The architecture exhibit was not successful. The space, even with a specially constructed enclosure on the terrace above the entrance to the Palace, limited the way in which work could be exhibited and its somewhat out-of-the-way location made the exhibit seem like an afterthought. The exhibiting of theatre architecture at the PQ needs to be radically rethought. Scenofest brought several thousand students and many significant artists to the PQ thus greatly enhancing the event. The electricity and energy in the hall was palpable and there is no question that it was a huge success. But despite the size of the hall, Scenofest seemed spatially cramped and chaotic. Those traversing the space while going from one wing to the other sometimes felt as if they were entering a different and sometimes indecipherable world. This was not necessarily a bad thing, and seeing the work of the students was stimulating. Having Scenofest at the PQ is essential, but the physical arrangements may need some rethinking. For the first time, the exhibition spaces were visually unified, although budgets limited some of the more ambitious plans. Krištof Kintera developed a visual theme of packing crates and materials, as if for a touring theatre company. Two "streets" extended through each wing-uniting the pavilions on either side, but unfortunately isolating the many exhibits not abutting the streets. This is easily remedied. A Looking down on the "Birds" student exhibits in the Central Hall from near the top of the "Babel Tower." 24 THEATRE DESIGN & TECHNOLOGY F A L L 2007