Brazilian architects Estudio America won a competitors in Salvador for the refurbishment and expansion of the Castro Alves Theatre. The proposal for the “Centro de Referência em Engenharia do Espetáculo Teatral”, CREET [Theater Efficiency Engineering Reference Center], is based on fluidity of space, visual permeability and smooth operation of the activities pertaining to scenography. Taking into consideration scenography as a process, successive workshops and connected activities had been selected a permeable path created for pros who perform there, and sometimes for the viewer / spectator, who will have a perspective of what may be known as the ‘inside’ of a show. The warehouses are to be opened visually via a big, transparent shelf. From this space where components are held it is achievable to see the workshop in the background. The exposition character is present in both Workshops and Research Center. Every little thing that can contribute to the understanding of the theatrical approach is exposed: wardrobe, costume workshop, workshops for carpentry, metalwork and props. The Experimental Theater, at the end of this path, opens frankly to a small inner square. This square, this void, comes from the significance to stand at a distance and have the understanding of the whole – the spectacle as a complete, although being created. When walking around the space, servers, visitors and guests make contact with each the background of the building and with what it produces in its facilities, a living laboratory circuit, with activities that communicate experiences, a teaching / studying, expositive space on a walking path.
The Experimental Theater, or multipurpose space, presents the style of a versatile theater, ready to meet a demand for a quantity of other possibilities associated to theater, giving possibility to organize the space according to specific demands. It supplies references to the ephemeral character of the show, with an opening for the social space and art, organizing workshops and educational activities as a way to connect the public, artists and the community. This approach aims to encourage collaborations amongst artists from all locations, thanks to an architecture capable of generating porosity amongst disciplines. With the intention to occupy all interstices offered in the creating, contemplating them all as a scenographical assistance to the creation process, its transparency aims to expose the movement to the eyes of the passersby and to provide work situations with organic light for the artists. It removes the concept of ‘the stage and the room’, to modify them into a exclusive place, with out any walls or barriers, which will turn into an actual stage for action and an infinite range of occupations. A direct communication can be established in between the spectator and the theater, among the actor and the spectator by way of the reality that the spectator, placed in the middle of the action, is involved and permeated by it.
The interventions and proposals for the CREET are to offer it with gear capable of putting it, in fact, as a reference in the national and international performing arts, and more than a receptor, make it a sponsor of many various artistic expressions. In 1 hand is the data, the movement of suggestions, and on the other, the provision of services. Joining these activities in a single spot in the country, will make sure the originality requested, exactly where all the technical understanding, information and practices will be in a position to structure and integrate the elements of the show, which will boost its function as a point of identity and connection between Salvador, Bahia, Brazil and the world.
The space of the new acoustic shell was understood as the territory of the great spatial possibilities, resuming its essential function as an option cultural field in Salvador. A walkway connects the NTCA, from the access level of the Choir, to its comparable level across the valley, connecting the edges and enabling a new access to the new building, in a much more full urban articulation. The covering of the stage hangs from this walkway and lightweight structures assistance the folding cover of the audience which, on the other finish, rests on the new balconies. It is onto this valley, with a point of view view to the city, that the new CREET installations open themselves, obedient to the architectural celebration of maximum visualization of its activities. The bottom of the valley receives a therapy that organizes its functions and flows, from the stage and activities courtyard to the loading and unloading docks. This occupation permitted to completely preserve the mass of vegetation on the opposite slope from the NTCA creating.
Along the length of the rear facade of the theater, and taking benefit of the topography, the parking lot was installed. The proposal meets what was essential by the system, but a very workable resolution will allow twice as a lot of parking places than what was needed, hence facilitating its commercial exploitation. The bicycle racks have been strategically positioned to better obtain the flow of this type of cars, considering its existence as an opportunity to encourage adjustments in the transport mode of the population.