Although the project is done in the church of the convent of Santo Domingo and the small chapel of Nuestra Señora del Rosario, the title of the intervention, "Renovation of Oscense Theatre and its Annexe Cloister" reflects the intent not only to restore and preserve the historic buildings, but to recover the theatrical use that took place in it since the mid-nineteenth century to the mid-twentieth century.
Therefore, the challenge of the project was to restore a church and chapel, recovering them for a different original use, without necessarily failing to appreciate and to value the original artistic and architectural elements of the building, or having the new use of these building be unduly affected.
Thus, after the appropriate archaeological studies and exhaustive recognition of the state of conservation of the building, drafting of the project started with the idea of redesigning a theatre, that had the ability to host current representations, preserving the artistic value of the monument where it is located.
After ample study of the needs required for theatrical use, it was determined that there was not enough room in the historic building, ant that the construction of new plant was necessary to provide the necessary spaces for theatre use and to guarantee its smooth operation. The project aims to build those areas of new creation on parts of the church that was demolished or not built in the past (west side nave and apse), and to place in them all the support services and facilities to the theater. This decision fits the original plan and the history of the building. It does allow among other things, to enjoy the nave of the church, where the main theatre hall is placed now, and the full magnitude and splendor of the magnificent coffered ceiling which is the most important arquitectural element of the building.
The intervention in the Church of Santo Domingo and the Chapel of Nuestra Señora del Rosario is done with traditional techniques and materials of construction found and repaired to maintain and value many of the decorative elements of different styles and eras. On the other hand, new construction areas that respond to a more contemporary style blend with more modern materials, always bearing in mind not to be inconsistent with the protected historic building and seeking to obtain a unitary assembly and harmony.
The result is a building that, because of its theatrical and cultural use, cannot only be visited, but it is lived and enjoyed. The intervention has recovered a monument that was in a state of complete abandonment, and has become a building regularly used by citizens, in where they can also enjoy the artistic and architectural elements of the past.
Project: Julia González Pérez-Blanco, Miguel Bretones del Pozo
Quantity surveyor: Roberto Alés Méndez
Collaborators: Mª Carmen Domínguez Asencio (Architect), Francisco Duarte (Structure design), DiMarq S.L. (Systems design), Mª Dolores Frutos (Restorer of the wall paintings), Dionisio Olgoso (Restorer of the coffered ceiling), Paco Luis Martos (Restorer of the coffered ceiling), Antea. Arqueología y Gestión del Territorio S.L. (Archaeology)