The exhibition is part of the institutional events to commemorate the tenth anniversary of the reconstruction of the Gran Teatre del Liceu.
The exhibition is divided into four episodes (Before – the years before the fire, Then – the reconstruction, After – the 10 commemorated years and Tomorrow – the future).
Each of these episodes are located in separate rooms with different configurations. The hierarchy of the episodes relates to the curatorial motivation, marking two points of higher intensity: the reconstruction of the theater, as a central point, and the future (technological) of the institution.
The project is inspired by the isoptic central room del Liceu, and the classic image that represents it, the logo of the institution. This way, the first approaches expose the language, taking the form of ovoid structures that define the four exhibition halls.
Under the influence of geometries present in the sculpture of Richard Serra, the project distinguishes between linear spaces (in the first and third room) and auditorium spaces (second and fourth room).
The first accompany with their linear geometry the chronological and curatorial discourse, while the latter are the nodal points of the exhibition, where the energy is concentrated. Thus, there is the first audience, central and closed, where the visitor feels part of the reconstruction of the theater: a ball where a video projection on a large scale reconstruction process contains models and reproductions of parts of the project. Finally, to conclude the exhibition, there is the last space with clear technology influence, consisting of two halls exhibiting conflicting technologies already built into the theater today, and the visions of the institution for near and distant future.
Similarly, the proposed display system retrieves a very low cost, experienced before, but converts the original nonlinear system and Cartesian, in an organic system and free, able to appeal to warped surfaces and create opportunities for changing over a Extended travel range.
The decision to incorporate the language of the fabrics, arises from two clear reasons: first, budgetary constraints and the flexibility to create different spaces in an ever-changing exhibition, on the other hand, the need to create a spatial effect on the visitor content and melting continent, because most of the material to be displayed in the exhibition was projected on a large audiovisual, small and medium scale. Thus, they sought to create a space close to the excitement and magic of the opera, to give it a festive, solemn memorial to the exhibit.Location: Palau Robert, Barcelona, Catalonia, Spain
Architect: Cadaval & Solà-Morales
Collaborator: Daniela Tramontozzi Photographer: Adria Goula