Features Of Tenerife Opera House Building Structure - Essay Example

Features Of Tenerife Opera House Building Structure INTRODUCTION The Tenerife Auditorium in Santa Cruz located in the Canary Islands of Spain, built from 1997 to 2003, was designed by renowned Spanish architect, engineer and urbanist Santiago Calatrava Valls (born 1951). His extensive architectural and engineering practice established in Zurich and Paris designed various types of construction projects such as innovative bridges, canopies, railway stations, museums, concert halls, and towers. Calatrava has received numerous prestigious awards for his designs. His work is distinctive in integrating architecture with engineering, sculpture and art. This helped to reverse the earlier Modernist trend of separating these disciplines (Jodidio 2004). Calatrava’s recent projects include the Sondica Airport with its huge wing-like roofs, and the Campo Volantin Bridge, both in Bilbao, Spain (1995). Similarly, the Milwaukee Art Museum (2001) and the Opera House Auditorium in Santa Cruz, Tenerife (2003) are examples of Biomorphism in architecture. The Opera House at Tenerife is dominated by the dramatic tidal-wave or wing- shaped canopy (Bernstein 2003), based on a bronze sculpture created by him, in the form of a long, curved wing. The essential shapes of the Tenerife auditorium reflect the eye-like and bird-like shapes of other Calatrava structures such as the railway station Lyon-Saint-Exupery, France (Jodidio 2004). Thesis Statement: The purpose of this paper is to provide a critical appraisal and design analysis of the Santa Cruz de Tenerife Auditorium Opera House, the cultural icon of Santa Cruz, designed by Valencan architect Santiago Calatrava. DISCUSSION Cultural and Politico-Historical Background of the Canary Islands According to Jencks (2003: 1272) “culture is transforming itself from the simple certainties of Modernism to a much more complex interpretation of reality based on biology, mathematics and cosmology”. Increasingly, architecture is responding to the changes in culture with a new vision and creativity. The change in perspective is fuelled by the new sciences of complexity in the form of fractals, nonlinear dynamics, the new cosmology, and self-organizing systems. The result is that people have moved from a mechanistic view of the universe to a new world view that is self-organizing at all levels from the smallest atom to the infinite cosmos. This new world view supported by digital technology is reflected in innovative approaches to architecture. Across Spain there is an emergence of new works of contemporary architecture with the highest design qualities. The country appears determined to correct the civil and cultural deficits resulting from earlier dictatorial military rule and Counter-Reformation’s authoritarianism and religious orthodoxy. Besides Spain’s political transformation resulting in changes in architectural culture, other significant reasons are its hosting in 1992 both the World’s Fair in Sevilla and the 25th Olympiad in Barcelona. Due to its extensive development of new building projects, the country “has gained a reputation as an international stage for architectural innovation and experimentation” (Riley 2005: 11). In the Canary Islands where Santa Cruz de Tenerife is located, earlier derivative architecture reflecting nationalist sentiments and classical motifs, is giving way to recent projects by architects focusing on the unique cultural and physical landscape of this island environment. According to historian John Crow, the current wave of expressionist architecture in Spain is diverse in expression because of the country’s fundamentally heterogenous origins and heterodox or unorthodox approach in its historical past (Crow 2005). Significantly, therefore, “the authentically diverse environment is able and willing to support contemporary cultural aspirations” (Riley 2005: 20). Santa Cruz de Tenerife Auditorium Opera House The Auditorium (Figure 1.) is located on the waterfront in Santa Cruz, the capital of Tenerife and the second highest populated city in the Canary Islands. This essential cultural amenity is a significant urban landmark, designed to reflect the natural environment of Santa Cruz (Jodidio 2004). The Canary Islands are better known for their beaches and night life than for cultural facilities. Hence, the multifunction Opera House contributes to the cultural life and world-class architecture of the region. Figure 1. Santa Cruz de Tenerife Auditorium Opera House (arcspace.com 2010) The entire island of Tenerife is only 86 kilometers long, with the north slightly cooler than the warm south. Significantly, there is a vast difference in the greenery in these regions; the south being desert-like, while the quiet and cultural northern parts have forests and flora (Hughes 2005). “While the north, lying under 12,000-foot high Mount Teide, does get more cloud and rain than the sun-kissed south, it makes up for it with pretty coastal towns, lush vegetation and a touch of class” (Woodman 2009: 19). The Auditorium in the north is of late-modern design, a cultural icon exemplifying contemporary architecture. The building is in close proximity to the rest of the city which has other modern buildings of contemporary architecture. However, it stands out contrastingly against the background of ocean and deep blue sky, and buildings in nearby areas of old, earlier architecture from the 17th, 18th and 19th centuries of styles such as traditional Canarian, Victorian, Renaissance and Baroque (Real Tenerife 2008). The Opera House Auditorium constructed on a 2.3-hectare ocean-front site, houses the Tenerife Symphony Orchestra. The main features of the structure are: the cone-shaped auditorium complex holds two concert halls, the larger of which is a 1660-seat concert hall measuring 1311 square meters which can be adapted to facilitate opera and stage performances. The smaller auditorium is a 428-seat hall with a triangular plan measuring 411 square meters, for chamber music (Jodidio 2004). Thus, 73,000 square feet are occupied by the auditorium. The remaining area of the site has an administrative building for the symphony and a public plaza overlaid with local dark-gray stone, located above the parking facility below it (ArchitectureWeek 2003). Further, there are public amenities such as a café, cloakrooms, and backstage facilities such as dressing rooms and rehearsal rooms. The Tenerife Auditorium has a uniquely designed cone-shaped ceiling, to enhance acoustics. A series of convex reflectors reflect the sound from the ceiling (Jodidio 2004). In Figure 2. below is seen the concrete framework of the building based on late-modern architecture, including the precast-concrete ribbed roof, the conical shape of the auditorium’s ceiling and the semi-basement. The structure also houses the technical areas, general services, changing rooms, and small auditorium. The main, central area of the building is the auditorium which holds 1600 people, located in the large dome. There are intermediate levels for other technical areas, and the press (Jodidio 2004). Figure 2. Tenerife Opera House (Rahn 2005: 6) Besides its primary function, the Auditorium is also a conference center and exhibition hall. The site measuring 2.1 hectares houses the 17,270 square meters facility costing 65,787,000 Euros built on an area of 126 by 60 meters. The roof of the building is considered to be the most expressive element of the design, “a free-standing concrete structure known as the Wing” (Jodidio 2004: 122). Figure 3. Tenerife Opera House Exterior (Rahn 2005: 4) In Figures 3. and 4. is seen the stepped plaza area made of dark stone to contrast with the white concrete exterior of the building, made from the local sands of the region. The pedestrian walk crosses the building traversely (Rahn 2005). Figure 4. The Public Plaza in the Building’s Plinth (arcspace.com 2010) Figure 4. depicts the building’s plinth forming the public plaza covering the site, and facilitating access to different levels of adjacent roads, through gradations and steps. The chamber music hall with seating for 400 people, technical facilities, general services, and backstage facilities are located within the stepped plinth which is overlaid with the local volcanic stone: basalt (arcspace.com 2010). Like the building’s dramatic wave form or wing, the mosaic of trencadis is another of Calatrava’s signature features. The 194,000 square feet (18,000 square meters) of trencadis were obtained from Valencia, Spain (ArchitectureWeek 2003). As seen in Figure 5. below, the public’s “access to the auditoriums is from the raised plaza on the northeast, beneath the curved and sculpted concrete shell of the roof” (arcspace.com 2010). Airconditioning is provided to the central auditorium, the administrative and service areas; however the public foyers and plaza areas benefit from the island’s pleasant climate and the natural ventilation caused by airflow through airways in the glazed areas of the open structure of the building’s concrete shells. Figure 5. Open Structure of Tenerife Opera House, and Entrances at the Sides (Rahn 2005: 8) Figure 5. demonstrates that on either side of the dome are two concrete visors where the entrances to the building are located. Although termed as a wing, the arc as well as the Auditorium itself reflect Calatrava’s sustained fascination towards the shape of the eye and eyelid. Both form and structure of the building are according to the curved geometry of the concert hall. There is a continuity between the spectacular, white exterior of the structures and the drama of the interior plans. Jodidio (2004) states that as compared to other architects, Calatrava’s mastery of engineering allows him to create shapes with unexpected equilibrium, such as the point of the roof of the building. This is supported by Encyclopedia (2009), which reiterates that the unusual spaces and swooping shapes of the architect’s works give an impression of being poised for flight, and manifest a refined aesthetic sensibility based on engineering skill. Calatrava was influenced by the work of Eero Saarinen; and he has become known for the arching sculptural forms of his large public buildings. Another unique feature about his structures built of concrete, metal, and glass is that they are usually partially open, and not completely enclosed. In the Santa Cruz Opera House, the canopy was prefabricated and shipped to the site in over a dozen pieces. Calatrava has compared the arc with a wave crashing against Tenerife’s shore, a shell, and a seabird’s wing, in keeping with his characteristic architecture inspired by natural, organic forms (Rahn 2005). The curving canopy has a groove running down the centre, reminiscent of the sculptural, partly concave shape of a star-flower. Santa Cruz gets torrential though brief and occasional rains during winter. The rain water collects in the middle groove of the curving roof, and gushes away towards the ocean waters. In the opposite direction, the water washes over a very large terrace and flows into the Atlantic waters. In this manner, the flow of rain water from the roof is controlled to avoid disruption to main traffic areas, the nearby port or trade areas (GreatBuildings 2010). Significantly, there is opposition to the use of the canopy as part of the architectural design of the building, on the basis of its serving no practical purpose other than purely aesthetic. On the other hand, it is argued that in the construction of a monumental building, it is not essential that every piece should have a purpose beyond contributing to an overall dramatic effect. Additionally, the building reflects Calatrava’s tendency to depict sculpture in architecture, and infuse it with movement, elasticity and organic form. Moreover, technological advances and a large budget have further supported the ambitious nature of the project (Rahn 2005). Figure 6. Interior of the Triangular Chamber Music Hall (Rahn 2005: 12) In Figure 6. is seen the interior of the chamber music hall in the Opera House. While plaster has been used in the main areas, solid pressed wood covered with fibreglass is found in other areas. Horizontal wood slats backed with fibre glass cover the back walls of the chamber music hall. The classically designed stage is a retreating semi-circle (Rahn 2005). The seating arrangement is at a progressively higher level. The opera house has mechanically operated doors as high as seven meters. The main auditorium (Figure 7 below) has timber cladding covering the concrete structure, to enable high acoustical quality of the space (Rahn 2005). The symphony hall has a variable acoustic system. The surface materials of pressed wood overlaid with fibreglass has “windows” that open and close, thereby exposing either the fibreglass material or the wood, depending on the acoustical requirements for different events such as zarzuela or Spanish operetta, “opera, symphonic concerts, recitals, jazz, and dance shows” (Cruzcriollo 2010). These features are based on kinetic designing unique to Calatrava’s work depicting dynamism and movement. Figure 7. The Interior of the Symphony Hall Enables Fine Tuning of the Acoustics (arcspace.com 2010) In Figure 7. it is evident that the wood panelling of the interior takes on a crystalline form to fine tune the acoustics, and to increase the dramatic effect of the space. Sound reflectors were placed in positions determined by laser tests which also helped to define the measurements of the vaulted interior. Instead of having stage curtains, the auditorium has a concertina screen of vertical aluminium slats, which act as sound reflectors above the orchestra pit, by lifting up into the auditorium when opened. Caltrava’s unique development of kinetic architecture is observed in these movable components which help to enhance the acoustics of the two halls for cultural performances in Tenerife Opera House (arcspace 2010). Similarly, the original design for the symphonic stage was increased to include 22-square-foot modules which can be moved individually by a hydraulic system (ArchitectureWeek 2003). The two performance halls have air-conditioning outlets below the seats. The cool air eliminates the need for HVAC installations that would interrupt the clean lines of the halls. The two halls are separated by an open lobby common to both, creating an acoustical separation enabling the holding of events in both halls simultaneously. After the building was officially opened in September 2003, the diverse events that were scheduled included Handel’s opera Julius Caesar as well as the International Water Association Conference (ArchitectureWeek 2003). Externally, the roof is geometrically constructed using two intersecting cone segments. On the other hand, the symmetrical internal shell of the concert hall 50 meters high is produced by rotating a curve to describe an ellipse. From the centre of this rotational body has been removed a wedge of approximately 15 degrees, so that its two segments 60 cm thick to optimize acoustics, form a well defined ridge supporting the sweep of the roof at its highest point. The body of the auditorium thus contrasts with the smooth curves of the flanking shells positioned tangently (arcspace 2010). Santiago Calatrava’s Creativity Deitz (2002: 24) states that Calatrava’s works reflect “revolutionary aspects of Brancusi’s polished forms as well as of Naum Gabo’s experiments with torsion and tension”. A qualified civil engineer, artist, sculptor, and architect, Calatrava bases his construction designs on extensive knowledge and skills related to all the above areas. Calatrava’s formal experimentation and structural formulae were based on sculpture which is again rooted in his expertise with the paintbrush. Thus, the building designs result as “soaring, tautly strung bridges or sheltering trusses” (Deitz 2002: 24). Schulze (2001: 30) reiterates that Calatrava’s building designs were based on his sculptures and drawings. Further, he is one of the few leading professional architects who has relied on “pencil and brush as surely as on the computer” which is today the instrument of choice for developing representations of architectural designs by most other architects. Similarly, the British architectural historian Dennis Sharp states that Calatrava used his drawings such as those of flying birds and skeletons of dogs as telling, simplified and symbolic devices for creating some of his design forms (Sharp 1996). Thus, Calatrava’s orientation to engineering principles is based on human and animal anatomy. The architect’s use of biomorphism or forms derived from the world of living creatures, is evident in the Tenerife Opera House as in most of his structures. Thus, Calatrava uses shapes such as the eye, the bird, trees (Deitz 2002), the flower, vertebrae and carapace, which urge critics and historians to employ vocabulary unusual in architectural lexicon (Schulze 2001). Calatrava was also inspired by Tenerife’s volcano, Mt. Teide; he used a conical ceiling for the symphony hall: visualizing it as a volcano one could enter (Bernstein 2003). Additionally, the lack of programme and scale in the design was compensated for by the architect/ engineer by the use of his sculpting skills to develop innovative new forms based on his study of forces. His doctorate in engineering on the foldability of space frames is the key to his architectural design forms (Deitz 2002). Schulze (2001: 21) observes that Calatrava may be described as “a figurative architect whose distinctive architectural productions are sometimes strikingly close in character to his own sketches of distinctly unarchitectural things with the connection as imaginative as the finished work is impressive”. Calatrava’s characteristic use of sweeping curved forms is a common feature of his architectural designs including rail stations, airports and sports facilities. Among his great number of cultural and exhibition spaces, “his grandiloquent use of curved forms” (Schulze 2001: 29) is found not only in the Tenerife Opera House, but also in the Valencia Opera House, the Valencia City of Science: a combined museum and planetarium, and the Kuwait Pavilion in Seville providing information on Kuwait’s culture. Calatrava uses curved lines in a unique manner, leading to commentators observing that the architect effectively and deliberately challenges the principle that the shortest distance between two points is a straight line. The arched roofs dominating these cultural buildings are both “hefty in the sweep of their massing and delicate in the treatment and detail of their surfaces” (Schulze 2001: 29). Organi-Tech Architecture The new tradition in urban architecture combines elements of the earlier Modernist influences with High-Tech architecture which used to dominate Britain, along with the earlier organic architecture of architects such as Frank Lloyd Wright and Hugo Haring whose work echoed natural forms. Organi-Tech is similar to Eco-Tech, since both include the contradicting duality of obsession with technology and structural expression along with the ecological dimension. Other organi-tech architectural designers such as Santiago Calatrava have designed “expressive skeletons meant to dazzle the eye, especially when the sun is out” (Jencks 2003: 1273). The Tenerife Opera House celebrates the organic nature of structure. As a filigreed construction, it is meant to trap light; and the dynamic exoskeleton reflects the bodily relationship of humans with other organisms. Although the message may be clearly evident, spectacular constructions such as the opera house provide a moving visual experience. Figure 8. Architect’s Sketched Floor Plan of the Auditorio de Tenerife (ArchitectureWeek 2003) Figure 8. depicts the organi-tech architecture inherent to the Tenerife Opera Hall. The conical roof of the auditorium is marked by the central elliptical shape, while the other spaces and the side wings are evident in the architect’s sketch. There are various reasons for the shift to unusual shapes overblown pseudo-art and the effect of surrealist sculpture in contemporary architectural forms. Jencks (2003: 1275) states that “the chief negative reasons are cultural”. Because of changes caused by the decline in Christian and Modern belief systems, the rise of consumer society, and increasing significance of celebrity system, architects are helplessly pulled in opposite directions while caught in a vicious trap. There is an absence of credible public conventions and ideologies to base their work on, and there is a lack of any iconography other than a High-Tech aesthetic. Further, architects such as Calatrava feel the need to include an ecological imperative which is yet to develop accepted symbols. Contrasting pressures work on the architect. A zero degree minimalism is caused by the absence of all belief systems; however this positive element of neutrality is completely absorbed into the reigning system. On the other hand, a competitive culture prevails that requires originality, significance and fantastic expression which exceeds the building task. That is, the demand is for designing an extraordinary landmark which looks unique, and refers “to no known religion, ideology or set of conventions” (Jencks 2003: 1275). It is evident that the design of the Santa Cruz Opera House reflects this condundrum, and stands as an imposing statement of Calatrava’s contemporary vision. Calatrava’s major architectural silhouettes are derived from his artistic representation of an idealized eye sculpturally merged with the image of a bird in flight. Buildings are configured as seeing organisms, since he believed that the eye is the architect’s most accurate tool, therefore the gaze played a significant part in the design. Inside the buildings, he recreated the primeval concept of sheltering trees in a delicate forest, using slender supporting columns under canopies of steel tubing. Calatrava’s unique kinetic architecture is full of movement with electronically controlled openings and doors for adjusting acoustics according to the musical event being staged, as seen in the Santa Cruz Opera House. Similarly, several of his other constructions have dynamic architecture, such as the underground Emergency Services Centre in St. Gallen, Switzerland with a glass clamshell opening and closing at street level, allowing visitors to enter the whalelike interior. Thus, “for all the appearance of industrial technology, Calatrava strives to achieve beauty through organic order” (Deitz 2002: 25). Calatrava avoids repeating established forms and conventional designs. Most of his designs, including that of the Tenerife Opera Hall are open structures, rather than completely enclosed buildings. Further, the architect is known for his biomorphic motifs and kinetic architecture. The dynamic structures have movable elements, for aesthetic as well as functional reasons, as seen in Tenerife Opera House’s transformable acoustic system and mechanically operated doors. For defining form through the significance of primary structure, and for rekindling Perret’s structural work, the architect won the 1979 Auguste Perret award (GreatBuildings 2010). The building is constructed predominantly of reinforced concrete, with prestressed members used to some extent. Very few metal pieces, such as those used for mullions in the large window areas have been incorporated in the design (Rahn 2005). The external surfaces of the building are embedded with ceramic fragments and broken tile known as trencadis (Figures 9 & 10); reflecting the light they have a shimmering effect similar to the sparkling ocean water, particularly in moonlight (Rahn 2005). Figure 9. Mosaic of Trencadis Embedded All Over the Surface (HiveMind 2010) Figure 10. Close View of the Trencadis Embedded Over the Entire Surface (Flickr 2010) The New Surge in Opera House Constructions Around the World “For many modern cities, opera houses have become the new cathedrals” (Mourby 2004: 4). In medieval times, religious buildings were considered as the crowning glory of cities and states; in later years grand railway stations and high-rise office blocks ruled the architectural field; and in the last decade of the twentieth century, the opera house was the new status symbol that every forward-looking city wanted to acquire for its cultural value. With the development of Sydney’s much acclaimed opera house, city planners have focused on creating eyecatchingly extravagant modern opera houses. The last decade of the twentieth century resembles the second half of the nineteenth century. This is because, several of the opera house plans conceived in the end of the twentieth century are now emerging as built structures. Between the years 1841 and 1891, Europe was mostly rebuilding its opera houses; and with improved fire regulation, most of them stand today despite the bombing campaigns of the Second World War. Further, several of these new nineteenth century opera houses were being constructed in response to nationalism, rather than civic pride. It appeared that the best symbol of a people’s struggle for independence or hegemony was its own music being played in its own opera house, frequently with its own nationalistic myths performed on stage. On the other hand, in the late twentieth century, the increase in opera architecture was due to very different causes. The increase in leisure time has resulted in heavy financing for pleasure pastimes in urban areas. Frequently, this has coincided with urban regeneration schemes, as seen from the large number of opera houses located in inner city areas requiring regeneration. Examples are: “Cardiff’s Millennium Centre was built on a disused dock, Helsinki’s opera house on the site of an old factory, Copenhagen’s on an old barracks, and Singapore’s ‘Durian’ on an abandoned gun battery” (Mourby 2004: 5) on one side of the Singapore river. Two contemporary factors with major impacts are: the growing popularity of opera as an art form emerging from television and digital recording. Further, opera has become international similar to football. A new opera house draws big stars such as “Domingo, Pavarotti, Cura, Carreras, Bartoli, te Kanawa, yon Otter, and Terfel” (Mourby 2004: 5) and consequently commands huge audiences and tourists from across the world. However, the rash of new opera houses cannot be justified only in terms of opera’s revived populism. The modern opera houses are versatile, and their architecture is far beyond the imagination of nineteenth century builders. In Tenerife, Singapore and Cardiff, the newly constructed opera houses are utilized to host shows of various different types. The Tenerife opera house is designed by Calatrava as a significantly rivetting landmark, practically serving many functions and uses. CONCLUSION This paper has highlighted and critically appraised the unique design of the Santa Cruz de Tenerife Auditorium Opera House, the cultural icon of Santa Cruz designed by Valencan architect Santiago Calatrava. The cultural and politico-historical background of the Canary Islands reveals that changing culture has impacted the architecture of the region. A new world view that is self-organising at all levels, as well as creativity empowers contemporary architects such as Santiago Calatrava into designing and developing late-modern architectural works of extravagant scale and unusual design. Further, the increasing use of expressionist architecture in Spain has a great deal of diversity because of the country’s originally heterogenous populations. Moreover, past military dictatorship, authoritarianism and religious orthodoxy, have resulted in civil and cultural decline which the country aims to correct. Hence, contemporary cultural aspirations are supported by the deep-rooted diverse environment prevalent in Spain. Calatrava’s creative architecture has several distinctive features, all of which are evident in the Tenerife Opera Hall. His combining architecture with engineering, sculpture and art, with expertise in each of these fields is remarkable, and opposes the earlier modernist trend of segregating these disciplines. Each of Calatrava’s constructions has been correlated with one of his sculptures. The Tenerife Opera House relates to his sculpture of a single, arched wing. Other features common to all of the architect’s works includes his combining the use of technology with organic concepts and biomorphic motifs such as the eye, and bird in flight in designing his works. The open structure, and use of sweeping curved lines as in the canopy and concrete visors flanking the building externally, and the continuity of the dramatic interior with the spectacular white exterior are noteworthy. Another characteristic of Calatrava’s architecture is the mosaic of trencadis over the entire surface of the Tenerife Opera House, lending a shimmering appearance to the building in keeping with the sparkling background of sea water. A significant signature feature is kinetic architecture, with vertical slats forming concertina screens acting as sound reflectors above the orchestra pit, and movable according to the acoustic requirements of the particular performance being staged. Further, the open design facilitates circulation of natural air in the public spaces, and only the main halls are airconditioned. The two main reasons for the increasing numbers of opera houses are that opera is gaining popularity as an art form, and that it is greatly prevalent internationally. There are various reasons why the contemporary architect is subjected to different and contrasting pressures. These are minimalism caused by lack of belief systems, integrated with a competitive, demanding culture. The construction of the Santa Cruz Opera House resolves the dilemma of creating a design relating to no religion, ideology or conventions, and is a grand tribute to Calatrava’s contemporary vision. BIBLIOGRAPHY ArchitectureWeek. (2003). Calatrava wave in Tenerife. Building Department, ArchitectureWeek. Retrieved on 4th September, 2010 from: http://www.architectureweek.com/2003/0903/building_1-2.html arcspace.com. (2010). Santiago Calatrava: Tenerife Concert Hall. Retrieved on 4th September, 2010 from: http://www.arcspace.com/architects/calatrava/Tenerife/ Bernstein, Fred A. (2003). 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