ARCHITECTURAL CONCEPT FOR KAMAL THEATRE

Winner

  • Consortium members
    Werner Sobek (Stuttgart, Germany)
    Brief description of the concept

    The shape of the new theater is inspired by “Ice Flowers,” a rare natural phenomenon that occurs on the surface of Kaban Lake. The building blends into the environment in winter, becoming part of the appearance of the lake. In summer, with multiple reflections from its transparent facades, the theater is unified with nature. Acuteness and earnestness are characteristic features of Tatar culture, architecture, and art.

    The building is designed to be a part of the topography of the place, as a park with pedestrian routes and recreational areas, integrated and continuing the existing improvement of the embankments. A shape inspired by the soul of Tatarstan: Sharp and closed outside, but soft and warm inside. The building’s lighting is meant to bring warmth into the foyer and gradually dissolve it into the triangular panels of the facade. The bright decorative panels in the interior call back to traditional Tatar crafts and create a friendly atmosphere.

    The foyer serves as the city’s “family room,” visually connecting the city and the lake. Entrances on all sides of the building continue pedestrian routes with natural light and ventilation. We create a comfortable environment and convenient routes for all theater workers — a spacious floor for artists and administration and comfortable workshops. We minimize the area of the basement floor to facilitate access and maintenance, as well as to reduce construction and operating costs.

  • Consortium members
    Asif Khan Studio (London, UK)
    Charcoalblue (London, UK)
    AKTII (London, UK)
    Atelier Ten (Glasgow, UK)
    Brief description of the concept

    The look of the new facades is a reference to the complex, multi-layered cultural context of the Kamal Theatre. There are pieces of paper here — formerly handwritten texts of scripts for theatrical productions, now a perfect background to intensify the colors of nature. The silhouette of brick facades hides not only the image of the Kazan Kremlin and its white stone walls, but also the aesthetics of both Sufi philosophy and Soviet modernism, which strives for purity of form. Not a direct quote, but a call to discover.

    The building does not suppress the existing landscape, but becomes a part of the shore of Nizhny Kaban Lake. All facades of the theater are equally important, as are the different worldviews, languages, cultural layers, and traditions within Tatar society. The only part that rises above the facades is the vertical cubic capacity of the stage box, representing a symbolic axis, the city's cultural life.

    Panoramic glazing helps include the interior into urban views, making them even more eye-catching. The arched windows of the new theater resemble the silhouette of the old theater, which can be seen in the distance. So a strong connection between the past and the future can be felt. The large carved entrance door is another homage and reference to the ancient wooden architecture of the Tatar people.

  • Consortium members
    Coop Himmelb(l)au (Vienna, Austria)
    Miriada Group (Kazan, Russia)
    Brief description of the concept

    The new Galiasgar Kamal Tatar State Academic Theatre embodies an open, consciously outwardly unstable architecture and thus reflects the idea of democracy. While the theater is aesthetically considered as a functional monument, the building itself is not a just a solid structure. It is, rather, an open space, receptive to both its surroundings and the possibilities around it.

    The conceptual design of the new theater is dedicated to all visitors and to the citizens of Kazan. The new Kamal Theatre is not only a theater venue, but also a new public space that embodies architecture beyond its material incarnation. On the one hand, the theater exists in balance with the forces of nature, such as the sun, wind, water, and soil, while on the other hand, it is deeply rooted in local traditions and culture, thus becoming an ecologically oriented building and a place of cultural development.

    The building and site, located between the city and the shore of Lake Kaban, can connect citizens with this natural landscape, becoming a new point of attraction. Infrastructural development and the creation of new connecting hubs will help develop the theater site, which will become a vibrant public space as well as a new tourist attraction for the city.

  • Consortium members
    Architect Bureau: FORM (Moscow, Russia)
    ZARF architects (Kazan, Russia)
    Brief description of the concept

    should be special. Its unique identity lies in the many cultural layers that can be seen in the new building.

    The first of these layers is the landscape. The theater is located in a green area near Kaban Lake. The next layer is the ribbon of national ornaments, which reminds us of the blue shawl, the most famous production of the Kamal Theatre. In some places, the "shawl" is raised, forming entrances and the most spectacular visual connections between the interior and the park.

    The experimental stage in the multipurpose hall corresponds to amethyst, which gives its owner inspiration and new ideas. The Great Hall is carnelian, a stone traditionally used as a central inlay in jewelry. In Islamic tradition, it’s believed that it protects family values. Finally, yellow chrysolite, as a symbol of leadership and wisdom, can be connected with the management block for the administration.

    The facade of the administrative block plays a special role, forming the street front and embodying a theatrical curtain on the audience’s way to the theatrical action. The visitor crosses the open-fronted theater square, passes under the curtain into the archway, and enters the theater courtyard, sheltered from the street noise, with its street performances.

  • Consortium members
    Borgos Pieper (Barcelona, Spain)
    Theatre Projects (Paris, France)
    Brief description of the concept

    Theater Garden. The theater becomes a kind of replica of the famous Hanging Gardens of Generalife with its city balcony overlooking the lake. From above, the shape of the theater building resembles the outline of a leaf — a clear and memorable image for the audience. The shape and gracefulness of the theater facade facing Kaban Lake reminds one of the folds of a theater curtain or a wave of water. The simple Tatar architectural form is combined with decorative and ornate surfaces. Thus, the space of the main foyer, with three theater auditoriums looking like tea bowls with smooth surfaces, is covered with wood and brass like an unfinished picture.

    The theater foyers are transformed into a town square, and the gardens become the theater grounds, with a variety of scenes and scenery inside the building and in the theater garden. The auditoriums face the lake, and the three-story Artisticheskaya Street creates interaction among visitors. A new festival plaza, Nauruz Square, appears just north of the new building. The project proposes the transformation of Khadi Taktash Street by making it predominantly pedestrian.

  • Consortium members
    Atelier Ten (London, UK)
    Theatre Projects (London, UK)
    Brief description of the concept

    The concept is based on parametric forms with recognizable visual elements of Tatar cultural heritage.

    Through the use of massive glass windows, the theater is visible from all sides. The foyer is filled with natural light, creating a smooth transition between the exterior and the interior. Five separated spaces make it possible to hold several events at the same time. In the center of the foyer, there is a restaurant with an open kitchen.

    An elevated promenade is created around the theater, which gently descends to the water, and there are a berry meadow, assorted local grasses, and an amphitheater built into the landscape.

  • Consortium members
    BURO SMART (Sait-Petersburg/Moscow, Russia)
    Brief description of the concept

    The new theater complex is part of an urban space with its own streets, squares, and parks. Two entrances on opposite sides of the theater are connected by a street, uniting two squares, northern and southern. Each of them has own mood and meaning: an active urbanized entrance from the south and a lyrical and contemplative one from the north. A simple order prevails in the architecture as a neutral frame, resistant to temporal changes and tolerant to any environment. The auditoriums are the unique objects, highlighted with special materials and national decorative elements.

    Each of its spaces has a performative character and can be used for various plays, from the classical to the most unexpected. The theater is designed for 1,700 seats and has great options for leisure and educational functions. The physical space of the theater dissolves into the park, as almost all public areas have views of the city or the park.

    The planning structure alludes to a traditional Tatar estate: buildings of different purposes are united by passageways and galleries, while small-scale rooms alternate with squares and gardens. The theater plays the role of a curtain or a portal between the city and the park, and between routine and dreams. It is a blank canvas for pure creation.

  • Consortium members
    DA! Architects (Shanghai, China)
    Dialog urban planning (Kazan, Russia)
    Brief description of the concept

    The “Green Shawl” project offers a unique solution that unites a large park and the theater with fronts of Khadi Taktash and Nazarbayeva Streets. Thus, locals get their promised park on the Kaban Lake Embankment, loved by everyone, and an actively renewed Khadi Taktash Street, with an accent turnoff at the junction with Nazarbayeva Street.

    The green hill does not destroy the panorama of Lake Kaban, but mimics the natural environment and reflects the natural landscape of Tatarstan with its grace and variety of vegetation A natural environment is created here, with water cascades, flowering trees and grasses, a murmuring brook, chirping birds, and buzzing insects. This is nature inspired by the entire rich culture of the Tatar people.

    The current building of the Kamal Theatre has a strong architectural image, which for most citizens is inseparable from the theater itself. That is why we think it is impossible to propose a new expressive image: no architecturally striking proposal will be universally accepted by locals. A natural object will find an echo in the hearts of citizens and earn their respect, and that of visitors to the capital of Tatarstan.

  • Consortium members
    Werner Sobek (Stuttgart, Germany)
    Brief description of the concept

    The shape of the new theater is inspired by “Ice Flowers,” a rare natural phenomenon that occurs on the surface of Kaban Lake. The building blends into the environment in winter, becoming part of the appearance of the lake. In summer, with multiple reflections from its transparent facades, the theater is unified with nature. Acuteness and earnestness are characteristic features of Tatar culture, architecture, and art.

    The building is designed to be a part of the topography of the place, as a park with pedestrian routes and recreational areas, integrated and continuing the existing improvement of the embankments. A shape inspired by the soul of Tatarstan: Sharp and closed outside, but soft and warm inside. The building’s lighting is meant to bring warmth into the foyer and gradually dissolve it into the triangular panels of the facade. The bright decorative panels in the interior call back to traditional Tatar crafts and create a friendly atmosphere.

    The foyer serves as the city’s “family room,” visually connecting the city and the lake. Entrances on all sides of the building continue pedestrian routes with natural light and ventilation. We create a comfortable environment and convenient routes for all theater workers — a spacious floor for artists and administration and comfortable workshops. We minimize the area of the basement floor to facilitate access and maintenance, as well as to reduce construction and operating costs.

  • Consortium members
    Asif Khan Studio (London, UK)
    Charcoalblue (London, UK)
    AKTII (London, UK)
    Atelier Ten (Glasgow, UK)
    Brief description of the concept

    The look of the new facades is a reference to the complex, multi-layered cultural context of the Kamal Theatre. There are pieces of paper here — formerly handwritten texts of scripts for theatrical productions, now a perfect background to intensify the colors of nature. The silhouette of brick facades hides not only the image of the Kazan Kremlin and its white stone walls, but also the aesthetics of both Sufi philosophy and Soviet modernism, which strives for purity of form. Not a direct quote, but a call to discover.

    The building does not suppress the existing landscape, but becomes a part of the shore of Nizhny Kaban Lake. All facades of the theater are equally important, as are the different worldviews, languages, cultural layers, and traditions within Tatar society. The only part that rises above the facades is the vertical cubic capacity of the stage box, representing a symbolic axis, the city's cultural life.

    Panoramic glazing helps include the interior into urban views, making them even more eye-catching. The arched windows of the new theater resemble the silhouette of the old theater, which can be seen in the distance. So a strong connection between the past and the future can be felt. The large carved entrance door is another homage and reference to the ancient wooden architecture of the Tatar people.

  • Consortium members
    Coop Himmelb(l)au (Vienna, Austria)
    Miriada Group (Kazan, Russia)
    Brief description of the concept

    The new Galiasgar Kamal Tatar State Academic Theatre embodies an open, consciously outwardly unstable architecture and thus reflects the idea of democracy. While the theater is aesthetically considered as a functional monument, the building itself is not a just a solid structure. It is, rather, an open space, receptive to both its surroundings and the possibilities around it.

    The conceptual design of the new theater is dedicated to all visitors and to the citizens of Kazan. The new Kamal Theatre is not only a theater venue, but also a new public space that embodies architecture beyond its material incarnation. On the one hand, the theater exists in balance with the forces of nature, such as the sun, wind, water, and soil, while on the other hand, it is deeply rooted in local traditions and culture, thus becoming an ecologically oriented building and a place of cultural development.

    The building and site, located between the city and the shore of Lake Kaban, can connect citizens with this natural landscape, becoming a new point of attraction. Infrastructural development and the creation of new connecting hubs will help develop the theater site, which will become a vibrant public space as well as a new tourist attraction for the city.

  • Consortium members
    Architect Bureau: FORM (Moscow, Russia)
    ZARF architects (Kazan, Russia)
    Brief description of the concept

    should be special. Its unique identity lies in the many cultural layers that can be seen in the new building.

    The first of these layers is the landscape. The theater is located in a green area near Kaban Lake. The next layer is the ribbon of national ornaments, which reminds us of the blue shawl, the most famous production of the Kamal Theatre. In some places, the "shawl" is raised, forming entrances and the most spectacular visual connections between the interior and the park.

    The experimental stage in the multipurpose hall corresponds to amethyst, which gives its owner inspiration and new ideas. The Great Hall is carnelian, a stone traditionally used as a central inlay in jewelry. In Islamic tradition, it’s believed that it protects family values. Finally, yellow chrysolite, as a symbol of leadership and wisdom, can be connected with the management block for the administration.

    The facade of the administrative block plays a special role, forming the street front and embodying a theatrical curtain on the audience’s way to the theatrical action. The visitor crosses the open-fronted theater square, passes under the curtain into the archway, and enters the theater courtyard, sheltered from the street noise, with its street performances.

  • Consortium members
    Borgos Pieper (Barcelona, Spain)
    Theatre Projects (Paris, France)
    Brief description of the concept

    Theater Garden. The theater becomes a kind of replica of the famous Hanging Gardens of Generalife with its city balcony overlooking the lake. From above, the shape of the theater building resembles the outline of a leaf — a clear and memorable image for the audience. The shape and gracefulness of the theater facade facing Kaban Lake reminds one of the folds of a theater curtain or a wave of water. The simple Tatar architectural form is combined with decorative and ornate surfaces. Thus, the space of the main foyer, with three theater auditoriums looking like tea bowls with smooth surfaces, is covered with wood and brass like an unfinished picture.

    The theater foyers are transformed into a town square, and the gardens become the theater grounds, with a variety of scenes and scenery inside the building and in the theater garden. The auditoriums face the lake, and the three-story Artisticheskaya Street creates interaction among visitors. A new festival plaza, Nauruz Square, appears just north of the new building. The project proposes the transformation of Khadi Taktash Street by making it predominantly pedestrian.

  • Consortium members
    Atelier Ten (London, UK)
    Theatre Projects (London, UK)
    Brief description of the concept

    The concept is based on parametric forms with recognizable visual elements of Tatar cultural heritage.

    Through the use of massive glass windows, the theater is visible from all sides. The foyer is filled with natural light, creating a smooth transition between the exterior and the interior. Five separated spaces make it possible to hold several events at the same time. In the center of the foyer, there is a restaurant with an open kitchen.

    An elevated promenade is created around the theater, which gently descends to the water, and there are a berry meadow, assorted local grasses, and an amphitheater built into the landscape.

  • Consortium members
    BURO SMART (Sait-Petersburg/Moscow, Russia)
    Brief description of the concept

    The new theater complex is part of an urban space with its own streets, squares, and parks. Two entrances on opposite sides of the theater are connected by a street, uniting two squares, northern and southern. Each of them has own mood and meaning: an active urbanized entrance from the south and a lyrical and contemplative one from the north. A simple order prevails in the architecture as a neutral frame, resistant to temporal changes and tolerant to any environment. The auditoriums are the unique objects, highlighted with special materials and national decorative elements.

    Each of its spaces has a performative character and can be used for various plays, from the classical to the most unexpected. The theater is designed for 1,700 seats and has great options for leisure and educational functions. The physical space of the theater dissolves into the park, as almost all public areas have views of the city or the park.

    The planning structure alludes to a traditional Tatar estate: buildings of different purposes are united by passageways and galleries, while small-scale rooms alternate with squares and gardens. The theater plays the role of a curtain or a portal between the city and the park, and between routine and dreams. It is a blank canvas for pure creation.

  • Consortium members
    DA! Architects (Shanghai, China)
    Dialog urban planning (Kazan, Russia)
    Brief description of the concept

    The “Green Shawl” project offers a unique solution that unites a large park and the theater with fronts of Khadi Taktash and Nazarbayeva Streets. Thus, locals get their promised park on the Kaban Lake Embankment, loved by everyone, and an actively renewed Khadi Taktash Street, with an accent turnoff at the junction with Nazarbayeva Street.

    The green hill does not destroy the panorama of Lake Kaban, but mimics the natural environment and reflects the natural landscape of Tatarstan with its grace and variety of vegetation A natural environment is created here, with water cascades, flowering trees and grasses, a murmuring brook, chirping birds, and buzzing insects. This is nature inspired by the entire rich culture of the Tatar people.

    The current building of the Kamal Theatre has a strong architectural image, which for most citizens is inseparable from the theater itself. That is why we think it is impossible to propose a new expressive image: no architecturally striking proposal will be universally accepted by locals. A natural object will find an echo in the hearts of citizens and earn their respect, and that of visitors to the capital of Tatarstan.

COMPETITION

  • AIM

    Development of an architectural concept for Galiasgar Kamal Tatarian State Academy Theatre.

  • OBJECTIVES

    1. Priority in preserving and developing Tatar national culture and language;
    2. Preservation of unique national features in the architectural appearance and design of the building;
    3. Creating a modern cultural space essential to residents of and visitors to Kazan and all potential Tatar viewers living in different parts of Russia and the world;
    4. Development of new formats of public work – enlightening formats (lectures, discussions, film screenings) and educational (clubs, schools, laboratories) to attract new audiences;
    5. Incorporating the theatre into the ecosystem of Lake Kaban;
    6. Increasing the efficiency of work and improving working conditions for the theatre staff, taking into account scenarios of individual visits by all categories of users.
  • JURY

    The winner will be the creator of the best proposal as chosen by a vote of the competition jury. Based on the results of the meeting of the Jury, the winner and two finalists will receive additional payments corresponding to their positions.

  • DESIGN PRINCIPLES

    • Respect
      Respect for all futures users, both audience members and theatre employees, must be considered in the design.


    • Future orientation
      Spaces should provide resources for the Kamal Theatre development and not limit its future.


    • Independence and inclusion
      Spaces should allow for independence and autonomy among the visitors, without the need for expertise. This also means the inclusivity of spaces, taking into account the interests of groups with limited mobility, those who are hearing or visually impaired, and other special audiences.


    • Continuity
      It is necessary to ensure the continuity of the Kamal Theatre's traditions: enable attractive representation of its history and contemporary activities in future spaces.


    • Urban inclusion
      Kamal Theatre is part of the urban environment. New spaces should help the theatre fit into the new life of Lake Kaban, taking into account the historical and urban planning context.
  • FINALISTS

    As a result of the first stage, seven finalists will be selected on the basis of a relevant portfolio and essays where they develop their proposals.

  • PRIZE FUND

    The winner will be the creator of the best proposal as chosen by a vote of the competition jury. Based on the results of the meeting of the Jury, the winner and two finalists will receive additional payment equal to following sums:

    • Prize for the winner – 2,500,000 rubles,
      including all taxes and fees.

    • Prize for 2nd place – 1,500,000 rubles,
      including all taxes and fees.

    • Prize for 3rd place – 1,000,000 rubles,
      including all taxes and fees.

SCHEDULE

  • 23 July

    Start of the competition, press conference

    23 July

    Start of the competition, press conference

    2021
  • 22 September

    Deadline for applications

    22 September

    Deadline for applications

    2021
  • 7 October

    Expert Council meeting

    7 October

    Expert Council meeting

    2021
  • 12 October

    Jury meeting

    12 October

    Jury meeting

    2021
  • 27 - 28 November

    Installation seminar for finalists

    27 - 28 November

    Installation seminar for finalists

    2021
  • 3 February

    End of acceptance of competitive proposals

    3 February

    End of acceptance of competitive proposals

    2022
  • 15 February

    Expert Council meeting

    15 February

    Expert Council meeting

    2022
  • 16 February

    Jury meeting for selection of the winner

    16 February

    Jury meeting for selection of the winner

    2022
  • 17 February

    Press conference. Announcement of the Winner

    17 February

    Press conference. Announcement of the Winner

    2022

COMPETITION TERRITORY

  • 2,04 ha

    Total area of the competition
    territory

  • 56 ha

    Lake territory
    Nizhny Kaban

  • 1906 year

    Date of birth of the
    Tatar theater

  • 1939 year

    The theater was named after a classic
    of Tatar drama - Galiasgara Kamala

COMPETITION JURY

  • Ilsur Metshin

    Ilsur Metshin

    Mayor of Kazan
  • Farrokh Derakhshani

    Farrokh Derakhshani

    Director of the Aga Khan Award
  • Farid Bikchantayev

    Farid Bikchantayev

    Chief director of the Tatar State Academic Theater. Galiasgara Kamala
  • Gokhan Avcioglu

    Gokhan Avcioglu

    Founder of GAD Architecture, the member of RIBA, founder of the Foundation for the Development of Innovative Architecture «GAD Foundation»
  • David Basulto

    David Basulto

    Founder, chief editor of Archdaily.com
  • Attila Vidnyánszky

    Attila Vidnyánszky

    Artistic Director of the Hungarian National Theater, Budapest
  • Marat Aizatullin

    Marat Aizatullin

    Minister of Construction, Architecture and Housing and Communal Services of the Republic of Tatarstan
  • Irada Ayupova

    Irada Ayupova

    Minister of Culture of the Republic of Tatarstan
  • Rimma Bikmukhametova

    Rimma Bikmukhametova

    Tatar journalist, public figure
  • Razil Valeev

    Razil Valeev

    People's poet of the Republic of Tatarstan
  • Nikolay Vasiliev

    Nikolay Vasiliev

    Member of the Board of the Union of Architects of the Republic of Tatarstan, Advisor to the Minister of Construction, Architecture and Housing and Communal Services of the Republic of Tatarstan
  • Iskander Gilyazov

    Iskander Gilyazov

    Director of the separate structural subdivision "Institute of the Tatar Encyclopedia and Regional Studies of the Academy of Sciences of the Republic of Tatarstan"
  • Yuri Grigoryan

    Yuri Grigoryan

    Head of the architectural bureau «Project Meganom»
  • Nikolay Kikava

    Nikolay Kikava

    Deputy Director for Scientific Work of the GAU «Scientific Research and Design Institute of Urban Planning of the City of Moscow»
  • Totan Kuzembaev

    Totan Kuzembaev

    Head of the «Architectural Workshop of Totan Kuzembaev»
  • Sergey Kuznetsov

    Sergey Kuznetsov

    First Deputy Chairman of the Committee for Architecture and Urban Planning of the city of Moscow
  • Mikhail Mikadze

    Mikhail Mikadze

    Founding partner of the architectural bureau ХОРА, teacher of the diploma studio MARСH
  • Evgeny Mironov

    Evgeny Mironov

    Artistic Director of the State Theater of Nations
  • Maria Privalova

    Maria Privalova

    General Director of the Moscow State Budgetary Institution of Culture «Central Library named after N.A. Nekrasov»
  • Tatiana Prokofieva

    Tatiana Prokofieva

    Advisor to the Mayor of Kazan for Architecture and Urban Planning
  • Radik Salikhov

    Radik Salikhov

    Doctor of Historical Sciences, Director of the Institute of History named after Sh.Marjani
  • Alexandr Sladkovsky

    Alexandr Sladkovsky

    Russian conductor. Artistic Director and Chief Conductor of the State Symphony Orchestra of the Republic of Tatarstan
  • Rustam Suleimanov

    Rustam Suleimanov

    Founder of Mardjani Foundation
  • Rinat Tazetdinov

    Rinat Tazetdinov

    People's Artist of the Republic of Tatarstan and the Russian Federation, artist of the Kamal Theater
  • Ilsiyar Tukhvatullina

    Ilsiyar Tukhvatullina

    Chief Architect of Kazan
  • Ilfat Fayzrakhmanov

    Ilfat Fayzrakhmanov

    Editor-in-Chief of the Beznen newspaper
  • Valery Fokin

    Valery Fokin

    Artistic Director of the Federal State Budgetary Institution "National Drama Theater of Russia (Alexandrinsky Theater)"
  • Iskander Khairullin

    Iskander Khairullin

    People's Artist of the Republic of Tatarstan, artist of the Kamal Theater
  • Chulpan Khamatova

    Chulpan Khamatova

    Theater and film actress, public figure, People's Artist of Russia
  • Adel Khusnutdinov

    Adel Khusnutdinov

    General Director of State Unitary Enterprise Tatinvestgrazhdanproekt
  • Oyat Shukurov

    Oyat Shukurov

    Partner of the architectural bureau ХОРА, teacher of the diploma studio MARCH
  • Boris Yukhananov

    Boris Yukhananov

    Artistic Director of the Stanislavsky Electrotheatre
  • Tabris Yarullin

    Tabris Yarullin

    Deputy Director of the National Library of the Republic of Tatarstan

Experts

  • Natalia Fishman-Bekmambetova

    Natalia Fishman-Bekmambetova

    Adviser to the President of the Republic of Tatarstan
  • Ilfir Yakupov

    Ilfir Yakupov

    Director of the Tatar State Academic Theater named after G. Kamala, Co-Chair of the Expert Council
  • Marat Zakirov

    Marat Zakirov

    Head of the Administration of the Vakhitovsky and Privolzhsky districts of the city of Kazan
  • Guzel Sagitova

    Guzel Sagitova

    Deputy Head of the Executive Committee of Kazan for Social Issues
  • Dilbar Sadykova

    Dilbar Sadykova

    Member of the Commission on Culture of the Public Chamber of the Republic of Tatarstan, General Director of ANO «Center for Tourism Development of the Republic of Tatarstan»
  • Vladimir Kudryashev

    Vladimir Kudryashev

    Deputy Minister of Construction, Architecture and Housing and Communal Services of the Republic of Tatarstan
  • Niyaz Iglamov

    Niyaz Iglamov

    Theater critic, curator of special projects of the Tatar State Academic Theater named after G. Kamala
  • Ilnaz Khaybullin

    Ilnaz Khaybullin

    Head of the art and production department of the Tatar State Academic Theater named after G. Kamala
  • Radik Bariev

    Radik Bariev

    Actor of the Tatar State Academic Theater named after G. Kamal, People's Artist of Tatarstan, laureate of the State Prize of the Republic of Tatarstan named after Tukaya
  • Alfrid Bustanov

    Alfrid Bustanov

    Deputy Director of the Institute of History named after Marjani
  • Rkail Zaydullin

    Rkail Zaydullin

    Poet, writer, Head of the Writers' Union of the Republic of Tatarstan, laureate of the State Prize of the Republic of Tatarstan named after G. Tukai
  • Ilgiz Zainiev

    Ilgiz Zainiev

    Artistic director of the Ekiyat puppet theater
  • Rail Sadriev

    Rail Sadriev

    Artistic Director, Director of the Buinsky State Drama Theater
  • Yuri Alshits

    Yuri Alshits

    Artistic Director of the World Theater Training Institute - ITI UNESCO
  • Radif Kashapov

    Radif Kashapov

    Journalist of the site «Realnoe Vremya»
  • Airat Faizrakhmanov

    Airat Faizrakhmanov

    Candidate of Historical Sciences, Deputy Chairman of the World Forum of Tatar Youth
  • Anton Flerov

    Anton Flerov

    Curator of the Theater Institute
  • Inna Yarkova

    Inna Yarkova

    Co-founder and Director of the Living City Foundation for the Support of Contemporary Art
  • Salima Aminova

    Salima Aminova

    Honored Art Worker of the Republic of Tatarstan, choreographer of the Kamal Theatre
  • Mikhail Bychkov

    Mikhail Bychkov

    Theater Director, Founder and Artistic Director of the Voronezh Chamber Theater, Honored Art Worker of the Voronezh Region
  • Sergey Skomorokhov

    Sergey Skomorokhov

    Chief artist of the Tatar State Academic Theater named after G. Kamal
  • Aigul Davletshina

    Aigul Davletshina

    Art manager, specialist in socio-cultural programming, co-founder of the multidisciplinary production company creeptone.media
  • Svetlana Persova

    Svetlana Persova

    Associate Professor of the Department of Reconstruction, Restoration of Architectural Heritage and Fundamentals of Architecture
  • Alexander Ostrogorsky

    Alexander Ostrogorsky

    Teacher of the MARCH architecture school
  • Andrey Borisov

    Andrey Borisov

    Sakha Academic Theater named after P.A. Oyunsky
  • Suhrob Shekhov

    Suhrob Shekhov

    Chief Director of the State Theater of Musical Comedy named after K. Khujandi
  • Sharshebek Sheishenov

    Sharshebek Sheishenov

    Director and Artistic Director of the State Youth Theater «Uchur»
  • Ayrat Abushakhmanov

    Ayrat Abushakhmanov

    Chief director of the Bashkir Academic Drama Theater named after M. Gafuri
  • Azat Abzalov

    Azat Abzalov

    Head of the Department of Culture of the Executive Committee of Kazan
  • Israfil Ramazan oglu Israfilov

    Israfil Ramazan oglu Israfilov

    Azerbaijan State University of Culture and Arts
  • Valery Yakovlev

    Valery Yakovlev

    Artistic Director of the Chuvash State Academic Drama Theater named after K.V. Ivanova
  • Marya Leontieva

    Marya Leontieva

    Founder of the Institute of Urban Studies «Tamga»
  • Enzhe Dusaeva

    Enzhe Dusaeva

    Founder of the Institute of Urban Studies «Tamga»
  • Sergey Sanachin

    Sergey Sanachin

    Architect-urban planner, author of books on the architecture of Kazan, member of the Union of Architects of Russia
  • Guzel Suleimanova-Valeeva

    Guzel Suleimanova-Valeeva

    Doctor of Arts, Professor, Honored Scientist of the Republic of Tatarstan
  • Raif Nizametdin

    Raif Nizametdin

    Investment manager
  • Renat Tumarov

    Renat Tumarov

    Head of the art and production department of the Alexandrinsky Theater
  • Maria Ignatieva

    Maria Ignatieva

    Head of the Department of Scientific, Methodological and Research Work of the «Central Library named after N.A. Nekrasov»
  • The Theater of the Townspeople

    The Theater of the Townspeople

ALL PUBLICATIONS

Information Partners

  • https://archi.ru/
  • http://totalarch.com/
  • https://www.architime.ru/
  • https://www.e-architect.com/
  • https://www.archdaily.com/
  • https://archsovet.msk.ru/en/
  • https://design-mate.ru/en/
  • https://www.archidiaries.com/
  • https://entermedia.io/
  • http://www.ardexpert.ru
  • https://stroygaz.ru/
  • https://www.cultradio.ru/
  • https://uar.ru/en/
  • https://www.redeveloper.ru/