Download 8th oistat theatre architecture Competition

8th
oistat
Theatre
Architecture
Competition
2011
1
OISTAT is:
OISTAT, Organisation Internationale des Scénographes, Techniciens et
Architectes de Théâtre (International
Organisation of Scenographers, Theatre Architects and Technicians), is
the world-wide parent organization
for Scenographers, theatre technicians, theatre educators and architects.
It was founded in 1968 with 8 member countries.
The mission of OISTAT is:
• To stimulate the exchange of ideas
and innovations, and to promote
international collaboration in professions which support live performance.
• To promote the formation of centres
in each country in order to achieve
these aims.
• To encourage life-long learning
among live performance practitioners.
• To respect the integrity of all cultures and celebrate the diversity as
well as the similarities of those who
work in support of live performance.
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Content:
OISTAT is a co-operative, non-governmental organization and has three
categories of membership: OISTAT
Centres, Individual members and
Associate members. Currently OISTAT has Centers in 31 countries
and individual/associate members
around the world with a combined
membership of over 20,000 members
in 50 countries.
The essential activities of the organization are undertaken by the commissions. They work in the following
fields:
• Theatre Architecture
• Scenography
• Professional Training
• Technology
• Publication / Communication
• Theory and History
Theatre Architecture Competition
is one of the activities of OISTAT
Architecture Commission, held every
4 years.
Preface
4
OISTAT Competion Rules
5
St. Anna 10
Jury
14
Jury Report
16
1st Place
22
2nd Place
26
3rd Places
30
4th Places
38
Honorary Mentions
46
Selected for Catalogue
56
Participants
66
Jury Meeting Impressions
80
Colophon
82
Sponsors
83
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Preface
Tradition is of the utmost importance if you are in
the business of bringing together an actor, or a whole
flock of that species, with – hopefully – more than one
spectator, attracted by the unpredictable those actors
promise to offer. Sometimes this business means creating a theatre.
The OISTAT Architecture Commission has lived
up to this challenge by organizing this competition in
theatre architecture for 28 years running – at least the
start of a tradition.
From various perspectives, all the seven previous
competitions followed the question: Will it make a
theatre? It is the aim of the OISTAT Arch Com practitioners to create a basis where students and young professionals can discover the complexity and exciting
particularities related to the challenge of designing
theatres.
OISTAT Arch Com is proud to present this catalogue showcasing the results of the 8th Theatre Architecture Competition, held in 2011.
Displayed are the achievements born of the hard
work of 185 competitors, students, young professionals or university teams from 44 countries all across
the globe.
What is special about this 2011 competition?
In 2011, the building of St. Anna, a former church in
the middle of Stare Mesto, Prague, has not only been
the competition’s subject, but also the location for exhibiting some of the best work during PQ 2011.
Previous competitions addressed urbanistic questions, technical aspects, the relationship between actors and audience.
8th OISTAT Theatre Architecture
Competition 2011 – The Brief
This time, a found space like St. Anna with its unusual proportions and dimensions placed the focus on
the question of how to interact with a place as it is.
This would not create a “good theatre,” of course.
But it showed how performances and space could interact and be stimulated by accepting, refusing, denying or arranging oneself with a – found? - space as it
is. To show that sometimes no theatre building is needed to create a space where live performances might
happen.
As before, this competition was also a reaction to
the lessons learned by Arch Com during the previous
event. In addition, it was a response to the headline of
the 2011 PQ theatre architecture section NOW_NEXT.
We, OISTAT Arch Com, are grateful to OISTAT for
both its economic and organisational support and to
the sponsors, who generously supported this competition with their donations.
To Tim Foster, GB, who after the 2007 competition
was once more responsible for the design brief.
We also want to express our gratitude to the jury,
who had the pleasure and duty to go through all the
entries in the course of four demanding days, comparing, discussing and finally making their decision.
From my side, my sincerest thanks to Christine
Rieken, who once again carried the major burden of
work to make this all happen.
Congratulations to all the winners, the creators of
the works selected for this catalogue and the exhibition in Prague.
The Chair of the OISTAT Architecture Commission
Reinhold Daberto
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Introduction
The OISTAT Theatre Architecture Competition (TAC) is
an international ideas competition, aimed at students
and emerging practitioners, which is organised every
four years by the Architecture Commission of OISTAT
(International Organisation of Scenographers, Technicians and Theatre Architects). For more information
on the activities of OISTAT please see:
http://www.oistat.org
We are pleased to announce the launch of
the next TAC, to be completed in 2011.
Selected entries of TAC are exhibited and cash prizes
awarded at the Prague Quadrennial (PQ) the major international exhibition of scenography and theatre architecture, which takes place every 4 years in Prague in
the Czech Republic. The next
PQ is due to take place in June 2011. It is considered
by many to be the most important theatre design
event in the world. For more information please see:
http://www.pq.cz
Competition Theme for TAC 2011
Most spaces for the performing arts (drama, music
theatre, dance, concerts and other forms) are housed
in specialized buildings, built for the purpose.
While there will always be a need for these buildings, there is increasing interest amongst theatre
practitioners in the use of existing buildings and settings, which are not purpose built theatres, to present
productions. These settings, sometimes known as
‚found space‘, can often provide a unique atmosphere,
which resonates with a particular production or style
of presentation, in a way that may not be possible in a
conventional theatre. While these spaces may lack the
technical infrastructure and facilities of a theatre, they
can make up for this through the atmosphere provided
by the special character of the place, its interaction with
the performance and the opportunity to explore less
conventional forms of presentation. Many new theatres are also created by converting existing buildings,
where the character of the original building contributes
significantly to the special atmosphere, and provides a
sense of continuity with the past. These are the basic
themes to be explored in this competition.
Provocation by Professor Dorita Hannah, Architecture Commissioner for PQ 2011
„The auditorium is often considered a static object designed to
contain performance. But performance cannot be contained...
it exceeds architecture, especially in this age of media spectacles, fluid technologies and uncontainable bodies. So what role
does the auditorium now play other than forcing us to perform
as well-behaved spectators? If we acknowledge that architecture itself performs, as space-in-action, then perhaps we can
explore new strategies for experiencing live performance as a
more dynamic, creative and communal spatial event.“
The Brief / Overview
Competitors are asked to design a theatre space for a
particular type of performance, which must be defined
by the competitor. This may be a conventional performance or something more experimental, using a range of media and technologies.
In this way it is hoped to encourage a deeper understanding of the relationship between the performance itself and the space, which it inhabits.
The aim is to create a space, which supports the
chosen type of performance in the best possible way.
It should explore how a performance space could be
designed to reflect the cultural ethos of the 21st century and whether performances in our time are best
housed in purpose designed theatres or can take advantage of more open, flexible settings, to meet the
needs of artists and respond to an increasingly global
information culture. In particular, competitors should
attempt to answer the question on why people continue to choose to visit live performances, despite the
overwhelming amount of digital entertainment now
available to them. Central to this is the sense of community provided by a shared experience. In this way
the TAC will underpin the central theme of PQ´s Theatre Architecture Exhibition, exploring the question –
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8th OISTAT Theatre Architecture
Competition 2011 – The Brief
“Now / Next – Performance Space at the Crossroads”.
For more information please see:
http://www.pq.cz/en/architecture.html
This is a competition to create and design a place
for a particular type of performance and competitors
are encouraged to inform themselves of the precedents and needs of their selected performance type.
Competitors can choose whether to work with the
existing building or to propose a new design on the site.
They can choose to design either a permanent building
or a temporary installation. This is an ideas competition and there is no intention to build the winning entry.
Competitors are therefore encouraged to make proposals which are didactic, innovative and experimental.
Collaborations between architects and other theatre practitioners such as directors, designers, technicians, actors, dancers, musicians, or students in those
fields, will be welcomed.
The Site
The site for the competition is Prague Crossroads, formerly St Anna‘s church, which will also be the site of
the Architecture Section at PQ 2011.
St. Anna‘s is an important landmark in the cultural
heritage of Prague and is a protected building. It was
originally built as a gothic church, and has since been
adapted to other uses.
It is now used as a cultural centre in Prague, which
is owned by The National Theatre, and is operated
under the title of ‚Prague Crossroads‘ by The Dagmar
and Vaclav Havel Foundation VIZE 97, to promote the
crossroads of different cultural influences, intersecting in Prague over the centuries. St. Anna‘s is therefore a space with a high cultural significance, acting as
a focus for cultural forces in Prague.
The prize winning entries and a selection of other
entries will be exhibited in the building, during PQ
2011, giving them a special resonance with their setting and a prominent place within this prestigious international exhibition.
Competitors are invited, at their own cost, to visit
Prague during PQ 2011 to experience the architecture
exhibition and see the real site. Visitors will also have
the opportunity to participate in design workshops on
theatre architecture and other related topics, which
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will be organized during PQ 2011, as part of the event.
Further details of events will be available later on the
PQ website.
Drawings and photos of St. Anna‘s will be available
to download from the TAC home page on the OISTAT
website before the official start of the competition.
(see Competition Rules, item 8)
Key Issues
Successful performance spaces have some very particular requirements, which competitors are expected
to understand and explore in order to create an environment in which the unique interaction between
audience, artists and technology, which constitutes a
live performance, can flourish. Some key issues to be
considered are set out below:
Audience Cohesion
The way in which an audience is arranged, in relation
to the performance, plays a key role in creating a successful atmosphere where audiences feel engaged by
the performance and performers can communicate
well with them. How does this relationship work and
what factors are at play in a successful performance
space? This can take many different forms but the key
is maintaining an appropriate human scale where a
performer can command a whole audience. To achieve
this the audience must be as close as possible to the
performance and be able to see and hear well. Competitors are asked to highlight how their entries will
support this essential relationship.
Sightlines
To see well the audience must be arranged so they can
all see the performance. Not only must their view be
free of obstructions, but they must also be sufficiently
close to the performers to distinguish their gestures
and appreciate the scenic or architectural space they
occupy. There are many different ways in which this
can be achieved, depending upon the type of performance and the configuration of the space, but the essential principles are constant.
Acoustics
Good hearing is as important as good seeing. Different performance types require different acoustic con-
ditions to be best appreciated. Speech, for instance,
requires a less reverberant environment than that required for un-amplified music. Where a space is to be
used for a range of different performance types some
means of varying the acoustic may be necessary. The
acoustic of a room is determined by its shape, volume
and materials. St. Anna‘s is a church with a high reverberation time, caused by its large volume, and this issue will need to be considered. Recorded or live sound
effects and music will also play an important role in
many productions. Technical Requirements
Most performances rely upon some form of stage
technology to facilitate them. This includes stage lighting, projection and sound systems and mechanical
systems, which are used to suspend or move scenery
or to reconfigure the room. Provision for these
systems needs to be integrated into the design and
must be accessible and safe to use.
Interpretation
The style and type of performance and the way it uses
a particular space to interpret a particular piece or to
tell a story, including the use of lighting, sound and
scenography, is a key consideration. The Purpose
You must state what type of performance(s) the
design will be used for. Establishing a clear link between the performance and the architecture is a key
aim of the competition. The design may be specific to
a single performance, a particular performance type or
a range of different uses. Drawings of the theatre space
should illustrate how it will be used for a performance.
Accommodation
The size of the theatre space and other accommodation will be constrained by the existing building, the
site and the performance type but the following requirements need to be considered:
• A space for a live performance with an audience,
either sitting or standing.
• Facilities for the audience, including toilets and
the sale of tickets, food and drink.
• Technical installations for the performance (lighting, sound, mechanical systems).
• Accommodation for performers.
• Safe evacuation of all occupants in an emergency.
• Access for people with disabilities.
Competition
Rules and
Conditions
1. The Architecture Commission of OISTAT
(the International Organisation of Scenographers,
Theatre Technicians and Theatre Architects) is promoting an international ideas competition in a single
stage, open to architects and students of schools of
architecture. Collaborations between architects and
other theatre practitioners such as directors, designers, technicians, actors, dancers, musicians, or students in those fields, will be welcomed. Architects or
students associated with members of the jury are not
permitted to enter. Jury members will be announced
on the OISTAT website before the official start of the
competition.
2. Documents to be Submitted
2.1 Drawing requirements
aPlans of each level, at least two sections and important elevations to a scale of not less than 1/100.
b three-dimensional images of the building and the
theatre space.
c Auditorium studies showing it in use for a performance or several performances.
d Site plan to a scale of 1/500
e Models cannot be accepted, although photographs of models can be included.
f Drawings and text documents must not carry any
means of identifying the entrant(s) apart from the
code number referred to in para 2.2 (c) below.
2.2 Competition entries may only be submitted on a
CD-ROM which should be clearly labelled with the
code number, both on the CD and its cover. Every
entry shall compromise an electronic copy of the
following:
a A single panel at AO size (1189 x 841 mm / 46.81 x
33.11 inches) in vertical (portrait) format submitted in pdf format at 300 dpi resolution). The docu-
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Competition Rules
and Conditions
ment itself and the pdf file will be identified by a
random six-figure code (e.g. 123456/dwg.pdf)
b A short written description of the project, the performance to be housed and an explanation of the
design concept (maximum 200 words). The text
will be incorporated on the panels but must also
be submitted separately as an A4 size Word document. The document and the pdf file will be identified by a random six figure code (e.g. 123456/text.
doc)
c Both the drawing and text documents and the
files containing them are to be identified by a
code of six numbers to be chosen at random by
the competitor(s), appearing in the top right hand
corner of each document,10mm high.
d A completed entry form in Word format, including
the same code no. as in para 2.2 (c) above. The
entry form can be downloaded from the OISTAT
website. In cases where competitors form a team,
all collaborators must be named. Information
provided here will be used in all publications, so
please double check spelling!
e A closed envelope containing the completed entry
form with the same six figure code (e.g. 123456) on
the outside.
f All text is to be in English. Advisory Competitors
are reminded that if their entries are selected for
publication, they may be reduced, in whole or in
part, to A4 size or smaller. Competitors should
check their layout and line weights on a printer to
ensure the quality of printing, if selected for the
exhibition or catalogue.
2.3 This is an ideas competition and there is no intention that the winning entry will be built.
2.4 Entries will not be returned by OISTAT. Competitors should retain copies of their work.
3. Competition Schedule
3.1 The competition documents and conditions will
be available from 1 July 2010 on the OISTAT Website:
www.oistat.org/content.asp?path=c1qgp8ps
3.2 Competitors questions of can be sent by email to
[email protected] Questions should be written
in English and must be received no later than 1 October 2010.
3.3The answers to the questions will be posted on
the Website from 1 November 2010.
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3.4 Entries must be despatched by mail on or before
11 March 2011. Late entries will not be considered.
• Entries will be disqualified if the postmark is dated
after 11 March 2011.
• Entries must be received at the address given under item 3.6, no later than 25 March 2011. Competitors are responsible for ensuring their entry is
delivered on time.
3.5 The entry fee for the competition is € 50 per entry.
Competitors will pay via pay pal on the OISTAT
website, no later than 11 March 2011, using their
random six figure code no. to identify their payment. Entries submitted without an entry fee will
not be considered.
3.6 All entries and payments will be handled by a
third party and the jury will not know the identity
of the entries.
Competitors should send their entries to this address
free of fees for the recipient:
Theater Projekte
Daberto + Kollegen
Augustenstraße 59
D-80333 München
Germany
Entries must bear the six-figure code as mentioned under 2.2 c on the outside of the envelope and the words
‚TAC 2011, not to be opened before 25 March 2011‘
3.7 The six-figure codes of all received entries will be
published on OISTAT’s website when the entry fee
has been paid.
4. Prizes
4.1The first prize will be € 5,000, the second prize will
be €2,500 and the third prize will be € 1,000. There will be three additional prizes of € 500 each. In
addition to these prizes, there will be honourable
mentions. The jury reserves the right to modify
the distribution of prize money, within the same
total amount and number of prizes.
4.2 The results of the competition will be announced
on the OISTAT website from 16 April 2011. Prizes
will be presented at the Prague Quadrennial in
June 2011 at a ceremony to be held in St Anna‘s
church, and paid electronically to those unable to
attend, after the prize-giving.
5. Publication
5.1 The competition entries will become the property
of OISTAT and may be published and exhibited in
any country at the discretion of OISTAT.
5.2 OISTAT will respect and acknowledge the copyright of the participants.
6. Acceptance of Conditions
6.1 By submitting an entry, participants or participating teams will: a agree to the rules and regulations as set out in this programme.
b declare that the proposed design is their own
work.
c agree to accept the decisions of the jury as final.
d agree not to disclose their identities or publicise
their entry in any way before the jury have made
their selection. Any breach of this rule will render
the entry invalid.
7. Jury
7.1 The international jury will consist of 4 architects
from different continents, plus one other experienced theatre practitioner.
7.2. In case of the absence of a juror, OISTAT will assign another qualified person as a member of the
jury.
7.3 The jury will produce a report explaining the reasons for its decisions and commenting on the prize-winning and honourably mentioned entries.
7.4. The report of the jury will be published on the
OISTAT website and distributed by the OISTAT
Centres.
7.5 The jury will select at least 25 entries for an exhibition at the Prague Quadrennia in June 2011.
7.6. A brochure illustrating at least 25 entries will be
published and will be available at the Prague Quadrennial 2011, after which distribution will be by
way of the OISTAT Centres or via the internet.
7.7 OISTAT will offer the results of the competition
to the press (publications covering theatre design
and architecture)
8. Time schedule
1 July 2010
Official start of the competition Brief and Conditions
posted on the OISTAT Website and notification sent to
OISTAT Centres and schools of
architecture.
1 October 2010
Final date for questions. Questions can be submitted
by email to [email protected]. Questions received after this date will not be considered. Answers to questions will be posted on the OISTAT website from 1
November 2010.
11 March 2011
Closing date for despatch of entries and payment.
25 March 2011
Latest date for receipt of entries.
30 March - 13 April 2011
Jury meeting and report.
16 April 2011
Notification of the prize-winners.
16-26 June 2011
Exhibition of prize-winning and selected entries at the
Prague Quadrennial.
17 June 2011
Official announcement and prize-giving at the Architecture Section of The Prague Quadrennial to be held
at Prague Crossroads.
© Copyright: OISTAT 2010
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Brief history
of the church and Prague Crossroads
927 Czech Prince Václav founds
St. Lawrence’s church
11–12th century, construction of the Romanesque
rotunda of St. Lawrence
1232 Templars settle at St. Lawrence’s
1312 Knights of Malta buy the church
1313 Dominican nuns from St. Anne’s
convent in Újezd circa 1360
1372 Eastern chancel keystone is laid after 1372
Třeboň altar Master paints murals in the
presbytery
10
15th cent. The only Prague church not to be
affected by the Hussite wars.
1553 historian Václav Hájek of Libočany
is buried in the church crypt
1616 the church is reconstructed due
to Queen Anne’s efforts
1676 the nuns’ chancel is newly constructed
1727 the interior stucco decorations
are finished
1782 the convent church is abolished and
deconsecrated under Joseph II
1795 printer Jan Ferdinand of Schönfeld
purchases it
1816 printing works established;
the church is divided into storeys;
a service lift is constructed
1880 three upper storeys of the tower are removed
and the Gothic ribbed vault is torn down
1956 archaeological research
1970 roof and truss reconstruction
1992 reconstruction of the middle wing for the
National Theatre ballet ensemble
1997 the Havel Foundation finds the church
and considers its reconstruction
1998 the Foundation conducts renovation of
the church
1999 the Dagmar and Václav Havel Foundation
VIZE 97 rents the church from the National
Theatre for 99 years
1999 the church reconstruction begins according to
architect Eva Jiřičná’s plan; the removal of the
modern plaster layers from the church walls
is started; first uncovering of the fresco paintings
11
Ground floor
B
C
access
EW15D3
entrance hall
ENTRANCE TO
THE CHURCH
CHURCH
rostrum
A
A
edge 1.floor
B
St.Anna Prague
ground floor
levelwalkway in the truss, restoration
of a service
and restoration of the church walls
2000 expert discussion with conservationists about
the final version of the project
2001 reconstruction of the eastern wall; use of electroosmosis for dehumidification of the wall
2002 archaeological research; restoration of the
church gate and restoration adaptation
of the original truss parts
2003 the reconstruction itself – removal of the
storeys and modern tie beams, removal of the
service lift, window renovation, installation
12
and completion of a part of the Gothic staircase
in the tower, installation of vaulting ribs
imitating the original shape of the Gothic ribbed
vault, insertion and installation of the stage
and new heated floor, reconstruction of the
part of the cloister used as the church’s
rear area
2004 installation of the “altar picture” – Adriena
Šimotová’s drawings – the Ecstatic Hero;
restoration of the frescoes
C
2004 ( 5 Oct ) the PRAŽSKÁ KŘIŽOVATKA spiritual
cultural centre starts activity by awarding
the Dagmar and Václav Havel Foundation
VIZE 97 Prize to Professor Petr Vopěnka
concerts by Magdalena Kožená and Iva Bitová,
Struny Podzimu (Autumn Strings), Religious
Convention, opening of the Helsinki
Conference and others
2005 (5 Sep ) a votive gift – a purse of silver coins
from the time of King John of Luxembourg –
is found by the restoration firm TRADICE
2010-06-30
scale
1:100
restoration of the fresco
paintings
on the
northern and southern walls of the
church interior; reconstruction of another
part of the cloister
2005 (5. Oct ) the Dagmar and Václav Havel
Foundation VIZE 97 Prize is awarded to
Professor Philip G. Zimbardo
13
The
OISTAT
Jury
2011
Iain Mackintosh
Oxford educated Iain Mackintosh has
combined careers as scenographer,
producer, designer of theatre-space
and theatre historian. At the Oxford
Playhouse in 1961 he designed the
second production in the world of
The Turn of the Screw and the first
production of the Prospect Theatre
Company which he ran until 1973 taking 75 productions to 125 theatres in
21 countries including those at Bratislava and Vienna in 1969.
This experience led to designing
theatrespace for Theatre Projects
Consultants for which he was Design Director for thirty years. He collaborated with architects and colleagues on many new theatrespaces:
from the Cottesloe at Britain’s
National Theatre (1977) to Glyndebourne (1994); from the Orange
Tree Richmond London(1991) to the
Martha Cohen Calgary (1985); from
the Founders’ Theatre Lenox Massachusetts (2001) to Hall Two at The
Sage Gateshead (2004).
Studying theatre painting and
theatre architecture, in particular of
the 18th century, resulted in three
major exhibitions in London and
elsewhere including Making Space
for Theatre, 40 years of British Theatre Architecture at Prague in 1995.
His publications include Actor, Audience and Architecture published
in 1993 by Routledge.
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Iain Mackintosh
Mónica Raya
Martien van Goor
Taesup Lee
Virginia J W Ross
Iain Mackintosh took part in six
PQs between 1976 and 2007. In 1995
he was the first Briton on the PQ
jury. In 1999 he received the Gold
Medal for Architecture on behalf of
the new Glyndebourne.
He was guest speaker at OISTAT
conferences at Reggio Emilia 1982
and 1985, Warsaw 1983, Budapest
1985, Prague 1991, Caracas 1993 and
Taiwan 2004.
In the Czech Republic he has
also given papers at five of the recent annual conferences on Baroque
Theatre at Cesky Krumlov and has
worked on research and restoration
projects for the baroque theatres at
Valtice and Kacina and on studies
for a new opera house at Pilzen.
for the Gala Hispanic Theatre.
Back in Mexico in 1995, she became a full-time professor at the
National Autonomous University of Mexico and has designed
sets, costumes and lights for more
than a 100 productions in more
than 30 different venues. She has
been awarded the Beca para Jóvenes creadores en diseño escénico
1996–97,the Distinción Universidad
Nacional 2000 para Jóvenes académicos for Artistic achievement and
the Sistema Nacional de Creadores
in 2008. She was awarded with the
Gold Medal for Costume Design at
the World Stage Design 2005 and
as Outstanding Scenographer at
the WSD 2009. Her work had been
exposed on the Mexican Pavillion
at the Prague Quadriennales 2003
and 2007, where she had the honor
to participate as a member of the
international jury. She is a doctoral
student at Aalto University in Helsinki and her design work will be
seen again at the next Prague Quadriennale 2011.
feasibility studies. Examples of his
work are: renovation / restauration
plus new stage house for the Royal
Carré Theatre Amsterdam, theatre
De Spiegel, Zwolle, feasability studie for centre for the performing
and visual arts IJmuiden, Isalatheatre / musical school Capelle aan
den IJssel, renovation municipal
theatre Venray, renovation and expansion of the Van Gogh Museum
Amsterdam, renovation and expansion of the Royal Museum of
Antiquities Leiden, Academic Psychiatric Centre Amsterdam, renovation and expansion nH Grand Hotel
Krasnapolsky Amsterdam, renovation ‘De Volharding’ office building
The Hague, lay-out exhibition ‘Van
Gogh and Gauguin’, lay-out Mihoexhibition in Leiden.
He is currently working on the design for the Assen Cultural Quarter
(in collaboration with BAM and De
Zwarte Hond) and the renovation
of Theatre Kunstmin in Dordrecht.
Martien is a member of BNA (Royal Institute of Dutch Architects),
OISTAT and member of the recommending committee of the Prague
Quadrennial. From January 2001 till
January 2009 he was a member of
the Urban Aesthetics Committee of
the City of Utrecht.
For more information about
projects by Greiner Van Goor Huijten Architecten, see www.ggharchitecten.nl
Taesup Lee
Virginia J W Ross
Mónica Raya
Scenographer born in Mexico City,
Mónica Raya attended her first
Scenic Design master class in Wales,
1989 working on Ubu Roi under the
supervision of British designers:
John Bury, Patrick and Rosemary
Vercoe and Arianne Gastambide.
Graduated as an architect at the
National Autonomous University
of Mexico in 1990, she got her M.F.A.
at the Yale School of Drama in 1993.
While living in the USA she
worked for the Source Theatre, the
John F. Kennedy Center for the Arts,
the Puertorrican Travelling Theatre
and as the resident scenic designer
Martien van Goor
born 1944, graduate of Amsterdam
Academy of Architecture, managing partner of Greiner Van Goor
Huijten Architecten bv. The office
specializes in theatres, museums,
buildings for (mental) healthcare,
schools, offices, interior design and
born 1954. South Korea. Scenographer, Theatre Consultant.
Education: 1989, MFA in Design,
Graduate School of Brooklyn College of the City University of New
York. 1985, MA in Scene Design , Gaduate School of Hongik University ,
Seoul. BFA in Painting, Chungang
University, Seoul
Carreer: Associate Professor, Head
of Production and Design, Dept. of
Theatre and Musical, Present-1995,
Dean of College of Art and Culture,
2007–2010, Chairman of Education
Affair of Yongin University, 2011,
South Korea.
Projects: Theatre Consultant; 2006–
2010, Gangdong Arts Center,
2009–2010, Arts Hall of Anyang Arts
High School, 2005, Sadari Arts Center.
2004, Renovation of Mary Hall at
Seogang University.
2004, Sangmyong Art Hall. 2004,
Chunggang Small Theatre in Chunggang College. 2002, Latt Children’s
Theatre.
Scenographer: Over 200 Productions
with Oedipus Rex of National Theatre, 2011, Syrano de Bergerac of Myongdong Art Theatre, 2010. Giselle of
Seoul Ballet Theatre, 2009.
1991 Registered Architect, Architects Education & Registration
Board, Victoria
1986 B. Architecture, University of
Auckland, NZ
Associate, Australian Institute of
Architects (previously RAIA)
Associate, New Zealand Institute of
Architects (NZIA)
Victorian Buildings Appeal Board
Member, 1994–2000
RAIA Victorian Chapter Councillor,
1992–1994
RMIT Architectural Design Lecturer, 1988–89, 2004
Williams Ross Architects: Managing Director and Design Manager
2007, Director 1992
Virginia specialises in cultural/performing arts design, working primarily in the pre-design and early
design phases. Williams Ross Architects has designed and built over
twenty theatres and undertaken
studies on more than 60 theatres,
most of which were led by Virginia.
Awards: 2011 Oamaru Opera House,
NZ: NZIA Public Architecture Award
2010 Whitehorse Sportslink: AIA
Victorian Chapter Award – Public
Architecture
2007 The Drum Theatre, Dandenong: AIA Victorian Chapter Award
– Public Architecture, 2007
15
Jury
Process
On Monday 4th April the five jury members and two administrators met for the first time, in Prague.
185 entries were received from 44 different countries.
The
OISTAT
Jury Report
2011
16
Argentina3
Australia7
Austria
1
Belgium3
Bosnia Herzegowina
5
Brazil 1
Canada
26
China5
Columbia1
Croatia1
Czech Republic
3
Egypt1
Finland1
France8
France/Italy1
Macedonia
1
Georgia1
Germany15
Germany/Oman1
Greece2
Hungary
1
Israel10
Italy2
Japan2
Latvia
2
Mexico
1
New Zealand
4
Poland
4
Portugal
1
Portugal/Italy
1
Portugal/UK/Czech Rep
1
Russia8
Serbia2
Slovenia1
South Korea
10
Spain3
Sweden5
Switzerland1
Taiwan15
The Netherlands
6
UK/Canada1
UK5
Uruguay1
USA11
A preliminary discussion examined
the design competition Brief and its
requirements. These included the
Provocation by Architecture Commissioner Professor Dorita Hannah
with its suggestions of dynamic,
spatial performance. A key consideration was that competitors were
asked to ‘design a theatre space for
a particular type of performance’,
whether temporary or permanent.
Submissions therefore had to define their chosen performance type
and demonstrate their response
to it, the audience experience and
functional requirements specific to
that performance event. Discussion
explored recent performance expe-
riences of the jury which contrasted
considerably with ‘traditional’ performance and media.
The proposed jury agenda was
discussed and the assessment process for the first round was agreed.
The jury then visited St Anna’s
Church and tried to deduce the
history of the building and its features. An historical summary listed
key events in the former Church’s
life while a display of renovation
photos helped discern original fabric and recent additions.
In the first day the jury viewed
all submissions via a set of DinA3
colour prints identified only by
number. Digital projection with a
higher resolution was available on
request. In later rounds shortlisted schemes were viewed and discussed by the whole jury together
with digital projection of the submissions and their texts.
On the first round jurors viewed
all submissions individually and
selected them on a Yes/No basis. At
this stage only, the jury invited the
two Administrators to participate.
A long-list of 59 entries was arrived
at, based on all schemes with 3 or
more votes by the 5 member jury
and two Administrators.
17
OISTAT Jury Report 2011
013338
022606
023925
030709
030786
031111
040611
061636
073459
091184
101543
111111
120210
123581
126141
126263
130581
143104
152805
160408
164032
170687
172027
188305
197359
199508
212324
224417
237124
241330
254703
269255
294759
312762
314159
315738
356768
385678
444444
493736
523623
552223
611522
617491
663399
698355
705323
735112
741962
827882
830924
905416
934627
939881
962586
978354
995111 HA46EX X3B7UL
59 works taken to second round
013338
040611
073459
091184
170687
188305
224417
237124
254703
315738
356768
523623
552223
617491
698355
705323
741962
905416
962586
995111
These 20 finalists …
Refer to the full list of Entrants at
the rear of the Catalogue.
In the second stage on 5 April
all 59 entries were projected and
discussed. The five jurors then selected submissions individually
on a Yes / No basis, resulting in 26
schemes with one or more votes. All
schemes with only one vote were
presented by their supporter to the
jury. If the sole supporter chose to
do so, that submission was included in the reduced field. This resulted in 20 remaining schemes.
It was then agreed that the prize winners and honorary mentions
merit awards would be chosen from
these 20 submissions and that all
20 finalists would be included in
the Exhibition and Catalogue. In
the third stage, on 6 April, the jury
18
reviewed and discussed the merits
of all 20 schemes. At the conclusion of this each jury member chose
their preferred 6 schemes. This resulted in a short-list of 11 submissions which had received one or
more votes.
These votes were collated and resulted in six schemes with 3 or more
votes, from which the prize winners
would be chosen. These schemes
were not ranked at this stage.
At the next stage, each of the
five jurors presented, in order
drawn by lot, their three preferred
schemes, again not ranked. The
merits and disadvantages of each
proposal were debated.
From this process four submissions emerged with substantial
support. A discussion of the six
schemes ensued in which the jury
sought prize-winners representing
a balance of the different design approaches.
Considering the six finalists,
unanimous agreement was reached
for the first and second prize winners from the four most supported
schemes. Given the degree of support for the remaining four schemes, the jury agreed by consensus
to have two equal third prizes and
two equal fourth prizes. This represented a reallocation of the six prizes stated within the competition
rules.
Honorary Mentions were then
identified from the 20 finalists for
their unique qualities as proposed
by jurors.
Jury
Competition
Overview
The 8th OISTAT Theatre Architecture Competition was centred on a
particular building. Previous briefs
called for new buildings that expressed a theme and that fulfilled
specific criteria such as a seating
capacity or a stage for a particular
type of performance.
In contrast in 2011 almost the
only limitations to this ideas competition were introduced by the
chosen building, St Anna’s, situated in Stare Mesto, central Prague.
This deconsecrated church is a
protected historic monument and
has a long history of alteration and
intervention. Much of the more intrusive interventions, such as the
introductions of many floors for nineteenth century printing presses,
have been stripped out leaving only
a mezzanine on five baroque vaults
within this otherwise empty Gothic
space. The walls show traces of successive incarnations of this sacred
building.
This volume measures 9.5 metres wide, 43 metres long and 17 metres high to the underneath of the
transverse beams of the timber pitched roof.
While some competitors were
able to visit St. Anna’s, this was of
only limited advantage; the jury
found on their visit that the experience of this long, narrow and high
volume confirmed what could be
learnt from the survey drawings
and from the many photographs
supplied to entrants.
Competitors were invited to let
their imaginations loose, limited
only by the practicalities of their
chosen performances.
many imaginative responses to this
enigmatic quality. They also noted
that the most successful reconciliations of the fabric of the past with
the purpose of their individual proposals depended on keeping structural intervention to a minimum.
The approach of the 185 entrants
could be categorised as follows:
• I ntroduction of one or more selfcontained structures to create performance spaces more manageable than the whole volume of over
6,500 cubic metres.
•E
xpansion of the building outwards, so as to provide more conventional performance spaces, or
upwards to further emphasise the
height of St Anna’s, presently 29
metres from the floor to the ridge
of the roof.
• I nsertion of horizontal galleries
to create large performance spaces
which celebrate all or most of the
volume and which offer large theatrical opportunities.
• I ntroduction of labyrinths within
the volume that take the visitor
on a journey.
• Or, a combination of the above.
St Anna’s, not surprising for the
character of a building that has
seen centuries of religious celebrations which are no more, is mysterious. The jury was delighted by the
19
OISTAT Jury Report 2011
Jury
Citations
First Prize
Entry 741962 – A State of Decay
The proposal creates a flexible performance space, inspired by a contemporary performance company.
A three storey scaffolding is erected within and parallel to St Anna’s
walls. The audience become participants in the spectacle, moving
within the temporary, changeable
and tenuous galleries.
St Anna’s is left essentially unchanged, although experienced in
an entirely new way.
The extraordinarily evocative
drawings portray a space full of the
mystery and decay of an old building in which one can imagine an
inspiring encounter, perhaps of a
very unconventional kind.
It creates possibilities of future
genres unknown to us. Creating
such an ephemeral structure is a
delicate and sensitive intervention.
Artists would enjoy the invitation
to work with the idea of decay and
renewal – such a powerful provocation.
20
the room, experiencing both the
space and performance. The series
of scenes portrayed by the drawings
show a strong understanding of
the expressive possibilities of light,
sound and space. This scheme evokes great atmosphere with minimal
intervention.
Second Prize
Entry 741962 – Cocoon
The proposal embeds an organic
timber cocoon within the church
providing a performance space in a
short traverse form. This is accessed
by a ramp that winds up through
the church and on within and beyond the auditorium. Around and
below the sculptural cocoon, the
church remains largely unchanged
for use as an exhibition, foyer and
so on. Glazing of the roof is intended to make the cocoon visible. A
glass stair tower in the courtyard
provides access and signals the performance as a light tower.
The proposal contrasts two
striking sculptural interventions –
the organic cocoon and linear tower.
The cocoon is a dramatic, inviting,
womb-like form, in which life can
be created. Placing an enclosed form
within the church provides an acoustically contained volume and creates a dramatic tension between the
old church and the new insertion.
The sculptural forms and sensuous winding journey animates St
Anna’s even when performance is
not occurring.
Third Prize Equal
Entry 237124 – CrossingRoads
Theatre
The proposal divides St Anna’s unequally between four spaces. The
first is created by enclosing the
vault with a deepened floor to make
a small auditorium. The second is a
full height galleried auditorium in
the choir. The third is an informal
café bar on the upper floor, and the
fourth is an intimate room in the
roof structure. In the large space
four tiers either side embrace the
performers.
This considered proposal creates different performance spaces
which would allow a wide range of
activities. The main galleried courtyard successfully uses both the
linearity and verticality of the church. The drawings evoke a powerful
sense of audience engagement.
Third Prize Equal
Entry 962586 – Theatre for
Acrobatics
A sinuous ramp writhes up and
through St Anna’s over three levels
and a variety of potential zones for
performance, with the audience arranging themselves on the ramps
according to the location. After an
introduction by a narrator in the
vaults, the audience progress up
the ramps and acrobats descend
from above.
The proposal explores theatre
as a mystical journey. The standing
audience follows the path around
Fourth Prize Equal
Entry 188305 – Do More With Less
The proposal divides St Anna into
three spaces while providing for
ancillary facilities in adjacent buildings. The vault is excavated a full
storey creating a well-proportioned
end stage theatre with retractable
seating enabling variable format. A
generous double helical stair provides vertical access. A wall divides
St Anna’s to create a second variable format dance space on the upper
floor, with a further balcony of audience seating. The full height choir
is used as foyer and bar. The vaults
are opened out into the courtyard
and a new entry proposed from Liliova Street.
This proposal creates a performance centre with clarity and simplicity within the wider setting of the
St Anna’s monastery. It demonstrates an excellent understanding
of conventional performances and
creates three quite different and
successful spaces. The double helical stair celebrates the verticality of
St Anna’s.
Fourth Prize Equal
Entry 995111 – The Building Sound
300 pipes of varying sizes are inserted
into the church; artists and audiences are invited to interact with this
new musical instrument. Random
LED lights are activated by audiences
or artists. The roof is glazed, making
the church a lighthouse at night. A
foyer and bar are located in the vaults
and a flexible, mounded carpet on
the upper floor invites occupants to
lounge during performances and visits. A small four sided performance
pit is recessed into the choir floor.
Viewing platform balconies are inserted into the existing windows of the
church at various levels and provide
views of the surrounds.
This is an original proposal to
make the building a musical instrument by means of a sensual, minimal intervention.
Honorary Mention
Entry 705323 – Sight of Sound
This scheme envisions spaces for
very particular audio-visual performances. The volume of the church
is clearly divided into 3 main spaces:
a foyer gallery opening to the outdoors; a steeply raked auditorium
with sloping walls and a full height
ambient sound space in the choir.
The simplicity of the proposal
is admirable, but unfortunately the
architecture is poorly resolved.
Honorary Mention
Entry 013338 – Spiderman
is coming
The proposal portrays an experience
of the space rather than an architectural intervention. The humorous
graphics suggest the audience can
move in three dimensions in hanging seats within a blackened space.
The proposal could attract new audiences to innovative live performance.
by both machinery and clientele.
The space is articulated with stairs,
platforms and the sounds of beer
making.
The witty idea of a giant bar in
which the entertainment and the
architecture provide a theatrical experience is convincingly conveyed.
Honorary Mention
Entry 040611 – Indoor Storm
Circus
An audience lies on bean bags on
the dished ground floor, while above an aerial audience is suspended
in a variety of configurations.
This unusual scheme allows the
audience to inhabit a similar space
to the performers and to explore
the full verticality of the room.
The major intervention is the
technical grid from which the
seating and performers are suspended.
Honorary Mention
Entry 073459 – Touching
the Sound
This proposal is uniquely directed
at people with differing hearing
abilities. The audience sits on a
membrane which transmits the
sounds of performers or the soundtrack through vibrations.
This is an imaginative scheme
which uses the entire space and has
the potential to develop new possibilities of sound design.
Honorary Mention
Entry 905416 – The Crossroads
Brewery
The proposal conceives St. Anna
as a brewery and drinking place,
where the performance is provided
21
1. Prize
741962 / Ana Mc Gowan / New Zealand
A State of Decay
“…to make space speak, to feed and furnish it, like
mines laid in a wall of rock which all of a sudden turns
into geysers and bouquets of stone.” Antonin Artaud
In examining the role that architecture plays in
performing as the theatrical live setting, this design
presents an alternative to the confines of the traditional stage in the hope to offer a more dynamic environment for the performer and spectator to engage.
This design offers a flexible performance space for
the contemporary Italian performance company Societas Raffaello Sanzio. Considering the essential relationship between performance and site this design
is concerned with the restoration and conservation of
Saint Anna’s and conditions of deterioration and physical decay.
As the architecture we encounter continues to decay we erect scaffold towers to hold the walls in place.
A city’s story magnifies the walls, revealing frescos in
the cracks where the paint and plaster begin to peel.
22
look closer. A hammer rings out and echoes in the
gloom. What are they building over there? Some sort
of bridge, or some sort of stage, its hard to tell.
A state of constant flux is reflected in the performative essence of Saint Annas where time does not
still and nothing is static. No ideal state exists, there
is only constant shift and motion. The physical condition of a building in slow decay is a transformation
through a series of physical states.
Our recognition of an ‘ideal state’ is demonstrated by our practice of conservation and restoration,
which are dedicated maintaining a building’s original privileged state.
This design attempts to encourage the audience
themselves to be spectacle, it considers the relationship between the architecture and its audience, both
as an active presence that contributes the atmosphere and spatial dynamic.
1. Prize / 741962 / Ana Mc Gowan / New Zealand
23
24
1. Prize / 741962 / Ana Mc Gowan / New Zealand
25
2. Prize
552223 / Andrey Nekrasov / Aleksandr Tsibaikin
Daria Lyalyaeva / Andrey Yanshin / Russia
Cocoon
The lot is located virtually in downtown Prague, in the
ancient St Anne’s church. The church has long been
Prague’s cultural centre, and the contest’s task includes modernization, renovation and an effort to find a
new way to use the church’s internal volume to make
it an entertainment venue.
We suggest to embed new volume into the church
in which theatrical performances, concerts and festive
events will be held. We carefully embed an original cocoon that does not touch the walls and hangs in the
upper part of the building into the body of the church.
The reason for our decision is that, first of all, this is
quite an old church where the original frescos have remained intact; second of all, from the functional point
of view, a church and an entertainment venue are not
the same thing. What we want to do is to conserve
the whole volume of the church. The only part that
we plan to change is the roof – we suggest glazing in
order to make the cocoon visible from the street. By
embedding the modern volume we implant into the
church we communicate the spirit of modernity to
the church, give it a new perception and new functional sense.
By embedding the new volume we make it possible to held several events simultaneously in the
body of the church: it is possible to hold a concert in
the cocoon while in the lower part under the cocoon
people can come to a temporary exhibit. We plan to
save the historical main entrance. When you enter
it, first through the arch you see the apse of the cathedral and only after you go further you can see the
new volume. We add a tower from the side of the
courtyard; this tower will be used for the subsidiary premises needed for the theatre. The tower serves
also as an additional escape route from the cocoon
and as a distinctive light indicator in the city’s skyline. The illuminated tower attracts people signalizing that “The show is about to start!”. The performances can be held at the square in front of the tower.
2. Prize / 552223 / Andrey Nekrasov / Aleksandr Tsibaikin
Daria Lyalyaeva / Andrey Yanshin / Russia
26
27
28
2. Prize / 552223 / Andrey Nekrasov / Aleksandr Tsibaikin
Daria Lyalyaeva / Andrey Yanshin / Russia
29
3. Prize
237124 / Laurent Blondeau / Maria Anastasia Kefalaki
Julia Henning da Silva / France
CrossingRoads Theatre
Under the vaulting of an ancient church, one can feel
even smaller.
What are we? What should we believe in?
Pure and impure, fair and unfair, heaven and hell are
no longer separated. At the “Crossing Roads Theatre”
the borders between Good and Evil are blurred. Reality
is complex and truth is only relative.
Four paths lead the viewer to the play, through
four settings, four stories, four different points of view
influencing him.
The rooms, with their architectural characteristics
reinforced, are organized for each and every different
encounter between the audience and the comedians.
Under the vaulting, the characters share a memory; in the backstage, a moment of intimacy; in the
roof space, a secret, and faced with the screens, they
denounce the present time.
Once all the viewers have gathered on the main
stage, each one has to discover his own point of view
among these narratives. We find ourselves involved
in a vertically developing scene. The audience and
the comedians are a living scenography among with
the stone walls and the steel structures.
3. Prize / 237124 / Laurent Blondeau / Maria Anastasia Kefalaki
Julia Henning da Silva / France
30
31
3. Prize / 237124 / Laurent Blondeau / Maria Anastasia Kefalaki
Julia Henning da Silva / France
32
33
3. Prize
962586 / Sarosh Mulla / Patrick Loo / New Zealand
Theatre for Acrobatics
The distinction between audience and performance
is entirely constructed, and as such is reconfigurable.
This scheme proposes an intervention that exploits
the verticality and richness of the interior of St. Anna,
to provide a ramped transitional space for audiences
viewing aerial acrobatics.
The scheme aims to deliver the following:
•E
nhancement of the audience experience and greater
interaction with the performance.
• Greater audience feedback for the performers.
• Greater understanding of the building through the
performance.
Aerial acrobatics are an ancient and continually compelling form of performance. The narrative format allows the performers to step away from singular tricks
and into a story telling roles through dance, gymnastics and dialogue.
The ramp structure is conceived as performers
formed from a nomex fibre honeycomb, suspended
using steel saddles.
The divide between the audience and the performer that exists in many conventional theatres
denies the opportunity for the audience to become
performers in their own right. That is to be active
participants in the narrative.
The audience is drawn into the proposed choreographed performance through discussions with acrobatic characters and actors embedded within the
audience. The performers are given live feedback,
driving specific audience relationships that provide
the opportunity for intimate communication of themes.
This project does not address all issues of theatre
design but instead proposes an reconfiguring of the
audience’s role within acrobatic theatre.
3. Prize / 962586 / Sarosh Mulla / Patrick Loo / New Zealand
34
35
3. Prize / 962586 / Sarosh Mulla / Patrick Loo / New Zealand
36
37
4. Prize
188305 / Joannie Brouillard / Marie-Pier Dubreuil / Canada
Do more with less
“Do more with less” is the starting point of this
architectural path of discovery that meanders around
the existing structure, slowly revealing the Gothic
church. Buildings adjacent to the church have been
incorporated into the project to meet the additional
needs of the theatre.
Separating the church in two parts delimiting audience and performance spaces is reminiscent of the
initial two-stage construction of the church. Three
areas were built in different spaces: a multi-functional
hall under the vaults, a reconfigurable space currently
dedicated to the dance show “Spillout” (where dancers’ shadows are projected onto existing walls) on
the mezzanine, and the foyer in the choir. The bar is
also located in the choir, where two helicoidal glass
stairways (inspired by those designed by architect
Eva Jiricna) intertwine, revealing the frescoes.
The adjacent cloister becomes an extension with
glazed accordion doors allowing for an opening out
to the courtyard. This area is connected to the church
through the opening of the vaults, and its transparency allows the rediscovery of the church’s facade.
All new interventions were guided by a module, inspired by the dimensions of the courtyard‘s rectangular windows, and those interventions are differentiated from the existing ones through the use of
contemporary materials.
4. Prize / 188305 / Joannie Brouillard / Marie-Pier Dubreuil / Canada
38
39
4. Prize / 188305 / Joannie Marie-Pier / Brouillard Dubreuil / Canada
40
41
4. Prize
995111 / Carlos Campos / Yamila Zynda Aiub / Argentina
The Building Sound
Random Lighting and Resonance
Our project turns St. Anne’s Church space into a City
Contemporary Musical Instrument. 300 pipes will
sound in resonance, activated by artists, visitors or via
Internet.
A new space for Contemporary Performances, supported by a random LED lighting system attached to
the metal pipes.
A Glass Roof allows us to admire the original wooden construction, and illuminates the city, creating a
new urban icon for Prague.
Short description:
a. The Building Sound. Inside the building, 300 pipes,
all in different diameters and lengths, allow several
performances. Artists, schools, people, will interact
with this huge new musical instrument.
c. LED and Randomness. Attached to the pipes, a
random system of Led lighting illuminates the
Church Space. Lighting patterns are activated by
people using cell phones, or become an artist’s
performance as well.
d. Multi propose hall. As the scale of the Sound Intervention (the pipes) involves the whole building,
and in a sense the town itself, we propose not to
separate functions of bar – exhibition – lobby –
theatre, but to integrate these functions, adding
other new interpretations, into a flexible new total space.
e. Occupation. On the first floor, a flexible resilient
carpet (with no individual seats), allows a relaxed
occupation during performances and visits.
b. The Lighthouse. We replace the opaque roof with a
new transparent lass surface. To do so, daylight enters the space gently. At night, the Old Church becomes a lighthouse.
4. Prize / 995111 / Carlos Campos / Yamila Zynda Aiub / Argentina
42
43
4. Prize / 995111 / Carlos Campos / Yamila Zynda Aiub / Argentina
44
45
Honorary
Mentions
705323 / Jason Lim / Asami Takahashi / USA
The Sight of Sound
Where Sound and Vision come together
The Sight of Sound re-imagines St.Anna’s as a
house for contemporary audiovisual performances. It
is re-designed to enable artists/musicians to explore
the integration of sound and vision in the creation of
novel experiences.
Two shell structures are introduced into the existing space that divide the space programmatically,
and celebrate the spatial drama and verticality of the
Gothic structure. The two main spaces in the volume
are: i) a ground level that is an exhibition space for ambient sound and art installations and ii) an upper level
that is a theater for immersive audiovisual performances. These vaults are free-standing structures that leave the existing walls, vaults and roof-trusses intact.
46
Acoustically, the immersive theater’s volume has
been decreased to reduce reverberation time, so as to
cater for performances based on speech. It is shaped
to increase early reflections to the seats, creating
better acoustic performance. At the lower level, the
kaleidoscopic wall helps create a more diffuse sound
field for ambient sound works.
Visually, we propose the extensive use of curved
LED screens and LED nets for the upper immersive
theater and the use of projections for the lower ambient space. These are controlled digitally to coordinate visual spectacles with sound performances.
Honorary Mentions / 705323 / Jason Lim / Asami Takahashi / USA
47
Honorary
Mentions
013338 Maria Alejandre / David Esteegman
Ana Leon / Adriá Escolano / Luis Montoya / Spain / Germany
Spiderman is coming
Project, performance and design concept
Our initial concept was a variation or inversion of the
maritime theatre in Hadrian‘s Villa (Lazio), where the
audience moves around a series of central stages. This
configuration enabled productions of great complexity. We found this inversion of topics fascinating, and
decided to investigate a similar concept for St Anne’s
church. In our proposal, the centre-periphery duality takes on a slightly different form: we consider the
whole floor and the walls of the church as the stage,
and the void they define, the seating area. We would
propose applying a tinted (black) varnish on the walls,
as a reference to Prague’s well known “black theatre”.
Seats for the audience would actually be harnesses
hanging from cables, motorised so as to have three
48
degrees of movement in space, as well as the possibility of 360 degree rotation. The result would be
an extremely flexible performing arts venue, where
the audience could be situated at any height, position and orientation. This would enable productions
where the seats are concentrated around a particular
area, or dispersed throughout the church, taking maximum advantage of a difficult (annoyingly linear)
space. As for the fact of presenting a comic book presentation instead of a classical architectural one, we
just thought that the best way to investigate a space
designed to contain narratives would be to construct
one of our own.
Honorary Mentions / 013338 Maria Alejandre / David Esteegman
Ana Leon / Adriá Escolano / Luis Montoya / Spain / Germany
49
Honorary
Mentions
905416 / Hailey Boadway / Canada
The Crossroads Brewery
Catching the light, the clear golden amber colour and
creamy head beckons…
Inhale…
Whirl gently to release the floral aroma, raise the glass
to your mouth and inhale deeply. Relish for a moment
the aromas of fresh baguette, earthy hops and honeysuckle.
Savour…
And now it is time…
Slightly sweet, somewhat malty, the honey nut flavour sparkles on the tip of your tongue, and slides
into your mouth where tart citrus flavours and warm
caramel bitterness builds quickly before slipping
down your throat full of rich body, thoroughly refreshing...
And… the aftertaste… the sharp, distinct bitterness overlapping with caramelised sweetness lingers and develops on your palate.
Who could resist another tingle tongued deeply
gratifying swirl, savour and swallow when the first
was so superb?
Pilsner Urquell – the pure pilsner from Pilsen.
Don’t hurry. Drink deeply.
50
Honorary Mentions / 905416 / Hailey Boadway / Canada
51
Honorary
Mentions
040611 / Billy Guidoni / Delphine Borg / France
Indoor Storm Circus
St Anna’s church is part of the urban heritage of
Prague. It needs to continue to represent its history,
while serving a positive, modern function in today’s
context of urban sprawling.
As spectators have many entertainment options
to choose from, real-life shows of the new generation have to stimulate all senses to be attractive – with
sound, light, touch and space ; and the whole audience
has to become actor of the experience.
Indoor Storm Circus uses St Anna’s generous space
to allow for aerial spectacles, such as variations of trapeze, rope, equilibrists, or tightrope walkers : constant
motion and random animation are happening simultaneously, generated by the performance as well as
the audience moving three-dimensionally around it.
52
Indoor Storm Circus lets the audience interact
with the show, as its members become actors of the
performance and get to chose their own optimal
position individually, from lying on pillows on the
slopping ground below the performers, to flying and
feeling the dizziness above the show, comfortable in
the suspended pillows – and anything in between!
The pillows also serve as baffles to balance the very
high reflection of sound in St Anna.
The whole performance appears like snowflakes
moved by the wind - like an indoor storm.
Honorary Mentions / 040611 / Billy Guidoni / Delphine Borg / France
53
Honorary
Mentions
073459 / Natasha Desic / Sonja Egic / Nikolina Grbic
Ivana Đuric / Zvjezdana Amidžic / Bosnia Herzegovina
Touching the Sound
The aim of the idea for developing scenic design for
deaf people was to make the same space feel more
humanly, flexible in terms of design and use and to
neutralise the difference within people, especially for
those with special needs. This particularly takes into
account the interaction between the public and space,
enabling those that have difficulties with hearing to
experience the sound. In order to do this, a special
type of acoustic membrane was placed between the
general public and the source of the sound, where the
sound vibrations enable moving of that membrane.
This membrane is actually wrapped around the inside
walls of the church structure. Within existing loft, a
sub construction would be placed in terms of modular
fields within which sound system can be placed. The
elastic membranes would cover the sound system in
order for them to work.
54
The membrane covers the entire floor area and is also
tightened against the side walls of the structure, and
within some areas it starts becoming part of seating
or an actual stage, and is regulated by vertical movement of a sub construction and emphasised by
lighting. The mechanism that produces vibrations
is placed within corners of module sub construction
and is formed of magnets, electric wires providing
power, where changeable magnetic field forms moving the solenoid onto which the panel that vibrates
is fixed. This system is fixed onto the sound system.
In this way the music provides movement that audience not only can hear but can actually get a sense and feel of touching it. The modular fields of sub
construction map onto the ceiling also where they
are used for storing the reflectors as well as acoustic
speakers.
Honorary Mentions / 073459 / Natasha Desic / Sonja Egic / Nikolina Grbic
Ivana Đuric / Zvjezdana Amidžic / Bosnia Herzegovina
55
Selected
for Catalogue
and Exhibition
Selected for Catalogue and Exhibition / 254703 / Wladimir Mensing / Germany
56
57
Selected for Catalogue and Exhibition / 617491 / Doris Cole / Hal Goyette / USA
58
Selected for Catalogue and Exhibition / 315738 / Tim De Pessemier / Karel Bruyland / Belgium
59
Selected for Catalogue and Exhibition / 091184 / Beatrice Bonzanigo / Italy
60
Selected for Catalogue and Exhibition / 224417 / Daria Rashevskaya / Varvara Mikhelson / Russia
61
62
Selected for Catalogue and Exhibition / 356768 / Jana Petkovic / Žiga Misjak
Vesna Lenart / Aleksandra Rakinic / Slovenia
Selected for Catalogue and Exhibition / 698355 / Andrey Nekrasov
Aleksandr Tsibaikin / Oxana Klimacheva / Russia
63
Selected for Catalogue and Exhibition / 523623 / German Tortora / Felipe Reyno / Uruguay
64
Selected for Catalogue and Exhibition / 170687 / Maria Alves / Portugal
65
All 185 entries of the
8th OISTAT Architecture
Competition
185 individuals, teams of students and young professionals
took on the challenge of making
a proposal for St. Anna.
185 concepts arrived before
the deadline.
Of these 185 concepts, only 20
were selected, which means that
164 concepts were not in the running for the prize.
However, TAC 2011 would not
have been complete without these entries. Many thanks to all of
their creators with deep respect
for the work they put in.
001337
001984
010387
012558
013338
Hannes Karlsson
Rodrigo Phenix
Anna Kolmakova
Obi Okoye
Maria Alejandre
Sweden
Belgium
Russia United Kingdom
David
Esteegman
Ana Leon
Adria Escolano
Luis Montoya
Spain
021270
022606
023925
030583
020183
Miguel Blasco Martin Ionathan Lazovski
Kelly RussoAdriana VazquezNinoslav Ilic
Argentina
Slobodan Gelic
Ben Elliott
Israel
USA
Dejan Stanisljevic
United Kingdom Bosnia Hercegovina
030786
030709
031111
036772
040611
Katarzyna Miller
Marion Lacroix
Maclain Schramm
Merav Albocher
Billy Guidoni
Tomasz Jasiak
Stefano Cerolini
Richard DeRicco
Israel
Delphine Borg
Piotr Dobrowolski
France/Italy
USA
France
Poland
66
67
042327
050612
050687
Chung-Wei Lee
Hye Won Do
Julia Schlune
Kuo-lun Wei
Hey Jund Moon
Germany
Yu-hsiang Lin
Hye Mi Lee Taiwan
South Korea
052580
060711
Jessica CoburnAngel Martinez
Canada
Augustin Prebisch
USA
111111
102938 105189
110310
110390
Michael Fung
Carolina Mellado
Kareem Nems
Tadashi Saito
Yury Tsintsevich
Pepe Niemeijer
Canada
Mohammed Srag
Hidenori Izumi
Polina Semernikova
Sweden
Mohammed Hassan
Masataka Hashimoto
Ivan Sosnin
Egypt
Japan
Eleja Zubaydullina
Natasha Kosenko
Russia
061636
061827
071278
071421
073459
Vincent Beaudoin
Aneta Kramer
Hina SajjadTilmann Winter
Natasa Desic
Micheline Dufour
Germany
United Kingdom Germany
Sonja Egic
Canada
Nikolina Grbic
Ivana Duric
Zvjezdana Amidzic
Bosnia Hercegovina
111222
111521
112233
Jullie Daysh
Bekim Aliji
Kuan-Ting Lin
Kelly Silver
Karl Oscarsson Ciao-Rong Li
New Zealand
Sweden
Zih-Syuan Ye
Yu-Ming Jhang
Zih Ling Wei
Taiwan
091184
100219
081182
Beatrice BonzanigoKyung Jae Kim
Rotem Tauber
Italy
Hoang Nguyen
Israel
Hyoju Lim
Kyunghwan Jin
Chiehwan Sung
USA
123321
123581
John Lillie
Amok Architektures
Wu Zhao
Wiliam Hayet
Brett van Emden
Linda Coret
Yan LuoThierry Verdier
Australia Hugo
Tessonnieres
France
68
101543
102227
Olga Shamaeva
Jelena Smiljanic
Alexey Shamaev
Dragana Savic
Russia
Sanja Glamocak
Maja Gavric
Bosnia Hercegovina
121872
120210
Sarah KraheOldrich Navratil
Radovan Zelik Germany
Czech republic
130508
126141
126263
Fajer WennerbergJoyce ChanMario van Megen
Jaron Agelink Sweden
Canada
The Netherlands
69
130581
135779
140324 143104
152805
Thomas Wegener
Gautier BaurZuzanna Ernst
Nuria Mantblanch
Alexey Vorobyev
Jeanne Wellinger
France
Anna Kokowaska
Rose Plotek
Russia
Switzerland
Anais Meon
UK/Canada
Austria
188305
191280
191709
197276
197359
Joannie Brouillard
Emmy van EijkUros Micic
Bahar Seirafi Tang Doudou
Marie-Pier Dubreuil
The Netherlands Nenad Stankovic
United Kingdom
Zhang Ying
Canada
Igor Stegic
Shi Qianlan
Serbia
Sun Dongping China
156029
160408
161756
164032
168168
Laurene Bachand
Lia Silva
Jowita AdamczykJean-Francois Bolduc Jyun-Chen Huang
Maxime Riopel
Davide Roth Poland
Frederick St-GermainYu-Hsuan Lin
Canada
Portugal/Italy Canada
Fen-Yuam
Duh
Chun-Tin Sing
Chia-Sheng Hong
Taiwan
201102
198219
198612
199508
200281
Wang yi-Hua
Juan Pablo Gaitan
Etienne Dion
David AloniRoland Pouw
Alain-Celest de Buck
Lee Wei-Kang
Carlos Urrego
Mathieu St-Amant
Israel
Timo Van de Ven
Taiwan
Felipe Rodríguez
Canada
The Netherlands Santiago Buendía
Andrea Salas
Colombia
170687
172027
Maria Alves
Ariane
Portugal
Lourie Harrison
Seth Harrison
Matt Persinger
Serra Kiziltan
Cory Collmann
USA
203106
215933
203205
212311
212324
Caroline Geffriaud
Son Insung
Cyrille Rochambeau Lars SterzelMaude Pichette
Jean-Sébastien
Janie Lacoursiere
Deok-Ju Choi
Nadia Benzerara
Germany
Canada
Lebreton
Youn-Soek Hwang
Herizo
Charles
So-Yeon Kim
Randrianarison
Mariambourg
Man-Yeon Han
France
France
South Korea
70
186367
178602
180587
Evija LibazeMarta Alonso VillanúaMichal Macuda
Czech republic
Latvia
Sweden
71
269255
261495
264514
Bárbara Palacios
Sabine Priglinger
Alejandro Gutiérrez
Marta Niño Saco
Boris Murnig
Valeria Matayoshi
Spain
Germany
Argentina
224417
230281
230585
232798
233582
Daria Rashevskaya
Shoval OmerFriedrich FischerTilmann GraupnerMartina Pokorna
Varvara Mikhelson
Israel
Germany
Germany
Milan Pokorny
Russia
Ivan Prochazka
Klara Volakova
Czech republic
260288
260884
Nina PotapovaAna Altberg, Beni
Goltsman Barzellai,
Georgia
Guilherme Barcellos
Lozinsky, Mariana
Magalhães Costa
Brazil
234619
237124
Olivier De Wispelaere Laurent Blondeau
Gregoire Fettweis
Maria
Anne Mager
Anastasia Kefalaki
Nemo Welter
Julia Henning
Belgium
da Silva
France
280981
300201
281156
281206
294759
Ana Luisa MouraEleftherios
Weronika KierszstejnAnis PaeglitisLo Chun Yip Yufa
The Netherlands
China
Eleftheriadis
Poland
Latvia
Greece
239879
240827
241330
Yalin HuTim Caldera
Kanchan Quinlan
China
Ashini de Alwis
Canada
Dave Gonzales Australia
244069
254703
250625
250690
251525
Simon Tsing
Jana Culek
Lauren Broeren
Noa MaitityahouWladimir Mensing
Swan Mok
Germany
Marija Horvat
Tom Jones
Israel
Canada
Dora Jerbic
Karolina Bartkowicz Croatia
Dean Lau Tim Ling
Australia
72
312762
314159
302703
303751
308125
Martyna Zdrojewska
Liberty Cherney
Don Hee KimIlana PracJames Goldberg
Israel
Maz Staruch
Poland
Israel
Australia
Georg Price
United Kingdom
73
366278
314159
377952
315738
356768
Avital Marmelstien
Kai-Luen Shiau
Welland Sin
Tim De Pessemier
Jana Petkovic
Israel
Chen Hsiu HaoKarel Bruyland Andrew Chau
Ziga Misjak
Taiwan
Young Alana
Belgium
Vesna Lenart
Canada
Aleksandra Rakinic
Slovenia
480141
493736
497048
Christoff Oltmann
Alexis Dornier
Yi-Ching Kuo
Germany
Elisabeth Krasner
Ya-Wan Song
Ilija Bentschneff
Yi-Ting Kuo
Germany
Yi Jyun Dai
Yao-Song Tsai
Taiwan
400004
382563
385678
387618
394141
Sophie Norris
Scott Turner
Aleksandr Karpov
Sam Conckie
Pedro Aibeo
New Zealand
Andy Yoonyoung Oh
Roman Kuzmich
Lejla Kebic
Rolf Kruse
Canada
USA
Emma Parkinson
Germany/Oman
Australia
612094
526551
545418
552223
611522
Tane Um
May MakiaDaniela Dimitrovska Andrey Nekrasov
Elena Lioubachevski
Canada
Canada
Sofija Ristevska
Aleksandr
Tsibaikin Canada
FYR Macedonia
Daria Lyalyaeva
Andrey Yanshin
Russia
444444
443749
402190
423212
433327
Caspar Maria
Jeongheok Seo
Min-jung Kim
Elisavet Antapassi
Enca Chan
Changdae Choi van der Zanden
Chang-yeon Pyo
Eftihis Efthimiou
Kristi Williams
The Netherlands
South Korea
Eui-man Hong Thodoris KittasCharlie Du
South Korea
Greece
Tony Tian
Australia
654321
617491
646464
620910
653871
Marc Roca
Doris Cole
Jussi Ukkonen
Szu-Chun Lin
Nikola Milanovic
Enric Dulsat
Hal Goyette
Finland
Chao-Jung Chen
Nastasja Mitrovic
Pol Jorda
USA
Taiwan
Jelena Stambolic
Mar Roca
Serbia
Spain
74
523623
520829
Labo B
Wie-Yang Hsu
German Tortora
Taiwan
Felipe Reyno Uruguay
75
658032
663399
666666
Hanako Matsukawa
Aleksandr Karpov
Hui Wen Lin
Japan
USA
Yu-Chia Lui
Shang-Jie Gao
Syuan-Ci Kuo
Yong-Han Chou
Taiwan
698355
705323
Andrey Nekrasov
Jason Lim
Aleksandr Tsibaikin Asami Takahashi
Oxana Klimacheva
USA
Russia
790509
Hui-Wen Lin
Bo-Yi Lou
Jian-Nan Cai
Pei-Shan Yu
Wen-Ling Xie
Taiwan
827882
808873
820505
821821
Joao Cortesao
Tom WaubenAdrienn Rokosni
Valeriy Moor
Carolina Fillippini
The Netherlands Atilla Kiss-Gazda
Alexey Gavrilov
Ines Jorge
Hungary
Ekaterina Demina
Portugal/
Alena Komarova
United Kingdom/
Russia
Czech
718170
741962
725831
732146
735112
Golnaz Karimi Antoine Allorent
Hanson Mak
Chelsea ChanAna MC Gowan
Canada
New Zealand
Laurence Leroy
Canada
Canada
Julie De Legge
Juliana Gancalves
France
830924
847729
Yi-Ling Wu
Marco Ceballos
Yu-Shian Lin
Mexico
Hung-Lin Peng
Ying-Chen Lin
848484
850830
861206
Wu Yi
Vance Fok
Natalie Bondar
China
Canada
Israel
756134
763463 780917
Claudio Esposito
Jin-Kam Park
Hui-Wen Lin
Davide Luca
South Korea
Pei-Yin Lin
Agostino Maiurano
Sin Yi Su
Luca Bellentani
Na-Yi Chu
Guiseppe Di Fazio
Hsin-Chiang Chou
Italy
Taiwan
861629
881221
Luisa Tavares
JinYong Chun
Sabina Moutinho
JiHee Choi
Portugal
SeongWoo Han
YeRim Choi
SangEun Jo
South Korea
889225
890420
890924
Henning Hille Ning Fei Goa
Krista Smith
Germany
Canada
Canada
76
781220
790202
Hui-Wen Lin
Hui Wen Lin
Jui-Lin Tseng
Stang-Lin Jhao
Jia-Hong Jhu
Sheng-Mao Huang
Yi-Cian
Chia-Chun Su
Yu-Fan
Niu
Jing-Yu Jhu
Taiwan
Taiwan
Hung-Chi Huang
Pei Jyun Liou
Wei-Jheng Li
South Korea
77
902100
905416
911305
925525
934627
Stephen Baron
Hailey Boadway
Natalia ReisigKatharina ThilYang Yuzheng
Sorayos
Canada
Germany
Germany
China
Chuenchomphu
Deane Madsen
USA
Fc707200 HA46EX OX1827
Pei-Shan Hsieh
Tim RowsonYoung Min Koo
Yi-Wen Chen
Canada
Deok Ki Hong
Wei Tse Shih
Ik Soo Jang
Mu-Huan Hsieh
Jung Suk Kim
Chin Wen Chin
Hyung Suk Seo
Taiwan
Yuna So
Ki Seok Choi
Cho rok Kim
Eun Gyung Shin
South Korea
X3B7UL
SUKOR6
Melanie Barey
Chihchena Su
Maxime Perrin
Yungchung Kang
Magali Gueraud
Yulun Chien
Germain Morisseau
Chingcheng Lai
Gregoire Ferrand
Taiwan
Jean-Jacques Barey
Romain Barreau
France
939881
995111
941356
962586
Dajana RokvicLewis Moore
Carlos Campos
Sarosh Mulla
978354
Bosnia Hercegovina
Jasmine
Placentino
Patrick Loo
Richarda HelmesYamila Zynda Aiub
Alix Griffeth
Argentina
New Zealand
Germany
Australia
0SGBIM33005U
a2euse
997997
B77M22
Maja Dilas
Ashley Eusebio
Kyle ReichJung Dae Park
Bassam Daoud
Seong Yun Choi
Srdan Susnica
Canada
USA
Canada
Jin Kyu Lim
Bosnia Hercegovina
Korea
78
79
Jury Meeting Impressions
80
81
Colophon
Sponsors
OISTAT Architecure Commission
working group competition
Tim Foster, United Kingdom
Reinhold Daberto, Germany
Jur y
Iain Mackintosh
Mónica Raya
Martien van Goor
Taesup Lee
Virginia J W Ross
This is a publication of
OISTAT Architecture Commisson
ROFITEC
Graphic Design
Jörg Wilhelm, Germany
Maschinen- und Anlagenbau GmbH
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price of catalogue
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82
BÜHNENPLANUNG
WALTER KOTTKE
INGENIEURE
GMBH
Organisation Internationale des Scénografes,Techniciens et Architectes de Théâtre
International Organization of Scenographers, Theatre Architects and Technicians
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