Theatre Design & Technology - Fall 2017 - 57

plans altogether. Alongside the planetarium-which
later turned into the "Oca," a venue for exhibitions-
the theatre would have been located right at the entrance of the park, forming a square. They would have
composed the park's most architecturally complex set
of buildings and were Niemeyer's favorite part. However, the square was never actually built.
Instead, the Auditório Ibirapuera plans went
through 12 different versions from 1951 until its eventual construction in the 21st century. The projects
varied in size, ranging from 3,000 to its current 804
seats. Niemeyer gave a lot of thought to the theatre
conceptually throughout the years, because he could
not accept its absence in the park, nor the absence of
a performing arts venue of that size in the city. Therefore, by looking at the various theatres he designed
between the 1951 Park inauguration and the opening
of the auditorium in 2005, we can follow as Niemeyer
walks observers through his different attempts at convincing mayors and cultural institutions to construct
his project (1989, 1993, 1997, 1999, 2000). Fernando
Serapião's exhaustive research gathers multiple versions of the Auditório and their different variations, a
recurring theme in Niemeyer's design record (Serapião
2005).
The auditorium was finally built just in time for
São Paulo's 450th anniversary. It is shaped like a trapeze and features big interspaces/apertures, the largest being that of the stage, measuring 50 meters. Its
roof sits upon triangular side walls and two pillars that
separate the foyer from the audience.
Dedicated to music, the space is no longer a theater but an auditorium that sporadically hosts dance
and theatre performances. It was built of reinforced
concrete and it is entirely white. The marquee that
gives it access was named Labareda (meaning "flame"),
also conceived by Niemeyer. Painted red, it marks the
Auditório and visually distinguishes it from the other
buildings in the Park.
Internally, the foyer is located by the entrance, at
the lower portion of the building. There, a red sculpture signed by artist Tomie Ohtake (1913-2015) hangs
supported from the ceiling and front wall. The monumental aspect of the foyer is completed by a spiral
walkway leading up to the audience, giving the space a
unique and involving atmosphere.
The audience and stage are situated on the opposite and highest end of the Auditório, whereas the
dressing-rooms, administrative offices and music
school are underground. Wide and not very deep, the
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Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 2017

Contents
Theatre Design & Technology - Fall 2017 - Cover1
Theatre Design & Technology - Fall 2017 - Cover2
Theatre Design & Technology - Fall 2017 - 1
Theatre Design & Technology - Fall 2017 - 2
Theatre Design & Technology - Fall 2017 - Contents
Theatre Design & Technology - Fall 2017 - 4
Theatre Design & Technology - Fall 2017 - 5
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Theatre Design & Technology - Fall 2017 - Cover3
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