1

8th
OISTAT
Theatre
Architecture
Competition
2011
2 3
OISTAT is:
OISTAT, Organisation Internationa-
le des Scnographes, Techniciens et
Architectes de Thtre (International
Organisation of Scenographers, The-
atre Architects and Technicians), is
the world-wide parent organization
for Scenographers, theatre techni-
cians, theatre educators and archi-
tects.
It was founded in 1968 with 8 mem-
ber countries.
The mission of OISTAT is:
To stimulate the exchange of ideas
and innovations, and to promote
international collaboration in pro-
fessions which support live perfor-
mance.
To promote the formation of centres
in each country in order to achieve
these aims.
To encourage life-long learning
among live performance practitio-
ners.
To respect the integrity of all cul-
tures and celebrate the diversity as
well as the similarities of those who
work in support of live performance.
OISTAT is a co-operative, non-govern-
mental organization and has three
categories of membership: OISTAT
Centres, Individual members and
Associate members. Currently OIS-
TAT 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 orga-
nization are undertaken by the com-
missions. They work in the following
elds:
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.
Content:
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
5
8th OISTAT Theatre Architecture
Competition 2011 The Brief
4
where the character of the original building contributes
signicantly 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, Architec-
tureCommissioner 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 specta-
cles, uid technologies and uncontainable bodies. So what role
does the auditorium nowplay other than forcing us to perform
as well-behaved spectators? If we acknowledge that architec-
ture 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 dened
by the competitor. This may be a conventional perfor-
mance or something more experimental, using a ran-
ge of media and technologies.
In this way it is hoped to encourage a deeper un-
derstanding of the relationship between the perfor-
mance 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 reect the cultural ethos of the 21st cen-
tury and whether performances in our time are best
housed in purpose designed theatres or can take ad-
vantage of more open, fexible 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 conti-
nue to choose to visit live performances, despite the
overwhelming amount of digital entertainment now
available to them. Central to this is the sense of com-
munity provided by a shared experience. In this way
the TAC will underpin the central theme of PQs The-
atre Architecture Exhibition, exploring the question
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, Techni-
cians 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 in-
ternational exhibition of scenography and theatre ar-
chitecture, 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 buil-
dings, there is increasing interest amongst theatre
practitioners in the use of existing buildings and set-
tings, 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 thea-
tres are also created by converting existing buildings,
Tradition is of the utmost importance if you are in
the business of bringing together an actor, or a whole
fock of that species, with hopefully more than one
spectator, attracted by the unpredictable those actors
promise to oer. Sometimes this business means cre-
ating 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 practiti-
oners to create a basis where students and young pro-
fessionals can discover the complexity and exciting
particularities related to the challenge of designing
theatres.
OISTAT Arch Com is proud to present this catalo-
gue showcasing the results of the 8th Theatre Archi-
tecture Competition, held in 2011.
Displayed are the achievements born of the hard
work of 185 competitors, students, young professio-
nals 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 competitions subject, but also the location for ex-
hibiting some of the best work during PQ 2011.
Previous competitions addressed urbanistic que-
stions, technical aspects, the relationship between ac-
tors and audience.
This time, a found space like St. Anna with its unu-
sual 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 in-
teract and be stimulated by accepting, refusing, de-
nying or arranging oneself with a found? - space as it
is. To show that sometimes no theatre building is nee-
ded 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 compe-
tition 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, compa-
ring, discussing and nally 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 exhibiti-
on in Prague.
The Chair of the OISTAT Architecture Commission
Reinhold Daberto
Preface
6 7
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. Annas will be available
to download from the TAC home page on the OISTAT
website before the ocial start of the competition.
(see Competition Rules, item 8)
Key Issues
Successful performance spaces have some very parti-
cular requirements, which competitors are expected
to understand and explore in order to create an en-
vironment in which the unique interaction between
audience, artists and technology, which constitutes a
live performance, can ourish. Some key issues to be
considered are set out below:
AudienceCohesion
The way in which an audience is arranged, in relation
to the performance, plays a key role in creating a suc-
cessful 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 dierent 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. Com-
petitors 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 suciently
close to the performers to distinguish their gestures
and appreciate the scenic or architectural space they
occupy. There are many dierent ways in which this
can be achieved, depending upon the type of perfor-
mance and the conguration of the space, but the es-
sential principles are constant.
Acoustics
Good hearing is as important as good seeing. Die-
rent performance types require dierent acoustic con-
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 prece-
dents 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 competiti-
on and there is no intention to build the winning entry.
Competitors are therefore encouraged to make propo-
sals which are didactic, innovative and experimental.
Collaborations between architects and other the-
atre practitioners such as directors, designers, techni-
cians, actors, dancers, musicians, or students in those
elds, will be welcomed.
The Site
The site for the competition is Prague Crossroads, for-
merly St Annas church, which will also be the site of
the Architecture Section at PQ 2011.
St. Annas 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 dierent cultural inuences, intersec-
ting in Prague over the centuries. St. Annas is there-
fore a space with a high cultural signicance, 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 set-
ting and a prominent place within this prestigious in-
ternational 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
Competition
Rules and
Conditions
1. TheArchitectureCommission of OISTAT
(the International Organisation of Scenographers,
Theatre Technicians and Theatre Architects) is pro-
moting 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, desig-
ners, technicians, actors, dancers, musicians, or stu-
dents in those elds, 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 ocial start of the
competition.
2. Documents to be Submitted
2.1 Drawing requirements
a Plans of each level, at least two sections and im-
portant 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 perfor-
mance or several performances.
d Site plan to a scale of 1/500
e Models cannot be accepted, although photo-
graphs 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 submit-
ted in pdf format at 300 dpi resolution). The docu-
8th OISTAT Theatre Architecture
Competition 2011 The Brief
ditions to be best appreciated. Speech, for instance,
requires a less reverberant environment than that re-
quired for un-amplied music. Where a space is to be
used for a range of dierent 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. Annas is a church with a high rever-
beration time, caused by its large volume, and this is-
sue will need to be considered. Recorded or live sound
eects 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 ligh-
ting, projection and sound systems and mechanical
systems, which are used to suspend or move scenery
or to reconfgure 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 bet-
ween the performance and the architecture is a key
aim of the competition. The design may be specic to
a single performance, a particular performance type or
a range of dierent 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 accommoda-
tion will be constrained by the existing building, the
site and the performance type but the following re-
quirements 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 (ligh-
ting, sound, mechanical systems).
Accommodation for performers.
Safe evacuation of all occupants in an emergency.
Access for people with disabilities.
8 9
3.4 Entries must be despatched by mail on or before
11 March 2011. Late entries will not be considered.
Entries will be disqualifed if the postmark is dated
after 11 March 2011.
Entries must be received at the address given un-
der item 3.6, no later than 25 March 2011. Compe-
titors 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 fgure code no. to identify their pay-
ment. 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
Augustenstrae 59
D-80333 Mnchen
Germany
Entries must bear the six-fgure code as mentioned un-
der 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-fgure codes of all received entries will be
published on OISTATs website when the entry fee
has been paid.
4. Prizes
4.1 The rst prize will be 5,000, the second prize will
be 2,500 and the third prize will be 1,000. The-
re 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 Annas
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 copy-
right of the participants.
6. Acceptance of Conditions
6.1 By submitting an entry, participants or participa-
ting teams will: a agree to the rules and regulati-
ons 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 fnal.
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 diferent continents, plus one other expe-
rienced theatre practitioner.
7.2. In case of the absence of a juror, OISTAT will as-
sign another qualied person as a member of the
jury.
7.3 The jury will produce a report explaining the rea-
sons for its decisions and commenting on the pri-
ze-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 exhibi-
tion 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 Qu-
adrennial 2011, after which distribution will be by
way of the OISTAT Centres or via the internet.
7.7 OISTAT will oer the results of the competition
to the press (publications covering theatre design
and architecture)
8. Time schedule
1 July 2010
Ocial start of the competition Brief and Conditions
posted on the OISTAT Website and notication sent to
OISTAT Centres and schools of
architecture.
1 October 2010
Final date for questions. Questions can be submitted
by email to tac2011@oistat.org. Questions received af-
ter this date will not be considered. Answers to que-
stions 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
Notifcation of the prize-winners.
16-26 June 2011
Exhibition of prize-winning and selected entries at the
Prague Quadrennial.
17 June 2011
Ocial announcement and prize-giving at the Archi-
tecture Section of The Prague Quadrennial to be held
at Prague Crossroads.
Copyright: OISTAT 2010
Competition Rules
and Conditions
ment itself and the pdf le will be identied by a
random six-fgure code (e.g. 123456/dwg.pdf)
b A short written description of the project, the per-
formance 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 docu-
ment. The document and the pdf le will be iden-
tifed by a random six fgure code (e.g. 123456/text.
doc)
c Both the drawing and text documents and the
les containing them are to be identied 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 fgure 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 inten-
tion that the winning entry will be built.
2.4 Entries will not be returned by OISTAT. Competi-
tors 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
TAC2011@oistat.org Questions should be written
in English and must be received no later than 1 Oc-
tober 2010.
3.3 The answers to the questions will be posted on
the Website from 1 November 2010.
10 11
927 Czech Prince Vclav founds
St. Lawrences church
1112th century, construction of the Romanesque
rotunda of St. Lawrence
1232 Templars settle at St. Lawrences
1312 Knights of Malta buy the church
1313 Dominican nuns from St. Annes
convent in jezd circa 1360
1372 Eastern chancel keystone is laid after 1372
Tebo altar Master paints murals in the
presbytery
15th cent. The only Prague church not to be
afected by the Hussite wars.
1553 historian Vclav Hjek of Liboany
is buried in the church crypt
1616 the church is reconstructed due
to Queen Annes eforts
1676 the nuns chancel is newly constructed
1727 the interior stucco decorations
are nished
1782 the convent church is abolished and
deconsecrated under Joseph II
Brief history
of the church and Prague Crossroads
1795 printer Jan Ferdinand of Schnfeld
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 fnds the church
and considers its reconstruction
1998 the Foundation conducts renovation of
the church
1999 the Dagmar and Vclav Havel Foundation
VIZE 97 rents the church from the National
Theatre for 99 years
1999 the church reconstruction begins according to
architect Eva Jiins plan; the removal of the
modern plaster layers from the church walls
is started; rst uncovering of the fresco paintings
12 13
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St.Anna Prague
ground floor level
2010-06-30
scale 1:100
and restoration of the church walls
2000 expert discussion with conservationists about
the fnal version of the project
2001 reconstruction of the eastern wall; use of electro-
osmosis for dehumidication 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
of a service walkway in the truss, restoration
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 oor, reconstruction of the
part of the cloister used as the churchs
rear area
2004 installation of the altar picture Adriena
imotovs drawings the Ecstatic Hero;
restoration of the frescoes
2004 (5 Oct ) the PRASK KIOVATKA spiritual
cultural centre starts activity by awarding
the Dagmar and Vclav Havel Foundation
VIZE 97 Prize to Professor Petr Vopnka
concerts by Magdalena Koen and Iva Bitov,
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 rm TRADICE
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 Vclav Havel
Foundation VIZE 97 Prize is awarded to
Professor Philip G. Zimbardo
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 rst
production of the Prospect Theatre
Company which he ran until 1973 ta-
king 75 productions to 125 theatres in
21 countries including those at Bra-
tislava and Vienna in 1969.
This experience led to designing
theatrespace for Theatre Projects
Consultants for which he was De-
sign Director for thirty years. He col-
laborated with architects and colle-
agues on many new theatrespaces:
from the Cottesloe at Britains
National Theatre (1977) to Glyn-
debourne (1994); from the Orange
Tree Richmond London(1991) to the
Martha Cohen Calgary (1985); from
the Founders Theatre Lenox Mas-
sachusetts (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 The-
atre Architecture at Prague in 1995.
His publications include Actor, Au-
dience and Architecture published
in 1993 by Routledge.
Iain Mackintosh took part in six
PQs between 1976 and 2007. In 1995
he was the frst 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 ve of the re-
cent 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.
Mnica Raya
Scenographer born in Mexico City,
Mnica Raya attended her frst
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
The
OISTAT
Jury
2011
for the Gala Hispanic Theatre.
Back in Mexico in 1995, she be-
came a full-time professor at the
National Autonomous Univer-
sity of Mexico and has designed
sets, costumes and lights for more
than a 100 productions in more
than 30 dierent venues. She has
been awarded the Beca para Jve-
nes creadores en diseo escnico
199697,the Distincin Universidad
Nacional 2000 para Jvenes acad-
micos 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 Hel-
sinki and her design work will be
seen again at the next Prague Qua-
driennale 2011.
Martien van Goor
born 1944, graduate of Amsterdam
Academy of Architecture, mana-
ging partner of Greiner Van Goor
Huijten Architecten bv. The ofce
specializes in theatres, museums,
buildings for (mental) healthcare,
schools, oces, interior design and
feasibility studies. Examples of his
work are: renovation / restauration
plus new stage house for the Royal
Carr Theatre Amsterdam, theatre
De Spiegel, Zwolle, feasability stu-
die for centre for the performing
and visual arts IJmuiden, Isalathe-
atre / musical school Capelle aan
den IJssel, renovation municipal
theatre Venray, renovation and ex-
pansion of the Van Gogh Museum
Amsterdam, renovation and ex-
pansion of the Royal Museum of
Antiquities Leiden, Academic Psy-
chiatric Centre Amsterdam, renova-
tion and expansion nH Grand Hotel
Krasnapolsky Amsterdam, renova-
tion De Volharding oce building
The Hague, lay-out exhibition Van
Gogh and Gauguin, lay-out Miho-
exhibition in Leiden.
He is currently working on the de-
sign 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 (Ro-
yal Institute of Dutch Architects),
OISTAT and member of the recom-
mending 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 Hu-
ijten Architecten, see www.gghar-
chitecten.nl
Taesup Lee
born 1954. South Korea. Scenogra-
pher, Theatre Consultant.
Education: 1989, MFA in Design,
Graduate School of Brooklyn Col-
lege of the City University of New
York. 1985, MA in Scene Design , Ga-
duate 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,
20072010, Chairman of Education
Aair of Yongin University, 2011,
South Korea.
Projects: Theatre Consultant; 2006
2010, Gangdong Arts Center,
20092010, Arts Hall of Anyang Arts
High School, 2005, Sadari Arts Cen-
ter.
2004, Renovation of Mary Hall at
Seogang University.
2004, Sangmyong Art Hall. 2004,
Chunggang Small Theatre in Chung-
gang College. 2002, Latt Childrens
Theatre.
Scenographer: Over 200 Productions
with Oedipus Rex of National Thea-
tre, 2011, Syrano de Bergerac of My-
ongdong Art Theatre, 2010. Giselle of
Seoul Ballet Theatre, 2009.
Virginia J W Ross
1991 Registered Architect, Ar-
chitects 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, 19942000
RAIA Victorian Chapter Councillor,
19921994
RMIT Architectural Design Lectu-
rer, 198889, 2004
Williams Ross Architects: Mana-
ging Director and Design Manager
2007, Director 1992
Virginia specialises in cultural/per-
forming arts design, working pri-
marily in the pre-design and early
design phases. Williams Ross Ar-
chitects 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, Dande-
nong: AIA Victorian Chapter Award
Public Architecture, 2007
Iain Mackintosh Mnica Raya Martien van Goor Taesup Lee Virginia J W Ross
14 15
17
A preliminary discussion examined
the design competition Brief and its
requirements. These included the
Provocation by Architecture Com-
missioner Professor Dorita Hannah
with its suggestions of dynamic,
spatial performance. A key consi-
deration was that competitors were
asked to design a theatre space for
a particular type of performance,
whether temporary or permanent.
Submissions therefore had to de-
ne their chosen performance type
and demonstrate their response
to it, the audience experience and
functional requirements specic to
that performance event. Discussion
explored recent performance expe-
The
OISTAT
Jury Report
2011
riences of the jury which contrasted
considerably with traditional per-
formance and media.
The proposed jury agenda was
discussed and the assessment pro-
cess for the rst round was agreed.
The jury then visited St Annas
Church and tried to deduce the
history of the building and its fea-
tures. An historical summary listed
key events in the former Churchs
life while a display of renovation
photos helped discern original fab-
ric and recent additions.
In the frst day the jury viewed
all submissions via a set of DinA3
colour prints identied only by
number. Digital projection with a
higher resolution was available on
request. In later rounds shortlis-
ted schemes were viewed and dis-
cussed by the whole jury together
with digital projection of the sub-
missions and their texts.
On the frst 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.
16
Argentina 3
Australia 7
Austria 1
Belgium 3
Bosnia Herzegowina 5
Brazil 1
Canada 26
China 5
Columbia 1
Croatia 1
Czech Republic 3
Egypt 1
Finland 1
France 8
France/Italy 1
Macedonia 1
Georgia 1
Germany 15
Germany/Oman 1
Greece 2
Hungary 1
Israel 10
Jury
Process
On Monday 4th April the ve jury members and two administrators met for the rst time, in Prague.
185 entries were received from 44 dierent countries.
Italy 2
Japan 2
Latvia 2
Mexico 1
New Zealand 4
Poland 4
Portugal 1
Portugal/Italy 1
Portugal/UK/Czech Rep 1
Russia 8
Serbia 2
Slovenia 1
South Korea 10
Spain 3
Sweden 5
Switzerland 1
Taiwan 15
The Netherlands 6
UK/Canada 1
UK 5
Uruguay 1
USA 11
18 19
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 fve jurors then se-
lected 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 inclu-
ded in the reduced eld. This resul-
ted in 20 remaining schemes.
It was then agreed that the pri-
ze winners and honorary mentions
merit awards would be chosen from
these 20 submissions and that all
20 nalists would be included in
the Exhibition and Catalogue. In
the third stage, on 6 April, the jury
reviewed and discussed the merits
of all 20 schemes. At the conclusi-
on of this each jury member chose
their preferred 6 schemes. This re-
sulted in a short-list of 11 submis-
sions which had received one or
more votes.
These votes were collated and re-
sulted 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
fve 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 submis-
sions emerged with substantial
support. A discussion of the six
schemes ensued in which the jury
sought prize-winners representing
a balance of the dierent design ap-
proaches.
Considering the six fnalists,
unanimous agreement was reached
for the rst and second prize win-
ners from the four most supported
schemes. Given the degree of sup-
port for the remaining four sche-
mes, the jury agreed by consensus
to have two equal third prizes and
two equal fourth prizes. This repre-
sented a reallocation of the six pri-
zes stated within the competition
rules.
Honorary Mentions were then
identied from the 20 nalists for
their unique qualities as proposed
by jurors.
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
OISTAT Jury Report 2011
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
Jury
Competition
Overview
These 20 nalists
The 8th OISTAT Theatre Architec-
ture Competition was centred on a
particular building. Previous briefs
called for new buildings that ex-
pressed a theme and that fullled
specic 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 com-
petition were introduced by the
chosen building, St Annas, situa-
ted 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 in-
trusive interventions, such as the
introductions of many oors for ni-
neteenth century printing presses,
have been stripped out leaving only
a mezzanine on ve baroque vaults
within this otherwise empty Gothic
space. The walls show traces of suc-
cessive incarnations of this sacred
building.
This volume measures 9.5 met-
res wide, 43 metres long and 17 me-
tres high to the underneath of the
transverse beams of the timber pit-
ched roof.
While some competitors were
able to visit St. Annas, this was of
only limited advantage; the jury
found on their visit that the experi-
ence of this long, narrow and high
volume conrmed 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.
The approach of the 185 entrants
could be categorised as follows:
Introduction of one or more self-
contained structures to create per-
formance spaces more manageab-
le than the whole volume of over
6,500 cubic metres.
Expansion of the building out-
wards, so as to provide more con-
ventional performance spaces, or
upwards to further emphasise the
height of St Annas, presently 29
metres from the oor to the ridge
of the roof.
Insertion of horizontal galleries
to create large performance spaces
which celebrate all or most of the
volume and which oer large the-
atrical opportunities.
Introduction of labyrinths within
the volume that take the visitor
on a journey.
Or, a combination of the above.
St Annas, not surprising for the
character of a building that has
seen centuries of religious celebra-
tions which are no more, is myste-
rious. The jury was delighted by the
many imaginative responses to this
enigmatic quality. They also noted
that the most successful reconcili-
ations of the fabric of the past with
the purpose of their individual pro-
posals depended on keeping struc-
tural intervention to a minimum.
20 21
OISTAT Jury Report 2011
Jury
Citations
First Prize
Entry 741962 A State of Decay
The proposal creates a fexible per-
formance space, inspired by a con-
temporary performance company.
A three storey scaolding is erec-
ted within and parallel to St Annas
walls. The audience become par-
ticipants in the spectacle, moving
within the temporary, changeable
and tenuous galleries.
St Annas is left essentially un-
changed, although experienced in
an entirely new way.
The extraordinarily evocative
drawings portray a space full of the
mystery and decay of an old buil-
ding 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 provoca-
tion.
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 bey-
ond 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 inten-
ded to make the cocoon visible. A
glass stair tower in the courtyard
provides access and signals the per-
formance 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 acou-
stically contained volume and crea-
tes a dramatic tension between the
old church and the new insertion.
The sculptural forms and sen-
suous winding journey animates St
Annas even when performance is
not occurring.

Third Prize Equal
Entry 237124 CrossingRoads
Theatre
The proposal divides St Annas un-
equally between four spaces. The
rst is created by enclosing the
vault with a deepened oor to make
a small auditorium. The second is a
full height galleried auditorium in
the choir. The third is an informal
caf bar on the upper oor, 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 crea-
tes dierent performance spaces
which would allow a wide range of
activities. The main galleried cour-
tyard successfully uses both the
linearity and verticality of the chur-
ch. 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 Annas over three levels
and a variety of potential zones for
performance, with the audience ar-
ranging 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
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 evo-
kes great atmosphere with minimal
intervention.
Fourth Prize Equal
Entry 188305 Do MoreWith Less
The proposal divides St Anna into
three spaces while providing for
ancillary facilities in adjacent buil-
dings. 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 pro-
vides vertical access. A wall divides
St Annas to create a second variab-
le format dance space on the upper
oor, with a further balcony of au-
dience 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 Li-
liova Street.
This proposal creates a perfor-
mance centre with clarity and simp-
licity within the wider setting of the
St Annas monastery. It demonst-
rates an excellent understanding
of conventional performances and
creates three quite dierent and
successful spaces. The double heli-
cal stair celebrates the verticality of
St Annas.
Fourth Prize Equal
Entry 995111 The Building Sound
300 pipes of varying sizes are inserted
into the church; artists and audien-
ces 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 fexible, mounded carpet on
the upper oor invites occupants to
lounge during performances and vi-
sits. A small four sided performance
pit is recessed into the choir oor.
Viewing platform balconies are inser-
ted 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 instru-
ment by means of a sensual, mini-
mal intervention.
Honorary Mention
Entry 705323 Sight of Sound
This scheme envisions spaces for
very particular audio-visual perfor-
mances. The volume of the church
is clearly divided into 3 main spaces:
a foyer gallery opening to the out-
doors; 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 architec-
tural intervention. The humorous
graphics suggest the audience can
move in three dimensions in han-
ging seats within a blackened space.
The proposal could attract new au-
diences to innovative live perfor-
mance.
Honorary Mention
Entry 905416 TheCrossroads
Brewery
The proposal conceives St. Anna
as a brewery and drinking place,
where the performance is provided
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 ex-
perience is convincingly conveyed.
Honorary Mention
Entry 040611 Indoor Storm
Circus
An audience lies on bean bags on
the dished ground oor, while abo-
ve an aerial audience is suspended
in a variety of congurations.
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 suspen-
ded.
Honorary Mention
Entry 073459 Touching
the Sound
This proposal is uniquely directed
at people with diering hearing
abilities. The audience sits on a
membrane which transmits the
sounds of performers or the sound-
track through vibrations.
This is an imaginative scheme
which uses the entire space and has
the potential to develop new possi-
bilities of sound design.
22 23
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 connes of the traditio-
nal stage in the hope to oer a more dynamic environ-
ment for the performer and spectator to engage.
This design oers a exible performance space for
the contemporary Italian performance company So-
cietas Raaello Sanzio. Considering the essential re-
lationship between performance and site this design
is concerned with the restoration and conservation of
Saint Annas and conditions of deterioration and phy-
sical decay.
As the architecture we encounter continues to de-
cay we erect scaold towers to hold the walls in place.
A citys story magnies the walls, revealing frescos in
the cracks where the paint and plaster begin to peel.
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 ux is reected in the perfor-
mative 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 con-
dition of a building in slow decay is a transformation
through a series of physical states.
Our recognition of an ideal state is demonstra-
ted by our practice of conservation and restoration,
which are dedicated maintaining a buildings origi-
nal privileged state.
This design attempts to encourage the audience
themselves to be spectacle, it considers the relation-
ship between the architecture and its audience, both
as an active presence that contributes the atmosphe-
re and spatial dynamic.
741962 / Ana Mc Gowan / New Zealand
A State of Decay
1. Prize / 741962 / Ana Mc Gowan / New Zealand
1. Prize
24 25
1. Prize / 741962 / Ana Mc Gowan / New Zealand
26 27
The lot is located virtually in downtown Prague, in the
ancient St Annes church. The church has long been
Pragues cultural centre, and the contests task inclu-
des modernization, renovation and an eort to nd a
new way to use the churchs 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 co-
coon 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, rst of all, this is
quite an old church where the original frescos have re-
mained 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 func-
tional sense.
By embedding the new volume we make it pos-
sible 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, rst through the arch you see the apse of the ca-
thedral 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 subsidia-
ry 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 citys sky-
line. The illuminated tower attracts people signalizi-
ng that The show is about to start!. The performan-
ces can be held at the square in front of the tower.
552223 / Andrey Nekrasov / Aleksandr Tsibaikin
Daria Lyalyaeva / Andrey Yanshin / Russia
Cocoon
2. Prize / 552223 / Andrey Nekrasov / Aleksandr Tsibaikin
Daria Lyalyaeva / Andrey Yanshin / Russia
2. Prize
28 29
2. Prize / 552223 / Andrey Nekrasov / Aleksandr Tsibaikin
Daria Lyalyaeva / Andrey Yanshin / Russia
31 30
3. Prize / 237124 / Laurent Blondeau / Maria Anastasia Kefalaki
Julia Henning da Silva / France
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 dierent points of view
inuencing him.
The rooms, with their architectural characteristics
reinforced, are organized for each and every dierent
encounter between the audience and the comedians.
Under the vaulting, the characters share a me-
mory; 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 nd 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.
237124 / Laurent Blondeau / Maria Anastasia Kefalaki
Julia Henning da Silva / France
CrossingRoads Theatre
3. Prize
32 33
3. Prize / 237124 / Laurent Blondeau / Maria Anastasia Kefalaki
Julia Henning da Silva / France
35 34
The distinction between audience and performance
is entirely constructed, and as such is recongurable.
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:
Enhancement 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 com-
pelling form of performance. The narrative format al-
lows the performers to step away from singular tricks
and into a story telling roles through dance, gymnas-
tics and dialogue.
The ramp structure is conceived as performers
formed from a nomex bre honeycomb, suspended
using steel saddles.
The divide between the audience and the per-
former 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 choreo-
graphed performance through discussions with ac-
robatic characters and actors embedded within the
audience. The performers are given live feedback,
driving specic audience relationships that provide
the opportunity for intimate communication of the-
mes.
This project does not address all issues of theatre
design but instead proposes an reconguring of the
audiences role within acrobatic theatre.
962586 / Sarosh Mulla / Patrick Loo / New Zealand
Theatre for Acrobatics
3. Prize / 962586 / Sarosh Mulla / Patrick Loo / New Zealand
3. Prize
36 37
3. Prize / 962586 / Sarosh Mulla / Patrick Loo / New Zealand
38
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 au-
dience and performance spaces is reminiscent of the
initial two-stage construction of the church. Three
areas were built in dierent spaces: a multi-functional
hall under the vaults, a recongurable space currently
dedicated to the dance show Spillout (where dan-
cers 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 transpa-
rency allows the rediscovery of the churchs facade.
All new interventions were guided by a module, in-
spired by the dimensions of the courtyards rectan-
gular windows, and those interventions are die-
rentiated from the existing ones through the use of
contemporary materials.
188305 / Joannie Brouillard / Marie-Pier Dubreuil / Canada
Do more with less
4. Prize / 188305 / Joannie Brouillard / Marie-Pier Dubreuil / Canada
39
4. Prize
4. Prize / 188305 / Joannie Marie-Pier / Brouillard Dubreuil / Canada
40 41
42
Our project turns St. Annes 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, sup-
ported by a random LED lighting system attached to
the metal pipes.
A Glass Roof allows us to admire the original woo-
den 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 dierent diameters and lengths, allow several
performances. Artists, schools, people, will interact
with this huge new musical instrument.
b. The Lighthouse. We replace the opaque roof with a
new transparent lass surface. To do so, daylight en-
ters the space gently. At night, the Old Church beco-
mes a lighthouse.
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 artists
performance as well.
d. Multi propose hall. As the scale of the Sound Inter-
vention (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 exible new to-
tal space.
e. Occupation. On the rst oor, a exible resilient
carpet (with no individual seats), allows a relaxed
occupation during performances and visits.
995111 / Carlos Campos / Yamila Zynda Aiub / Argentina
The Building Sound
Random Lighting and Resonance
4. Prize / 995111 / Carlos Campos / Yamila Zynda Aiub / Argentina
43
4. Prize
4. Prize / 995111 / Carlos Campos / Yamila Zynda Aiub / Argentina
44 45
46 47
Honorary Mentions / 705323 / Jason Lim / Asami Takahashi / USA
THE SIGHT OF SOUND re-imagines St.Annas 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 exis-
ting 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 am-
bient sound and art installations and ii) an upper level
that is a theater for immersive audiovisual performan-
ces. These vaults are free-standing structures that lea-
ve the existing walls, vaults and roof-trusses intact.
Acoustically, the immersive theaters volume has
been decreased to reduce reverberation time, so as to
cater for performances based on speech. It is shaped
to increase early reections to the seats, creating
better acoustic performance. At the lower level, the
kaleidoscopic wall helps create a more diuse sound
eld 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 am-
bient space. These are controlled digitally to coordi-
nate visual spectacles with sound performances.
705323 / Jason Lim / Asami Takahashi / USA
The Sight of Sound
Where Sound and Vision come together
Honorary
Mentions
Honorary Mentions / 013338 Maria Alejandre / David Esteegman
Ana Leon / Adri Escolano / Luis Montoya / Spain / Germany
49 48
Our initial concept was a variation or inversion of the
maritime theatre in Hadrians Villa (Lazio), where the
audience moves around a series of central stages. This
conguration enabled productions of great complexi-
ty. We found this inversion of topics fascinating, and
decided to investigate a similar concept for St Annes
church. In our proposal, the centre-periphery duali-
ty takes on a slightly dierent form: we consider the
whole oor and the walls of the church as the stage,
and the void they dene, the seating area. We would
propose applying a tinted (black) varnish on the walls,
as a reference to Pragues well known black theatre.
Seats for the audience would actually be harnesses
hanging from cables, motorised so as to have three
degrees of movement in space, as well as the pos-
sibility of 360 degree rotation. The result would be
an extremely exible performing arts venue, where
the audience could be situated at any height, positi-
on and orientation. This would enable productions
where the seats are concentrated around a particular
area, or dispersed throughout the church, taking ma-
ximum advantage of a dicult (annoyingly linear)
space. As for the fact of presenting a comic book pre-
sentation 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.
013338 Maria Alejandre / David Esteegman
Ana Leon / Adri Escolano / Luis Montoya / Spain / Germany
Spiderman is coming
Project, performance and design concept
Honorary
Mentions
50 51
Honorary Mentions / 905416 / Hailey Boadway / Canada
Catching the light, the clear golden amber colour and
creamy head beckons
Inhale
Whirl gently to release the oral aroma, raise the glass
to your mouth and inhale deeply. Relish for a moment
the aromas of fresh baguette, earthy hops and honey-
suckle.
Savour
And now it is time
Dont hurry. Drink deeply.
Slightly sweet, somewhat malty, the honey nut a-
vour sparkles on the tip of your tongue, and slides
into your mouth where tart citrus avours and warm
caramel bitterness builds quickly before slipping
down your throat full of rich body, thoroughly re-
freshing...
And the aftertaste the sharp, distinct bitter-
ness overlapping with caramelised sweetness lin-
gers and develops on your palate.
Who could resist another tingle tongued deeply
gratifying swirl, savour and swallow when the rst
was so superb?
Pilsner Urquell the pure pilsner from Pilsen.
905416 / Hailey Boadway / Canada
The Crossroads Brewery
Honorary
Mentions
Honorary Mentions / 040611 / Billy Guidoni / Delphine Borg / France
52 53
St Annas church is part of the urban heritage of
Prague. It needs to continue to represent its history,
while serving a positive, modern function in todays
context of urban sprawling.
As spectators have many entertainment options
to choose from, real-life shows of the new generati-
on 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 Annas generous space
to allow for aerial spectacles, such as variations of tra-
peze, rope, equilibrists, or tightrope walkers : constant
motion and random animation are happening simul-
taneously, generated by the performance as well as
the audience moving three-dimensionally around it.
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 ying and
feeling the dizziness above the show, comfortable in
the suspended pillows and anything in between!
The pillows also serve as baes to balance the very
high reection of sound in St Anna.
The whole performance appears like snowakes
moved by the wind - like an indoor storm.
040611 / Billy Guidoni / Delphine Borg / France
Indoor Storm Circus
Honorary
Mentions
Honorary Mentions / 073459 / Natasha Desic / Sonja Egic / Nikolina Grbic
Ivana uric / Zvjezdana Amidic / Bosnia Herzegovina
54 55
The aim of the idea for developing scenic design for
deaf people was to make the same space feel more
humanly, exible in terms of design and use and to
neutralise the dierence within people, especially for
those with special needs. This particularly takes into
account the interaction between the public and space,
enabling those that have diculties 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
elds within which sound system can be placed. The
elastic membranes would cover the sound system in
order for them to work.
The membrane covers the entire oor 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 mo-
vement 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 eld forms mo-
ving the solenoid onto which the panel that vibrates
is xed. This system is xed onto the sound system.
In this way the music provides movement that au-
dience not only can hear but can actually get a sen-
se and feel of touching it. The modular elds of sub
construction map onto the ceiling also where they
are used for storing the reectors as well as acoustic
speakers.
073459 / Natasha Desic / Sonja Egic / Nikolina Grbic
Ivana uric / Zvjezdana Amidic / Bosnia Herzegovina
Touching the Sound
Honorary
Mentions
Selected for Catalogue and Exhibition / 254703 / Wladimir Mensing / Germany
56 57
Selected
for Catalogue
and Exhibition
58 59
Selected for Catalogue and Exhibition / 315738 / Tim De Pessemier / Karel Bruyland / Belgium Selected for Catalogue and Exhibition / 617491 / Doris Cole / Hal Goyette / USA
Selected for Catalogue and Exhibition / 224417 / Daria Rashevskaya / Varvara Mikhelson / Russia
60 61
Selected for Catalogue and Exhibition / 091184 / Beatrice Bonzanigo / Italy
Selected for Catalogue and Exhibition / 698355 / Andrey Nekrasov
Aleksandr Tsibaikin / Oxana Klimacheva / Russia
62 63
Selected for Catalogue and Exhibition / 356768 / Jana Petkovic / iga Misjak
Vesna Lenart / Aleksandra Rakinic / Slovenia
65 64
Selected for Catalogue and Exhibition / 170687 / Maria Alves / Portugal Selected for Catalogue and Exhibition / 523623 / German Tortora / Felipe Reyno / Uruguay
001337
Hannes Karlsson
Sweden


001984
Rodrigo Phenix
Belgium


010387
Anna Kolmakova
Russia


012558
Obi Okoye
United Kingdom


013338
Maria Alejandre
David Esteegman
Ana Leon
Adria Escolano
Luis Montoya
Spain
020183
Kelly Russo
USA

021270
Adriana Vazquez
Argentina

022606
Ninoslav Ilic
Slobodan Gelic
Dejan Stanisljevic
Bosnia Hercegovina


023925
Miguel Blasco Martin
Ben Elliott
United Kingdom


030583
Ionathan Lazovski
Israel

030709
Marion Lacroix
Stefano Cerolini
France/Italy


030786
Katarzyna Miller
Tomasz Jasiak
Piotr Dobrowolski
Poland


031111
Maclain Schramm
Richard DeRicco
USA

036772
Merav Albocher
Israel



040611
Billy Guidoni
Delphine Borg
France


66 67
All 185 entries of the
8th OISTAT Architecture
Competition
185 individuals, teams of stu-
dents 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 run-
ning for the prize.
However, TAC 2011 would not
have been complete without the-
se entries. Many thanks to all of
their creators with deep respect
for the work they put in.
042327
Chung-Wei Lee
Kuo-lun Wei
Yu-hsiang Lin
Taiwan

050612
Hye Won Do
Hey Jund Moon
Hye Mi Lee
South Korea

050687
Julia Schlune
Germany
052580
Jessica Coburn
Canada
060711
Angel Martinez
Augustin Prebisch
USA


68
061636
Vincent Beaudoin
Micheline Dufour
Canada

061827
Aneta Kramer
Germany


071278
Hina Sajjad
United Kingdom

071421
Tilmann Winter
Germany

073459
Natasa Desic
Sonja Egic
Nikolina Grbic
Ivana Duric
Zvjezdana Amidzic
Bosnia Hercegovina

081182
Rotem Tauber
Israel


091184
Beatrice Bonzanigo
Italy

100219
Kyung Jae Kim
Hoang Nguyen
Hyoju Lim
Kyunghwan Jin
Chiehwan Sung
USA
101543
Olga Shamaeva
Alexey Shamaev
Russia
102227
Jelena Smiljanic
Dragana Savic
Sanja Glamocak
Maja Gavric
Bosnia Hercegovina


102938
Carolina Mellado
Canada

105189
Kareem Nems
Mohammed Srag
Mohammed Hassan
Egypt

110310
Tadashi Saito
Hidenori Izumi
Masataka Hashimoto
Japan

110390
Yury Tsintsevich
Polina Semernikova
Ivan Sosnin
Eleja Zubaydullina
Natasha Kosenko
Russia

111111
Michael Fung
Pepe Niemeijer
Sweden

111222
Jullie Daysh
Kelly Silver
NewZealand


111521
Bekim Aliji
Karl Oscarsson
Sweden

112233
Kuan-Ting Lin
Ciao-Rong Li
Zih-Syuan Ye
Yu-Ming Jhang
Zih Ling Wei
Taiwan

120210
Sarah Krahe
Germany


121872
Oldrich Navratil
Radovan Zelik
Czech republic


123321
John Lillie
Wu Zhao
Brett van Emden
Yan Luo
Australia

123581
Amok Architektures
Wiliam Hayet
Linda Coret
Thierry Verdier
Hugo Tessonnieres
France
126141
Fajer Wennerberg
Sweden
126263
Joyce Chan
Canada

69
130508
Mario van Megen
Jaron Agelink
The Netherlands


130581
Thomas Wegener
Jeanne Wellinger
Switzerland

135779
Gautier Baur
France

140324
Zuzanna Ernst
Anna Kokowaska
Anais Meon
Austria

143104
Nuria Mantblanch
Rose Plotek
UK/Canada


152805
Alexey Vorobyev
Russia


156029
Laurene Bachand
Maxime Riopel
Canada

160408
Lia Silva
Davide Roth
Portugal/Italy

161756
Jowita Adamczyk
Poland

164032
Jean-Francois Bolduc
Frederick St-Germain
Canada

168168
Jyun-Chen Huang
Yu-Hsuan Lin
Fen-Yuam Duh
Chun-Tin Sing
Chia-Sheng Hong
Taiwan
170687
Maria Alves
Portugal

172027
Ariane
Lourie Harrison
Seth Harrison
Matt Persinger
Serra Kiziltan
Cory Collmann
USA
178602
Evija Libaze
Latvia
180587
Marta Alonso Villana
Sweden

188305
Joannie Brouillard
Marie-Pier Dubreuil
Canada

191280
Emmy van Eijk
The Netherlands

191709
Uros Micic
Nenad Stankovic
Igor Stegic
Serbia

197276
Bahar Seira
United Kingdom


197359
Tang Doudou
Zhang Ying
Shi Qianlan
Sun Dongping
China

198219
Wang yi-Hua
Lee Wei-Kang
Taiwan

198612
Juan Pablo Gaitan
Carlos Urrego
Felipe Rodrguez
Santiago Buenda
Andrea Salas
Colombia

199508
Etienne Dion
Mathieu St-Amant
Canada


200281
David Aloni
Israel

201102
Roland Pouw
Alain-Celest de Buck
Timo Van de Ven
The Netherlands


203106
Caroline Geriaud
Jean-Sbastien
Lebreton
Charles
Mariambourg
France

203205
Son Insung
Deok-Ju Choi
Youn-Soek Hwang
So-Yeon Kim
Man-Yeon Han
South Korea

212311
Cyrille Rochambeau
Nadia Benzerara
Herizo
Randrianarison
France

212324
Lars Sterzel
Germany

70 71
215933
Maude Pichette
Janie Lacoursiere
Canada

186367
Michal Macuda
Czech republic


224417
Daria Rashevskaya
Varvara Mikhelson
Russia

230281
Shoval Omer
Israel

230585
Friedrich Fischer
Germany

232798
Tilmann Graupner
Germany

233582
Martina Pokorna
Milan Pokorny
Ivan Prochazka
Klara Volakova
Czech republic


234619
Olivier De Wispelaere
Gregoire Fettweis
Anne Mager
Nemo Welter
Belgium

237124
Laurent Blondeau
Maria
Anastasia Kefalaki
Julia Henning
da Silva
France
239879
Yalin Hu
China

240827
Tim Caldera
Ashini de Alwis
Dave Gonzales
Australia

241330
Kanchan Quinlan
Canada

244069
Simon Tsing
Swan Mok
Canada

250625
Jana Culek
Marija Horvat
Dora Jerbic
Croatia

250690
Lauren Broeren
Tom Jones
Karolina Bartkowicz
Dean Lau Tim Ling
Australia

251525
Noa Maitityahou
Israel

254703
Wladimir Mensing
Germany

260288
Ana Altberg, Beni
Goltsman Barzellai,
Guilherme Barcellos
Lozinsky, Mariana
Magalhes Costa
Brazil
260884
Nina Potapova
Georgia

261495
Sabine Priglinger
Boris Murnig
Germany

264514
Alejandro Gutirrez
Valeria Matayoshi
Argentina

269255
Brbara Palacios
Marta Nio Saco
Spain

280981
Ana Luisa Moura
The Netherlands


281156
Eleftherios
Eleftheriadis
Greece

281206
Weronika Kierszstejn
Poland

294759
Anis Paeglitis
Latvia

300201
Lo Chun Yip Yufa
China

302703
Martyna Zdrojewska
Poland

303751
Liberty Cherney
Israel

308125
Don Hee Kim
Australia

72 73
312762
Ilana Prac
Israel

314159
James Goldberg
Maz Staruch
Georg Price
United Kingdom


314159
Kai-Luen Shiau
Chen Hsiu Hao
Taiwan

315738
Tim De Pessemier
Karel Bruyland
Belgium

356768
Jana Petkovic
Ziga Misjak
Vesna Lenart
Aleksandra Rakinic
Slovenia

366278
Avital Marmelstien
Israel

377952
Welland Sin
Andrew Chau
Young Alana
Canada

382563
Scott Turner
Andy Yoonyoung Oh
Canada

385678
Aleksandr Karpov
Roman Kuzmich
USA

387618
Sam Conckie
Lejla Kebic
Emma Parkinson
Australia

394141
Pedro Aibeo
Rolf Kruse
Germany/Oman

400004
Sophie Norris
NewZealand

402190
Min-jung Kim
Chang-yeon Pyo
Eui-man Hong
South Korea

423212
Elisavet Antapassi
Eftihis Efthimiou
Thodoris Kittas
Greece

433327
Enca Chan
Kristi Williams
Charlie Du
Tony Tian
Australia

443749
Jeongheok Seo
Changdae Choi
South Korea

444444
Caspar Maria
van der Zanden
The Netherlands

480141
Christo Oltmann
Germany

493736
Alexis Dornier
Elisabeth Krasner
Ilija Bentschne
Germany

497048
Yi-Ching Kuo
Ya-Wan Song
Yi-Ting Kuo
Yi Jyun Dai
Yao-Song Tsai
Taiwan
520829
Wie-Yang Hsu
Taiwan

523623
Labo B
German Tortora
Felipe Reyno
Uruguay

526551
May Makia
Canada


545418
Daniela Dimitrovska
Soja Ristevska
FYR Macedonia

552223
Andrey Nekrasov
Aleksandr Tsibaikin
Daria Lyalyaeva
Andrey Yanshin
Russia

611522
Elena Lioubachevski
Canada


612094
Tane Um
Canada

617491
Doris Cole
Hal Goyette
USA

620910
Szu-Chun Lin
Chao-Jung Chen
Taiwan

653871
Nikola Milanovic
Nastasja Mitrovic
Jelena Stambolic
Serbia

75 74
654321
Marc Roca
Enric Dulsat
Pol Jorda
Mar Roca
Spain

646464
Jussi Ukkonen
Finland

663399
Aleksandr Karpov
USA
666666
Hui Wen Lin
Yu-Chia Lui
Shang-Jie Gao
Syuan-Ci Kuo
Yong-Han Chou
Taiwan
698355
Andrey Nekrasov
Aleksandr Tsibaikin
Oxana Klimacheva
Russia

705323
Jason Lim
Asami Takahashi
USA

718170
Golnaz Karimi
Canada

725831
Antoine Allorent
Laurence Leroy
Julie De Legge
Juliana Gancalves
France

732146
Hanson Mak
Canada

735112
Chelsea Chan
Canada


827882
Joao Cortesao
Carolina Fillippini
Ines Jorge
Portugal/
United Kingdom/
Czech
830924
Marco Ceballos
Mexico

847729
Yi-Ling Wu
Yu-Shian Lin
Hung-Lin Peng
Ying-Chen Lin
Hung-Chi Huang
Pei Jyun Liou
Wei-Jheng Li
South Korea


848484
Vance Fok
Canada

850830
Natalie Bondar
Israel

76 77
741962
Ana MC Gowan
NewZealand

756134
Claudio Esposito
Davide Luca
Agostino Maiurano
Luca Bellentani
Guiseppe Di Fazio
Italy
763463
Jin-Kam Park
South Korea

780917
Hui-Wen Lin
Pei-Yin Lin
Sin Yi Su
Na-Yi Chu
Hsin-Chiang Chou
Taiwan
781220
Hui-Wen Lin
Jui-Lin Tseng
Jia-Hong Jhu
Yi-Cian
Yu-Fan Niu
Taiwan
790509
Hui-Wen Lin
Bo-Yi Lou
Jian-Nan Cai
Pei-Shan Yu
Wen-Ling Xie
Taiwan
808873
Tom Wauben
The Netherlands

820505
Adrienn Rokosni
Atilla Kiss-Gazda
Hungary

821821
Valeriy Moor
Alexey Gavrilov
Ekaterina Demina
Alena Komarova
Russia

790202
Hui Wen Lin
Stang-Lin Jhao
Sheng-Mao Huang
Chia-Chun Su
Jing-Yu Jhu
Taiwan

861206
Wu Yi
China

861629
Luisa Tavares
Sabina Moutinho
Portugal

881221
JinYong Chun
JiHee Choi
SeongWoo Han
YeRim Choi
SangEun Jo
South Korea

889225
Henning Hille
Germany

890420
Ning Fei Goa
Canada

890924
Krista Smith
Canada

658032
Hanako Matsukawa
Japan

905416
Hailey Boadway
Canada

911305
Natalia Reisig
Germany

925525
Katharina Thil
Germany

934627
Yang Yuzheng
China

939881
Dajana Rokvic
Bosnia Hercegovina


941356
Lewis Moore
Jasmine Placentino
Alix Grieth
Australia

962586
Sarosh Mulla
Patrick Loo
NewZealand


978354
Richarda Helmes
Germany

X3B7UL
Melanie Barey
Maxime Perrin
Magali Gueraud
Germain Morisseau
Gregoire Ferrand
Jean-Jacques Barey
Romain Barreau
France


Fc707200
Pei-Shan Hsieh
Yi-Wen Chen
Wei Tse Shih
Mu-Huan Hsieh
Chin Wen Chin
Taiwan
HA46EX
Tim Rowson
Canada

OX1827
Young Min Koo
Deok Ki Hong
Ik Soo Jang
Jung Suk Kim
Hyung Suk Seo
Yuna So
Ki Seok Choi
Cho rok Kim
Eun Gyung Shin
South Korea
SUKOR6
Chihchena Su
Yungchung Kang
Yulun Chien
Chingcheng Lai
Taiwan

B77M22
Bassam Daoud
Canada

79 78
995111
Carlos Campos
Yamila Zynda Aiub
Argentina

997997
Kyle Reich
USA

0SGBIM
Jung Dae Park
Seong Yun Choi
Jin Kyu Lim
Korea

33005U
Maja Dilas
Srdan Susnica
Bosnia Hercegovina

a2euse
Ashley Eusebio
Canada

902100
Stephen Baron
Sorayos
Chuenchomphu
Deane Madsen
USA

Jury Meeting Impressions
80 81
82
Colophon Sponsors
OISTAT Architecure Commission
working group competition
Tim Foster, United Kingdom
Reinhold Daberto, Germany
JURY
Iain Mackintosh
Mnica Raya
Martien van Goor
Taesup Lee
Virginia J W Ross
This is a publication of
OISTAT ArchitectureCommisson
Graphic Design
Jrg Wilhelm, Germany
Printed by
Mayer & Shne, Germany
price of catalogue
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