Cinema Architecture: Success Factors as Social Interaction Place by Azim Hasnan

INEMA ARCHITE TURE

Success factors as social interaction place AZIM BIN HASNAN

CINEMA ARCHITECTURE

Success factors as social interaction place

by Azim bin Hasnan

Master of Architecture Faculty of Built Environment & Surveying Universiti Teknologi Malaysia Architectural Book Publication

To m y p a r e n t s , comrades, lecturers, cinema enthusiasts and special N.

Information A dissertation submitted in partial fulfilment of the requirement for the award of the Degree Master of Architecture Authors Azim bin Hasnan Dr. Leng Pau Chung Prof. Dr. Syed Ahmad Iskandar Syed Ariffin Faculty of Built Environment & Surveying Universiti Teknologi Malaysia Declaration I declare that this dissertation entitled “Cinema Architecture: Success Factors as Social Interaction Place“ is the result of my own research except as cited in the references. The dissertation has not been accepted for any degree and is not concurrently submitted in candidature of any other degree.

Azim bin Hasnan 4th June 2019

Published First Published in June 2019 in Johor Bahru, Johor Copyright © 2019 Universiti Teknologi Malaysia. Copyright of images is copyright © of each respective owner unless stated otherwise. All rights reserved. No part of this publication may be reproduced, reprinted or stored in retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the publisher.

ACKNOWLEDGEMENT

First and foremost I would like to express my gratitude to the one who have not even once giving up on me, Dr. Leng Pau Chung – who have supervised me throughout my final semester of Master’s programme, guiding thoroughly despite all shortcomings and difficulty faced. I would also like to thank my dissertation mentor, Prof. Dr. Syed Ahmad Iskandar Syed Ariffin for his coaching, counselling and time spent even before the semester started. Next I would like to acknowledge all the other lecturers that I have encountered throughout my studies in Universiti Teknologi Malaysia since Bachelor’s degree days to Master’s programme – which I have met, known and learned from. Finally I must express my very profound gratitude to my father who have supported me financially and throughout difficult times, and my mother who have supported me emotionally and motivated me to finish my studies – both of them provided me with unrelenting support. Last but not least, to my studio mates – thank you for being there whenever I needed you most. Congratulations to those who are graduating together, and I wish the best of luck to those who are still in their endeavour. Azim Hasnan June 2019 i

ABSTRACT This dissertation focuses on architectural aspect of cinema, from its origin to evolution towards what cinema became today – resulting in varying types of cinema. Technological advancement and architectural style influenced the form of cinema design, from singular building architecture to what is regarded as interior architecture, following the ‘zeitgeist’ (spirit of time) of era where the cinemas were being built. Social aspect of cinema were also being investigated, as they were regarded as place for occasional gathering with families, colleagues or special ones to enjoy the movie being shown together which results in indirectly promoting social interaction between the patrons. Theory of social interaction has proven how cinema works in encouraging social interaction, going through all four levels of interaction. From there on case studies were made to dissect different cinema types, in both local and overseas context – Kineforum Misbar (representing open air single screen theater), Cineteca Nacional Siglo XXI (representing multiplex singular building cinema) and GaumontPathé Alésia Cinemas (representing multiplex cinema in existing building) being compared to GSC Paradigm Mall Johor Bahru which represents the abundant indoor mall cinema in Malaysian context, all in order to extract the success factors contributing to cinema as social interaction place. Timeline of cinema evolution in world context and Malaysian context were then outlined, where the evolution of cinema architecture could be observed in both scenarios. Case studies were being dissected into several parts – architectural form, layout and facilities provided in order to investigate and compare between the case studies subjects on what contributed to their success social interaction place, where cinema that focused not only on interior side, being open to outside and non-linear layout are preferred, which provided basic necessities for the patrons to enjoy the movie and place for interaction between themselves. Hence, the findings presented in this dissertation will add to the knowledge of architectural aspect for cinema design in order to enhance the social interaction aspect catered for visitors leading to cinema’s success as placemaker in urban context.

ABSTRAK Disertasi ini menumpukan kajian terhadap aspek senibina pawagam, dari fasa permulaan ke perkembangan pawagam pada zaman kini – menghasilkan pelbagai jenis pawagam. Perkembangan teknologi dan gaya senibina antara faktor yang menyumbang kepada kepelbagaian rekabentuk bangunan pawagam, dari bangunan sesebuah ke senibina dalaman, mengikut semangat zaman di waktu bangunan pawagam tersebut dibina. Aspek sosial pawagam juga telah dikaji, di mana pawagam dianggap sebagai lokasi tumpuan para keluarga, kenalan dan juga pasangan kekasih untuk menikmati filem yang ditayangkan – secara tidak langsung mengeratkan hubungan antara pelanggan sesebuah pawagam. Teori interaksi sosial telah membuktikan bagaimana pawagam boleh memupuk interaksi sosial, melalui kesemua empat tahap interaksi. Dari sini kajian kes telah dilaksanakan untuk membandingkan jenis-jenis pawagam yang berbeza dalam konteks luar negara dan dalam negara - Kineforum Misbar (mewakili pawagam satu skrin terbuka), Cineteca Nacional Siglo XXI (mewakili pawagam skrin berganda bangunan sesebuah) dan Gaumont-Pathé Alésia Cinemas (mewakili pawagam skrin berganda dalam bangunan diubah suai) dibandingkan dengan GSC Paradigm Mall Johor Bahru yang mewakili pawagam dalam pusat membeli belah yang mana menjadi norma dalam konteks Malaysia, bertujuan untuk mengekstrak faktor-faktor kejayaan sesebuah pawagam sebagai pusat interaksi sosial. Garis masa evolusi pawagam dalam konteks seluruh dunia dan konteks Malaysia telah dihasilkan, di mana evolusi senibina pawagam boleh diperhatikan dalam kedua-dua senario. Kajian kes telah dipecahkan kepada beberapa bahagian – bentuk senibina, susun atur dan fasiliti yang disediakan bertujuan untuk menyelidik dan membandingkan antara semua subjek kajian tentang perkara yang menyumbang kepada kejayaan pawagam-pawagam tersebut sebagai pusat interaksi sosial, di mana pawagam yang tidak menumpukan hanya pada dalaman semata-mata, terbuka kepada persekitaran luar dan susun atur tidak linear menjadi pilihan, yang mana menyediakan fasiliti asas untuk para pelawat menikmati filem dan tempat untuk mereka berinteraksi sesame sendiri. Oleh itu, dapatan yang diperolehi dalam kajian ini akan menambah ilmu dalam bidang senibina pawagam untuk memajukan aspek interaksi sosial untuk para pelawat – semua untuk membantu kejayaan pawagam sebagai ‘placemaker’ dalam konteks urban.

iii

CONTENTS

CHAPTER CHAPTER CHAPTER CHAPTER CHAPTER CHAPTER

1 2 3 4 5 6

INTRODUCTION

LITERATURE REVIEW

RESEARCH METHODOLOGY

CASE STUDIES

FINDING AND DISCUSSION

CONCLUSION

C HA PT ER 1

INTRODUCTION

1.1. Background of Study It all started with a simple device called Kinetoscope invented by Thomas Edison and team on 1889 (Bellis, 2017), an early motion picture exhibition device that were designed to be viewed by an individual at a time through peephole viewer window. Then Lumière brothers took it to the next step by inventing cinematograph, a motion picture camera which serves as film projector and printer that makes it possible for simultaneous viewing by multiple parties and premiered their first paid screening on 1895 at Salon Indien du Grand Café in Paris (Fielding, 1979) – which marks the history as first cinema screening in world. Fast forward to present time, cinemas have become a place for people to gather and watch movies together, no matter the age or race. It can act as a place to unify people where they come to the place for one common goal, which is to enjoy the show. They mingle around before and after movie, anticipating and discussing the show, thus enjoying shared experience or referred to as “city moments” (Whyte, 1980) which is crucial for placemaker in urban setting.

1.1 Background of Study 1.2 Problem Statement 1.3 Aim 1.4 Research Questions

1.5 1.6 1.7 1.8

Research Objectives Significance of Study Scope of Study Chapter Summary

1.2. Problem Statement By studying cinema history of Malaysia, transitions throughout the age can be observed – where they started as stand-alone architecture from colonial age to mall anchor tenant operated by movie theater chains, leaving cinema architecture into oblivion and being replaced with interior architecture. The situation leaves question whether a cinema really needs architecture, or just a big screen on large open space are sufficient for audiences to obtain the shared experience. This scenario applies to the whole world, including Malaysia – do architecture really affect and improve movie-goer’s experience? And does the fact that cinema have architecture contributes to social interaction between the patrons? Thus, this research is formulated – to disclose the development of cinema trend throughout time, analyzing the technologies that accompanies them which contributes to success or leading to their decline, and correlation between architecture with social aspects of cinema. All of these are studied in general world context in comparison to Malaysian context which gives the problem scope it needed.

1.3. Aim This research aims to outline the evolution of Malaysian cinemas in architectural aspect, and success factor behind them as social interaction place which concurrently justify the need for architecture of cinemas.

1.4. Research Questions Research questions to be answered in this study are: i. How was the development of cinema in Malaysia compared to world cinema development throughout the age? ii. What were the changes in trend of cinema architecture? iii. What are the success factors that contributed to cinema as social interaction place?

1.5. Research Objectives Research objectives to be achieved in this study are: i. To outline the development of cinema in Malaysia compared to world cinema development. ii. To identify the changes in trend of cinema architecture and causes behind it. iii. To outline success factors that contributed to cinema as social interaction place.

1.6. Significance of Study This study is expected to provide insight on how cinemas in Malaysia have grown from their startup phase to what they have become today. This research also aims to add to the body of knowledge in the field of cinema study, which the research regarding architectural context in Malaysia is quite scarce. Researches that have been done were more on Malaysia cinema technology’s evolution throughout the age (Haryati H., 2006), movie-goer’s experience (Chooi W.Y., 2016) or movie ticketing matters (Haider H.M., 2009) – which leaves gap in research regarding architectural aspect of cinema in Malaysia that can be utilized to enhance cinema designs for future references.

1.7. Scope of Study This study focuses on cinema development in Malaysia, specifically on architectural aspects – their evolution throughout years in the industry, technologies that accompanied them and facilities that contributed to social interaction aspect of cinema, all compared to cinema of foreign countries. From the studies done success and downfall factors behind cinema industry can be extracted, which were affected by external factors – whether by supporting facilities that provided richer outing experience, change in trend of cinema location or emergence of new technologies that will be shown in timeline study.

1.8. Chapter Summary This dissertation aims to investigate the evolution of cinema in architectural aspect and its contribution as social interaction space to this date. Cinema architecture were very different in its early years compared to present time, which occurs throughout world and slightly different trend can be seen in Malaysian context. The research also aims to inspect factors that contributed to success of cinema as social interaction space â&#x20AC;&#x201C; by prying further into architectural aspect and facilities provided that acted as support aside from the main program, which is the cinema itself. Key factors outlined will be the guideline for future development of cinema design in order to achieve what makes a cinema successful aside from showing movies, as it also functions as social interaction space.

C HA PT ER 2

LITERATURE REVIEW

2.1. Introduction This chapter elaborates on definition of cinema and the history of how it came to be what it is today. From there, evolution of cinema in Malaysia could be compared to the development of cinema industry of whole world, and how technological advancement affected the industry. Timeline study is done to review the transition of cinema trend, from the early years to present time â&#x20AC;&#x201C; comparing the styles between the phases. Accounts regarding cinemaâ&#x20AC;&#x2122;s social interaction aspects are also studied, to get more insights on factors that contributed to success of cinema as communal place for public, with no regards of age, race or gender.

2.1 Introduction 2.2 Cinema: Definition & History

2.2.1 Etymology 2.2.2 Technological advancement leads to cinema architecture 2.2.3 Cinema evolution timeline 2.2.4 Cinema evolution timeline (Malaysian context)

2.3

Cinema Architecture Study

2.3.1 Movie theater types 2.3.2 Cinema architectural types

2.4 Cinema as Social Interaction Place

2.4.1 Theory of social interaction 2.4.2 Cinema as social interaction place in George Town 2.4.3 Cinema contributing to mall footfall

2.5

Chapter Summary

2.2. Cinema: Definition & History 2.2.1. Etymology Cinema usually refers to “a movie hall” (Online Etymology Dictionary, n.d.) or “a theatre where films are shown for public entertainment” (Oxford Dictionary, n.d.). The word originated from shortening of French word cinématographe coined by Lumière brothers in 1890s who invented a device to project series of photographs in rapid succession which produces illusion of movement, where the word itself was derived from Greek word kínema (“movement”) and –gráphein (“write(record)”). (Online Etymology Dictionary, n.d.) The word that originally refers to a device that produced the film/movies are now generally known to public as a place to watch movies, whether the cinema hall or the establishment/building itself – which shows that people’s perspective nowadays are set towards architecture whenever hearing the word cinema. Yet in some parts of world such as North America, the word “movie theater” is more commonly used as opposed to the word “cinema” being used by most English-speaking countries referring to any place screening movies.

2.2.2. Technological advancement leads to cinema architecture Film have existed before cinema as theater hall for mass were invented. They were first being shown through Kinetoscope invented by Thomas Edison and William Dickson during 1890s, (Bellis, 2017) an early form of motion picture exhibition device that were meant for individual viewing at a time through peephole viewer accessed from top of the device.

Figure 2.1: Kinetoscope (Source: ThoughtCo)

Meanwhile in France, Auguste Lumière and his brother Louis Lumière invented an early motion-picture camera and projector called cinématographe after their father Antoine Lumière returned from Thomas Edison’s Kinetoscope showing in Paris on 1894 to solve the problem of combining animation with projection. (Fielding, 1979) Following year, the brothers have found the solution which was patented in 1895 – giving solution to the said problem and broadening the number of audience viewing film at one time greatly.

Figure 2.2: Poster for screening of Cinématographe at Grand Café in Paris by Marcellin Auzolle (1896). (Source: Wikimedia Commons)

As the film can be publicly projected, they need big space for screening. They proceeded with showing of the technology at L’Eden (World’s first and oldest cinema) and Grand Café in Paris which gained public acclaim, marking the beginning of cinema history. 9

2.2.3. Cinema evolution timeline As discussed before, cinema started with device – namely Kinetoscope that is for single viewer use only. Cinématographe were then invented in order to increase the number of viewer at one time by projecting the movie onto screen, which leads to establishment of movie theater as the movie projection needs large space. The first permanent movie house established were Thomas Tally’s Electric Theater in Los Angeles, founded by Thomas Lincoln Tally on 1902. (Cinema Treasures, n.d.) This move paved way for pioneered the cinema architecture, as many followed his footstep to open movie theater in singular building.

Figure 2.3: Thomas Tally’s Electric Theater, Los Angeles. (Source: The Clio)

Films were then advanced to next stage as first feature-length film were produced on 1906 – The Story of the Kelly Gang (Sally & Graham, 2006), changing the norm of film format from shorties to feature film. From then on, films have advanced as technology progresses – first 3D film were produced (The Power of Love, 1922), feature film started to have sound (The Jazz Singer, 1937), first animated movie created (Snow White and the Seven Dwarfs, 1937), 4D film explored (Smell-O-Vision, 1960), high resolution film on big cinema invented (IMAX, 1967), first computer-animated movie produced (Toy Story, 1995) to name some of the notable events in movie history. 10

2.2.3. Cinema evolution timeline (Malaysian Context) Cinema history of Malaysia started in Kuala Lumpur, as Coliseum Theater opened on 1921 during colonial age of British forces in Malaya. (Kam, n.d.) Built by Chua Cheng Bok, this Art Deco style building is capable of accommodating 900 people to this date. From then on, cinemas are abundant in Straits Settlements (Singapore, Malacca and Penang) as modernism brought by British forces advanced the development of cinema industry of Malaysia.

Figure 2.4: Coliseum Theater, Kuala Lumpur then and now. (Source: Star Property)

First Malay film, Laila Majnun directed by B.S. Rajhans were released on 1933 in Singapore (Hussin, 1997) and being distributed throughout cinemas available in Straits Settlements and Kuala Lumpur. Associate Theaters Ltd. (later known as Cathay Organisation Pte. Ltd.) were then founded in Singapore, further progressing the cinema industry of Malaysia to greater heights. (Cathay, n.d.) ‘Wayang Pacak’ initiative were organized at large by Government of Malaysia during 1960s-1970s, to spread word of caution regarding communists while providing entertainment for people. (BERNAMA, 2018) On 1995, TGV Cinemas were founded and pioneered the Malaysia’s era of multiplex in shopping mall, starting with 1Utama that houses 10 screens. (TGV Cinemas, n.d.) Another large cinema chain follow suit, as Golden Screen Cinemas being founded from merging of Golden Communications Circuit and Cathay Cinemas on 1998 (Chan, 2007) and completed largest multiplex in Malaysian mall on 1999, located in Mid Valley Megamall which houses 18 screens. From then on single building cinema in Malaysia have declined, as cinema acting as anchor for shopping mall became norm. 11

2.3. Cinema Architecture Study 2.3.1. Movie theater types Throughout years since it’s inception, movie theaters have gone through various iterations – all to accommodate for different types of movie watching experience. Holding same level of importance as the quality of movie being shown, cinema theater’s ambience are also essential which shows the importance of architecture in movie experience.

Single-screen theaters As the name suggests, single-screen theaters are basically a building which houses only one movie theater – showing one film at a time. This type of movie theater usually resides in stand-alone building operated by cinema chains, which some of them may even distribute only specific type of movies catering for niche market. Most of the currently surviving movie theaters were built around 1920s to 1930s, resulting in strong influence of Art Deco architectural style as it was the trending style to symbolize wealth and sophistication during the era. (Hillier, 1968) The style also influenced Malaysia’s early cinema architecture as they were imported by foreign cinema chains such as Odeon, Rex Cinema, Capitol Theater and so on.

Figure 2.5: Coronet Theater, San Francisco. (Source: Cinema Treasures) 12

multiplex As time progresses, multiple-screen theaters were introduced to accommodate for larger number of audience. Originated from Canada in 1957, theater-owner Nat Taylor pioneered dual screen theater which are capable of showing two different movies simultaneously at Elgin Theatre, Ottawa. Credited as inventor of multiplex/cineplex, Nat later founded Cineplex Odeon Corporation and opens Toronto Eaton Centre Cineplex which houses 18 screen – the world’s largest cineplex at the time. (Historica, 2011) Starting from 1960s, multiple-screen theaters became the norm – resulting in many existing theaters being retrofitted to fit multiple halls. Most single-screen theatres during the period face decline in business, leaving some being used for small-scale screening, arthouse films, film festivals and such. In Malaysian context, multiplexes started to sprout around mid-1990’s where TGV (Tanjung Golden Village) Cinemas and GSC (Golden Screen Cinemas) were established, giving birth to trend of multiplexes in shopping malls – Mid Valley Megamall that houses 18 cinema halls signifies beginning of multiplex era in Malaysia.

Figure 2.6: Elgin Theater, Ottawa – the first multiplex theater in world. (Source: Cinema Treasures) 13

Outdoor movie theater A form of movie theater that does not need architecture – where only large open area are needed for patrons to sit around whether on grasses, mats, chairs or even hot tubs to watch the movie projected on temporarily erected screen, digital panel or wall of a building. Backdrop of the venue may vary according to theater owner’s creativity, not only limited to open sky – it could either be man-made (historical buildings, architectural marvels, urban skyline) or nature (open sky, forests, sea, beach) giving the patrons movie-watching experience out of mundane, confined space. In Malaysian context, this type of cinema is called “wayang pacak” (lit. erected cinema) organized by Jabatan Penerangan Malaysia (Malaysia Department of Information) during 1690s to 1970s in Peninsular Malaysia. Wayang pacak were mobilized through transportations such as van or boat to rural areas, in order to spread the words of caution regarding communist’s ideology during the era and other public service announcements before and in the middle of movie screening. (BERNAMA, 2018)

Figure 2.7: La Villette outdoor movie theater. (Source: Parisianist) 14

Figure 2.8: Delsea Drive-in Theatre, Camden, New Jersey. (Source:Wikimedia Commons)

Outdoor movie theater Originated from U.S., drive-in theaters are one of other mode of cinema viewing that does not have need for architecture; only needing a large piece of empty land for cars to park facing one big screen typically set up at beaches or other places that offers an abundance of sky. Pioneered by Richard Hollingshead during 1933 in Camden, New Jersey, Delsea Drive-In Theatre is one of the surviving drive-in theater to this date. (Robin, 2008) Patrons view movies through car windshield or sitting on hood of the car, while sounds are provided through loudspeakers or FM radio frequency. Popularity spiked after World War 2 and peaked in the late 1950s to mid-60s, resulting in around 5,000 theaters of this kind established across U.S. Eventually, the drive-in industry faces decline due to rising real estate price, growing numbers of walk-in theaters and advancement of technology leading to rise of video rentals â&#x20AC;&#x201C; resulting in number of surviving theater plummet to fewer than 500 today. (History.com, 2009) This type of cinema did not even reach Malaysia, probably due to few number of patron that can afford automobile during the era rendering the business model impractical. 15

2.3.2. Cinema architectural styles Cinema building from early times have gone through several phases of architectural styles, as indicated through the timeline study. Various styles can be identified from the faĂ§ade and form design, influenced by the zeitgeist (lit: spirit of time) and culture of the period whenever a cinema was built.

Art Deco Style Characterised mainly by clean lines, minimal decoration, bold geometric hsapes and bright colours, this style spread across Europe to United States and Britain â&#x20AC;&#x201C; became style of choice for buildings associated with modern age: airports, office buildings, department stores, factories and cinema. (Architecture. com, 2017) Overlapping some traits with Modernism by employing clean lines and minimal decoration, the style were typically utilized by buildings for purpose of entertainment, providing glamorous interiors for hotels, restaurants, luxury apartments as well as cinemas. Neon strip lightings were also a prominent feature, to put emphasis on streamlined nature of the designs.

Figure 2.9: Le Grand Rex movie theater, Paris. (Source: Wikipedia) 16

Figure 2.10: Cygnet Theatre in Como, Australia. (Source: South Perth Local History)

Streamline Moderne Style Architectural style that represents the last phase of Art Deco. Characterised by machine aesthetic focusing on mass production, functional efficiency and abstract aesthetic that originates from Bauhaus and International Style. Prominently utilized during transition into Great Depression era in 1930s, as highstyle architects were benig replaced with industrial designers â&#x20AC;&#x201C; affecting the architectural style of commercial establishments during the era, including cinema. (Circa, 2016) Several prominent characteristics could be observed â&#x20AC;&#x201C; simpler, aerodynamic lines and forms, smooth surfaces, curved corners and emphasis on horizontal lines that were employed in designs of ships, airplanes and automobiles which gives off the impression that airstreams could move smoothly over and under them giving birth to the style name. Propelled by World Fairs during 1930s in US, taste and preference for the style were spread throughout the era along with some design of cinema in Malaysia.

High-tech/Structural Expressionism Style Known both as high-tech and structural expressionism architecture, this style emerged in late 1960s incorporating high-tech industry and technology elements into design that accentuates a building’s contsruction. Prominent features include flexible interiors, expressed construction, lightweight materials, coloured pipework and services, they portray the readiness of designers to adopt new techniques of engineering marvels – as celebratory display of building construction and services. (Architecture.com, n.d.) Prominently display technical and functional components of a building, materials employed were intended to achieve lightweight effect – typically glass walls and steel frames as interplay of transparency plus hollow structures contrasting with solid concrete wall and structural components of Brutalist architecture. Some cinemas were constructed during this period, giving birth to movie theaters designed in this style.

Figure 2.11: UFA Cinema Center by Coop Himmelb(l)au. (Source: Arch2o.com) 18

Figure 2.12: Baichuan International Cinema in Shenzhen, China. (Source: Retail Design Blog)

Interior architecture As time went by, new cinemas began to be located in malls as anchor tenant and serves convenience to cinema operators as this move provide variety of activity for the patrons before and after a movie session, as well as eliminating the need to build a singular building only for cinema purpose. Interior architecture were employed to fit the cinema program into the reserved space. The architecture deals with flow of people, cinema hall design, acoustics, services management, ambience, and all considerations that needs to be taken care of. Not so common in Western world, this trend are very widely used in Malaysian context starting from 90s era where malls were built abound and continues to this date. 19

2.4. Cinema as Social Interaction Place 2.4.1. Theory of social interaction According to Erving Goffman, author of Behaviour in Public Places: Notes on the social organization of gatherings (1963) and Encounters: Two studies in the sociology of interaction (1961) – dynamic activities is possible to take place by simply being present in a ‘situation’ or ‘occasion’. ‘Passive’ interaction occurs when people gather but lacking in dynamic activities, while ‘active’ interaction takes place when people ‘encounter’ by doing activities collectively. There are four levels of social interaction, being segregated into two stages: The first two levels in Stage I, the latter two in Stage II. ‘Passive’ interaction falls under Stage I, and ‘active’ interaction falls under Stage II.

Figure 2.13: Theory of social interaction diagram. (Source: Author)

The first two levels that falls under ‘passive’ interaction is ‘co-presence’ (Level 1) and ‘co-attention’ (Level 2). Level 1, ‘co-presence’ occurs when people gather in a place yet the focus of subjects differ from one another, which Goffman coined as ‘distributed attention’. This phenomenon occurs in cinema before movie at lobby or waiting lounge – where the people are not focused on one common subject. Level 2, ‘co-attention’ occurs when people’s attention are drawn into common subject or particular events, coined as ‘shared attention’. This phenomenon occurs in cinema during movie in cinema hall, where everyone’s attention is focused on one common thing – the movie being shown. The final two levels that falls under ‘active’ interaction is ‘co-exchange’ (Level 3) and ‘co-action’ (Level 4). Level 3, ‘co-exchange’ occurs when people in small groups exchange dialogue with each other, shaping one another’s experience regarding subject that has become their focus. This also occurs in cinema, whenever the viewers have common reaction to the movie such as laughing together, shrieking in terror and such – this also counts as interacting with one another regarding common subject. Level 4, ‘co-action’ occurs when people interact with one another, engaging in dialogue created due to shared goal arranged by situation at the space. This happens after movie, where the patrons discuss with each other about what they have seen together no matter the place – be it cafeteria, discussion area, cinema exit or even internet, as long as the subject being discussed is same.

2.4.2. Cinema as social interaction place in George Town Cinemas in George Town, Pulau Pinang have gone through their golden age in 1960s to 1980s â&#x20AC;&#x201C; where cinema outing were some kind of weekend reward for a family. It was enjoyed by varied demographics, from young couples to high school children to parents of a household, all enjoyed movie outings as it was as cheap as 40 cents back then. (Lim, 2018)

Figure 2.14: Cathay Cinema, George Town in 1980s that are congested with movie patrons. (Source: Says.com)

Different cinemas served different kind of shows back then, usually differing in origin of film. Some showed Hong Kong movies (Federal Cinema at Jalan Datuk Keramat), some showed Hindi movies (Royal Cinema at Jalan Maxwell), creating options for people to choose what to enjoy. This also teaches diversity for local community, trying different kind of movie for a change once in a while and broadening their mind. (Chun Wai, 2014) As stated by Datuk Seri Wong Chun Wai, his brother made sure that he had a balanced entertainment, thus they would go to cinema on weekends regularly as weekend activity to enjoy Hong Kong action flicks. 22

Figure 2.15: Rex Cinema sporting Art Deco architectural style. (Source: Says.com)

Architecture of cinemas were distinctive in that era, each of the cinemas possessing their own building. Every cinema was different that time as quoted by Datuk Seri Wong Chun Wai, differing from cinema of present era – located in mall, noted by lot number. (Chun Wai, 2014)

Figure 2.16: Federal Cinema’s façade, filled with posters that shapes the urbanscape of George Town. (Source: The Star Online)

Cinema culture also have shaped urban landscape of George Town, creating sort of a cinema district where movie posters filled the streets of George Town. An open patch of land where Jalan Datuk Keramat and Jalan Brick Kiln (now known as Jalan Gurdwara) met were placed with giant-sized posters, promoting the movies. (Chun Wai, 2014) Cinema did gave an impact on George Town’s cityscape, making it distinctive from other town and cities during the time.

2.4.3. Cinema contributing to mall footfall Shopping malls and such establishments utilize cinema as anchor, to attract people to come and browse through the shops while they are on their way there, while waiting for the movie to start or even after the show. Thus cinemas are normally situated at the top floor of shopping malls, as strategy to achieve the mentioned objective. (RVCJ, 2018) A research conducted on nine Singapore malls in 2003 found out that cinema was 5th ranked important reason for choice of mall to visit after proximity, tenants variety, management and promotions and complimentary services. Presence of a cinema enticed 72% of customers interviewed to visit a mall more often and 25% said they were at the mall to catch a movie. Therefore they concluded that cinemas do increase mall traffic (footfall) and sales of stores by functioning as an attractor. (Ooi & Sim, 2006) Thus the study shows cinemas are still relevant in this digital age, people still frequents cinema even when home media and internet streaming sites are abundant. Cinema-going still have their own perks compared to enjoying movies in comfort of home, the social interaction and experiential aspect which also contributed to the survival of cinema culture.

2.5. Chapter Summary This chapter discussed on literatures that act as basis of study, which cover topics on cinema definitions, history and development of cinema, cinema architecture types and evolution, and social interaction aspect of cinema. Timeline of cinema evolution could be formed from the studies done, which outlines technological advancement with architectural style throughout age â&#x20AC;&#x201C; to investigate the causes behind shifts in trends. Data collected regarding this topic will be presented in graphic method, further discussed in Chapter 5: Findings & Discussion. Social aspects of cinema were also proven through literatures reviewed, to further strengthen argument on success of cinema as social interaction space.

C HA PT ER 3

RESEARCH METHODOLOGY

3.1. Introduction In previous chapter, chronology of cinema evolution were discussed â&#x20AC;&#x201C; from device that started it all to what they have became in present time as well as the social aspects of cinema, what may have contributed to their success. This chapter discuss further details about methods employed in conducting the research for this study. Research methodology is systematic problem solving and studying method that provides a clear direction on how the research should be carried out, as described by Rajasekar et al (2013). This research will revolve around case studies related to cinemas â&#x20AC;&#x201C; overseas compared to local context, stand-alone building to interior architecture and aspects that contributed to their success. Procedures involved will be comprised of data collection, analysis and synthesis out of the findings.

3.1 Introduction 3.2 Research Framework 3.3 Research Procedure

3.3.1 Data collection procedure 3.3.2 Data analysis procedure 3.3.3 Data interpretation procedure

3.4

Chapter Summary

3.2. Research Framework

This research is divided into two phases, theoretical phase and methodological phase. Theoretical phase discusses the basis of research, starting from the root of problem itself to background study, laying the foundation for aims and objectives to answer the research questions and finally formulate the method to conduct the research. Methodological phase is where the research is conducted, from data collected through primary and secondary source to analysis and interpretation of data, before proceeding to conclusion that should answer the objectives of research. Research flow is better explained through Figure 3.1 provided, in diagrammatic form.

Figure 3.1: Research Framework. (Source: Author)

3.3. Research Procedure Research procedure act as direction, to define the steps involved in conducting the research â&#x20AC;&#x201C; from data collection, data analysis to data interpretation procedure. Real project data of cinemas in foreign countries were obtained through internet sources, studied through photographs obtained and anecdotes from architect themselves or journalists. Observation data were obtained through authorâ&#x20AC;&#x2122;s on-site study, by going to the cinema personally to experience the design and activities surrounding it. Other data were obtained through internet sources, thesis writing, journals, articles, books and such.

3.3.1.

Data Collection Procedure

Types of data collected are categorized into two types: all acquired through primary and secondary sources. Primary source data were collected through observations made by the author, through going to the reachable cinemas in Malaysia and experience personally the spaces as well as capturing photographs of how the spaces were designed and utilized by patrons. Secondary source data refers to thesis writing, journal, magazines, guidelines, books, articles and internet sources that were studied to complete the research. Secondary sources act as supporting statement for the new research questions, utilizing the findings and data obtained from researches that have been done previously. All of this were processed as literature review to formulate the research framework and acting as evidence for the statements that were made.

3.3.2.

Data Analysis Procedure

The data for this research were first collected and recorded in soft or hard copy format. Qualitative data such as case studies and observations will be analyzed through critical review that relates back to research questions and objectives as guide to achieve research aim. (Cohen & Crabtree, 2006) Informations acquired from data collection will be further elaborated in findings and discussion section of research.

3.3.3.

Data Interpretation Procedure

After analysis of collected data were outlined, further step would be interpretation of data. Interpretation provides a theoretical conception which can serve as for further research work, as described by Cooper & Emory (1995). Interpretation allows the author to comprehend the results which have been outlined from the data analysis, providing guidance in studies that relates to the research works. Recommendations and design guide for cinema could be formulated from the interpretations developed at the end of research.

3.4. Chapter Summary This chapter discusses the method employed in conducting this research, on how the data are collected and processed to obtain the desired outcome. This research focuses on qualitative analysis through timeine study, case studies of real projects and also obesrvation through going on site itself, experiencing personally the spaces. Evolution of cinema architecture and trends that adhere to zeitgeist of era when the cinema was built could be extracted from the timeline study, meanwhile case studies and observation data will be used to outline the factors that contributed to success of cinema as social interaction space.

C HA PT ER 4

CASE STUDIES

4.1. Introduction In this chapter data on case studies are being presented, comparing several projects to investigate success factor of a cinema. Different cinemas that represent varied categories were picked: single screen theater, multiplex, singular building, temporary structure, interior architecture, open air cinema, overseas context, and local context (Malaysia) – all in order to compare the differences as well as searching for similarities between them, what contributed to their success as social intercation space. Cinemas selected were Kineforum Misbar from Jakarta, Cineteca Nacional Siglo XXI from Mexico, Gaumont-Pathé Alésia Cinemas from Paris and finally GSC Paradigm Mall from Johor Bahru. All case studies will be done through photography study and literature review of journals and articles, except for GSC Paradigm Mall where the author go on site and experience the project personally. Several characteristics will be compared; architectural form, layout and facilities to be extracted from the selected projects. Findings will be discussed and summarized on Chapter 5, where the characteristics that contributed to success as social space will be outlined.

4.1 Introduction 4.2 Case Studies

4.2.1 Kineforum Misbar by Csutoras & Liando 4.2.2 Cineteca Nacional Siglo XXI by Rojkind Arquitectos 4.2.3 Gaumont-Pathé Alésia Cinemas by Manuelle Gautrand Architecture

4.3 Observation 4.3.1 GSC Paradigm Mall, Johor Bahru

4.4

Chapter Summary

4.2. Case Studies Three projects from all over the world were chosen for case study on this topic: Kineforum Misbar as representative of single screen theater that are also open air cinema, Cineteca Nacional Siglo XXI as representative of multiplex that are singular building, and finally Gaumont-PathĂŠ AlĂŠsia Cinemas that represents multiplex renovated from existing building in the middle of a building block.

Cineteca Nacional Siglo XXI Rojkind Arquitectos

KINEFORUM MISBAR

Csutoras and Liando

Gaumont-Pathé Alésia Cinemas Manuelle Gautrand Architecture 35

4.2.1.

Kineforum Misbar by Csutoras & Liando

Figure 4.1: Kineforum Misbar, Jakarta, Indonesia. (Source: Archdaily)

Originally constructed as part of international contemporary art event held in Indonesian capital â&#x20AC;&#x201C; Jakarta Biennale 2013, this temporary open-air cnema was the outcome of collaboration between architects Csutras & Liando and Kineforum, a non-profit organization that operates the only cinema dedicated to showing international and local independent and art-house movies in Jakarta. Driven by social-cultural agenda that is to advocate Indonesian films and to set up a venue where people can watch a movie on the big screen without discrimination â&#x20AC;&#x201C; including those who cannot afford the luxury of shopping mall multiplexes that are abundant in local cinema scene. Named Kineforum Misbar referring to almost extinct inexpensive, traditional Indonesian open-air cinemas. 36

4.2.1.1. Architectural form This project is categorized under pavilion/temporary architecture, as it was intended to be showcased for Jakarta Biennale 2013 and utilizing temporary structures comprising mainly of scaffolding pipe system, agronet façade curtain and plywood for walls and floors as architectural components.

Figure 4.2: Scaffolding pipe system, agronet façade curtain and plywood flooring as main materials. (Source: Archdaily)

Not constructed to last for years, this open-air cinema serves its purpose just by having enclosed space, amphitheater seatings, big screen and several supportive spaces – a simple, straightforward cinema just to show movie to a set of crowd akin to outdoor cinema where the only difference is presence of perimeter façade creating enclosed space.

Figure 4.3: Overall form of Kineforum Misbar, silhouette of amphitheater seating visible from outside. (Source: Archdaily) 37

4.2.1.2. Layout Overall program of Kineforum is very straightforward, consisting of main program which is the cinema itself and supportive programs for pre-cinema and post-cinema phase â&#x20AC;&#x201C; ticketing counter, snacks bar and seating area for patrons to socialize. Patrons enter the premise through either one of two entrances, stumble upon the foyer that houses the seatings area. Ticketing and concession booth separates the foyer and cinema screening area, which the patrons can enter from both sides of the booth. After enjoying the movies patrons can go back to the foyer to seat around before proceeding to exit the premise through the entrances.

Figure 4.4: Layout of Kineforum Misbar. (Source: Archdaily)

Figure 4.5: Sectional drawing of Kineforum Misbar. (Source: Archdaily) 38

4.2.1.3. Facilities Facilities available in the premise is relatively simple, justified by intention of Kineforum to show free movies targeted to those who cannot afford the enjoyment of attending commercial cinemas. Pre-movie facilities include ticketing counter for tickets purchase, snacks bar for patrons to bring inside screening area or enjoy before movie starts at the foyer where seatings are available for patrons to wait around and mingle among themselves. This foyer can also be utilized by patrons post-movie, for them to discuss the movie watched and socialize before proceeding to leave. Foyer space is a very important aspect for social place, becoming atmospheric place to meet and mingle among visitors under suspended lights as ceiling under open sky. Exterior side of the premise exists wooden benches running along the perimeter â&#x20AC;&#x201C; integrated seamlessly to the curtain faĂ§ade, acting both as seatings and aesthetic finishing for the building. This feature helps in social aspect as the vistors of Merdeka Square where the building was built can sit around, resting and chatting while watching the match at neighboring futsal fields or even taking a peek at movies playing inside.

Figure 4.6: Kineforum Misbarâ&#x20AC;&#x2122;s foyer. (Source: Archdaily)

Figure 4.7: External seatings. (Source: Archdaily) 39

4.2.2.

Cineteca Nacional Siglo XXI by Rojkind Arquitectos

Figure 4.8: Cineteca Nacional Siglo XXI, Coyoacán, Mexico. (Source: Archdaily)

Originally established since 1982, National Film Archive and Film Institute of Mexico houses the most important film heritage of Latin America. A fire incident destroyed part of the campus and most of archived materials, and it was a facility never well adapted for its purpose. Thousands of people cross the premise daily, walking to and fro – as Estación Metro Coyoacan, the city’s metro station is nearby. Dealing with total renewal, the original project brief involves expansion and renovation of existing complex integrating additional vault space and four more screening rooms. In response to immediate urban condition, additional restorative work must be done to reclaim part of the site as public space – providing relief to the dense urban surroundings of Xoco and accoommodating the incessant flow of pedestrians and casual visitors. 40

4.2.2.1. Architectural form

Figure 4.9: Composite aluminium panels as hovering canopy. (Source: Archdaily)

This building employs contemporary architectural style, apparent through its composite aluminum panel faĂ§ade that wraps the whole edifice. Layered by steel structures and cladding, the faĂ§ade is integrated seamlessly with the hovering canopy that covers the foyer â&#x20AC;&#x201C; connecting old and new screening rooms.

Figure 4.10: Exploded diagram that dissects the layering of structural system and faĂ§ade cladding. (Source: Archdaily)

The roof cladding is made of 2,654 perforated trapezoidal alminium modules which provides natural lighting to the foyer and any outdoor areas in the premise, creating the intended effect which design principal Michel Rojkind desires â&#x20AC;&#x201C; not having the feeling of being in a commercial cinema lobby, instead he wanted the patrons to feel like they are in a university campus where everything floats in the park. This project indirectly challenges the status quo of cinema architecture, where everything is designed focusing on interior experience only â&#x20AC;&#x201C; never on exterior side. The interplay between indoor and outdoor spaces creates a cinema that does not feel too introverted and confined, making this building distinctive from any other existing cinemas.

4.2.2.2. Layout This renovation project was done with immediate urban context in mind. The surface parkings were relocated into a six storey structure freeing 40% of site, and pedestrian friendly back entrance that is located across the street from the historic townâ&#x20AC;&#x2122;s cemetry was reactivated â&#x20AC;&#x201C; which in effect increased Cineteca patrons using public tranportation and arriving by foot to 70%. The reclaimed space currently houses new program organized along two axes, one perpendicular to Av. Mexico Coyoacan for car and pedestrian ingress while the other one perpendicular to street of Real Mayorazgo becoming the main pedestrian entrance.

Figure 4.11: Massing development on site. (Source: Archdaily)

Figure 4.12: Ground floor layout of Cineteca Nacional Siglo XXI. (Source: Archdaily)

Six old screening rooms and five archive vaults were updated and renovated, while adding four new screening rooms as addition to the building program, which also houses commercial zone â&#x20AC;&#x201C; acting as vestibule to support the main program. Office building were also renovated, with adding cinema museum adjacent to old screening rooms to complete the project. At the end of the site six storey podium parking building were situated, in order to relocate the original surface parkings spread out along the site. The rest is sheltered outdoor areas and green areas, which gives off the campus feeling whenever a patron enters the compund.

4.2.2.3. Facilities The main facility is definitely the cinemas – both old and new screenning rooms, archive vaults and currently the new cinema museum was being built. The building is originally an institutional building for film heritage of Latin America – namely the National Film Archive and Film Institute of Mexico, a building with specific purpose for cinema related programs. Yet, what makes this complex successful in urban context is the additional facilities available after the renovation that invites visitors into the compound and thus creating a social interactive space for neighborhood of Xoco. One of the successful facility that promotes social interaction in urban context is the outdoor cinema integrated onto the façade of Cineteca. The green amphitheater makes a cozy seating for visitors, attracting the neighbourhood community or moviegoing patrons from another city – together watching the show as shared experience, thus indirectly inspire social interaction between them.

Figure 4.13: Outdoor cinema with grass amphitheater. (Source: Archdaily)

Figure 4.14: Performance at sheltered foyer. (Source: Archdaily)

Sheltered outdoor areas around the campus doubles as foyer and multipurpose area to accommodate additional programs such as concerts, theater, exhibitions, performance and so on. This kind of space that can showcase liveliness of the people enjoying common activities promote urban vitality, which is crucial for a building in any urban setting.

Figure 4.15: Commercial areas residing beneath cinema halls. (Source: Archdaily) 46

Another facility that contributes to urban vitality is the commercial area. Commercial area provides additional activity for patrons while they are waiting for movie to start or even loiter around after movie, but this facility can also attract visitors from neighbourhood who just intends to have a meal at available restaurant and café or buying stuffs at the retails and bookstore.

Figure 4.16: Seatings scattered around the compound, with view towards greeneries. (Source: Archdaily)

Seatings are scattered around the campus, which provides convenience for patrons to rest around while waiting for movie, mingling around or even discussing the movie they have watched after the screening. And non-moviegoers could also enjoy the facility, while watching free outdoor events or just enjoying the greeneries around campus. Seating is crucial for placemaking in urban setting, as quoted by William H. Whyte – “people like to sit where there are places for them to sit.” (Project for Public Spaces, 2008)

4.2.3.

Gaumont-Pathé Alésia Cinemas by Manuelle Gautrand Architecture

Figure 4.17: Gaumont-Pathé Alésia Cinemas, Paris, France. (Source: Archdaily)

Another project that involves renovation – to upgrade the cinemas and enhance patrons comfort, Gaumont-Pathé group decided to refurbish the existing building that is housed in 80-years old structure that have faced numerous renovation throughout its history.

Figure 4.18: Gaumont-Pathé Alésia Cinemas before renovation works. (Source: Archdaily)

Gaumont-Alésia is set to become an alluring cultural center for the neighbouring city while showcasing on both interior and exterior side – all intended to accentuate filmography’s presence in modern culture. The project also aims to modernize the outdated image of the cinema chain – molding them into cultural venues that are animated day and night, adaptable to accommodate diverse range of programs.

4.2.3.1. Architectural form Utilizing contemporary architectural style, this renovation project updates the previous façade and interior that were designed in Art Deco style, consistent with the historical context during the period. Two main aims were outlined for this project: the first is to showcase film theaters and visually classify them as physical spaces, the second is to showcase the films itself. The façade were designed to achieve the second aim, by installing the huge curtain of LEDs that were used to project varied kind of media – film extracts, stills, colours, abstract images and anything that can be employed in order to bring life to the façade. Pleated cinema screen effect were done by breaking them down into several ribbon-like vertical strips, alternating the orientation downwards or upwards – creating the folding effect. Regularly spaced LED modules were concentrated in central area layered with glass, thus forms a huge, animated grid. On edges of façade the opaque pleats were formed of metal cladding, some folded to maintain the rhythm towards the end.

Figure 4.19: LED strip panels used to bring façade to life. (Source: Archdaily)

Figure 4.20: Main façade facing the main road. (Source: Archdaily)

These façades doubles as canopy, as bottom section of each ribbon folds upwards which form almost flat surfaces, overhanging above pavements of General Leclarc Boulevard and Alésia street by 3 meters where public can walk underneath while giving the patrons sensation of walking into the picture as they enter the building. The most that this project can achieve architecturally on exterior side is only on two main façades that faces General Leclarc Boulevard and Alésia street, and the rest is done on interior side. 51

4.2.3.2. Layout Layout of spaces for this project is vertically oriented, as the width and depth is limited to the existing building that are sandwiched between immediate neighbourhood context. There are two entrances that leads into this building, where the main one is located facing busy intersection of General Leclarc Boulevard while the other one facing street of AlĂŠsia which can be considered as backside of the premise.

Figure 4.21: Ground floor plan. (Source: Archdaily)

Main lobby and supportive spaces are mainly located on ground floor, which can be accessed from both entrances. Main atrium that connects all floors except basement are located at the main entrance facing General Leclarc Boulevard, where patrons can see outside through slits of LED panels that illuminates coloured lights during night time. This atrium is also where the staircase and escalators are located, which acts as vertical circulation that also provides visual connectivity between floors.

Figure 4.22: Sectional perspective drawing showing layering of cinemas and atrium that connects every floors. (Source: Archdaily)

Cinema halls are layered on top of each other, showcasing interplay of levelling â&#x20AC;&#x201C; as cinema hall usually require double volume height, descending to lower level for exit.

4.2.3.3. Facilities Upon entering the building, patrons stumble upon multiple volume atrium where they can see every level from gound to top floor, watching people going about throughout levels using staircase or escalators. Connected to the atrium is the main lobby â&#x20AC;&#x201C; where ticketing matters, snack bars and seating areas are situated as prelude for patrons before attending movie screening.

Figure 4.23: Ground floor lobby perspective. (Source: Archdaily)

Seating areas are available throughout ground floor up to the back entrance, enabling patrons to sit around while waiting for movie to start. Waiting areas are not too cramped and generous with space, giving comfort for patrons to linger around even on busy day such as weekends when the building are packed with visitors.

Figure 4.24: Seating area. (Source: Archdaily)

Figure 4.25: Amphitheater seating integrated with staircase for trailer screening area. (Source: Archdaily) 55

4.3. Observation Field study of a cinema was done by author experiencing personally the space. The cinema chosen is GSC Paradigm Mall, Johor Bahru as it was reachable by the author, representing the cinema of Malaysian context which also represents the cinema category of interior architecture for comparison with case studies done on overseas context, cinemas that were designed as singular building.

4.3.1.

GSC Paradigm Mall, johor bahru Being the first ever GSC cineplex in Johor, it also holds the record as largest cinema in the state to this date. Housing 16 screens that accommodates more than 2000 seats, this cinema became the attraction for people of Johor to patronize Paradigm Mall Johor Bahru that were just recently opened at the end of 2017. Completed on early 2018, this fairly new movie theater offers the best cinema experience yet in Malaysia â&#x20AC;&#x201C; equipped with latest cinema technologies, brand new equipments and furnishings.

Figure 4.26: GSC Paradigm Mall JB main entrance area. (Source: GSC.com.my) 56

4.3.1.1. Architectural form Becoming norm in Malaysia, most of the cineplexes nowadays are situated inside shopping malls including this project. That makes the cinema architecture of Malaysia in current age limited to interior side only, utilizing the whole shopping mall as supportive space for patrons aside from facilities the cinema chain have provided. Interior design employed in this cinema is a mix of industrial style and futuristic style, each style distributed in different spaces according to function. Waiting lounge and seating areas are designed in industrial style, apparent from the furnitures used â&#x20AC;&#x201C; most of them being mixture of steel and timber. Upon passing the ticket auto gate, patrons are transferred into different realm through the escalator going up to 2nd level â&#x20AC;&#x201C; the interior design changes to futuristic style, donned with light strips and reflective surfaces on floor, ceiling and some part of walls before entering the cinema hall.

Figure 4.27: Cinema hallway. (Source: Author) 57

4.3.1.2. Layout Layout of this cineplex is generally linear, with the flow going from entrance, ticketing counter/kiosks, concession kiosk/snack bar to waiting lounge before proceeding to auto gate that leads to cinema hallway on upper level. The supportive spaces are laid out following the depth, not width as they have to fit the spaces according to what have been provided by shopping mall management. Cinema halls are located at the upper level, which are interconnected with lower level as the cinema halls require at least double volume hall â&#x20AC;&#x201C; as seatings are laid out descending to lower level in amphitheater style to give clear view for all patrons and also to give ample space for big screen. Figure 4.28: 1st level layout of GSC Paradigm Mall JB, interconnected with 2nd level. (Source: Author)

Figure 4.29: Linear cinema lobby, going deep inside. (Source: Author) 58

4.3.1.3. Facilities Before entering the cinema lobby, visitors encounter self-service ticketing machines that also acts as sign/landmark that they have entered the domain of GSC. The self-service ticketing machine eliminates the need for people to queue in stanchion (poles holding ropes that act as boundary for queue line) as the machines are laid out in radial manner.

Figure 4.30: Self-service ticketing machines. (Source: Author)

Another feature available at the entrance is big screen that shows trailers of upcoming movies. Serves function for spreading information, entertainment, and also landmark for shopping mall patrons â&#x20AC;&#x201C; acting as attractor.

Figure 4.31: Big screen at the main entrance. (Source: Author) 59

Figure 4.32: Hall with ample space, avoiding congestion. (Source: Author)

Entering the lobby, a very long hall that leads to the end can be observed. The lobby is very spacious, that it can welcome large groups â&#x20AC;&#x201C; avoiding congestion whenever there are events or premiere of highly anticipated movie being held. At the end of lobby a trailer screening area is available, allowing the patrons to sit around enjoying trailers of upcoming movies on big screen while waiting for movie to start. The area resembles a mini cinema, acting as prelude to the bigger screen. Figure 4.33: Trailer screening area with seating. (Source: Author) 60

A very long concession kiosk/snack bar can be found at the middle portion of cinema lobby for patrons to buy popcorns and beverages before proceeding to cinema hall. The counters are adorned with light strips, giving off contemporary image and vibrant look that welcomes the customers. Express counter for those who have bought the snacks with tickets are separated from normal counter, giving convenience to those who opted to do so. A counter that offers heavier menu, The Burger Outpost is also available near the concession kiosks. This were done in collaboration with myBurgerLab (a gourmet burger chain) that acts as supplier, catering for patrons that wishes to have savory foods instead of snacks before or during movies â&#x20AC;&#x201C; offering wider range of choice for the customers in terms of food and beverages.

Figure 4.34: Concession kiosks/snack bar. (Source: Author)

Figure 4.35: Burger vendor, as alternative for snacks and popcorns. (Source: Author) 61

Another notable feature is GSC MAXX, employing largest screen (21.6m wide, 11.9m high) among the cinema halls here akin to IMAX screens, requiring 5-storey volume hall to accommodate the screen size which also enable larger crowd in hall. Notable feature available in this cineplex related to cinema hall are the 4DX, cinema hall that are equipped with mechanical seats intended to heighten the immersion of viewers by utilizing motion and sensory. Effects include movement of seats, fogs, Figure 4.36: Seating area for patrons awaiting movie to air movements, scents, and start. (Source: Author) lightning to name some.

Figure 4.37: First 4DX cinema in Malaysia. (Source: GSC.com.my) 62

Figure 4.37: First 4DX cinema in Malaysia. (Source: GSC.com.my)

4.4. Chapter Summary All case studies have been studied by investigating each aspects that can be compared between all of them; architectural form, layout and facilities provided. Findings outlined in this chapter will be summarized and discussed further in Chapter 5: Findings & Discussion to analyze the data collected. Data summarized will lead to conclusion of this research regarding objective number 3, about factors that contributed to success of cinema as social interaction space.

C HA PT ER 5

FINDINGS & DISCUSSION

5.1. Introduction This chapter summarizes the data collected in Chapter 2 (Literature review) and Chapter 4 (Case studies & observation) in order to analyze the cause behind change in cinema architectural trend and factors that contributed to cinemaâ&#x20AC;&#x2122;s success as social interaction space.

5.1 Introduction 5.2 Findings & Discussion 1: Cinema evolution timeline & architectural trend 5.2.1 Summary of cinema evolution timeline (World) 5.2.2 Summary of cinema evolution timeline (Malaysia)

5.3 Findings & Discussion 2: Factors contributing to success of cinema as social interaction place 5.4 Chapter Summary

5.2. Findings and Discussion 1: Cinema evolution timeline & architectural trend Based on literature review made in Chapter 2, timeline of cinema evolution could be outlined for two context; the first on world context and the second on Malaysian context. Both timelines outline the important events that happened overlapped with cinema architectural style period and starting point of other media forms to observe effects of technological advancement to cinema evolution.

5.2.1. Summary of cinema evolution timeline (World) Figure 5.1 shows the timeline of cinema evolution throughout the age, starting from the very basic kind of cinema (Kinetoscope) to present time highlighting several key events in cinema history. Advancement of cinema technology is quite rapid, as film makers are bold to explore new techniques to showcase films â&#x20AC;&#x201C; starting from flickers of image in short duration, to feature length film in under 10 years after cinema being introduced, eventually having sound and colours. Animation, 3D and 4D film were also explored very early on, in just first 50 year from starting of cinema age.

Computer animated technology were explored after the advent of commercial computer, marking the history of movie making â&#x20AC;&#x201C; adding the technique available in creating movies. Cinema architecture have evolved from Art Deco period which started around 1902 where first permanent movie theater were built as the style is prevalent in entertainment-purpose building, into Streamlined Moderne style which intended to give the impression of sleekness and modernity, features that align with cinema lifestyle. Cinema architecture then adopt High-tech/Structural Expressionism style which represents the future of architecture during the period, coincides with characteristic of cinema that represents modern lifestyle. Cinema then moves to interior architecture, as shopping mall becomes the trend of modern lifestyle as well as receiving supportive functions from retails in the mall for patrons to benefit from. To summarize, cinema architectural style trend moves along with the zeitgeist (spirit of time) following contemporary style during the period they were built, as cinema represents modern entertainment and lifestyle.

CINEMA EVOLUTION TIMELINE (World)

Figure 5.1: Cinema evolution timeline of the world. (Source: Author)

CINEMA EVOLUTION TIMELINE (Malaysia)

Figure 5.2: Cinema evolution timeline of Malaysian context. (Source: Author)

5.2.2. Summary of cinema evolution timeline (Malaysia) Figure 5.2 shows the timeline of cinema evolution in Malaysia, starting from the first cinema in Malaysia (Coliseum Theater, Kuala Lumpur) to present time highlighting several key events in Malaysiaâ&#x20AC;&#x2122;s cinema history. From the timeline, we can observe that Malaysia starts to have cinema early in terms of world cinema history, which might be contributed by British colonialism that brings modernism into land of Malaya. Thus the cinema buildings built in early years still employ Art Deco/Streamlined Moderne architectural style, in line with international trend of cinema design during the time. But there are no cinema in High-tech/Structural Expressionism style being built in Malaysia to this date, which the cause might be demand for cinema met by existing cinema during the time, and lack of expertise in design and construction field during the trend.

Thus new cinemas in Malaysia jump straight into interior architecture, where the trend starts during the booming of shopping mall in country. From there on new cinemas being built inside shopping mall as anchor tenant, becoming norm for the typology. Advancement of cinema technology in Malaysia is quite fast, as there are initiatives from film makers and producers to explore new methods and techniques â&#x20AC;&#x201C; both in terms of producing and showcasing the movies. To summarize, singular building cinema architecture of Malaysia mostly adorns Art Deco/Streamline Moderne style as most of them were built during the style is trending and new cinemas were designed only as interior architecture as the trend shifts to build inside shopping malls â&#x20AC;&#x201C; to provide convenience for patrons and also eliminating the need to acquire land to build the cinema.

5.3. Findings and Discussion 2: Factors contributing to success of cinema as social interaction Place Following table lists down aspects that contributes to success of a cinema, architecturally and also as social interaction space.

Table 1: Factors contributing to success of cinema

GSC Paradigm Mall Johor Bahru were picked as representative of Malaysia cinema, as it was one of the latest cinema built in Malaysia and experienced personally by the author. Cinemas picked as case study were selected as they have successfully attract crowds to patronize, as evidenced by the photographs available and online journals. Cinema of Malaysia nowadays lacking greatly in terms of architecture, as they are normally built inside shopping malls – limiting the architecture to interior side only. Cinemas like Cineteca Nacional Siglo XXI and Gaumont-Pathé Alésia Cinemas employ façade design, making them iconic looking from outside and attract patrons from far away. Inside-outside interaction in terms of visual and ventilation also could not be made as cinemas in Malaysia are normally situated inside building, where even small cinema like Kineforum Misbar have those kind of interaction being a singular building and could be made open air. Layout of cinemas in Malaysia are also typically linear, as the space being provided is very limited and could not be expanded. Cinemas like Cineteca Nacional Siglo XXI and Gaumont-Pathé Alésia Cinemas employ non-linear layout which gives freedom to the patrons to roam around and explore the premise, not confined to fixed space. Cineteca Nacional Siglo XXI also utilizes landscaping around its campus, soften the image and promoting interaction between natural and man-made environment. Facilities of cinemas in Malaysia are quite well provided, employing latest features adapting to advancement of technology. Facilities for pre-movie phase is complete – from ticketing booth, concession kiosks to seating area are prepared for patrons, giving them comfort while waiting for their movie to start.

5.4. Chapter Summary This chapter summarized the data collected by processing the cinema historical timeline in world and Malaysian context through literature review, enabling analysis of cinema architecture trend in both context. Case studies and observation study were also summarized to extract the success factors for cinema as social interaction space, to formulate recommendation on how to design a successful cinema for designers and architectsâ&#x20AC;&#x2122; reference in future.

C HA PT ER 6

CONCLUSION

6.1. Introduction This chapter concludes the dissertation by going through each of the objectives and some recommendations are being formulated regarding the topic. This dissertation aims to outline the evolution of cinema architecture since its inception, in hope of contributing to studies regarding cinema in architectural context. Success factors pertaining to cinema as social interaction space were also investigated through case studies on real projects, as foundation to formulate guideline for designers and architects in terms of cinema design â&#x20AC;&#x201C; regarding architectural form, space layout and facilities that should be provided. Cinema of future should be able to cater for patronâ&#x20AC;&#x2122;s social interaction without matter of age, race and gender, by adhering to the strategies provided.

6.1 Introduction 6.2 Conclusion

6.2.1 Objective 1: Development of cinema in Malaysia compared to world cinema development 6.2.2 Objective 2: Changes in trend of cinema architecture and causes behind it 6.2.3 Objective 3: Success factors that contributed to cinema as social interaction place

6.3 Limitation

6.2. Conclusion

6.2.1. Objective 1: Development of cinema in Malaysia compared to world cinema development. The collected literature review regarding history of cinema in world context and Malaysian context have been processed into timeline graphic. From there advancement of cinema technology and techniques have been outlined, as can be seen from the diagram evolution is quite rapid. Cinema scene of Malaysia also evolves rapidly, which might be contributed by modernism brought in by British colonials during the period.

6.2.2. Objective 2: Changes in trend of cinema architecture and causes behind it Changes in trend of cinema architecture in world context can be seen through the timeline study, where evolution in architectural style can be observed â&#x20AC;&#x201C; they mostly follow zeitgeist of the period when they were built, as cinema is regarded as modern form of entertainment and lifestyle.

6.2.3. Objective 3: Success factors that contributed to cinema as social interaction place Success factors of cinema as social interaction space were outlined from the case studies and observation study made, and most of them are related to architecture and spaces provided. Stand-alone building cinema have more advantage as more feature can be provided architecturally, inside and outside â&#x20AC;&#x201C; providing richer experience for the patrons. Layout of cinema ideally should be non-linear, giving freedom for patrons to roam around while mingling among themselves. Facillities provided should be able to cater for before and after movie period, as this is the time where the patrons have chance to socialize.

6.3. Limitation of Research A few boundaries and limitation on research done should be noted for further reference. Case studies made were purely from analyzing the photographs and online journal, limiting the perception on available sources only without experiencing personally the space. Some of the analysis made regarding timeline study were out of authorâ&#x20AC;&#x2122;s assumption, the absolute way would be through primary sources such as interview and questionnaire conducted on credible person.

Photo credit: The Star Online “Multiracial crowd turns up for Odeon’s swan song” (https://www.thestar.com.my/news/community/2014/08/01/multiracial-crowd-turns-up-for-odeons-swan-song/#CCbZ4Wye4ebweEGC.99)

L I S T O F F I G U RE S Figure 2.1 Kinetoscope. (Source: ThoughtCo) Figure 2.2 Poster for screening of Cinématographe at Grand Café in Paris by Marcellin Auzolle (1896). (Source: Wikimedia Commons) Figure 2.3 Thomas Tally’s Electric Theater, Los Angeles. (Source: The Clio) Figure 2.4 Coliseum Theater, Kuala Lumpur then and now. (Source: Star Property) Figure 2.5 Coronet Theater, San Francisco. (Source: Cinema Treasures) Figure 2.6 Elgin Theater, Ottawa – the first multiplex theater in world. (Source: Cinema Treasures) Figure 2.7 La Villette outdoor movie theater. (Source: Parisianist) Figure 2.8 Delsea Drive-in Theatre, Camden, New Jersey. (Source:Wikimedia Commons) Figure 2.9 Le Grand Rex movie theater, Paris. (Source: Wikipedia) Figure 2.10 Cygnet Theatre in Como, Australia. (Source: South Perth Local History) Figure 2.11 UFA Cinema Center by Coop Himmelb(l)au. (Source: Arch2o.com) Figure 2.12 Baichuan International Cinema in Shenzhen, China. (Source: Retail Design Blog) Figure 2.13 Cathay Cinema, George Town in 1980s that are congested with movie patrons. (Source: Says.com) Figure 2.14 Rex Cinema sporting Art Deco architectural style. (Source: Says.com) Figure 2.15 Federal Cinema’s façade, filled with posters that shapes the urbanscape of George Town. (Source: The Star Online) Figure 3.1 Research Framework. (Source: Author)

Figure 4.1 Kineforum Misbar, Jakarta, Indonesia. (Source: Archdaily) Figure 4.2 Scaffolding pipe system, agronet façade curtain and plywood flooring as main materials. (Source: Archdaily) Figure 4.3 Overall form of Kineforum Misbar, silhouette of amphitheater seating visible from outside. (Source: Archdaily) Figure 4.4 Layout of Kineforum Misbar. (Source: Archdaily) Figure 4.5 Sectional drawing of Kineforum Misbar. (Source: Archdaily) Figure 4.6 Kineforum Misbar’s foyer. (Source: Archdaily) Figure 4.7 External seatings. (Source: Archdaily) Figure 4.8 Cineteca Nacional Siglo XXI, Coyoacán, Mexico. (Source: Archdaily) Figure 4.9 Composite aluminium panels as hovering canopy. (Source: Archdaily) Figure 4.10 Exploded diagram that dissects the layering of structural system and façade cladding. (Source: Archdaily) Figure 4.11 Massing development on site. (Source: Archdaily) Figure 4.12 Ground floor layout of Cineteca Nacional Siglo XXI. (Source: Archdaily) Figure 4.13 Outdoor cinema with grass amphitheater. (Source: Archdaily) Figure 4.14 Performance at sheltered foyer. (Source: Archdaily) Figure 4.15 Commercial areas residing beneath cinema halls. (Source: Archdaily) Figure 4.16 Seatings scattered around the compound, with view towards greeneries. (Source: Archdaily) Figure 4.17 Gaumont-Pathé Alésia Cinemas, Paris, France. (Source: Archdaily) Figure 4.18 Gaumont-Pathé Alésia Cinemas before renovation works. (Source: Archdaily)

Figure 4.19 LED strip panels used to bring faรงade to life. (Source: Archdaily) Figure 4.20 Main faรงade facing the main road. (Source: Archdaily) Figure 4.21 Ground floor plan. (Source: Archdaily) Figure 4.22 Sectional perspective drawing showing layering of cinemas and atrium that connects every floors. (Source: Archdaily) Figure 4.23 Ground floor lobby perspective. (Source: Archdaily) Figure 4.24 Seating area. (Source: Archdaily) Figure 4.25 Amphitheater seating integrated with staircase for trailer screening area. (Source: Archdaily) Figure 4.26 GSC Paradigm Mall JB main entrance area. (Source: GSC.com.my) Figure 4.27 Cinema hallway. (Source: Author) Figure 4.28 Linear cinema lobby, going deep inside. (Source: Author) Figure 4.29 1st level layout of GSC Paradigm Mall JB, interconnected with 2nd level. (Source: Author) Figure 4.30 Self-service ticketing machines. (Source: Author) Figure 4.31 Big screen at the main entrance. (Source: Author) Figure 4.32 Hall with ample space, avoiding congestion. (Source: Author) Figure 4.33 Trailer screening area with seating. (Source: Author) Figure 4.34 Concession kiosks/snack bar. (Source: Author) Figure 4.35 Burger vendor, as alternative for snacks and popcorns. (Source: Author) Figure 4.36 Seating area for patrons awaiting movie to start. (Source: Author) Figure 4.37 First 4DX cinema in Malaysia. (Source: GSC.com.my) Figure 4.38 GSC MAXX theater, biggest screen available in this cineplex. (Source: GSC.com.my)

L IS T OF TABLES Table 5.1

Factors contributing to success of cinema

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