History repeats itself, but it offers no comfort and no solace. It’s disheartening when a public project exceeds its original cost threefold, faces years of delays, and despite gaining international renown for an island, leaves a lingering sense of wastefulness, neglect, and almost disdain. This has been the ongoing saga of the Tenerife Adán Martín auditorium, the iconic structure designed by the renowned architect Calatrava. Despite being a cultural landmark with a full annual programme and numerous events on the island, it fails to impress visitors who come to immortalise their experience alongside its famous forms, reminiscent of the Sydney Opera House. However, the defects in the auditorium, not justifying the 74 million Euros it cost (with 12 million for the architect), are rather an affront.
The initial budget of 26.7 million Euros is a far cry from the final expenditure. The images accompanying these words, easily captured by anyone with a decent mobile phone visiting the renowned auditorium, depict a sculpture more than a functional construction meant to serve as a music venue (its acoustic quality has always been a subject of controversy and critique). The deteriorating parts of the trencadís, the iconic cover made of small shiny white ceramic fragments in this work and others by Calatrava, as well as the prevalent internal dampness, and the makeshift repairs using visible insulating tape (American and ordinary), paint a dismal picture. To exacerbate the situation, the Cabildo of Tenerife finds itself in a state of helplessness as it currently lacks the means to address these unsightly damages. The estimated cost of repair in 2017 was 2.6 million Euros, yet the matter is reportedly entangled in a legal dispute involving the architect and the UTE construction consortium responsible for the project (Dragados, Acciona, and Promotora Punta Larga). Calatrava, alleged to be distancing himself from overseeing the construction site, deflects blame. The construction companies offer no insights into the purported litigation, and there is scant credible information available online regarding testimonies, grievances, or any progress made.
What is undeniable, as acknowledged by this publication, is the profound frustration borne from over eight years of impasse. The Tenerife Administration’s Minister of Culture, José Carlos Acha (PP), laments the persistent stalemate, resulting in further deterioration and continuous besmirchment of the auditorium’s image. This in turn tarnishes the reputation of one of Tenerife’s most iconic structures.
Despite the bleak circumstances, Acha assures that periodic structural assessments confirm there are currently no imminent safety risks posed by the deterioration and dampness. Consequently, cultural activities, programming, and other purposes of the auditorium are sustained. The venue, adjacent to the Santacrucero port, the renowned Black Castle, the maritime park, and the palmetum, also houses a highly popular cafeteria among both residents and visitors.
The councillor underscores the predicament faced by the Cabildo, which, following a detailed report by the specialist firm Intemac, in 2016 formally requested Calatrava to address the deteriorated areas. However, due to legal complications, with the architect contending it was not his responsibility but that of the construction companies, no remedial steps have been taken. This is not the first instance of such circumstances for Calatrava, as evidenced by a similar scenario with the Palau de Les Arts in Valencia, which exceeded its budget by fourfold (reaching 478 million Euros) and suffers from comparable issues.
According to the report, the optimal solution would involve replacing all the raised or fallen trencadís to prevent further water leakage and the subsequent spread of damage, which has been escalating over the years. Regrettably, this recommendation dates back to eight years ago, and not only has no action been taken, but the situation has deteriorated.
Three CC presidents
The concept of the auditorium was conceived in 1991 under the leadership of Adán Martín (CC) as the island president, hence its namesake. However, during Ricardo Melchior’s tenure (CC), the cost overruns were endorsed by the Cabildo’s plenary assembly, escalating from the initial 26.7 million Euros to triple the amount. It was under Carlos Alonso’s administration (CC) that the letter to Calatrava requesting accountability for the detected deficiencies, which were multiplying, was sent. These ongoing issues have continued unabated, resulting in the external areas of the building resembling the images presented.
Despite several setbacks, the emblematic structure was commissioned in 1997 costing 26.7 million Euros. Calatrava’s interventions prompted modifications, relocating the auditorium to its current site near the sea from its original planned location at the interchange. Further alterations in 1999 expanded the symphony hall’s capabilities to accommodate operas, added a parking facility, and by its inauguration on September 26, 2003, the total cost had surged to approximately 74 million Euros after extensive injections of public funds over the years.
