Teresa Carreño Theater / Brutalism from a Drone

Hello dear community, today I bring you a post about an experimental work that is carried out in this Visual piece made with a drone of perhaps one of the most emblematic works of Venezuelan architecture.

Teresa Carreño Theater the origin of this film project

Choosing an architectural work for this work was not easy since I needed to investigate not a particular style, but rather the characteristics and techniques used by architects to conceive the space.

This specialty is composed of views by the concern that the architect establishes as a starting point in the composition since it is the work according to my imagination the most important part since if you are not doing this work as an architect you are not doing architecture as such.

I chose this theater because Brutalism has always seemed striking and attractive to me with materials in sight without coating adding to the simple and minimalist that a work like the Teresa Carreño theater can be.

To prepare myself for this attempt to find a new way of seeing and interpreting this wonderful work, I turned to different sources of architectural thought to delve into how these steps are carried out when a project is striking.

I located within my research some ideas of how views are developed, among them are, bird's eye view, frog's eye view, serene view, celestial view, all this is directly related to the vision that can be obtained from an object and how to differentiate. This is from the position of the point of view between an observer and a geometric plane. Taking as a reference 1.70 meters which is the average height of a person.

This is where the drone promises to completely change how we perceive architectural structures by seeing things and points of view that we could not have seen before. With the exception of helicopters that can see in similar ways to the drone but having a considerable volume and little capacity for maneuverability makes it unlikely to have plans like the ones I show in this video.

The solution was to use a drone, they are small, they can be subtle and they can be fast, they can fit perfectly in tight spaces and they are equipped with super modern cameras with great physical quality.

So having the drone and after having researched some things, I needed the approval of an expert. So I spoke with Alejandro Haiek a great Venezuelan architect who is my friend and collaborator of our Vida Verde project led by @cvnuitter, a project that involves sustainable architecture.

With Haiek I was able to establish my curatorial parameters to be sure before filming, he told me that he had thought several times about what he was about to do and that it is one of the great dilemmas of large-scale architecture where certainly through the views previously conceived by the architect the users or people can appreciate the structures, emptiness exists where people cannot see and appreciate. Giving other ways to appreciate and provide even more added value to the work itself.

That is why in these overhead shots, orbits, you can see the different levels of the theater, the geometric figures, the gardens, the leisure spaces and the works of art change completely from these points of view.

This video is unpublished in horizontal format since it makes a few videos in vertical format of shorter duration, where you can appreciate the majesty of one of the largest theaters in America, the second largest in our South America and the largest in Venezuela. 🇻🇪

For me it has been a true honor to pay tribute to this wonder of Brutalist architecture, an icon of our beautiful Venezuela.

Before I say goodbye, I leave you with a historical review of this theater.

In 1970, a violinist named Pedro Antonio Ríos Reyna at that time was the president of the Venezuela Symphony Orchestra. He had in mind a project to build a headquarters for the orchestra, since the existing theaters in Caracas were far from the standards that the orchestra already handled at that time.

The construction of this theater was carried out by architects Tomás Lugo Marcano, Jesús Sandoval and Dietrich Kunckel. During those years they traveled to other theaters around the world to learn about the characteristics and advances of the time.

The work began in 1973 and was completed in 1983. It went through two presidential administrations that did everything possible to finance and keep the project on track until its inauguration.

It is built on a plot of more than 22,000 square meters and in total there are more than 80,000 square meters of construction, with the hexagonal shape being used recurrently in almost the entire design. _{Uploaded using 3Speak Mobile App}