For the renovation of Teatro Maravillas, the Canobardin practice recovers the building’s theatrical identity through a comprehensive intervention based on colour, light and finishes, transforming its perception without altering its structure.

Rather than a formal transformation, the project reflects on the way we perceive and inhabit spaces: which elements are revealed, which disappear, and how the visitor’s journey can become part of the theatrical experience itself.

Canobardin conceives the access spaces and foyers of Teatro Maravillas as a gradual journey towards the main auditorium, where chromatic intensity and carefully designed lighting envelop the audience and prepare the transition into the stage experience.

The project introduces an atmosphere dominated by blue-green and turquoise tones that run throughout the space and create a new visual identity, with darker surfaces helping to integrate the technical elements and allowing the architecture to become the true protagonist.

Teatro Maravillas Refurbishment by Canobardin. Photograph by Imagen Subliminal.

Project description by Canobardin

The refurbishment of Teatro Maravillas addresses the transformation of one of the most established performance venues in Madrid’s Malasaña district. Despite a previous intervention, the theatre had lost spatial and atmospheric coherence: an inconsistent colour palette, exposed services, deteriorated restrooms, non-articulated lighting, and an auditorium that no longer directed attention towards the stage.

Teatro Maravillas Refurbishment by Canobardin. Photograph by Imagen Subliminal.

The project seeks to restore a sense of order and spatial clarity, while recovering the theatre’s inherent atmosphere. The aim is to provide an immersive yet controlled environment, where the space is perceived as composed and prepared for performance. The intervention was defined by a key constraint: all works had to be completed during the summer period. This condition ruled out any structural modifications and led to a strategy based on a comprehensive redefinition through finishes, background that supports the overall composition.

Teatro Maravillas Refurbishment by Canobardin. Photograph by Imagen Subliminal.

The proposal is structured around five main operations: chromatic unification, improved circulation, visual integration of technical elements, enhancement of the main auditorium, and the redesign of the restrooms.

In contrast to the conventional use of red in theatre interiors, the project introduces a range of blue-greens and turquoises as a continuous framework. The reduced palette brings cohesion and restraint, while black is used to absorb ceilings and services, creating a neutral background that supports the overall composition.

Teatro Maravillas Refurbishment by Canobardin. Photograph by Imagen Subliminal.

The foyers are conceived as continuous spatial sequences, combining tactile and visual qualities. Tweed carpeting is paired with walls clad in turquoise silk. A large blue curtain reorganises circulation, concealing administrative areas and reinforcing the presence of the main staircase, which is defined by a brass handrail. In the lower foyer, suspended lighting guides movement towards the auditorium, while the space beneath the staircase is resolved with an integrated built-in bench.

The restrooms are organised around a continuous mirror that expands the perceived space and conceals technical and architectural elements, combined with turquoise zellige surfaces and graphite-toned walls.

Teatro Maravillas Refurbishment by Canobardin. Photograph by Imagen Subliminal.

The auditorium forms the core of the intervention. A carpet with vegetal patterns extends onto the walls, forming a continuous base that incorporates an integrated light profile. Above, a chromatic gradient transitions from deep green to black at ceiling level, softening the perception of boundaries and reinforcing the orientation towards the stage. Tubular glass and brass luminaires, together with new turquoise seating, complete the space.

The project results in a precise transformation achieved without structural alteration. Through the controlled use of colour, light, and material, Teatro Maravillas recovers its spatial coherence and reinforces its role as a contemporary performance space.

More information

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Architects
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Canobardin. Lead architects.- Julio Cano, Bárbara Bardin.

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Project team
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Isabel Liñan Payo, Claudia Espinosa de los Monteros.

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Client
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Teatro Maravillas.

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Area
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460 sqm.

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Dates
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2025.

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Location
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Calle Manuela Malasaña 6, Madrid, Spain.

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Suppliers
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Carpet.- Ege Carpets.  
Velvet fabric.- Tejidos Europa.  
Silk fabric.- Arte.  
Bathroom elements.- Mediclinics.  
Tiles.- Marazzi.  
Bespoke lighting.- Ilumisa.

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Photography
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Imagen Subliminal.- Miguel de Guzman + Rocío R. Rivas.

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Canobardin is an architecture practice founded by Bárbara Bardin and Julio Cano in 2017 in Madrid, with a recognized track record in developing innovative and sustainable projects. The studio's architecture is defined by functionality, sustainability, and adaptation to the environment, proposing innovative solutions that always maintain a balance with the context and the environment.

They develop functional, sustainable architecture deeply connected to its context. Their work is based on creating projects with a strong conceptual foundation, in which functionality and design coexist naturally, always taking the site and its surroundings as their starting point.

Among their most notable projects are the Casa de Campo in Zafra de Záncara (Cuenca, 2021–2022), winner of the COACM Award, and the Mon Parnasse flower shops in Madrid and Geneva (2021–2022), which won first prize in a restricted competition. They have also developed public works such as the Bilbao Multipurpose Roof (2021) and innovative tourism projects like the Costa del Sol Glamping Village (2024). Their experience in the glamping sector led to their own tent brand, Tipitop Tents, which reflects their interest in lightweight and environmentally friendly living solutions.

Their work has been featured in numerous specialized and general-interest publications, highlighting the coherence, sensitivity, and originality of their designs.

Julio Cano was born in Madrid 1986. Graduated architect in Madrid 2013. He was always interested on traditional architecture and its relation to the local climate and materials as a way of sustainability .He was involved on several projects of rehabilitation

Since 2013 he worked at Selgascano for two and a half years, where he participated in important projects such as the Plasencia Auditorium and the Secondhome offices in Lisbon and London. In 2017, he decided to form his own studio, Canobardin, with Bárbara Bardin.

Bárbara Bardin was born in Madrid 1987. Graduated architect in ETSA Madrid in 2012. During the degree she collaborated in studios like Selgascano, Ezquiaga architects, Iñaki Carnicero, as well as investigation schollarships at the university. After her studies, she collaborated with several studios such as Selgascano, Irisarri Piñera, Ezquiaga, and Iñaki Carnicero.

For four years, since 2012, he worked with Selgascano and participated in projects such as the TN Building in Stockholm, the Serpentine Pavilion, the Secondhome offices, the Martell Pavilion, etc. In 2017, he decided to form his own studio, Canobardin, with Julio Cano.

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Published on: October 10, 2026
Cite:
metalocus, ELVIRA PARÍS FERNÁNDEZ
"Theatrical identity. Teatro Maravillas Refurbishment by Canobardin" METALOCUS. Accessed
<https://www.metalocus.es/en/news/theatrical-identity-teatro-maravillas-refurbishment-canobardin> ISSN 1139-6415
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