa mejor conservado es el de Almagro, del siglo xvii y con
capacidad para
unas 300 personas.
Es los siglos xvii y xviii cuando desde Italia y Francia se
evoluciona y se consolidan
los modelos clsicos de tipologa teatral. La Comdie Franaise en
Pars (1680),
con sus diversas sedes, y La Scala de Miln (1776), con sus
reformas, son dos
hitos relevantes que oficializan el teatro. De una forma
semicircular clsica, se pasa
a la forma de U y se va creciendo en altura, segn permiten las
nuevas tcnicas
constructivas. El Barroco consagra la forma en herradura y
tambin la elptica trun-
cada, la ovalada y la forma de campana. El Neoclsico crea formas
ideales de
visibilidad y acstica impulsadas por la Ilustracin y el
Racionalismo. Son recintos
diseados no slo como receptculos teatrales, sino pensando en la
msica de
cmara y en el auge de la pera. El arquitecto iluminista Claude
Nicolas Ledoux
construy en 1784 el teatro de Besanon, el primero con el patio
amueblado con
butacas para abonados y con un anfiteatro con asiento para las
clases populares.
Todo el mundo empezaba a tener derecho a disfrutar sentado de la
funcin.
Los teatros europeos del siglo xix no son ya teatros callejeros
privados, sino gran-
des equipamientos pblicos con el apoyo de la aristocracia y
posteriormente la bur-
guesa, que simbolizan la cultura y el arte. La pera de Viena
(1869), el Royal Albert
Hall de Londres (1871) o la neobarroca pera de Pars de Charles
Garnier (1875)
son hitos en este aspecto. Tienen emplazamientos privilegiados y
las ciudades que
ostentan estos equipamientos destacan en su rango e importancia
internacional.
Segn los diversos estilos, su distribucin se va sofisticando
hasta convertirse en
una de las tipologas ms caractersticas de la historia
arquitectnica. Son teatros
de inspiracin barroca o neoclsica, donde la platea ha crecido y
se ha inclinado,
y que ahora lucen con sofisticados sillones confortables
tapizados en terciopelo.
Los palcos la rodean con cinco o seis niveles, con estancias y
zonas privadas
delicadamente decoradas. Tras la boca del escenario hay un
enorme espacio
destinado a camerinos, la tramoya, los telones y el
almacenamiento de deco-
rados; se trata de un espacio que duplica el tamao del edificio.
Tambin el
acceso se ha sofisticado con un gran hall de recepcin, escaleras
imperiales y
salones anexos con mrmoles, espejos y lmparas de lgrimas para
celebra-
ciones entre actos.
pera en el Cortina, Viena, 1666Opera in the Cortina, Vienna,
1666
Interior de La Scala, Miln, 1778Interior of La Scala, Milan,
1778
Interior de La Fenice, Venecia, 1837Interior of La Fenice,
Venice, 1837
pera de Pars, Garnier, 1875The Paris Opera, Garnier, 1875
Proyecto para una pera, Boulle, 1781Project for an opera,
Boulle, 1781
In Spain the theatre acquired importance during its Golden Age
(xvi and xvii centuries),
the type of theatre known as the Corral of Comedies. It was
really the back facade
of a house building or inn which served as the stage and to
which was added on
both sides and the front a light structure of two or three
floors with galleries that held
the spectators. There were also more or less spontaneous
versions of the corral of
comedies situated in the central patios in blocks of housing,
where the windows
and balconies provided improvised boxes and the patios were
covered with canvas
awnings to protect the people from the sun. The best preserved
example of this type
is the Almagro Theater, dating from the xvii century and holding
over 300 people.
It was in the xvii and xviii centuries when Italy and France
developed and con-
solidated the classical models of theatre. The Comdie Franaise
in Paris (1680),
throughout its different branches, and the Scala in Milan
(1776), with its building
improvements, were two relevant milestones that formalised the
theatre. From a
classical semicircular shape they developed to a U-shaped
structure and grew in
stature, according to the new building techniques available. The
Baroque period
consecrated the horseshoe shape and also the truncated ellipse,
oval and bell
shape. The Neoclassic period created ideal forms for acoustics
and visibility driven
by the Enlightenment and Rationalism movements. They were places
designed not
only as theatrical venues but also with the purpose of improve
the rising of chamber
music and opera in mind. The Enlightenment architect Claude
Nicolas Ledoux built
the Besanon theatre in 1784, the first to be furnished with
seating for season ticket
holders and with an amphitheatre provided with seats for the
working classes.
Everybody began to be entitled to enjoy being seated at a
performance.
The European theatres in the xix century were no longer private
street theatres but
large public installations supported, firstly, by the
aristocracy and later on by the bour-
geoisie, who symbolised culture and art. The Vienna Opera house
(1869), the Royal
Albert Hall in London (1871) or the neo-baroque Paris Opera
house by Charles Gar-
nier (1875) were milestones in this respect. They had privileged
emplacements and
the cities that possessed these installations stood out both in
status and importance,
nationally and internationally. In accordance with the different
styles, their distribu-
tion became more sophisticated, until they became conceptually
one of the most
characteristic types within architectonic history. They were
theatres influenced by the
baroque and neoclassic periods, where the stalls had grown and
become more in-
clined, and now displayed sophisticated and comfortable seats
with velvet upholster-
ing. The boxes that surrounded them, five or six tiers high, had
delicately decorated
private booths and areas. Behind the stage entrance there was an
enormous space
devoted to dressing rooms, stage machinery, curtains and scenery
stores that dou-
bled the size of the building. The main entrance became more
sophisticated; with
large reception foyers, imperial staircases and annexes
furbished with marble and
also mirrors and teardrop chandeliers for celebrations between
acts.
Teatro Festspielhaus, Bayreuth, 1876The Festspielhaus Theatre,
Bayreuth, 1876
16 17
-
El compositor alemn Richard Wagner intervino personalmente en la
construccin
del teatro Festspielhaus de Bayreuth en 1876 innovando una
planta en abanico
con platea escalonada y colocando a la orquesta en un foso. As
evolucionan
los teatros durante el siglo xix hasta que, entrado el siglo xx,
surgen los espacios
multifuncionales, los grandes auditorios y el cine, el nuevo y
revolucionario invento
para el entretenimiento. stos van a convertirse de forma
vertiginosa en una nueva
tipologa de gran popularidad en todo el mundo. Desde principios
de siglo, con
la invencin del Sptimo Arte, muchos viejos teatros van a
convertirse en cines
colocando una pantalla, pero pronto surgir una nueva familia de
vistosos edificios
pensados solamente para las proyecciones cinematogrficas, con
sonorizacin y
grandes formatos, el cinemascope y el cinerama. El Art dco de
los aos 20 y 30
dejar su huella en estos nuevos templos del entretenimiento.
En 1927 el arquitecto de la Bauhaus Walter Gropius disea, aunque
no llega a
construir, el llamado Total Theather para Edwin Piscator. Se
trata de una gran
innovacin, pues sobre una planta oval se encaja una
circunferencia con un
escenario excntrico, que puede ir rotando y conformando diversas
posiciones,
tanto de los actores como de los espectadores que envuelven
literalmente la
accin. Tambin estaba previsto de forma pionera la proyeccin de
imgenes en
movimiento. Nace una innovadora relacin entre pblico y escenario
donde se
han roto las fronteras.
Los nuevos auditorios van a tener propuestas de los diversos
ismos de los
maestros del siglo: el expresionismo de Hans Poelzig en el
teatro de Berln (de-
molido en 1988), el Racionalismo de Mies van der Rohe en los
auditorios del
Illinois Institute of Technology en Chicago o el organicismo de
Aalto en el auditorio
de Otaniemi en Finlandia. Ms tarde Hans Scharoun revalida el
organicismo en
la Filarmnica de Berln creando un nuevo concepto de interrelacin
ms ntima
entre pblico y orquesta. Pero sin duda la obra ms emblemtica del
siglo xx
dentro de esta tipologa es la pera de Sidney del arquitecto dans
Jorn Utzon,
que gan un concurso en 1957, pero cuya obra no fue finalizada
hasta 1973 y
sin su supervisin.
Por otro lado, durante el siglo xx se desarroll abundantemente
la arquitectura
deportiva, que fue sofisticando sus instalaciones y
diversificndolas para las di-
ferentes modalidades de juego. Son campos de ftbol y de rugby
descubiertos,
o palacios de deportes cubiertos destinados principalmente al
bsquet, que
precisamente naci como propuesta deportiva para poder jugarse
independien-
temente de la climatologa exterior. En todo este tipo de
instalaciones tambin
combinan como partes fundamentales de su concepcin la zona de
pblico y
la escena. El pblico se dispone generalmente en gradas con
asientos senci-
llos y resistentes a menudo a la intemperie, que se fijan sobre
gradas previas
metlicas o de hormign.
The UFA Cinema Center, Wolf Prix, Dresde, 1998The UFA Cinema
Center, Wolf Prix, Dresden, 1998
Total -Theater, Walter Gropius, 1927
Hippodrome, Coventry, Reino Unido, 1937The Hippodrome, Coventry,
UK, 1937
Grosses Schauspielhaus (Gran Teatro), Hans Poelzig, Berln,
1918Grosses Schauspielhaus (Great Theatre), Hans Poelzig, Berln,
1918
Cine Universum, E. Mendelsohn, Berln, 1926Cinema Universe, E.
Mendelsohn, Berlin, 1926
The German composer Richard Wagner personally intervened in the
building of
the Bayreuth Festspielhaus theatre in 1876, innovating a
fan-shaped floor with
terraced stalls and an orchestra pit. That is how theatres
developed during the
xix century until the arrival of multi-functional spaces and
large auditoriums and,
of course the cinema, the new and revolutionary entertainment
invention, which
emerged in the early xx century. It would quickly turn out to be
an enormously
popular installation all over the world. From the beginning of
the century, with the
creation of the Seventh Art, many old theatres would turn into
cinemas by way of
installing a screen, but soon a new family of spectacular
buildings would emerge
for the only purpose of showing films including soundproofing,
like Cinemascope
and Cinerama. Deco-art in the 20s and 30s would leave its mark
on these new
entertainment palaces.
In 1927, the architect responsible for the Bauhaus, Walter
Gropius, designed
the so called Total Theater for Edwin Piscator, though finally
it was never built.
The great innovation consisted of an oval floor that was fitted
with a circumference
sustaining an eccentric stage. This could rotate while forming
different positions,
so that literally both the actors and spectators were enveloped
in the performance.
A pioneering projection of moving pictures had also been
foreseen. An innovat-
ing relationship breaking down the barriers between the public
and the stage
had been born.
The new auditoriums recieved proposals from the different
schools of the cen-
tury masters: Hans Poelzigs expressionism in the Berlin theatre
(demolished
in 1988), Mies van der Rohes rationalism in the auditoriums of
the Illinois
Institute of Technology in Chicago or Aaltos organicism in the
auditorium of
Otaniemi in Finland. Later on, Hans Scharoun would revalidate
organicism in
the Berlin Philharmonic, creating a new concept of greater and
intimate inter-
relation between the audience and the orchestra. But without any
doubt, the
most emblematic structure of the xx century within this typology
is the Sydney
Opera house designed by the Danish architect Jorn Utzon, who won
the
competition in 1957, but whose project was not finished until
1973, without
his personal supervision.
On the other hand, throughout the xx century architecture for
sports was
abundantly developed, sophisticating its installations and
diversifying them
for different sport disciplines. They are uncovered football and
rugby grounds,
or covered sports stadiums devoted mainly to basketball, which
was created
specially as a game that could be played regardless of the
outside weather
conditions. All these kind of installations also combine the
basic princi-
ples of the concept for the public and the stage. The public
generally has
stands with simple weather-resistant seating anchored onto base
stands
of concrete or metal.
Teatro Octagon, Bolton, 1967The Octagon Theatre, Bolton,
1967
18 19
-
Sentarse en la arquitecturaLa historia de la silla puede ser tan
remota como queramos. Sin duda, el suelo
es la primera gran silla universal despus una roca o de
cualquier desnivel del
terreno. La primera manufacturada es un tronco cortado. Los
primeros vestigios
que se conservan de asiento propiamente dicho son de la
civilizacin egipcia y
corresponden a los tronos de los faraones del siglo xiv a.C.;
tambin encontramos
grabados de asientos en Siria y posteriormente detallados
dibujos de sillas en
Grecia, pero casi siempre con carcter representativo, siendo
muebles de ce-
remonia y no objetos de uso prctico. La cultura romana se apoya
en la griega y
evoluciona creando sillas plegables de tijera, sillas dobles o
triclinios, aunque los
asientos siguen estando reservados para sacerdotes y polticos.
El pueblo llano
sola sentarse en tablones de madera, de los que no se han
conservado vestigios.
Toda la cultura oriental desconoce el uso de la silla hasta que
no entra en contacto
con la cultura occidental. Lo habitual en estos pases era
sentarse en el suelo o
sobre superficies confortables, como tatamis, alfombras,
tarimas, etc. En la Edad
Media, las sillas desaparecen de la vida cotidiana, slo hay
tablones, arcones o
taburetes bsicos, y no es hasta el Renacimiento que las sillas
vuelven a con-
siderarse como mobiliario habitual y ya quedan establecidas como
el mueble
occidental por antonomasia. Primero se destinan a la gente
pudiente y, poco a
Los avances tecnolgicos van sofisticando este sistema de
asientos y es posible
encontrar gradas telescpicas retrctiles, que en un momento
pueden cambiar la
configuracin del espacio dejando ms terreno libre o, por el
contrario, aumen-
tando el aforo de pblico. Las diversas citas olmpicas han sido
un acicate para
que las diferentes sedes ofrezcan pabellones deportivos con
estticas y desafos
estructurales ms arriesgados.
Tambin el siglo xx ha ido configurando muchos otros espacios que
requieren asientos
colectivos. Por ejemplo, las salas de espera en los equipamiento
pblicos sanitarios y
educativos, y los equipamientos de transportes como pueden ser
las estaciones de
ferrocarril, de autobuses y principalmente los aeropuertos. Con
el auge de la aviacin
civil, estos ltimos se han convertido en verdaderos templos
modernos y acogen
a millones de pasajeros, que requieren su momento de espera,
relax y descanso.
Mies van der Rohe
Es ms fcil disear un rascacielos que una sillaIt is easier to
design a skyscraper than a chair
Auditorio de Otaniemi, Alvar Aalto, Helsinki, Finlandia, 1967The
Otaneimi Auditorium, Alvar Aalto, Helsinki, Finland, 1967
pera de Sidney, Jrn Utzon, Australia, 1973The Sidney Opera
House, Jrn Utzon, Australia, 1973
Filarmnica de Berln, Hans Scharoun, 1963The Berlin Philharmonic,
Hans Scharoun, 1963
Sitting in architectureThe history of the chair can be as remote
as we desire it to be. Doubtlessly,
the ground was the first and greatest universal seat used after
a rock or any
unevenness in the ground. The earliest manufactured chair was a
cut tree
trunk, but the first preserved remains of a seat belongs to the
Egyptian civi-
lization and correspond to the Pharaohs thrones in the xiv
century B.C.; we
can also find engravings of seats in Syria and later on,
detailed drawings of
chairs in Greece, but almost always as a representative feature,
being furnish-
ing for ceremonies and not for practical use. Roman culture is
based on the
Greek one and it evolves by making folding chairs, double chairs
or couches,
although these are still reserved for priests and politicians.
The common
people used to sit on wooden planks, but there are no remains of
them.
None of the oriental cultures used seats until they got in touch
with western society.
It was normal in these countries to sit on the floor or on
comfortable surfaces
such as mats, rugs, daises, etc. In the Middle Ages chairs
disappeared from
daily life, only remaining planks, trunks or basic stools, and
it was not until the
Renaissance period that chairs started to be used on a regular
basis, estab-
lished as the quintessential western furnishing. Firstly, they
were destined for
powerful people and, little by little, they started to be used
for domestic purpose.
Technological advances are sophisticating these seating systems
and it is
possible to find retractile, telescopic stands, which in a
moment can change
the space configuration, leaving more ground free or increasing
crowd ca-
pacity when necessary. The Olympic Games events have been a goad
to
the dif ferent venues to offer aesthetic sports pavilions and
more daring and
challenging structures.
The xx century has also produced many other spaces that require
collective seat-
ing, such as waiting rooms in public health and education
installations as well as
transport facilities like railway or bus stations, and most of
all airports. Due to the
increase in civil aviation transport many airports have been
converted into truly
modern temples that shelter millions of passengers needing
relaxation and rest
during their waiting periods.
20 21
-
Primera butaca de Figueras, 1950Figueras first seat, 1950
Butaca de Figueras, 1967Figueras seat, 1967
Modelo Z, Figueras, 1967Model Z, Figueras, 1967
Modelo B-92, asiento deportivo, 1992Model B-92, sport seat,
1992
Aeropuerto internacional de Palma de MallorcaPalma de Mallorca
International Airport
Obviously, the industr ial isation of the xv i i i centur y al
lowed the mass
production of chairs, accessible to al l pockets and for al l k
ind of use or
customs.
In parallel, the different Royal houses in Europe began to
create and spread
the different styles of furniture, carrying the names of the
different monarchs
until the xix century, when the furnishing began to be
identified by the creators
name, as in Chippendales case, as a brand name, like Thonet, or
regarding an
artistic style such as Art Nouveau.
In the xx century there was a true eclosion in the seating
field, and the great
architects began to shape this basic piece of furniture. To the
invention of
curved wood was added the creation of laminated wood-
exemplified by
Alvar Aalto or Arne Jacobsen and in the 20s took place the
revolution
of bent steel tubing, due to the helping hand of Rationalism and
Bauhaus,
with pieces by Mart Stamp, Marcel Breuer or Mies van der Rohe.
The follo-
wing giant step came with the arrival of plastics and all their
by-products,
which from the 60s onwards brought about almost infinite freedom
regard-
ing shapes.
The development of collective seating was on a parallel plane.
At the beginning
of the century, theatre and the newly implanted cinema seating
was solved us-
ing wooden seating or wooden structures with conventional
stuffed upholstery.
Soon, steel was added, as an anchor or structurally, onto which
the wooden
or upholstered seats were fastened. The arrival of plastics
facilitated the pro-
duction of weather-resistant seats, mainly for sport stadiums.
At the same
time the production of foams on metal spring structures
developed, and so
provided great comfortability. The next step was the creation of
plastic cas-
ing, both for the seat and the backrest, onto which was fixed
plastic stuff-
ing and subsequently upholstered. The most recent polyurethane
injection
technologies allow the manufacture of whole monomateric parts
consist-
ing of the desired structure and durability with unlimited
possible finishes
in textures as well as colours. There are also silent folding
chair systems
with locking devices, and tables or folding backrests aswell.
Moreover the
seats can be moved using diverse technologies, by way of
technical floor-
ing, along rails, manually or mechanically.
The xxi century has started off by singularizing projects.
Nowadays, any
architect can create his/her kind of customised seat in
accordance with the
architectonic project that is being undertaken and beyond the
standardised
offers within the marketplace. Currently it is possible to
bestow that personal
touch on the whole project. The below mentioned projects are
some inter-
national examples of this passionate development of collective
seating in the
history of architecture.22 23
poco, se extiende su uso comn domstico. Es sin duda la
industrializacin del
siglo xviii lo que permite la produccin de sillas asequibles
para todo tipo de usos,
costumbres y bolsillos.
En paralelo, las diversas casas reales europeas van creando y
difundiendo di-
versos estilos de mobiliario, que llevan los nombres de los
diferentes monarcas.
Hasta que en el siglo xix, el mobiliario comienza a ser
identificado por un creador,
como Chippendale, por una marca fabricante, como Thonet, o bien
por un estilo
artstico, como el Art Nouveau.
En el siglo xx se desata una verdadera eclosin en la sillera y
son los grandes
arquitectos los que van a dar forma a este mueble bsico. A la
invencin de la ma-
dera curvada, se aade el nacimiento de la madera laminada
ejemplificada por
Alvar Aalto o Arne Jacobsen y, en los aos 20, la revolucin del
tubo de acero
doblado, de la mano del Racionalismo y la Bauhaus, con piezas de
Mart Stamp,
Marcel Breuer o Mies van der Rohe. El siguiente paso de gigante
lo constituye la
llegada del plstico y de todos sus derivados, que a partir de
los aos 60 supone
una libertad formal casi infinita.
En los asientos para colectividades, la evolucin es paralela. A
principios de siglo,
la sillera de los teatros y de los recin inaugurados cines se
solventa con made-
ra o bien con estructura de madera y tapizados convencionales
sobre rellenos.
Pronto se aade el acero como sistema de fijacin o incluso
estructural, sobre el
que se alojan los asientos de madera o tapizados. La llegada del
plstico permite
la produccin de asientos a la intemperie, para estadios
deportivos principalmente.
Pero tambin avanza en paralelo la produccin de espumas sobre
estructuras
metlicas de muelles, que ofrecen gran confort. El siguiente paso
es la creacin
de carcasas de plstico, tanto para el asiento como para el
respaldo, sobre las
cuales se crea el relleno tambin plstico y posteriormente
tapizados. Las ltimas
tecnologas de poliuretano inyectado permiten la fabricacin de
partes enteras
monomatricas con la estructura y dureza deseada con infinidad de
posibles aca-
bados, tanto en texturas como colores. Tambin existen sistemas
de plegado
silencioso y con freno, o el aadido de mesas o respaldos
plegables, etc. Adems
los asientos pueden ser escamoteados con diversas tecnologas,
bien escamo-
tendose en el suelo tcnico, bien deslizndose sobre rieles, de
forma manual o
mecanizada.
El siglo xxi ha arrancado con la singularizacin de los
proyectos. Cualquier arqui-
tecto, puede hoy en da crear su tipo de butaca personalizada,
acorde con el pro-
yecto arquitectnico que est realizando ms all de las ofertas
estandarizadas
del mercado. Hoy es posible aadir el sello personal que acabe de
conferir glo-
balidad a la obra realizada. Los proyectos que siguen a
continuacin, son algunos
ejemplos internacionales de esta apasionante evolucin del
asiento colectivo en
la historia de la arquitectura.
-
AUDITORIOS AUDITORIUMS
-
Ricardo Bofill Ricardo Bofill Taller de Arquitectura
2001
MIGUEL DELIBESCULTURAL CENTREValladolid, Spain
Una pequea ciudad para la cultura y las artes
CENTRO CULTURAL MIGUEL DELIBES
Valladolid, Espaa
A small city for culture and arts
26
[ ]
-
28
-
30
El Centro Cultural Miguel Delibes es una pequea ciudad de las
artes en
Valladolid, con ms de 54.000 m2 construidos, que alberga la
Orquesta
Sinfnica de Castilla y Len. Alrededor de una plaza pblica se han
si-
tuado tres edificaciones interrelacionadas. La primera es el
Conservatorio
Profesional de Msica con su sala de msica de cmara. La segunda
es
el Auditorio con Sala de Orquesta Sinfnica. La tercera alberga
la Escuela
Superior de Arte Dramtico, la Escuela Profesional de Danza y el
Teatro
Experimental. Tambin incluye un aparcamiento subterrneo con
capaci-
dad para 350 plazas.
Segn el arquitecto Ricardo Bofill, el nuevo centro es un modelo
donde
teatro, danza y msica confluyen en un mismo lugar y donde los
profesores,
los estudiantes y el pblico se entremezclan en los espacios.
Bofill aade
que ha buscado construir una obra sencilla, racional, sobria y
discreta,
austera y elegante, prudente y til. El gran reto del auditorio
era lograr una
acstica perfecta, y para ello se cont con la colaboracin de
Albert Xu,
gran especialista en la materia. La zona de la orquesta queda
envuelta por
la platea enfrente y rodeada por diversos palcos escalonados,
que permiten
al pblico acercarse a los msicos con visuales directas.
El auditorio principal est concebido para dar cabida a 2.080
espectadores,
mientras que la sala experimental tiene una capacidad para 480
personas.
Para este proyecto, el Taller de Arquitectura Ricardo Bofill cre
una nueva ti-
pologa de butaca, el modelo Sens, desarrollada por la empresa
Figueras.
La butaca ha sido creada especialmente para ofrecer un ptimo
comporta-
miento acstico y aumentar la absorcin sonora en diferentes
rangos de fre-
cuencias. Como elemento para evitar ruidos innecesarios, la
butaca consta
de un sistema patentado que controla el movimiento de cierre del
asiento y
asegura que el recorrido sea suave e insonoro. De lneas esbeltas
y armo-
niosas proporciones, destaca por su excelente equilibrio entre
aprovecha-
miento del espacio y nivel de confort, ya que las colchonetas
del asiento y
del respaldo tienen un diseo ergonmico especialmente
cuidado.
El Centro Cultural Miguel Delibes supone una culminacin respecto
a otras
obras anteriores de auditorios realizados por Bofill, como la
Escuela de Msica
Shepherd de la Universidad de Rice (EE. UU.), el Teatro Nacional
de Catalua
en Barcelona, el Arsenal en Metz o el Palacio de Congresos de
Madrid.
The Miguel Delibes Cultural centre is a small village dedicated
to the arts
in Valladolid, occupying over 54,000 m2 of land, and home to the
Castilla
and Leon Symphonic Orchestra. Three inter-related buildings have
been
established around a public square. The first one is the
Professional Music
Conservatory, including its chamber music hall. The second one
is the
Auditorium with the Symphony Orchestra Hall. The third one is
home to
the High School of Dramatic Arts, The Professional Dance School
and the
Experimental Theatre. It also has an underground parking for 350
vehicles.
According to the architect Ricardo Bofill, the new centre is a
model where
theatre, dance and music converge in the same place and where
teach-
ers, students and public mingle in the spaces. Bofill adds that
he has
sought to build a structure that is simple, rational, sober and
discreet,
austere and elegant, prudent and useful. The auditoriums great
chal-
lenge was to achieve perfect acoustics, and for this purpose
they had
the collaboration of Albert Xu, a great expert in this field.
The orchestra
area is enfolded by the pit in front and surrounded by diverse
terraced
boxes, which allow the public to visually draw near to the
musicians.
The main auditorium has been conceived to hold 2,080 spectators,
while
the experimental hall holds 480 people. For this project, the
Ricardo
Bofill Architectural Workshop created a new type of seat, the
Sens
model, developed by the company Figueras. The seat was
specially
created to offer optimum acoustic behaviour and to increase
sound
absorption within different frequency wave ranges. As an element
for
cutting out unnecessary noise, the seat includes a patented
system
that controls seat closure and ensures that the movement is soft
and
soundless. With graceful lines and harmonious proportions it
stands out
by way of its excellent balance, use of space and level of
comfort, since
the seat and backrest padding have been specially, carefully and
ergo-
nomically designed.
The Miguel Delibes Cultural Centre can be considered as a peak
re-
garding the other preceding auditoriums designed by Bofill, such
as
the University of Rices Shepherd Music School (USA), the
Catalonian
National Theatre in Barcelona, the Arsenal in Metz or the
Congress
Palace in Madrid.
-
La arquitectura de la gran escalaLa importancia del paisaje en
la arquitectura actual indica una nueva lectura
de la tradicional relacin entre edificio y suelo. El suelo no
parece ser ya la
plataforma uniforme y estable sobre la que se asientan los
edificios y parte
de esas funciones de superficie lmite del proyecto son ahora
recogidas
por la cubierta. Sus formas hacen referencia al mundo musical
que lo ha-
bita, oculta complejas relaciones y sinergias entre las
diferentes funciones.
Suelo, cubierta, paisaje, diferenciacin funcional longitudinal,
integracin
transversal, transparencia y opacidad, exterior e interior. La
complejidad y
riqueza de una sinfona.
En el encuentro inevitable del mundo interior y el exterior se
pueden generan
familias de espacios intermedios en los que jardines interiores,
grandes lu-
cernarios y espacios amplios, permiten que se puedan configurar
de distinta
forma aportando a los edificios mayor versatilidad.
Existen normalmente dos condicionantes importantes que
determinan el
tipo de estructura a emplear en un edificio dedicado a auditorio
o complejo
dedicado a la msica o el teatro: las grandes dimensiones de los
principales
espacios (auditorios, salas de teatro, etc) y el obligado
aislamiento acstico
de los mismos. Otro tema importante a tener en cuenta es la
ubicacin de
las instalaciones, dado el uso y el volumen de este tipo de
edificios. Se debe
evitar que stas transmitan ruidos a las salas de conciertos y/o
al teatro, as
como el evitar que entre los diferentes espacios puedan
traspasar, a travs
de los conductos, distintos sonidos.
La arquitectura de la pequea escala: la butacaLa butaca para el
auditorio principal del Centro Cultural Miguel Delibes
(Valladolid), el modelo 13113 Sens, se ha diseado especialmente
para
este proyecto. Deba cumplir con los ms exigentes requisitos
acsticos
y ser un elemento integrado en la decoracin de la sala, sin
olvidar su
funcionalidad y su capacidad de ennoblecer el entorno. Est
tapizada
totalmente en piel natural, sin elementos en madera y, sin
embargo, con
unas cualidades acsticas excelentes. El resonador acstico
aplicado en
su interior permite un comportamiento a tal efecto idntico tanto
con la bu-
taca ocupada como desocupada. Es un objeto en armona con el
edificio,
a la vez que un diseo funcional, ergonmico y mnimo.
Architecture on a grand scaleThe importance of landscape in
current architecture means reading anew
the traditional relationship between buildings and the ground;
this one no
longer seems to be a uniform and stable platform on which
buildings are
founded, and part of the functional surface limitations of the
project are now
absorbed by the cover. Their forms allude to the musical world
that dwells
within them, conceals complex relationships and synergies
between the
different functions. Ground, cover, landscape, functional
longitudinal dif-
ferentiation, transverse integration, transparency and opacity,
outside and
inside. The complexity and richness of a symphony.
During the inevitable encounter between the inside and outside
worlds,
whole families of intermediate spaces can be created; within
interior gar-
dens, enormous skylights and wide open spaces, allowing diverse
con-
figurations and bestowing greater versatility to the
buildings.
There are usually two conditioning factors that determine the
kind of
structure to be employed in a structure devoted to music or the
thea-
tre: the huge dimensions of the main areas (auditoriums, theatre
halls,
etc.) and the mandatory soundproofing of the same. Another
important
issue to consider is the location of the installations, because
of the
usage and volume of this type of building. Outside noise must
not be
conferred to these concert and/or theatre halls, as well as
avoid, at all
cost, the transference through conduits of diverse sounds
between the
different areas.
Architecture on a small scale: The seatThe Sens model 13113 seat
was specially designed for the
main auditor ium of the Miguel Delibes Culture Centre
(Valladolid)
project. It had to fulf i l the most demanding acoustic
requirements
and at the same time be an integral par t of the decoration of
the
hall without losing any of its functionality or its abil i t y
to embell ish
its environment. It is entirely upholstered in real leather,
without
any wooden elements, but never theless has excellent
acoustic
qualit ies. The acoustic resonator f i t ted in its inter ior
has the same
behavioural ef fect whether the seat is occupied or not. It is
an
object in harmony with the building while being of minimal,
ergo-
nomic and functional design.32 33
Barcelona, 1939
Seating Together with
RICARDO BOFILL
-
2003
PALACIO DE FERIASY CONGRESOS
DE MLAGAMlaga, Espaa
TRADE FAIR AND CONVENTION PAVILLION IN MALAGAMalaga, Spain
ngel Asenjongel Asenjo y Asociados
34
Espacios polivalentes interconectados por una corona cromtica
ondulante
Multi-functional spaces interconnected by an undulating
chromatic crown
[ ]
-
36
-
38
El Palacio de Ferias y Congresos de Mlaga es un
contenedor-multiusos
para actividades terciarias relacionadas con la celebracin de
ferias de
muestras, congresos y exposiciones. De esta forma, la ciudad
refuerza su
capitalidad sobre la conurbacin de la Costa del Sol, al
centralizar flujos de
desarrollo econmico, social y cultural, y al ofrecer un espacio
idneo para
todo tipo de eventos.
Situado en una de las principales arterias de comunicacin
urbana, este
edificio se ha convertido en una parte inseparable del paisaje
de la ciudad
como elemento singular de referencia. La idea de proyecto parte
de la
necesidad de una flexibilidad total del espacio en cuanto a la
adaptacin
de sus instalaciones para cualquier tipo de evento a escala
internacional.
Se trata de un contenedor estructurado en dos mdulos de
exposicin que
se interconectan mediante un patio central. ste tiene, a su vez,
capacidad
para convertirse en un tercer espacio de exposicin, al tiempo
que permite
el funcionamiento conjunto o separado de los mdulos.
Para cubrir estos espacios se eligen unas formas dinmicas
ondulantes,
irregulares y aristadas. La estructura metlica que soporta la
cubricin,
como esqueleto que da forma al volumen exterior y como
estructura vista
hacia el interior, se convierte de esta manera en un elemento
clave del pro-
yecto, caracterizando los espacios expositivos mediante
elementos lineales
de gran lirismo que, en sus formas ondulantes formadas por la
superpo-
sicin de espinas, incorporan el tema del color en los espacios
interiores
generados por la arquitectura.
La propia naturaleza del edificio, entendido como la resultante
de cubrir
dos grandes espacios mediante un juego de cubiertas ondulantes,
es
el germen a partir del cual se configura el proyecto definitivo,
resuelto
finalmente mediante una cubierta ligera de zinc en los mdulos de
expo-
siciones y planchas de titanio en los diversos volmenes que
componen
la torre de oficinas.
La sala principal da cabida a 900 butacas y la anexa, a otras
600, equipa-
das con el modelo Lyon y la mesa de trabajo individual F45.
Dicha mesa
incorpora todo el equipamiento necesario para la interconexin
telemtica.
Adems existe otra sala polivalente, con modulacin variable,
equipada con
la silla Venus, fcilmente apilable y transportable.
The Trade Fair and Convention Pavilion in Malaga is a
multi-functional are-
na for tertiary activities related to trade fairs, conventions
and exhibitions.
This way, the city reinforces its capital status over the
conurbation of the
Costa del Sol, centralising the flow of financial, social and
cultural develop-
ment, as well as offering an ideal space for all kind of
events.
Located on one of the main urban commuter arteries, this
building has
become an inseparable part and singular reference point of the
citys
landscape. The idea for the project comes from the need for
total flexibil-
ity regarding space so as to adapt the installations for any
kind of event
at international level.
This is an arena structured in two exhibition modules that are
interconnected
by a central patio. This, in turn, has the capacity to be turned
into a third
exhibition space using the modules separately or together as
one.
Irregular, edged and dynamic undulating forms are used to cover
theses
spaces. The metallic structure that supports the roofing, as a
skeleton
that shapes the external volume and as a structure seen from the
inside,
becomes in this way a key element of the project, giving
character to the
exhibition spaces by way of lineal elements of great lyricism
that, in their
undulating shapes formed by the superposition of thorns,
incorporate the
colour theme in the interior spaces generated by the
architecture.
The buildings own nature, understood to be the result of roofing
two large
spaces covered by a set of undulating covers, is the seed from
which the
final project is configured, finally resolved by way of a
lightweight zinc cover-
ing in the exhibition areas and by titanium sheeting in the
diverse volumes
that make up the office tower.
The main hall holds 900 seats and the annexe yet another 600,
equipped
with the Lyon model seat and individual desk model F45. This
desk includes
all the necessary equipment for IT network connection. Moreover,
there is a
multi-functional room with variable modules equipped with the
Venus seat,
which is easily stacked and transported.
-
2003
CENTRO INTERNACIONALDE CONVENCIONES
PUTRAJAYAPutrajaya, Malasia
PUTRAJAYA INTERNATIONALCONVENTION CENTREPutrajaya, Malaysia
Hijjas KasturiHijjas Kasturi Associates SDN
Un sofisticado palacio de congresos bajo un gran ojo cenital
luminoso
A sophisticated convention centre under a great overhead
lightning eye
40
[ ]
-
42
El Centro Internacional de Convenciones de Putrajaya en Malasia
es uno
de los centros de congresos ms lujosos y sofisticados de Asia.
Se ubica
a 70 kilmetros de Kuala Lumpur, en Putrajaya (capital
administrativa de
Malasia), en una zona gubernamental y de equipamientos. El
palacio de
congresos est destinado a acoger las ms importantes reuniones
di-
plomticas del continente. La arquitectura corresponde al estudio
Hijjas
Kasturi Associates SDN, que desde 1977 viene siendo responsable
de
gran parte de la arquitectura icnica de la modernizacin
tecnolgica que
ha vivido en los ltimos aos Kuala Lumpur.
El edificio se presenta como una gran cubierta ovalada, en
voladizo ondu-
lante que cubre y corona el recinto circular. La fachada es un
muro a modo
de cortina de vidrio que permite la entrada de luz, pero queda a
resguardo
de las inclemencias del tiempo y del asoleo gracias a su enorme
marque-
sina perimetral. sta conforma la peculiar silueta del edificio
en forma de
nave orgnica. El centro de convenciones tiene una capacidad
total de
15.000 plazas, que se distribuyen en diversas salas. La Plenary
Hall es la
gran sala con aforo para 2.800 personas confortablemente
sentadas en se-
micrculo sobre un gran escenario, donde se ubican dos grandes
pantallas
de retroproyeccin. Sobre esta sala se dispone una inmensa
abertura en
forma de ojo, que recibe y proyecta luz natural. Las gradas de
los asientos
se disponen para conseguir una acstica y visibilidad perfectas.
El sistema
de asientos Congress Seating System de Figueras permite
convertir las
filas alternas de asientos en mesas autnomas de trabajo. As, el
auditorio
queda convertido en autnticos despachos personales preparados
para
recibir todo tipo de instalaciones de comunicacin, corriente
elctrica,
terminal de ordenador, micrfono, sistema de votacin
Adems, el complejo dispone de otras tres salas con capacidad
para 2.000
personas cada una, as como salones para banquetes, salas de
reuniones,
espacios polivalentes o restaurantes. Todo est decorado con
inspiracin
en la tradicin local malaya, usando maderas y materiales locales
pero aa-
diendo la tecnologa ms sofisticada y actual.
-
44
The Putrajaya International Convention Centre in Malaysia is one
of the most
luxurious convention centres in Asia. It is situated 70
kilometres away from
Kuala Lumpur, in Putrajaya (the administrative capital of
Malaysia), within a
government installation area. The convention pavilion is
destined to receive
the most important diplomatic meetings of the continent. The
architecture
procedures come from the Hijjas Kasturi Associates SDN studio,
which from
1977 onwards has been responsible for a major part of the iconic
architec-
ture of the modern technology that Kuala Lumpur has seen in
recent years.
The building is seen as a great oval covering, an undulating
projection that
covers and crowns the circular enclosure. The facade is a glass
curtain alike
wall that allows the passage of light, but is protected from
inclement wea-
ther and glaring sunlight thanks to its enormous perimeter of
glass canopy.
This gives the buildings a peculiar silhouette with the shape of
an organic
nave. The convention centre holds 15,000 people, distributed in
diverse halls.
The Plenary Hall is the big hall that comfortably seats 2,800
people in a semi-
circle around a great stage, where there are two big projection
screens.
Over this hall there is an immense aperture with the shape of an
eye, which
receives and projects natural light. The seating stands are
arranged in such
a way as to achieve perfect visibility and acoustics. Figueras
Congress
Seating System allows alternate rows of seats to be converted
into inde-
pendent desks. Thus, the auditorium can be converted into real
personal
offices prepared for the equipment of all kind of communication
installations,
electric power, computer terminals, microphone, voting
system...
Moreover, the complex has three other halls holding 2,000 people
each,
as well as banquet rooms, meeting rooms, multi-functional rooms
or res-
taurants. All the decor is inspired by local Malayan traditions,
using wood
and local materials, but also including all the most
sophisticated and cutting
edge technology.
-
2004
COSMOCAIXABarcelona, Espaa
COSMOCAIXABarcelona, Spain
Robert Terradas, Esteve TerradasTerradas Arquitectos
Una enorme nave enterrada para vivir la aventura de la
ciencia
An enormous buried plant where the adventure of science can be
lived
46
[ ]
-
48
El Museo de la Ciencia de Barcelona se conoce como
Cosmocaixa.
Es un equipamiento cultural y cientfico promovido por la Obra
Social de la
Fundacin La Caixa, la mayor caja de ahorros de Espaa. Sobre una
prime-
ra instalacin musestica en un edificio modernista que funcionaba
desde
1997, se inaugur en 2005 un nuevo complejo considerado como uno
de
los ms completos de Europa, con cerca de dos hectreas de
terreno.
El proyecto de Terradas Arquitectos (Esteban y Robert Terradas)
decidi
ocupar prcticamente la totalidad del solar y crear dos partes
interrelacio-
nadas, un gran parque de la ciencia, en la parte superior y un
gran museo y
sus equipamientos en la inferior. Desde la plaza se realizan
unas perforacio-
nes longitudinales que permiten la entrada de luz natural al
interior de forma
cenital; pero esas aberturas tambin facilitan la visin de las
salas inferiores
situadas 15 metros por debajo. El parque plantea la posibilidad
de convertir
al paseante en voyeur del edificio, estableciendo un paralelismo
con la in-
quietud observadora cientfica.
El acceso al museo se realiza por un gran cubo de vidrio
suspendido por
pilares inclinados, que permite la visin del parque. Desde ah se
accede,
a travs de una rampa helicoidal descendiente y basada en un
diseo de
Leonardo da Vinci, a la zona inferior, donde se sita la zona de
exposicio-
nes temporales y se accede a la gran nave con la exposicin
permanente.
El museo es totalmente interactivo, con zonas diversificadas
segn las
temticas. Tiene como colofn un bosque inundado, reproduccin de
la
flora y fauna tropical bajo un gran invernadero.
Como complemento a las instalaciones del museo, se dispone de un
au-
ditorio organizado en gradas cncavas y dotado de una completa
sala de
proyecciones y de un sistema de traduccin simultnea. La butaca
es un
modelo personalizado con estructura de madera y tapizado con
un
atril desplegable para poder tomar notas en conferencias o
simposios.
Los asientos se han colocado al tresbolillo para facilitar la
visibilidad de
todo el pblico hacia la mesa de ponentes.
The Barcelona Science Museum is known as Cosmocaixa. It is a
scien-
tific and cultural installation sponsored by La Caixa Foundation
for Social
Works, the biggest savings bank in Spain. A new complex was
inaugu-
rated in 2005 on top of a previous museum installation inside a
modernist
building, that had been working since 1997. This complex is
considered
as one of the most complete in Europe and consists of almost two
hec-
tares of land.
The Terradas Architects, Esteban and Robert Terradas, decided
that the
project would practically cover the whole site and they would
create two
interconnected parts, a great science park on the upper levels
and a great
museum and its installations on the lower ones. Some
longitudinal perfora-
tions were made from the square and allow natural light to enter
the interior in
a zenithal way; but these apertures also facilitate the view of
the lower halls
15 metres below. The park allows the possibility of converting
the visitor in
a voyeur of the building, establishing a parallelism with the
anxiousness of
scientific observation.
Access to the museum is made through a large glass cube
suspended
from two leaning pillars, which allows a view of the park. From
there we ac-
cede, by way of a descending helicoidal ramp, based on one of
Leonardo
da Vincis designs, to the lower area, where the temporary
display area
is housed and gives access to the great nave housing the
permanent
exhibitions. The museum is totally interactive, with diversified
areas accor-
ding to the themes represented. It has as a colophon an
inundated forest,
which reproduces tropical fauna and flora under a great
greenhouse.
As a complement to the museum installations, there is also an
auditorium
organised in concave stands which possess a complete projection
room
and a simultaneous translating system. The seat model is a
customised
upholstered wooden structure with a folding bookrest for taking
notes in
conferences or symposiums. The seats have been positioned in a
quincunx
to facilitate all the publics view towards the speakers
stand.
-
50
-
2004
PETIT PALAUDE LA MSICA CATALANA
Barcelona, Espaa
PETIT PALAU OF THE CATALONIAN MUSICBarcelona, Spain
Oscar Tusquets Blanca
Una nueva sala verstil que convive al lado de una monumental
obra del modernismo cataln
A new versatile hall coexisting with a monumental exposure of
Catalonian modernism
52
[ ]
-
54
-
El Palau de la Msica Catalana en Barcelona es una obra magna del
moder-
nismo cataln, mezcla de arquitectura con artes aplicadas como la
escultura,
el mosaico, la ebanistera o la vidriera. Fue diseado por Llus
Domnech i
Montaner e inaugurado en 1908. Ochenta aos ms tarde, en pleno
auge
de las instituciones culturales barcelonesas, el Orfen Cataln,
propietario del
edificio, decidi ofrecerlo a las instituciones acometiendo una
ambiciosa refor-
ma para convertirlo en un espacio vivo dedicado a la msica.
Oscar Tusquets
fue el arquitecto encargado del reto, que supuso un largo
proceso de cuida-
dosa reforma, pero sin mimetismos. Siempre pensaba qu hubiera
hecho
Domnech i Montaner hoy en da, explica el arquitecto.
Tal fue el xito de la reforma arquitectnica, social y funcional
que pronto
la nueva institucin se qued colapsada y sin posibilidad de
crecimiento
para desarrollar su intensa y cualificada programacin. Por eso
se plante
trasladar una iglesia anexa, que tapaba un lateral del Palau, y
proyectar
all una ampliacin con los servicios necesarios para convertir el
conjunto
en un verdadero emporio musical. Aparte de salas de ensayo,
oficinas y
restaurante, se decidi crear una nueva sala polivalente, que
sirviese para
conciertos de cmara, msica amplificada, conferencias, actos
culturales,
exposiciones, banquetes e incluso plat de televisin.
La nueva sala se situ de forma subterrnea, creando un espacio
que per-
mitiese la visin de la nueva fachada liberada del Palau, que
nunca antes
haba estado a la luz pblica. Esta sala, bautizada como Petit
Palau, cuenta
con entrada independiente y recibe luz natural cenital. Se
accede desde la
parte superior del anfiteatro y se desciende hasta una zona
plana que da
al escenario. Est equipada con un total de 538 asientos. La gran
novedad
de este espacio es la posibilidad de liberar de asientos la zona
de platea
horizontal en menos de 10 minutos. El sistema Mutamut,
desarrollado por
Figueras, permite trasladar las bancadas de asientos y
almacenarlas ple-
gadas debajo del escenario. De esta forma, se libera la zona
central para
cualquier uso convencional, mantenindose una perfecta visual
desde las
gradas y los palcos corridos superiores.
The Catalonian Palace of Music in Barcelona is a magnum exposure
of
Catalonian modernism, a mixture of architectures with art
applications such
as sculpture, mosaics, carpentry or glasswork. It was designed
by Llus
Domnech i Montaner and inaugurated in 1908. Eighty years later
in the
golden age of the Barcelona cultural institutions, the
Catalonian Orpheus,
owners of the building, decided to offer it to the institutions
to undertake
ambitious building work so as to convert it into a space devoted
to mu-
sic. Oscar Tusquets was the architect offered this challenge,
which meant
a long process of careful improvements, but without mimicry. I
always
thought of what Domnech i Montaner would have done today
explains
the architect.
The architectonic, social and functional reforms were so
successful that
soon the new institution was collapsed and without any
possibility of growth
to develop its intense and qualified programme. That is why it
was decided
to move an annexed church that covered a side of the Palace and
plan there
an extension with the necessary services to convert it, as a
whole, into a
true musical emporium. Apart from the practice halls, offices
and restaurant,
it was decided that a new multi-functional hall should be
created to be used
for chamber music concerts, amplified music, conferences,
cultural acts,
exhibitions banquets and even as a television studio.
The new hall was subterraneously situated, creating a space
which allowed
the view of the new liberated facade of the Palace that had
never been open
to the publics gaze before. This hall, christened with the name
Small Palace,
has independent access and receives natural zenithal light. It
is accessed
by way of the upper part of the amphitheatre and descends to a
flat area
that faces the stage. It is equipped with 538 seats. The great
novelty of this
space is the possibility of freeing the horizontal stalls of
seats in less than
10 minutes. The Mutamut system, developed by Figueras, allows
the bank
of seats to be moved, folded and stored under the stage. This
way, the
central area can be freed for any kind of conventional use,
while maintaining
perfect views from the stands as well as the continuous upper
boxes.56
-
a different concert, observe a different concert, one in front
of the strings,
another one in front of the brass instruments, and yet a third
one watching
the conductor from the front on. The Berliner Philarmonie was so
innovating
that no responsible architect from Jos Mara Garca de Paredes to
Frank
Gehry has been able to avoid its influence. All the great halls
built since then
owe something to the Philarmonie.
What relevance does the design of a seat have within a concert
hall?In a concert hall without electroacoustic backup the seat must
possess very
specific features. I learnt from my master, Lothar Cremer, that
it must fulfil
three basic requirements: be small, absorb little sound when it
is occupied
and be very absorbent when it is unoccupied.
Why must it be small? Because in a concert hall, unlike in a
cinema, proxi-
mity to the performer is a basic value. Part of the magic of the
Palau de
la Msica de Barcelona (Barcelona Music Palace ) rests in that
the public
over 2.000 people is tightly packed together and is literally on
top of the
artist. A small seat obviously sacrifices some comfort, but its
the only way to
get the greatest number of spectators closer to the stage.
Why should it absorb little sound when occupied? Because the
eternal stru-
ggle of a hall is to preserve a relatively high reverberation
tempo, in accor-
dance with the symphony music that is normally performed there.
Classical
music was composed to comply with the halls in which was
performed: very
high ceiling halls, with many cubic metres of space per
spectator and a few
absorbent materials. Reproducing these acoustics in big modern
halls is not
easy; a fully dressed person absorbs a lot of sound, and if this
is multiplied
by hundreds, the halls tend to become deaf. The only solution to
solve this
problem is to give the hall greater volume and enclose it,
including the seats,
in less absorbent materials.
Why should they be very absorbent while unoccupied? Because
they
should try to absorb as much as an spectator would do sitting in
them.
If we want a hall to have similar acoustic qualities as to when
it is full, half-full
or totally empty (as during orchestra rehearsals) then the
unoccupied seats
must absorb as much sound as the spectators would do.
These are the simple conditioning factors of a good auditorium
seat.
As Albert Einstein said: A subject that you cant make your
grandmother
understand is one that yourself do not fully understand.
Cmo se disea un auditorio?Respondo a esta cuestin con un ejemplo
notabilsimo del que nos separa
ya medio siglo: la Berliner Philarmonie de Hans Scharoun.
El consultor acstico de Scharoun fue Lothar Cremer. Cremer al
que
tuve la dicha de conocer pues me asesor en la reforma del Palau
de la
Msica de Barcelona y en el Auditorio Alfredo Kraus de Las Palmas
de
Gran Canaria era un fsico notable, un violinista de fina
sensibilidad, uno
de los contados sabios que he tenido la oportunidad de conocer
en mi
vida. En una ocasin, consultado sobre el futuro que l prevea
para
las audiciones en directo, Cremer respondi que la razn para
acudir
a un concierto ya no poda residir en el disfrute de la pura
audicin ya
que, con los ojos vendados, era imposible distinguir una
interpretacin
en directo de una reproducida con un buen equipo
electromagntico;
y si esto no era an as, lo sera en muy poco tiempo. Por lo
tanto, te-
nan que existir otros atractivos que justificasen la incomodidad
del des-
plazamiento y el precio de la entrada de un concierto. El
atractivo re-
sida en el placer de vivir el concierto; en concreto en el
placer de verlo.
Se comprende que cuando Scharoun explic a Cremer que imaginaba
un
auditorio con la orquesta en posicin central y el pblico
alrededor ambos
tuviesen la certeza de que formaran la pareja perfecta para
hacerlo posible.
Y as fue: realizaron una sala donde cada espectador, situado en
una de las
terrazas escalonadas que envuelven a los intrpretes, vive un
concierto dife-
rente, ve un concierto diferente; uno da frente a las cuerdas,
otro a los meta-
les, un tercero puede observar al director de orquesta de
frente. La Berliner
Philarmonie fue tan innovadora que ningn arquitecto responsable
desde
Jos Mara Garca de Paredes hasta Frank Gehry se ha podido librar
de su
influencia. Todas las grandes salas posteriores deben algo a la
Philarmonie.
Qu relevancia tiene el diseo del asiento dentro de una sala de
audiciones?En una sala musical sin soporte electroacstico la butaca
ideal debe poseer
unas caractersticas muy especficas. De mi maestro Lothar Cremer
aprend que
debe cumplir tres requisitos bsicos: ser pequea, poco absorbente
del sonido
cuando est ocupada y muy absorbente cuando est vaca.
Por qu debe ser pequea? Porque en una sala de conciertos, a
diferencia
de una sala cinematogrfica, la proximidad al intrprete es un
valor fundamental.
How is an auditorium designed?I shall answer this question with
a remarkable example from half a century
ago: Hans Scharouns Berliner Philarmonie.
Scharouns acoustic assessor was Lothar Cremer. Cremer who I was
lucky
enough to know since he advised me about the improvements to be
done
on the Palau de la Msica (Music Palace) in Barcelona and also on
the Al-
fredo Kraus Auditorium in Las Palmas (Canary Islands) was a
remarkable
physicist, a very sensitive violinist, one of the rare wise men
who I have had
the honour to meet in my lifetime. On one occasion, asked about
what he
considered to be the future of live auditions, Cremer replied
that the reason
for going to a concert could no longer rest in the pure
enjoyment of listen-
ing, because if one was blindfolded it would be impossible to
distinguish
between a live performance and one reproduced on a hi-fi system;
and if this
were not true at that moment, it soon would be. Therefore, there
would have
to be other attractions that justified the purpose of going
there and the price
of a concert ticket. The attraction rests in the pleasure of
experiencing the
concert, in particular, the pleasure of seeing it.
Its understood that when Scharoun told Cremer that he imagined
an au-
ditorium with the orchestra centrally placed and the public
surrounding it,
both of them were sure that they would form the perfect team to
make this
possible. And so it happened: they made a hall where each
spectator, situ-
ated in one of the stepped terraces that enclosed the
performers, could live
Barcelona, 1941
Seating Together with
OSCAR TUSQUETS
58 59
Parte de la magia del Palau de la Msica de Barcelona reside en
que el pblico
ms de 2.000 personas est apiadsimo y literalmente
