The Tenerife Auditorium in Spain was designed by Santiago Calatrava. It features a 70-meter high, 3500-ton concrete canopy that arches over the building and resembles a wave or bird's wing. The structure is predominantly reinforced concrete with some pre-stressed members. Within, the main auditorium and symphony hall use movable wood and fiberglass panels to control acoustics for different performances. Large windows offer views of the ocean, and the exterior features embedded tiles that reflect light off the white concrete facade.

1. TENERIFE AUDITORIUM
by SANTIAGO CALATRAVA

2.  Santiago Calatrava states that he got the idea for the dome from
Mount Teide, the volcano and largest mountain in the islands
 The structure of the building is predominately reinforced concrete.
 There are some pre-stressed members used as well.
 Very few metal pieces were used in construction, for instance the
mullions in the large window areas.
 On either side of the dome are two concrete visors where the
entrances to the building are located.

3.  The main distinctive feature of the building is
the 70-meterhigh 3500-ton concrete canopy.
 The wing was designed to be supported on only
five points. Once in place, it was filled with
white concrete made locally
 This over roof starts at a triangular base on the
southern end of the auditorium and arches
over the main core of the building.
 As it does this its width and thickness diminish.
The canopy provides protection from rain and
sun to the rest of the structure.
 The canopy was prefabricated and shipped to
the site in more than a dozen pieces, and
required a special crane to lift them all in to
place.
 Calatrava has compared this element to a
wave, shell, and a seabird’s wing. This is similar
to other works of his, which are inspired by
natural, organic forms.

4.  The main areas are all done in plaster, while other areas
are solid pressed wood covered with fiberglass.
 The main auditorium has timber cladding to cover the
concrete structure to make for better acoustical quality
of the space.
 Some of these areas of wood and fiberglass can be
moved around to make for better acoustics for different
settings.

5.  The plaza area is made of a dark
stone to contrast with the exterior
of the building which is a white
concrete made from the local
sands of the region.
 Embedded in the concrete is
trencadis, broken white
ceramic tiles. These pieces
reflect the light especially
moonlight causing the building
to shimmer, similar to the water
that is close to the building.

6.  Can be accessed from the Symphony
Hall, from the Main and direct from the
street, this Hall, this space overlooks the
sea and the Maritime Park César
Manrique. It is an open space protected
while.
 Opening to the exterior, as much to the
sea as to the city, with wide terraces and
open seats, and with a pedestrian walk
that crosses the building traversely.
 A set of impossible curves crowned by a
majestic concrete flange shapes its
silhouette. 16,000 square meters are
open to the exterior, with beautiful views
of the Atlantic Ocean and dynamic
figure Auditorium and decorated

7.  Opera house is crowned in their pick with a
dome equipped with variable panels located
on the walls with which it can modify the
acoustics of the room according to different
shows, opera, symphonic concerts, recitals,
jazz, dance shows, etc.
 Instead of having stage curtains, the
auditorium is provided with a concertina
screen of vertical aluminium slats, which
when opened lift up into the auditorium to
act as a sound-reflector above the orchestra
pit.
 To fine tune the acoustics, the wood paneling
of the interior takes on a crystalline form,
which also contributes to the drama of the
space.

8.  The symphony hall has a "variable"
acoustic system. Surface materials are
solid pressed wood covered with
fiberglass.
 This assembly has "windows" that open
and close, exposing either the fiberglass
material or the wood, depending on the
acoustical requirements of the event.
 The back walls of the chamber music
hall are covered with horizontal wood
slats, with fiberglass behind them.
 The body of a remote conception of the
traditional concept, trying to be
surround sound audio sources arranged
around the listener.

9.  For its part, the living Camera
reproduced on a smaller scale
distribution in the amphitheater of
the symphony hall and has 422 seats.
 In the lobby, which is accessed from
both side of the building, we can
find the press room, a shop and a
cafe.
 It also has a dozen individual
dressing rooms and many other
groups, and special sites for
hairdressing, makeup, costumes, etc.
 On the outside has two terraces
facing seats paths so visible from the
sea.
 The hall is an interior space with an
incomparable view of the Atlantic
Ocean. 1200 m² are airy, framed by
large wooden folding doors that
open to the outside