Auditorium-Paraninfo
This building is precisely one of those that measure the professionalism
of Moreno Barberá. The structure, reminiscent of the Le Corbusier and Jeanneret’s project for the Soviets Palace competition, provides an outstanding expressive solution, by leaving views of the fan-shaped ribs to contrast with the image of the other constructions which, generally, attend to the environmental demands by responding through of use of the various brise soleils.
At the time, it was said that the auditorium of Cheste was going to be the largest in Europe, and that with its 5,234 locations it approached the biggest concert halls in the world. The report included a report -with data from the year 1962- of the main premises of that time, where this university piece was only surpassed by the music hall of Purdue Lafayette University in Indiana, with 6,107 places, the Tanglewood-Lenox music hall in Massachusetts with 6,000 and the Arie Crown Theater in Chicago, with 5,281 locations.
The idea of the project in terms of economy and despite its large size, was austere and adjusted to the same criterion of minimum cost, common to all the constructions of the Cheste teaching center.
Concrete is the main protagonist of the auditorium, making up the supporting structure with large beams as the forceful lateral enclosures, where the sunlight slants in emphasizing the cutting of the formwork. The technical solution of reinforced concrete porticos with post-tensioned ribs, defining a singular image, can be said to create a huge sculpture of colossal dimensions and impeccable execution that welcomes the visitor.
For its special academic purpose, the auditorium of Cheste basically had to be designed to meet the acoustic conditions of the human voice, complete visibility from the first row to the last corner and a spatial organization for the type of diverse activities that were going to take place inside it. Worthy of mention among these were: the institutional ceremonies that required full attendance capacity, both of the faculty and of the students; the award ceremony for prizes and diplomas; conferences, projections and theatrical performances and, also, liturgical celebrations or masses on specific dates. Likewise, and given the type of habitual user – a boisterous public- it was necessary to facilitate to the maximum the filling and emptying of the auditorium in the shortest possible time, and so circulations and accesses had to be painstakingly studied.
Finally we should consider, in addition to costs, the climatic conditions, circumstances that led to adopting the solution of closing only the great hall proper, so that all the stairs, accesses, corridors and galleries were built in the open air. Following this decision, it is interesting to speculate on the expressive possibilities that the architect was seeking with the image of the complex and its consequent visual impact. Whatever he thought, he achie- ved his purpose in an outstanding manner. So much so that it is difficult to understand how such a successful scheme could be altered later with the perimeter closure wall that was added in the 1990s.
The general layout of the auditorium features two separate parts, the room itself (or interior part) and the amphitheater, which extends laterally with seats that reach the stage, avoiding establishing categories in the spectators. Inside it is covered by a false acoustic ceiling, whose studied design provided the necessary reflection of sound to all locations, reinforcing it mainly in the back rows of the amphiheater. On this acoustic ceiling, hanging from the concrete roof, there are maintenance walkways accessed by two small staircases located at the back of the amphitheater. The acoustic absorbent formed by cork panels painted white was left visible, so that the irregular play of its contours with the roughness of the surface create an interior skin of great plasticity.
The stage, with a width of 16 meters, like that of a small theater, is reminiscent of the Aula Magna of Caracas, mentioned expressly in the Cheste architectural memory. This dimension makes it necessary to adopt a fan shape for the correct position of the seats, which is externalized through the radial arrangement of the huge roof beams. Nevertheless, it must be said that the image of Cheste is more indebted, in broad strokes, to the project of 1931 for the Palace of the Soviets of Le Corbusier and Pierre Jeanneret than that of the Venezuelan solution, although the latter was also a huge inspiration.
The volume of the auditorium of Cheste is completed with two symmetrical blocks of two floors for dressing rooms and storage, which were built with brick walls and brise soleil on the façades.
Behind the large building, an outdoor auditorium was built, designed for gymnastic demonstrations, band concerts or similar activities. The natural slope of the hillside facilitated the services for the stage through the afore mentioned rear door.
The most impressive element in this area is the abatson or sound amplifying system.
Building materials
Within the educational complex, and despite the fact of its 45 buildings of diverse configuration, the criterion of unity that presided over the project is immediately perceived. It is a quality that is provided, to a large extent, by the use of a small number of building materials: reinforced concrete, “cement” brick and pine wood, as stated in the report, in pursuit of the objectives of economy and functionality.