Auditorio de Tenerife “Adán Martín”

Building Name       -: Auditorio de Tenerife “Adán Martín”

Location                 -: Santa Cruz de Tenerife, Spain

Architect                -: Santiago Calatrava Valls

Architectural Style -: Expressionist

Year of Start           -: 1997

Year of End             -: September 26,2003

Description -:

  • In March 2008, it was included by the post office in a set of six stamps (Correos) depicting the most emblematic works of Spanish architecture.
  • In 2011, the image of the Tenerife Auditorium was included in a series of commemorative coins of 5 euros, which displayed the most emblematic symbols of several Spanish cities.
  • This project was proposed in 1990 at El Ramonal was approved in 1977.
  • In 1978 design proposals were solicited for consideration. The project agreed to appoint the architect Antonio Fernández Alba. Later, in 1985, the location of the auditorium was moved to El Chapatal.
  • In 1987, the final design of Antonio Fernández Alba, with collaboration of Vicente Saavedra and Javier Díaz Llanos are unveiled.
  • In 1989, the government enters into discussion with the architect Santiago Calatrava Valls, who becomes the project architect.
  • In 1991, Calatrava publicly presented his design. At the time the building was to be located at the end of Avenida Tres de Mayo.
  • In 1992 the government created the Commission for Supervision and Control for the construction of the auditorium. In 1996, the Commission changed the location to the Castillo de San Juan Bautista, located by the sea.
  • Groundbreaking and construction finally began in 1997, twenty years after the initial approval.
  • The Auditorio de Tenerife sits on a 5.7-acre (2.3-hectare) site next to the ocean.
  • Of this, 73,000 sq.ft. (6,741 sq.m.) are occupied by the auditorium. The rest of the site is taken by an administrative building for the symphony and a public plaza, covered with local dark-gray stone, with parking below.
  • Beside the dramatic wing, another Calatrava signature element is a mosaic of trencadis, or broken white cermaics, which cover the structure’s entire skin. The 194,000 sq.ft (18,000 sq.m.) of trencadis were brought in from Valencia, Spain.
  • The overhanging wing was prefabricated in Seville and shipped to the island in 17 pieces, the largest weighing 60 tons (54,000 kilograms).
  • The wing was designed to be supported on only five points.
  • Rising off the base like a crashing wave, the roof soars to a height of 58 meters over the main auditorium before curving downward and narrowing to a point.
  • The building’s plinth forms a public plaza covering the site and allows for changes in grade between the different levels of the adjacent roads.
  • The smaller hall, ideal for chamber music, has seating for an audience of 410; the larger symphonic hall seats 1668.
  • The chamber music hall, technical facilities, general services and dressing rooms are located within the stepped plinth, which is clad in basalt, the local volcanic stone.
  • Surface materials are solid pressed wood covered with fiberglass.
  • The two performance halls are equipped with air-conditioning outlets below the seats. Cool air comes up from spaces below, eliminating the need for HVAC installations that would disturb the clean lines of the halls.
  • Wide arches, spanning 50 meters on each side, serve as the artists’ entrance.
  • The main public access to the auditorium is placed on the raised plaza to the northeast, beneath the curved and sculpted concrete shell of the roof.
  • Administrative and service areas and the central auditorium are air-conditioned, public foyers and circulation areas profit from the island’s pleasant climate; as it is naturally ventilated airflow through the glazed areas beneath and between the building’s concrete shells.
  • Geometrically, the roof is constructed from two intersecting cone segments. By contrast, the symmetrical inner shell of the concert hall, which is 50 meters high, is a rotational body, generated by rotating a curve to describe an ellipse. A wedge of approximately 15° has been removed from the center of this body so that its two segments (for acoustical reasons 60 cm thick) form a pronounced ridge.  At its uppermost point it supports the sweep of the roof. The body of the auditorium thus contrasts with the smooth curves of the flanking tangential shells, whose exterior surfaces are decorated in coloured broken tile.
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