The development of the architectural concept of the Galiasgar Kamal Tatar State Academic Theater was carried out within the framework of an open international competition.

The initiators of the competition are the President of the Republic of Tatarstan Rustam Minnikhanov and the Tatar State Academic Theater named after Galiasgar Kamal. The competition is supported by the Government of the Republic of Tatarstan, the Ministry of Culture of the Republic of Tatarstan, the Executive Committee of the City of Kazan and the Foundation "Institute of Urban Planning of the Republic of Tatarstan". The operator of the competition is the International Urban Laboratory CENTER Lab.

The competition is held in accordance with UNESCO Recommendations on international competitions in the field of architecture and urban planning.

The 3rd placein the competition is the concept of the consortium led by Metropolis (Moscow, Russia). Consortium members: Coop Himmelb(l)au (Vienna, Austria), Miriada Group (Kazan, Russia).

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

The idea of the project was based on the study of the object, its socio- and ethnocultural context, as well as a deep understanding of the theater's functionality. A consortium of specialists in planning, acoustics, energy-efficient systems, structures and facade has developed a holistic project that goes beyond the functional task of the competition.

The building and the site, located between the city and the shore of Kaban Lake, have the potential to form a connection with the natural landscape and create a new point of attraction for citizens.

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

The facade of the Kamala Theater was designed taking into account the architectural exterior pattern based on an aperiodic pattern using repeating elements. The pattern is divided into two structural layers: a supporting wooden structure and an outer shell structure. Both layers are visible from inside the building, and their visual overlap emphasizes the logic of creating geometry. Only the final ornamental layer is visible from the outside.

The outer shell consists of transparent and opaque parts. Closer to the edge, the shell becomes more transparent, and gradually becomes opaque towards the center of the building.

At the rear of the theater, the vertical decorative facade shell is separated from the supporting structure and thermal cladding of the building. The facade shell is attached to a tubular structure, which is supported by load-bearing walls. The opaque elements consist of prefabricated concrete panels with ceramic tiles fixed with mortar. This design is applicable to the entire building.

Large Auditorium

The volume of the large auditorium is about 3,500 m3, and with the number of seats 690, the specific acoustic volume per seat is 5 m3/seat. The recommended specific acoustic volume per seat for multifunctional halls is from 5 to 7 m3/seat. The recommended reverberation time (RT60) in the hall, measured at a frequency of 1,000 Hz, for speech formats and dramatic productions is 1.00 s and for music formats 1.50 s.

The reverberation time is acoustically ideal for this kind of halls. For speech formats, the reverberation time must be reduced by using sound-absorbing materials.

The main hall provides for various layout configurations. Therefore, the stage should be equipped with a flexible stage technology system that facilitates a quick and silent change of scenery. It is very important to minimize the installation time, the number of necessary technical personnel, as well as to guarantee a high degree of accuracy, reproducibility of sequences, scenic effects and work safety.

The orchestra pit can be vertically adjusted depending on the acoustic requirements of each performance, and can also be used to expand the proscenium or additional seats in the stalls.

The BLACK BOX Room

The volume of the Black Box hall is approximately 7,500 m3, and with the number of seats in the hall for 260 people, the acoustically useful volume is calculated to be 29 m3/place. The recommended reverberation time (RT60), measured at a frequency of 1,000 Hz, for speech formats is approximately 1.00 s for a room volume of 7,500 m3.

The reverberation time is acoustically excellent for halls of this type.

The BLACK BOX room has an electroacoustic amplification system in combination with the VIVACE system.

The multifunctional hall is designed for various small avant-garde, experimental performances or rehearsals, as well as a variety of events. The entire surface of the hall is equipped with stage elevators, allowing you to change and rearrange the stage and seats in different ways. Any changes to the hall can also be achieved using easily reconfigurable equipment systems.

Some types of such configurations are as follows:

1. Arena (audience from 4 sides, stage in the center); used for small theatrical and musical performances or presentations;
2. Grandstand stage (audience from 3 sides of the stage); used for small concerts, theatrical performances, presentations or conferences;
3. Stage - proscenium (audience on one side of the stage); used for small theatrical performances or events;
4. The central stage (the audience on both sides, the stage in the center); used for fashion shows or presentations.

The mechanisms above the stage supporting the set elements, floodlights, loudspeakers or curtains are designed so that they can be adjusted for every possible configuration. The working floors above the hall can be used for lighting, the iron grating of the bridges can be partially removed.

Dimmers and junction boxes are installed throughout the hall, including the floor, to ensure flexibility in setting up and quality of lighting. For quick setup and trouble-free operation during performances, the stationary control room has been replaced with a remote control.

The Round Room

The volume of the Round Hall is approximately 3,500 m3, and with the number of seats in the hall for 224 people, the acoustically useful volume is calculated to be 15.5 m3/place.

The recommended reverberation time (RT60), measured at a frequency of 1,000 Hz for speech formats, is approximately 1.00 s with a room volume of 3,500 m3.

From the point of view of acoustics, the reverberation time is excellent for this hall.

The Round Room will use an electroacoustic amplification system in combination with the VIVACE system.

The round hall is designed as a round-shaped arena with a built-in turntable with a diameter of 10 m. The auditorium can be used for theatrical and musical performances, concerts and events. The mechanisms above the stage, which support the set elements, spotlights, loudspeakers and curtains, are designed so that they can be adjusted for each type of event. Two mechanical levels above the stage can be used to install lighting equipment.