8th OISTAT THEATRE facilities of a theatre, they can make up for

ARCHITECTURE COMPETITION this through the atmosphere provided by the

2011 special character of the place, its interaction
with the performance and the opportunity to
Introduction explore less conventional forms of
The OISTAT Theatre Architecture presentation. Many new theatres are also
Competition (TAC) is an international ideas created by converting existing buildings,
competition, aimed at students and emerging where the character of the original building
practitioners, which is organised every four contributes significantly to the special
years by the Architecture Commission of atmosphere, and provides a sense of
OISTAT (International Organisation of continuity with the past.
Scenographers, Technicians and Theatre
Architects). These are the basic themes to be explored
For more information on the activities of in this competition.
OISTAT please see:
http://www.oistat.org Provocation by Professor Dorita Hannah,
Architecture Commissioner for PQ 2011
We are pleased to announce the launch of
the next TAC, to be completed in 2011. "The auditorium is often considered a static
object designed to contain performance. But
Selected entries of TAC are exhibited and performance cannot be contained... it
cash prizes awarded at the Prague exceeds architecture, especially in this age
Quadrennial (PQ) the major international of media spectacles, fluid technologies and
exhibition of scenography and theatre uncontainable bodies. So what role does the
architecture, which takes place every 4 years auditorium now play other than forcing us to
in Prague in the Czech Republic. The next perform as well-behaved spectators? If we
PQ is due to take place in June 2011. acknowledge that architecture itself
It is considered by many to be the most performs, as space-in-action, then perhaps
important theatre design event in the world. we can explore new strategies for
For more information please see: experiencing live performance as a more
http://www.pq.cz dynamic, creative and communal spatial
event."
Competition Theme for TAC 2011
The Brief / Overview
Most spaces for the performing arts (drama,
music theatre, dance, concerts and other Competitors are asked to design a theatre
forms) are housed in specialized buildings, space for a particular type of performance,
built for the purpose. which must be defined by the competitor.
This may be a conventional performance or
While there will always be a need for these something more experimental, using a range
buildings, there is increasing interest of media and technologies.
amongst theatre practitioners in the use of
existing buildings and settings, which are not In this way it is hoped to encourage a deeper
purpose built theatres, to present understanding of the relationship between
productions. These settings, sometimes the performance itself and the space, which
known as 'found space', can often provide a it inhabits.
unique atmosphere, which resonates with a
particular production or style of presentation, The aim is to create a space, which supports
in a way that may not be possible in a the chosen type of performance in the best
conventional theatre. While these spaces possible way. It should explore how a
may lack the technical infrastructure and performance space could be designed to

OISTAT Theatre Architecture Competition TAC 2011 / page 1 of 6

 st
reflect the cultural ethos of the 21 century which will also be the site of the Architecture
and whether performances in our time are Section at PQ 2011.
best housed in purpose designed theatres or
can take advantage of more open, flexible St. Anna's is an important landmark in the
settings, to meet the needs of artists and cultural heritage of Prague and is a protected
respond to an increasingly global information building. It was originally built as a gothic
culture. church, and has since been adapted to other
uses.
In particular, competitors should attempt to
answer the question on why people continue It is now used as a cultural centre in Prague,
to choose to visit live performances, despite which is owned by The National Theatre,
the overwhelming amount of digital and is operated under the title of 'Prague
entertainment now available to them. Central Crossroads' by The Dagmar and Vaclav
to this is the sense of community provided by Havel Foundation VIZE 97, to promote the
a shared experience. crossroads of different cultural influences,
intersecting in Prague over the centuries.
In this way the TAC will underpin the central
theme of PQ´s Theatre Architecture St. Anna's is therefore a space with a high
Exhibition, exploring the question - cultural significance, acting as a focus for
“Now / Next - Performance Space at the cultural forces in Prague.
Crossroads”
The prize winning entries and a selection of
For more information please see: other entries will be exhibited in the building,
http://www.pq.cz/en/architecture.html during PQ 2011, giving them a special
resonance with their setting and a prominent
This is a competition to create and design a place within this prestigious international
place for a particular type of performance exhibition.
and competitors are encouraged to inform
themselves of the precedents and needs of Competitors are invited, at their own cost, to
their selected performance type. visit Prague during PQ 2011 to experience
the architecture exhibition and see the real
Competitors can choose whether to work site. Visitors will also have the opportunity to
with the existing building or to propose a new participate in design workshops on theatre
design on the site. They can choose to architecture and other related topics, which
design either a permanent building or a will be organized during PQ 2011, as part of
temporary installation. This is an ideas the event. Further details of events will be
competition and there is no intention to build available later on the PQ website.
the winning entry. Competitors are therefore
encouraged to make proposals which are Drawings and photos of St. Anna's will be
didactic, innovative and experimental. available to download from the TAC home
page on the OISTAT website before the
Collaborations between architects and other official start of the competition. (see
theatre practitioners such as directors, Competition Rules, item 8)
designers, technicians, actors, dancers,
musicians, or students in those fields, will be Key Issues
welcomed. Successful performance spaces have some
very particular requirements, which
The Site competitors are expected to understand and
The site for the competition is Prague explore in order to create an environment in
Crossroads, formerly St Anna's church, which the unique interaction between
audience, artists and technology, which

OISTAT Theatre Architecture Competition TAC 2011 / page 2 of 6

constitutes a live performance, can flourish. and music will also play an important role in
Some key issues to be considered are set many productions.
out below:
Technical Requirements
Audience Cohesion Most performances rely upon some form of
The way in which an audience is arranged, stage technology to facilitate them. This
in relation to the performance, plays a key includes stage lighting, projection and sound
role in creating a successful atmosphere systems and mechanical systems, which are
where audiences feel engaged by the used to suspend or move scenery or to
performance and performers can reconfigure the room. Provision for these
communicate well with them. How does this systems needs to be integrated into the
relationship work and what factors are at design and must be accessible and safe to
play in a successful performance space? use.
This can take many different forms but the
key is maintaining an appropriate human Interpretation
scale where a performer can command a The style and type of performance and the
whole audience. To achieve this the way it uses a particular space to interpret a
audience must be as close as possible to the particular piece or to tell a story, including
performance and be able to see and hear the use of lighting, sound and scenography,
well. Competitors are asked to highlight how is a key consideration.
their entries will support this essential
relationship. The Purpose
You must state what type of performance(s)
Sightlines the design will be used for. Establishing a
To see well the audience must be arranged clear link between the performance and the
so they can all see the performance. Not architecture is a key aim of the competition.
only must their view be free of obstructions, The design may be specific to a single
but they must also be sufficiently close to the performance, a particular performance type
performers to distinguish their gestures and or a range of different uses. Drawings of the
appreciate the scenic or architectural space theatre space should illustrate how it will be
they occupy. There are many different ways used for a performance.
in which this can be achieved, depending
upon the type of performance and the Accommodation
configuration of the space, but the essential The size of the theatre space and other
principles are constant. accommodation will be constrained by the
existing building, the site and the
Acoustics performance type but the following
Good hearing is as important as good requirements need to be considered:
seeing. Different performance types require
different acoustic conditions to be best • A space for a live performance with an
appreciated. Speech, for instance, requires a audience, either sitting or standing.
less reverberant environment than that • Facilities for the audience, including
required for un-amplified music. Where a toilets and the sale of tickets, food and
space is to be used for a range of different drink.
performance types some means of varying • Technical installations for the
the acoustic may be necessary. The acoustic performance (lighting, sound, mechanical
of a room is determined by its shape, volume systems).
and materials. St. Anna's is a church with a • Accommodation for performers.
high reverberation time, caused by its large • Safe evacuation of all occupants in an
volume, and this issue will need to be emergency.
considered. Recorded or live sound effects • Access for people with disabilities.

OISTAT Theatre Architecture Competition TAC 2011 / page 3 of 6

 Competition Rules and Conditions
a A single panel at AO size (1189 x
1. The Architecture Commission of OISTAT 841 mm / 46.81 x 33.11 inches) in
(the International Organisation of vertical (portrait) format submitted in pdf
Scenographers, Theatre Technicians format at 300 dpi resolution). The
and Theatre Architects) is promoting an document itself and the pdf file will be
international ideas competition in a identified by a random six-figure code
single stage, open to architects and (e.g. 123456/dwg.pdf)
students of schools of architecture.
Collaborations between architects and b A short written description of the project,
other theatre practitioners such as the performance to be housed and an
directors, designers, technicians, actors, explanation of the design concept
dancers, musicians, or students in those (maximum 200 words). The text will be
fields, will be welcomed. Architects or incorporated on the panels but must also
students associated with members of the be submitted separately as an A4 size
jury are not permitted to enter. Jury Word document. The document and the
members will be announced on the pdf file will be identified by a random six
OISTAT website before the official start figure code (e.g. 123456/text.doc)
of the competition.
c Both the drawing and text documents
2. Documents to be Submitted and the files containing them are to be
identified by a code of six numbers to be
2.1 Drawing requirements chosen at random by the competitor(s),
appearing in the top right hand corner of
a Plans of each level, at least two sections each document,10mm high.
and important elevations to a scale of
not less than 1/100. d A completed entry form in Word format,
including the same code no. as in para
b three-dimensional images of the building 2.2 (c) above. The entry form can be
and the theatre space. downloaded from the OISTAT website.
In cases where competitors form a team,
c Auditorium studies showing it in use for all collaborators must be named.
a performance or several performances. Information provided here will be used in
all publications, so please double check
d Site plan to a scale of 1/500 spelling!

e Models cannot be accepted, although e A closed envelope containing the

photographs of models can be included. completed entry form with the same six
figure code (e.g. 123456) on the outside.
f Drawings and text documents must not
carry any means of identifying the f All text is to be in English.
entrant(s) apart from the code number
referred to in para 2.2 (c) below. Advisory
Competitors are reminded that if their
2.2 Competition entries may only be entries are selected for publication, they
submitted on a CD-ROM which should may be reduced, in whole or in part, to
be clearly labelled with the code A4 size or smaller. Competitors should
number, both on the CD and its cover. check their layout and line weights on a
printer to ensure the quality of printing, if
Every entry shall compromise an selected for the exhibition or catalogue.
electronic copy of the following:

OISTAT Theatre Architecture Competition TAC 2011 / page 4 of 6

2.3 This is an ideas competition and there is Competitors should send their entries to
no intention that the winning entry will be this address free of fees for the recipient:
built.
Theater Projekte
2.4 Entries will not be returned by OISTAT. Daberto + Kollegen
Competitors should retain copies of their Augustenstraße 59
work. D-80333 München
Germany
3. Competition Schedule
Entries must bear the six-figure code as
3.1 The competition documents and mentioned under 2.2 c on the outside of
conditions will be available from 1 July the envelope and the words 'TAC 2011,
2010 on the OISTAT Website: not to be opened before 25 March 2011'
www.oistat.org/content.asp?path=c1qgp8ps
3.7 The six-figure codes of all received
3.2 Competitors questions of can be sent by entries will be published on OISTAT’s
email to TAC2011@oistat.org website when the entry fee has been
Questions should be written in English paid.
and must be received no later than 1
October 2010. 4. Prizes

3.3 The answers to the questions will be 4.1. The first prize will be €5,000, the second
posted on the Website from 1 November prize will be €2,500 and the third prize
2010. will be €1,000. There will be three
additional prizes of €500 each. In
3.4 Entries must be despatched by mail on addition to these prizes, there will be
or before 11 March 2011. Late entries honourable mentions. The jury reserves
will not be considered. the right to modify the distribution of
• Entries will be disqualified if the prize money, within the same total
postmark is dated after 11 March amount and number of prizes.
2011.
• Entries must be received at the 4.2 The results of the competition will be
address given under item 3.6, no announced on the OISTAT website from
later than 25 March 2011. 16 April 2011. Prizes will be presented at
Competitors are responsible for ensuring the Prague Quadrennial in June 2011 at
their entry is delivered on time. a ceremony to be held in St Anna's
church, and paid electronically to those
3.5 The entry fee for the competition is €50 unable to attend, after the prize-giving.
per entry. Competitors will pay via pay
pal on the OISTAT website, no later than 5. Publication
11 March 2011, using their random six
figure code no. to identify their payment. 5.1 The competition entries will become the
Entries submitted without an entry fee property of OISTAT and may be
will not be considered. published and exhibited in any country at
the discretion of OISTAT.
3.6 All entries and payments will be handled
by a third party and the jury will not know 5.2 OISTAT will respect and acknowledge
the identity of the entries. the copyright of the participants.

OISTAT Theatre Architecture Competition TAC 2011 / page 5 of 6

6. Acceptance of Conditions 7.7 OISTAT will offer the results of the
competition to the press (publications
6.1 By submitting an entry, participants or covering theatre design and
participating teams will: architecture)

a agree to the rules and regulations as set 8. Time schedule

out in this programme.
1 July 2010
b declare that the proposed design is their Official start of the competition
own work. Brief and Conditions posted on the
OISTAT Website and notification sent to
c agree to accept the decisions of the jury OISTAT Centres and schools of
as final. architecture.

d agree not to disclose their identities or 1 October 2010

publicise their entry in any way before Final date for questions.
the jury have made their selection. Any Questions can be submitted by email to
breach of this rule will render the entry tac2011@oistat.org. Questions received
invalid. after this date will not be considered.
Answers to questions will be posted on
7. Jury the OISTAT website from 1 November
2010.
7.1 The international jury will consist of 4
architects from different continents, plus 11 March 2011
one other experienced theatre Closing date for despatch of entries and
practitioner. payment

7.2. In case of the absence of a juror, 25 March 2011

OISTAT will assign another qualified Latest date for receipt of entries.
person as a member of the jury.
30 March - 13 April 2011
7.3 The jury will produce a report explaining Jury meeting and report.
the reasons for its decisions and
commenting on the prize-winning and 16 April 2011
honourably mentioned entries. Notification of the prize-winners.

7.4. The report of the jury will be published 16-26 June 2011
on the OISTAT website and distributed Exhibition of prize-winning and selected
by the OISTAT Centres. entries at the Prague Quadrennial.

7.5 The jury will select at least 25 entries for 17 June 2011
an exhibition at the Prague Quadrennial Official announcement and prize-giving
in June 2011. at the Architecture Section of The
Prague Quadrennial to be held at
7.6. A brochure illustrating at least 25 entries Prague Crossroads.
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.

© Copyright: OISTAT 2010

OISTAT Theatre Architecture Competition TAC 2011 / page 6 of 6