CINEQUENCE-Cinematic Sequence in Architecture(THESIS 2021) | RIMMISHA S KUMAR | B.ARCH - 2016-2021 by Rimmisha S. KUMAR

CINEQUENCE

THESIS 2021 |

RIMMISHA S KUMAR | 113716251050 | STUDIO B | BATCH 2016-21

CINEQUENCE CINEMATIC SEQUENCE IN ARCHITECTURE A PROJECT REPORT Submitted by

RIMMISHA S. KUMAR In partial fulfillment for the award of the degree of

BACHELOR OF ARCHITECTURE AT

CAAD – CHENNAI ACADEMY OF ARCHITECTURE AND DESIGN

Approved by Council of Architecture, New Delhi and Affiliated to Anna University, Chennai.

APRIL 2021

CAAD – CHENNAI ACADEMY OF ARCHITECTURE AND DESIGN

Approved by Council of Architecture, New Delhi and Affiliated to Anna University, Chennai.

BONAFIDE CERTIFICATE Certified that this Thesis titled “CINEQUENCE-CINEMATIC SEQUENCE IN ARCHITECTURE” submitted by Ms. RIMMISHA S. KUMAR, Reg. No. 113716251050 to the CAAD – Chennai Academy of Architecture and Design for the award of Bachelor Degree in Architecture, is a bonafide record of work carried by her under my supervision. Certified further that to the best of my knowledge the work reported here in does not form part of any other thesis on the basis of which a degree or award was conferred on an earlier occasion on this or any other candidate.

External Examiner

Internal Examiner

Director

DECLARATION I, RIMMISHA S. KUMAR (Reg. No: 113716251050) hereby declare that the Thesis Report entitled “CINEQUENCE-CINEMATIC SEQUENCE IN ARCHITECTURE” done by me under the guidance of Asso. Prof. TAMIL EZHIL G., is submitted in partial fulfillment of the requirements for the award of Bachelor of Architecture degree.

Date: 30.07.2021

Signature of the Candidate. Rimmisha S. Kumar

ACKNOWLEDGEMENT I am thankful to Asso. Prof. TAMIL EZHIL G, my internal guide, whose valuable guidance, constant encouragement, simulative discussions and keen interest evinced throughout the course of my project. The help and advice rendered by her paved way for the successful completion of my project. I would like to thank my Family and Friends for helping me to complete my Thesis.

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ABSTRACT Cinema and architecture are two different creative fields that follows similar line of thoughts. A strong narrative in a cinema builds up the curiosity towards the climax or the grand revelation of the plot. In a sense, every architectural experience path tries to build up the very same curiosity towards the culmination of the journey through the spaces. Despite having a long history of cinematic grandeur and extreme fan culture, Chennai lacks proper celebratory space to express and absorb this spirit of cinema fanaticism. The major aim is to make the user go through a journey parallel to that of a cinematic plot. The study tries to bring in events and points from a cinematic narrative to a user experience path in the cinema mall. Climax acts as the binding factor in the motion through the user experience path. The desired outcome is to induce an emotional effervescence in the diehard fans and drop mental landmarks in their minds. Hence, the blocks are positioned to maximize the movement-oriented experience culminating with an open space of climax. This will depend on a few liminal spaces that will at times hold an assigned singular function or function as a space of perception for the “fan”. Exchange of the cinema culture is to be served through celebratory, commemorative and technological exchange. A space dedicated entirely for a cinema fanatic is the desired output along with the satisfaction of the generic crowd / users. The spatial movement is thus a combination of the experience path for artists, Idols, audience, fans and the generic users.

TABLE OF CONTENTS BONAFIDE................................................................................................................................... i DECLARATION............................................................................................................................ ii ACKNOWLEDGMENT ............................................................................................................... iii ABSTRACT ................................................................................................................................. iv TABLE OF CONTENTS ................................................................................................................. v LIST OF TABLES .......................................................................................................................... vii LIST OF FIGURES ....................................................................................................................... viii CHAPTERS 1. INTRODUCTION ................................................................................................................. 1 1.1 Aim…………………………………………………………………………………………… .. 1 1.2 Objectives .................................................................................................................. 1 1.3 Scope and Limitations .............................................................................................. 2 1.4 Methodology ............................................................................................................. 2 2. LITERATURE STUDY ............................................................................................................ 3 2.1 Design Standards ...................................................................................................... 3 2.2 About the Project ...................................................................................................... 5 3. CASE STUDY ...................................................................................................................... 7 3.1 Literature Case study 3.1.1 Case study 01- Busan Cinema Center, Busan, South Korea ......................... 7 3.1.2 Case study 02 – Eye film museum, Amsterdam .............................................. 8 3.1.3 Case study 03 – Cinetica Nacional Siglo XXI, Mexico City ............................ 9 3.1.3 Inferences ........................................................................................................ 10 4. SPECIAL STUDY ................................................................................................................ 11 4.1 General study……………………………………………………………………………….11 4.2 Inferences………………………………………………………………………………...….13

5. SITE STUDY.……………………………………………………………………………………...…...15 5.1 Site Parameters ……………………………………………………………………………..15 5.2 Site Analysis………………………………………………………………………………......21 5.3 Site Zoning……………………………………………………………………………………22 6. CONCEPT…………………………………………………………………………………………....23 6.1 Concept...……………………………………………………………………………….......23 6.2 Concept Zoning Abstract…………………………………………………………….......25 6.3 Design process illustrations.…………………………………………………………........27 6.4 User Perspectives…………..…………………………………………………………........37 7. DESIGN PROPOSAL ........................................................................................................... 42 7.1 Site cum Ground Floor Plan .................................................................................... 42 7.2 Basement Floor Plan................................................................................................ 43 7.3 Site Sections ............................................................................................................. 44 7.4 Multiplex Block ......................................................................................................... 45 7.5 Museum Block ......................................................................................................... 48 7.6 Film Festival Block .................................................................................................... 51 7.7 Expo + Wax Museum Block..................................................................................... 54 7.8 Commercial Block ................................................................................................... 56 7.9 Open Screening Theatre ........................................................................................ 58 7.10 Red Arena .............................................................................................................. 59 8. BIBLIOGRAPHY……………………………………………………………………………………...60 8.1 Books…………………………………………………………………………………………..60 8.2 Journals .................................................................................................................... 60 8.3 Online Resources ..................................................................................................... 60

LIST OF TABLES Table 1 DCR Non-High-rise standards ......................................................................................... 3 Table 2 Area requirement per person......................................................................................... 3 Table 3 Museum area requirements .......................................................................................... 4 Table 4 Case Study comparative analysis................................................................................ 10

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LIST OF FIGURES Fig 3.4.1 Case Study 01-Philosophy……………………………………………… ............................ 10 Fig 3.4.2 Case Study 02-Philosophy ……………………………………………… ........................... 10 Fig 3.4.3 Case Study 03-Philosophy ……………………………………………… ........................... 10 Fig 3.4.4 Case Study 01-Context ……………………………………………… ............................... 10 Fig 3.4.5 Case Study 02-Context ……………………………………………… ............................... 10 Fig 3.4.6 Case Study 03-Context ……………………………………………… ............................... 10 Fig 3.4.7 Case Study 01-Zoning ……………………………………………….................................. 10 Fig 3.4.8 Case Study 02-Zoning ……………………………………………….................................. 10 Fig 3.4.9 Case Study 03-Zoning ……………………………………………….................................. 10 Fig 3.4.10 Case Study 01-Innovation ……………………………………………… ......................... 10 Fig 3.4.11 Case Study 02-Innovation ……………………………………………… ......................... 10 Fig 3.4.12 Case Study 03-Innovation ……………………………………………… ......................... 10 Fig 3.4.13 Case Study 01-Spatial Organization ……………………………………………… ........ 10 Fig 3.4.14 Case Study 02-Spatial Organization ……………………………………………… ........ 10 Fig 3.4.15 Case Study 03-Spatial Organization ……………………………………………… ........ 10 Fig 3.4.16 Case Study 01-Design Elements ……………………………………………… ............... 10 Fig 3.4.17 Case Study 02-Design Elements ……………………………………………… ............... 10 Fig 3.4.18 Case Study 03-Design Elements ……………………………………………… ............... 10 Fig 3.4.19 Case Study 01-Experiences ………………………………………………....................... 10 Fig 3.4.20 Case Study 02-Experiences ………………………………………………....................... 10 Fig 3.4.21 Case Study 03-Experiences ………………………………………………....................... 10 Fig 3.4.22 Case Study 01-Materials ……………………………………………… ............................ 10 Fig 3.4.23 Case Study 02-Materials ……………………………………………… ............................ 10 Fig 3.4.24 Case Study 03-Materials ……………………………………………… ............................ 10 Fig 4.2.1 Shanghai Polygrand Theatre 1 ……………………………………………… ................... 13 Fig 4.2.2 Shanghai Polygrand Theatre 2 ……………………………………………… ................... 13 Fig 4.2.3 Shenzhen art and cinema complex 1 ……………………………………………… ....... 13 Fig 4.2.4 Shenzhen art and cinema complex 2 ……………………………………………… ....... 13 Fig 4.2.5 Jingdezhen Imperial Kiln Museum 1 ……………………………………………… ........... 14 Fig 4.2.6 Matadero De Legazpi ……………………………………………… ................................. 14 Fig 4.2.7 Eye film museum ……………………………………………… .......................................... 14

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Fig 5.1.1 Neighbourhood ……………………………………………… ........................................... 15 Fig 5.1.2 Site -Shape/Area ……………………………………………… ......................................... 15 Fig 5.1.3 Implications of regulations ……………………………………………… .......................... 15 Fig 5.1.4 Urban Design Considerations……………………………………………… ...................... 16 Fig 5.1.5 Natural Features-Contours……………………………………………… ........................... 16 Fig 5.1.6 Natural Features-Drainage and Slope ……………………………………………… ....... 16 Fig 5.1.7 Natural Features-Landscape and waterbodies …………………………………………17 Fig 5.1.8 Man-made features ……………………………………………… .................................... 17 Fig 5.1.9 Climate-Sun-path ……………………………………………… ........................................ 17 Fig 5.1.10 Climate-Wind ……………………………………………… ............................................. 18 Fig 5.1.11 Utilities ……………………………………………… ......................................................... 18 Fig 5.1.12 Circulation ……………………………………………… .................................................. 18 Fig 5.1.13 Sensory-Visual (View from site) ……………………………………………… ................. 18 Fig 5.1.14 Sensory-Visual (View to site) ………………………………………………...................... 19 Fig 5.1.15 Sensory-Audible (Noise) ……………………………………………… ............................ 19 Fig 5.1.16 Sensory-Olfactory ……………………………………………… ...................................... 19 Fig 5.1.17 Traffic-Vehicular ……………………………………………… ......................................... 19 Fig 5.1.18 Traffic-Pedestrian ……………………………………………… ....................................... 20 Fig 5.1.19 Temporal Understanding of site activities ……………………………………………… 20 Fig 5.1.20 Access ……………………………………………… ........................................................ 20 Fig 5.3.1 Site Zoning 1 ……………………………………………… ................................................. 22 Fig 5.3.2 Site Zoning 2 ……………………………………………… ................................................. 22 Fig 6.1.1.1 Primacy effect A ……………………………………………… ....................................... 23 Fig 6.1.1.2 Primacy effect B ……………………………………………… ....................................... 23 Fig 6.1.1.3 Primacy effect C ………………………………………………....................................... 23 Fig 6.1.2.1 Focalization A ……………………………………………… ........................................... 23 Fig 6.1.2.2 Focalization B ……………………………………………… ............................................ 23 Fig 6.1.2.3 Focalization C ……………………………………………… ........................................... 23 Fig 6.1.3.1 Walk of fame 1 ……………………………………………… .......................................... 24 Fig 6.1.3.2 Walk of fame 2 ……………………………………………… .......................................... 24 Fig 6.1.3.3 Lobby of Self Reflection ……………………………………………… ........................... 24 Fig 6.1.4.1 Exit Slit ………………………………………………......................................................... 24 Fig 6.1.4.2 Sequence of Movement ……………………………………………… .......................... 24 Fig 6.2 Concept Abstract Art ……………………………………………… .................................... 25

Fig 6.3.1.1 Access 01 ……………………………………………… .................................................. 27 Fig 6.3.1.2 Access 02 ……………………………………………… .................................................. 27 Fig 6.3.1.3 Access 03 ……………………………………………… .................................................. 27 Fig 6.3.2.1 Site Zoning 01 ……………………………………………… ............................................ 28 Fig 6.3.2.2 Site Zoning 02 ……………………………………………… ............................................ 28 Fig 6.3.2.3 Site Zoning 03 ……………………………………………… ............................................ 28 Fig 6.3.3.1 Blue and Green 01 ……………………………………………….................................... 29 Fig 6.3.3.2 Blue and Green 02 ……………………………………………….................................... 29 Fig 6.3.3.3 Blue and Green 03 ……………………………………………….................................... 29 Fig 6.3.4.1 Building Footprint 01 ……………………………………………… ................................. 30 Fig 6.3.4.2 Building Footprint 02 ……………………………………………… ................................. 30 Fig 6.3.4.3 Building Footprint 03 ……………………………………………… ................................. 30 Fig 6.3.5.1 Cores 01 ……………………………………………… ..................................................... 31 Fig 6.3.5.2 Cores 02 ……………………………………………… ..................................................... 31 Fig 6.3.5.3 Cores 03 ……………………………………………… ..................................................... 31 Fig 6.3.6.1 Block Zoning 01 ……………………………………………… ......................................... 32 Fig 6.3.6.2 Block Zoning 02 ……………………………………………… ......................................... 32 Fig 6.3.6.3 Block Zoning 03 ……………………………………………… ......................................... 32 Fig 6.3.7.1 Circulation 01 ……………………………………………… ............................................ 33 Fig 6.3.7.2 Circulation 02 ……………………………………………… ............................................ 33 Fig 6.3.7.3 Circulation 03 ……………………………………………… ............................................ 33 Fig 6.3.8.1 Activity 01 ……………………………………………… .................................................. 34 Fig 6.3.8.2 Activity 02 ……………………………………………… .................................................. 34 Fig 6.3.8.3 Activity 03 ……………………………………………… .................................................. 34 Fig 6.3.9.1 Massing 01 ……………………………………………… ................................................. 35 Fig 6.3.9.2 Massing 02 ……………………………………………… ................................................. 35 Fig 6.3.9.3 Massing 03 ……………………………………………… ................................................. 35 Fig 6.3.10.1 Facade 01 ……………………………………………… ............................................... 36 Fig 6.3.10.2 Facade 02 ……………………………………………… ............................................... 36 Fig 6.3.10.3 Facade 03 ……………………………………………… ............................................... 36 Fig 6.4.1.1 Spotlight ……………………………………………… ..................................................... 37 Fig 6.4.1.2 Chaos Lobby ……………………………………………… ............................................. 37 Fig 6.4.1.3 Red Arena ……………………………………………… ................................................. 38 Fig 6.4.1.4 Open Screening ……………………………………………… ....................................... 38

Fig 6.4.2.1 Red Stage ……………………………………………….................................................. 39 Fig 6.4.2.2 Private Access Path ……………………………………………… .................................. 39 Fig 6.4.2.3 Private Access to Walk of Fame ……………………………………………… .............. 40 Fig 6.4.3.1 Individual Drop Off ……………………………………………… ................................... 40 Fig 6.4.3.2 Lobby of Self Reflection ……………………………………………… ........................... 41 Fig 6.4.3.3 Central Plaza ……………………………………………… ............................................. 41 Fig 7.1.1 Site Plan cum GF Plan ……………………………………………… ................................. 42 Fig 7.1.2 Aerial view from north-east ……………………………………………… ......................... 42 Fig 7.2.1 Basement floor plan ……………………………………………… .................................... 43 Fig 7.2.2 Aerial view from south-west ……………………………………………… ........................ 43 Fig 7.3.1 Site Section A-A’……………………………………………… ........................................... 44 Fig 7.3.2 Site Section B-B’……………………………………………… ............................................ 44 Fig 7.3.3 Site Section C-C’………………………………………………........................................... 44 Fig 7.3.4 Site Section D-D’……………………………………………… ........................................... 44 Fig 7.3.5 Site Section E-E’………………………………………………............................................. 44 Fig 7.4.1 Ground Floor Plan ……………………………………………… ........................................ 45 Fig 7.4.2 First Floor Plan ……………………………………………… ............................................... 45 Fig 7.4.3 Second Floor Plan ……………………………………………… ........................................ 46 Fig 7.4.4 Entrance ……………………………………………… ....................................................... 46 Fig 7.4.5 Lobby of Self Reflection Initial View ……………………………………………… ........... 46 Fig 7.4.6 Lobby of Self Reflection ……………………………………………… .............................. 46 Fig 7.4.7 Lobby of Self Reflection from Chaos Lobby………………………………………………46 Fig 7.4.8 Section A1 ……………………………………………… .................................................... 47 Fig 7.4.9 Section A2 ……………………………………………… .................................................... 47 Fig 7.4.10 Section A3 ……………………………………………… .................................................. 47 Fig 7.5.1 Ground Floor Plan ……………………………………………… ........................................ 48 Fig 7.5.2 First Floor Plan ……………………………………………… ............................................... 48 Fig 7.5.3 Second Floor Plan ……………………………………………… ........................................ 48 Fig 7.5.4 Section B1……………………………………………… ...................................................... 49 Fig 7.5.5 Section B2……………………………………………… ...................................................... 49 Fig 7.5.6 Entrance……………………………………………… ........................................................ 50 Fig 7.5.7 View from Entrance Plaza……………………………………………… ............................ 50 Fig 7.5.8 Elevated view from Adjacent Street……………………………………………… ........... 50 Fig 7.6.1 Ground Floor Plan……………………………………………… ......................................... 51

Fig 7.6.2 First Floor Plan……………………………………………… ................................................ 51 Fig 7.6.3 Second Floor Plan……………………………………………… ......................................... 52 Fig 7.6.4 Section C1……………………………………………… ..................................................... 52 Fig 7.6.5 Section C2……………………………………………… ..................................................... 52 Fig 7.6.6 Common Entrance……………………………………………… ....................................... 53 Fig 7.6.7 Corridor to Private Screens……………………………………………… .......................... 53 Fig 7.6.8 VIP Access to Private Screens……………………………………………… ..................... 53 Fig 7.7.1 Ground Floor (Wax Museum) Plan……………………………………………… .............. 54 Fig 7.7.2 First Floor (Expo) Plan……………………………………………… .................................... 54 Fig 7.7.3 Section D1……………………………………………… ..................................................... 55 Fig 7.7.4 Section D2……………………………………………… ..................................................... 55 Fig 7.7.5 Common Entrance……………………………………………… ....................................... 55 Fig 7.8.1 Ground Floor Plan……………………………………………… ......................................... 56 Fig 7.8.2 First Floor Plan……………………………………………… ................................................ 56 Fig 7.8.3 Section E1……………………………………………… ...................................................... 56 Fig 7.8.4 Section E2……………………………………………… ...................................................... 57 Fig 7.8.5 Section E3……………………………………………… ...................................................... 57 Fig 7.8.6 View from Red Plaza……………………………………………… .................................... 57 Fig 7.8.7 Red Plaza from First Floor……………………………………………….............................. 57 Fig 7.9.1 Section F1……………………………………………… ...................................................... 58 Fig 7.9.2 Section F2……………………………………………… ...................................................... 58 Fig 7.9.3 Open Screening Theatre……………………………………………….............................. 58 Fig 7.10.1 Section G1……………………………………………… ................................................... 59 Fig 7.10.2 View from Public Arena to Red Stage……………………………………………… ...... 59 Fig 7.10.3 View from Red Stage to Public Arena ……………………………………………… ..... 59

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1.INTRODUCTION

Inspite of the surge of commercial cinema , South India still creates a considerably

high number of “world cinema” movies every year than its north , east and west counterparts. Be it the powerful yet strong storylines from Vetrimaran or simple yet beautiful rendition of normal human life stories by Mani Rathnam or the peek at a simplitarian’s life through malayalam cinemas, Chennai has proved to be the biggest consumer of them all and it deserves to have a celebratory place for th exchange of this culture called cinema.

Chennai (Madras) was the hot hub for South-Indian and at times even cinema at na-

tional level. Artists travelled to Chennai to shoot movies as the major film stidio hud, Kodambakkam housed most A-list directors, actors and technicians. Dreamers used to travel to “Madras” to pursue their film dreams. Even today, when most studios have shut down and the film shooting is done outdoor and using technology, Chennai has a very large population cinema fanatics who take interest in both the yesteryear goldies and the masterpieces of today. 1.1 AIM To bring in a cultural identity for the cinematic culture of the city of Chennai. 1.2 OBJECTIVES A space for exchange of cinematic interests -fan based, production based and delivery /

performance based.

CELEBRATION OF THE ARTISTS OF YESTERYEAR WHO PAVED WAY FOR THE CURRENT QUALITY OF CINEMA IN THE CURRENT SCENARIO

Savitri

CREATING MEMORIES THROUGH SOUVENIR COLLECTION

SOUVENIR

FILMY FILM-TECH

Semma

EXCHANGE OF TECHNOLOGY AND IDEAS THROUGH CONVENTIONS AND WORKSHOPS wahhhhh

FILM FESTIVALS BOTH INTERNATIONAL AND WEEKLY/THEMED (INDIE /LOCAL)

Now , that’s what world cinema deserves !!

1.3 SCOPE AND LIMITATIONS PUBLIC BUILDING (20,000 sq.m.) Museum Multiplex

Film festival venue

Commercial block

Expo

Wax museum

VR museum

Open screening

1.4 METHODOLOGY Delivering the theoretical parallels between cinema and spaces into a user experience path and to create a user oriented space designed specifically to satisfy a cinema fanatic.

2.LITERATURE STUDY 2.1 STANDARDS

Auditorium seating arrangement

Table 1 DCR-Non High rise standards LECTURE ROOM LIBRARY CINEMA CONCERT HALL THEATRE CAFETERIA DEPARTMENTAL STORES DINING HALLS MUSEUM RESTAURANT

0.6 m2 5 m2 0.6 m2 0.6 m2 0.6 m2 10-50 ft2 15-75 ft2 10-50 ft2 30-100 ft2 1.5 m2

Auditorium seating space and height

Table 2 Area Per Person

ACOUSTICS

SEATING FOR THE

PROJECTION SCREEN

SPECIALLY ABLED

ACOUSTIC PROPORTIONS - ROOF, WALL HEIGHT

CHANGING ROOMS 3

2.1 STANDARDS Block layouts, spatial requirements and allied spaces. GOODS ENTRANCE

14 47 5 40 8

WORKSHOP

SHOP

RECORD OFFICE

BOARD ROOM

STUDIOS

LECTURE HALL

371 66 65

GALLERIES

ENTRANCE

CIRCULATION DIAGRAM

8 20 5 17 10 8 60 70 60 160 15

Table 3 Museum Area Requirements

PERF. THEATRE LAYOUT

AUDITORIUM LAYOUT

WORKSHOP LAYOUT

THEATRE LAYOUT

SECTION AUDITORIUM CONCERT HALL LAYOUT

CONCERT HALL SECTIONAL VIEW 4

CINEMA LAYOUT

ACOUSTIC SECTION

2.2 ABOUT THE PROJECT Required spaces and blocks. 1. MUSEUM Galleries (Equipments) Prop /sets from pop culture Temporary exhibition space Event venues Theatre for historical scene recreation Observatory 2. ARTIST / SET BOOTH Wax museum Savitri S

Virtual reality booths to meet artists Photo-friendly frames Storage Services 3. MULTIPLEX | LIVE PERFORMANCE Theatres Common lobby Cinema lobby Theatre lobby Green room Artist lounge Services 4. FILM EXPO Hall of trade and technology Storage / data rooms

Semma

wahhhhh

Refreshment Workshop rooms Demonstration halls (smaller audience) Services 5. FILM FESTIVAL VENUE Grand entrance Lobby Convention hall Screening theatres (acts as weekly subject SCREENS

WEEKLY FILM FESTIVAL

And also as annual film screening) Services Artist lounges Storage 5

6. CENTRAL COMMERCIAL SPACE Plaza cum food court Cafes (themed) Restaurants

RESTAURANT

Souvenir shops

AI KAD TEA

Gadget shops Storage (attached to shops) Services 7. OPEN SCREENING SPACE Plaza Seater gallery (800-1000)

Services 8. SERVICES Parking Water storage Power rooms AHUs Garbage / sewage disposal

CAFE MADR AS

FILMY FILM-TECH

SOUVENIR

3.CASE STUDY 3.1 CASE STUDY 01 - BUSAN CINEMA CENTRE (BUSAN

| 54,335m2 |2012 | COOP HIMMELB(L)AU)

While the movie theaters are located in a mountain-like building, the Center’s public space is shared between an outdoor cinema and a huge public space which is called the Red Carpet Area i.e. reception area. LED saturated outdoor roof elements acting as a virtual sky connect building-objects and plaza-zones into a continuous, multifunctional public urban space. The design of these spaces supports flexible, hybrid functionality that can be used both during the annual festival period and day-to-day use without interruption.

OUTDOOR SCREENING THEATRE CINEMA 200 SEATER

TECH SUPPORT DRESSING ROOMS

PARKING

CINEMA 400 SEATER

AUDIENCE CHAMBER 1000 SEATER

PARKING

SUSPENDED WALKWAYS PARKING

ELEVATION SECTION Cinema Mountain The Cinema Mountain is a mutifunctional building containing both a 1,000 seat multifunctional theater with fly tower and full backstage support and three-screen multiplex comprised of 400 seat and two 200-seat Cinema . Urban Valley /Outdoor Cinema The urban Vatley combines e flexible flat ground surface and large stepped tribines of the BIFF hill as seating for o 4000 seat Outdoor Cinema. BIFF HILL The BIFF HIll is a ground surface formation creating the tribune teating space of the outdoor cinema and accommodating the concourse, the convention hall, the BIFF center, the BIFF offices and the visual media center. Red Carpet Zone During the BIFF festival or for other special events the Red Carpet Zone is created by special drop-off at the Double Cone entrance element. A red carpet can be extended from the Double Cone event space and photo position to the south though the park.

STAGE ENTRY TECH SUPPORT

AUDIENCE STAGE LOBBY CHAMBER

MAIN ENTRANCE

CINEMA ENTRANCE

OUTDOOR CINEMA 3162 SEATS

CONVENTION HALL

HALL ENTRY

NIGHT RESTO/BAR ENTRY

BLOCK PLANS

GF PLAN 7

3.2 CASE STUDY 02 - EYE FILM MUSEUM (AMSTERDAM

| 3250 m2 | 2011 | Delugan Meissl Associated Architects)

The access through the large southern glass front is defined by an intense optical reference to the outside before the room widens when coming closer to the ticket and information counter. Cloakrooms, offices, and the museum shop can be accessed from here. The way into the foyer which acts as both, a dwelling and distribution area, is defined by lighting, materials and spatial development alongside the glass front. The fluidly laid out, pleasant terrace acts as an extension of this communicative space. At the centre, the open interior unfolds its full dimension, and all internal pathways are integrated into the spatial formulation of this neuralgic zone. The usability concept generates good orientation and unimposing freedom of movement at all points, whereby the foyer represents the exit- and endpoint of any form of use. Tribune-like steps define partly assigned, partly changeable function areas. The exhibition level, projection rooms and the restaurant can be accessed via this room topography. A staircase leads to the lower level where the office area, the cantine, and the film laboratory with an adjacent restauration workshop are situated. It is where the valuable content of the institute’s archive is professionally looked after. Three screening rooms can be accessed at the rear side of the foyer level. In compliance with their function they are designed as condensed and itroverted passages. On the higher level, adjacent to the restaurant, is the gallery area which is Amsterdam’s biggest cohesive exhibition area. An eastwards facing multifunctional STAIRS TO GALLERY

LOBBY

room unit - the educational room - can be temporarily added to the exhibition area. The room’s floor-to-ceiling glass opens the view onto the lower entrance area. A generous staircase leads from the entrance of the exhibition area to the upper level and towards the big showroom. This

ELEVATION ROOM AT THE TO

ascent is widely visible from the foyer and it is suited for the effective enactments of special appearances at premiers and other events.

CINEMA 4 FOYER

The way to the upper level opens the view over the whole room volume. Beside the

EXHIBITION ARENA STUDIO ARENAPLATEAU

showroom’s open gallery area this level hosts the most intimate part of the building: the “Room With A View”, a private lo-

ARENA CINEMA 2&3 SHOP MAI N ENTRY

PANORAMA CINEMA IJ LOUNGE WATERFRONT

cation for exclusive and secluded receptions.

3.3 CASE STUDY 03 - CINETECA NACIONAL SIGLO XXI (MEXICO | 49,000 m2 | 2014 | Rojkind Arquitectos) The axes intersection became a new 80m x 40m public plaza sheltered from the weather by a hovering canopy connecting the existing complex with the new screening rooms. Clad in composite aluminium panels, with varied size triangular perforations, the roof structure wraps around the new screening rooms and becomes their facade. The sheltered space functions as the foyer for the old and new screening rooms and can accommodate additional program options such as concerts, theatre, exhibitions, etc. An outdoor amphitheatre, extensive landscaping and new retail spaces were added to the original program expanding the possibilities for social and cultural interaction and exchanges, and giving the complex a university campus feel.

ELEVATION

LOBBY

THEATRES

The Public zone is zoned near both the entrance and the semi public zone is zoned between the public and private zone that makes the restriction to the trespasers to the private. The private zone is zoned at the further part of the site There is a ford which is outdoor amphitheatre for screening the films. Being screening a film in a open spoce creates a sense of community while viewing but it PARK 528

fails in its function. A film must always be

SCREEN 1000 SE

screened in enclosed so that the user gets the full experience of viewing a film withGREEN 7 110

out any distraction.

ROOF S 6 500

The aluminium roof creates a sense of AMPHIT 700 SEA

enclosure to the open space and creates

EXISTING TH 2849 2

shade all the time throught out the daytime which enhances the social interac-

EXISTING OF 19 00 2

DIGITAL REST 920 m2

CES

tion between the public users.

BLOCK PLACEMENT 9

3.4 INFERENCE BUSAN CINEMA CENTRE

EYE FILM MUSEUM

CINETECA NACIONAL SIGLO XXI

INFERENCE

PEDESTRIAN PUBLIC SCREEN ATTRACTION

Fig.3.4.1

•RELATIONSHIP BETWEEN PUBLIC AND PRIVATE SPACES •VARIETY OF MOVEMENTS THROUGH AND AROUND THE BUILDING GIVES AN ILLUSION OF FLOATATION

MUSEUM

CONTEXT (CLIMATIC/NEIGHBOURHOOD)

COMMERCIAL COMPLEX

OFFERS VISUAL TRANSPARENCY TO THE NEIGHBOURHOOD

Fig.3.4.4

THE BUILDING ADOPTS MANY FACES FROM EACH VIEWPOINT, THUS FINDING ITSELF IN A CONSTANT DIALOGUE WITH ITS SURROUNDINGS, HENCE - THE EYE .

ENTIA

RESID

TED ISOLA

IJ RIVER

LAND

TE WAS

THEATER

Fig.3.4.5

ITH MW ROO VIEW THE

CINEMA

SECOND

EXHIBITION

FIRST SHOPP

CAFE

MAIN ENTRY

CINEMA

CINEMA A

ARENA

THEATER LOBBY

•ZONED BY USAGE , CINEMAS HAVING THE PRIMARY ENTRANCE AND THE CONVENTION HALL GETS THE SECONDARY ENTRANCE. • GASTRONOMY SECTION BEING IN THE CENTRAL CONES PROVIDES EQUAL ACCESS AND ALSO SPLITS THE SITE INTO TWO ZONES

EE IER FR

CINEMA A

LOBBY

BASEMENT

Fig.3.4.8

BARR SS ACCE

FRO

ER WAT

IJ LOUNGE

RECREATION

GROUND

FUNCTIONAL

STUDIO

RED CARPET ZONE

USABILITY CONCEPT: CLEAR ORIEN-

FLOATING ROOF

AFTER

IT USED TO BE AN ISOLATED WASTELAND, HERMETICALLY SECURED AND NOT ACCESSIBLE TO THE PUBLIC. SINCE THE INTRODUCTION OF THE EYE, THIS STRETCH OF LAND HAS DEVELOPED INTO A VITAL EXPANSION AREA. IT ALSO CONNECTS THE SURRROUNDING ISLETS PHYSICALLY AND VISUALLY TO THE MAIN RIVER FRONT.

OFFICE

Fig.3.4.7

. MM

CO L

TE HO

BEFORE

MEDIA CENTRE

W WALKWAY

ENTIA

EYE

IJ RIVER

THIRD

CINEMAS AND LOBBY

RESID

ENADE

SITE

VIEW TO WATERFRONT

IJ PROM

RIVERFRONT

RIVER

•SURROUNDED BY MUSEUMS AND COMMERCIAL COMPLEXES AND PROVIDES MORE OF A TOURIST CROWD •CONNECTIVITY ON ALL THE FOUR SIDES PROVIDES D I F F E R E N T ENTRANCES FOR VARIED PURPOSES

Fig.3.4.2

TATION AND INTRUSIVE ROUTE GUIDANCE

STUDENTS FROM NEARBY SCHOOLS

Fig.3.4.3

LJ RIVER ADJACENT PLAYGROUND

MUSEUM COMPLEX

ZONING

USERS FROM NEARBY OFFICES

TOWARDS THE COMMERCIAL PLAZA

EXPERIENTIAL

PHILOSOPHY

EXPERIENTIAL USERS

VERTICALLY , THE SPACES ARE DISTRIBUTED IN SUCH A WAY THAT THE JOURNEY THROUGH THE BUILDING STARTS WITH A RIVERFRONT RECREATION S P A C E FOLLOWED BY FUNCTINAL CINEMA AND EXHIBITION SPACE AND CULMINATING WITH THE FINAL ROOM WITH THE VIEW.

MOVIE GOERS

•REDUCE THE EFFECT OF VISUALLY OPAQUE SURROUNDINGS DUE TO URBAN SPRAWL AND SOLVE THE LACK OF URBAN PUBLIC SPACE • AN OUTDOOR AMPHITHEATER, EXTENSIVE LANDSCAPINGND NEW RETAIL SPACES WERE ADDED TO THE ORIGINAL PROGRAM EXPANDING THE POSSIBILITIES FOR SOCIAL AND CULTURAL INTERACTION AND EXCHANGES, AND GIVING THE COMPLEX A UNIVERSITY CAMPUS FEEL. DUE TO THE HIGH NO. OF OPAQUE AREA PEDESTRIAN VISITORS, THE OPAQUE B A C K AREA ENTRANCE SITE WAS PROVISIONED IN ADDITION TO THE PARKING Fig.3.4.6 ENTRANCE N THE COMPLEX ACTS AS AN URBAN CATALYST BY GIVING A MORE VISIUALLY TRANSPARENT SPACE COMPARED TO THE NEIGHBOURING SITES. •CONNECTING SHOP AREA AND ONE PART OF MULTIPLEX • DIVIDING TWO BLOCKS OF CINEMA

PUBLIC SCREENING FACING THE PEDESTRIAN PRONE ENTRY

MUSEUM SEPARATED STRATEGICALLY FROM THE REST TO GIVE ACCESS FROM THE OLD CINEMA INSPITE OF AN EMPHASIZED ROOF DESIGN

PARKING MEZZANINE ACC CCESS FOR THE UPPER CINEMA AREA

Fig.3.4.9

SHOPS / CAFE

CINEMA SCREENS •NEW CINEMA ON TOP ACCESSED USING THE MEZZANINE WALKWAY •OLD CINEMA IN GF CONNECTED TO THE MUSEUM

VAULTS

OPEN DAILY PUBLIC SCREENING

CINEMA ENTRANCE

HALL ENTRY

NIGHT RESTO/BAR ENTRY

SEMI OPEN N CIRCULATORY AND REFRESHMENT

Fig.3.4.13

CINE-MOUNTAIN

URBAN VALLEY BIFF HILL DOUBLE CONE

SCREEN

CINEMA

FUNCTIONAL VISUALLY ISOLATED

GRAND STAIRS BASEMENT

RESTAURANT

Fig.3.4.14

MOTION CREATES THE THIRD DIMENSION. WHILE MOVING THROUGH THE BUILDING, ITS APPEARENCE KEEPS CHANGING CONSTANTLY. THE HIGHER UP ONE MOVES ALONG THE TRIBUNE OF THE ARENA, THE MORE THE PROSPECT OVER THE SPACE AND THE CITY CHANGES. ALLUSION TO STAGE IN REAL WORLD WHERE EVERYONE BECOMES AN ACTOR

BLACK BOX- CINEMA SCREEN ROOM

INVITES THE USER TO DWELL IN THOUGHTS AFTER VIEWING THE MOVIE CINEMA

VIE

ELEMENTS OF SURPRISE, EMOTION, REFLECTION Fig.3.4.17 W

Fig.3.4.16

PARKING

FUNCTIONAL

Fig.3.4.15

PEDESTRIAN ENTRANCE AXIS

•CAN ACT AS AN URBAN ELEMENT, RELATE TO EMOTIONS OR A SPACIAL SEGREGATION SYSTEM. •BUSAN CINEMA CENTRE- HUGE STRUCTURAL CANTELEVER ROOF ACTING AS AN URBAN CANOPY FOR THE ENTIRE NEIGHBOURHOOD NETWORK. •EYE FILM MUSEUM-PHILOSOPHICALLY RELEVANT SPACES THAT DRAWS INSPIRATION FROM CINEMA. •NACIONAL CINETECA-CENTRAL GREEN PLAZA-SEGREGATING PUBLIC AND PRIVATE SPACES DRAMATICALLY

FUNCTIONAL AND VISUAL PLAY TOOL

PARKING ENTRANCE AXIS XISS

N THE TWO AXES DEFINE THE PROGRAMME OF THE DESIGN BY SEGREGATING THE DESIGN ELEMENTS INTO IMMEDIATE(DIRECTLY TO THE CINEMA BLOCK) ACCESS AND EXPERIENTIAL (PLAZA SEQUENCE) ACCESS

•INTENTIONAL USAGE OF STRATEGICAL PLACEMENT OF BLOCKS TO MAXIMISE THE USAGE OF PUBLIC SPACE AND CREATE ENOUGH PRIVACY FOR THE SEMI-PRIVATE SPACES. •BUSAN CINEMA CENTRE- SPLITTING INTO DAILY , CEREMONIAL AND URBAN PUBLIC SPACES •EYE FILM MUSEUM-ORIENTATION TO VARIOUS ANGLE OF VIEWS •NACIONAL CINETECA-CENTRAL GREEN PLAZA-SEGREGATING PUBLIC AND PRIVATE SPACES DRAMATICALLY

•THIS PARAMETER SETS THE COURSE OF EXPERIENCE IN THE DESIGN. • BIAXIAL MOVEMENT- NACIONAL CINETECA •EMOTIONS - EYE FILM MUSEUM •MOVEMENT AND ALLUSION- BUSAN CINEMA CENTRE

Fig.3.4.18

ARENA

TRANSITION SPACE

VIE

SCREENING ROOM

SCREENING ROOM TRANSITION SPACE

EXPERIENCES

SHOP

CINEMA

WAY TO ARENA AFTER THE MOVIE

Fig.3.4.19

CENTRAL PLAZA

VAULTS CAFE

VIEW

•SURREAL FLOATATION EXPERIENCE UNDER THE ROOF •ILLUSION OF MOVEMENT UNDER THE MOVING SCREEN

SCREEN OFFICE

EXHIBITION

ARENA A

MOVEMENT AND EMPHASIS

RECREATIONAL VISUAL CONNECTOR

TSID E

SPACIAL ORGANISATION

MAIN ENTRANCE

CONVENTION HALL

•MOUNTAIN BLOCK HAS THE CINEPLEX AND THE THEATRE •THE BIFF HILL CONTAINS THE SPACE FOR FILM FESTIVALS •THE URBAN VALLEY ACTS AS THE PUBLIC SCREENING SPACE •SUSPENDED WALKWAYS CONNECTING THE TWO BLOCKS • ZONED TO MAKE BOTH BLOCKS ACTIVE AT ALL HOURS

SCREEN

SCREEN MUSEUM

ENCLOSED SPACE PERIODICAL AND CEREMONIAL USAGE

TECH SUPPORT OUTDOOR CINEMA AUDIENCE STAGE 3162 SEATS CHAMBER

PHILOSOPHICALLY INNOVATIVE SPACES ROOM WITH A VIEW , TERRACE, TRANSITION SPACE , ARENA , TO EXHIBITION , IJ LOUNGE, PROMENADE, AND FOYER

•WITH RESPECT TO USAGE , TO SET VIEWS OR FOR SPACIAL ORGANISATION •BUSAN CINEMA CENTRE- SEPARATING DAILY USAGE AND CEREMONIAL USAGE SPACE ALONG WITH URBAN PUBLIC SPACE IN THE CENTRE DOUBLING UP AS A PUBLIC EVENT SPACE. •EYE FILM MUSEUM-ORGANISED TO GET MAXIMUM NUMBER OF VIEWPOINTS TO METAPHORISE THE EMOTIONS OF THE USER. •NACIONAL CINETECA- SEPARATING THE VEHICULAR AND PEDESTRIAN ACCESS IN ADDITION TO THE CREATION OF AN OPEN SPACE FOR THE URBAN PUBLIC ACTIVITIES.

ACCESS ROAD

Fig.3.4.11

STAGE ENTRY

LOBBY

CINEMA OFFICE WALK ALONG THE CENTRAL PLAZA / WALKWAY ACTING AS THE CONNECTOR AND INHIBITOR OF USAGE OF EACH BLOCK STRATEGICALLY. FUNCTIONAL Fig.3.4.12 AND EXPERIENTIAL

IJ LOUNGE

HYDRAULIC TYPHOON PROTECTION ANCHOR

ENCLOSED SPACE DAILY PRIVATE SCREENING

PARKING

TERRACE

STEEL REINFORCEMENT

VISIBILITY

WORLD’S LARGEST CANTELEVER ROOF

Fig.3.4.10

STEEL REINFORCED CANTELEVER

DESIGN ELEMENTS

OAT

ROOM WITH A VIEW

INNOVATIONS

(SPATIAL / TECHNOLOGY)

MUSEUM SUPPORT

•MAXIMISES THE APPROCH OF E INTENDED USER GROUPS, OPTIMISES THE USE OF URBAN PUBLIC SPACES IN THE NEIGHBOURHOOD. •BUSAN CINEMA CENTRE- CREATES A STOPPING POINT FOR THE VERY BUSY VEHICULAR STREET. •EYE FILM MUSEUM- OPTIMISED THE MEIGHBOURHOOD EFFECT IN THE WASTELAND LIKE CHUNK OF LAND THAT MADE THE NEIGHBOURHOOD SEEM DEAD. •NACIONAL CINETECA- INCREASED THE TRANSPARARENCY OF THE SITE AND BUILDING TO THE NEIGHBOURHOOD.

VAULT VISUALLY SEPARATATED DUE TO THE PRIVATE USE

PARKING BLOCKS THE ENTRANCE VISUALLY CREATING A SUSPENCE IN THE MOVEMENT

GREEN PATH •CONNECTS THE SEMI-PUBLIC SPACE •SEPARATES THE PRIVATE SPACE FROM THE REST

•URBAN CONTEXT, PLAY OF OPEN SPACES AND CLOSED UNITS, INTENTIONAL CREATION OF A SPACE WITH THE FEEL OF A CAMPUS OF DIFFERENT TYPOLOGY. •BUSAN CINEMA CENTRE- MOVEMENT IN AND AROUND PUBLIC AND PRIVATE SPACES •EYE FILM MUSEUM- INSTIGATING A RELATIONSHIP WITH THE SURROUNDING THROUGH VIEWPOINTS. •NACIONAL CINETECA- INCREASING THE SOCIAL AND CULTURAL INTERACTION AND EXCHANGES, BY USING ELEMENTS OF SPACIAL ORGANISATION IN A UNIVERSITY CAMPUS.

Fig.3.4.20 AFTER THE MOVIE WAY TO ARENA

•AS SOON AS THE VISITOR LEAVES THE SCREENING ROOM, CHARGED WITH A FILM EXPERIENCE, HE DIVES INTO A SPACE, WHERE THE FILM CAN BE DIGESTED. •. THE ARENA IS A TRANSIT SPACE WITHOUT CONCRETE USAGE. IT LEAVES THE DECISION-MAKING ON HOW TO MOVE WITHIN IT TO THE USER.

Fig.3.4.21

•EXPERIENCE IS THE ULTIMATE RESULT OF THE DESIGN AND GIVES BOTH PSYCHOLOGICAL(EYE MUSEUM) , FANTASTICAL (BUSAN CINEMA CENTRE) AND PHYSICAL DEFINITION ( NACIONAL CINETECA) TO THE SPACES. •IT SURELY PLAYS A MAJOR ROLE IN THE MOVEMENT AND THE NUMBER OF INTERESTED USERS.

INTENT WAS TO CREATE A SPACE THAT DIDN’T FEEL LIKE A TYPICAL COMMERCIAL CINEMA CENTER INSTEAD FELT MORE LIKE A UNIVERSITY CAMPUS THAT HAS EVERYTHING “FLOATING IN A PARK” i.e. THE SEQUENTIAL EXPERIENCE IN THE DESIGN PROGRAMME.

SCREENING ROOM

MATERIALS

SCREENING ROOM SEMI PUBLIC SPACES

Fig.3.4.23

AI PROFILE

CHOICE OF INTERIOR MATERIALS TO SET THE APPROPRIATE MOOD

DIGITAL DISPLAY ROOF

Fig.3.4.22

•RECEDED SPACES AND SEMI-PUBLIC AREAS ARE FURNISHED THROUGHOUT IN NEUTRAL COLOURS • BLACK ROOM (SCREENING ROOM) IS EQUIPPED WITH DARK, NON-REFLECTING MATERIALS •DUE TO ITS MOVABLE STANDS, COLOURS AND EQUIPMENT, THE WORKSHOP THEATRE IS MOST FLEXIBLE LOCATION •CRYSTALLINE, SMOOTH FINISH THAT DEFINES THE EXTERIOR LIKE A FOLDED PAPER WAS ACHIEVED USING THE SANDWICH ALUMINIUM PANELS.THIS GAVE IT ITS GRACIOUS BUT PRECISELY CUT LOOK THAT DIFFERENTIATES IT FROM THE SURROUNDING.

Table 4 Case study comparative analysis 10

AI PROFILE WOODEN BOX

Fig.3.4.24 THE PERFORATED ALUMINIUM ROOF STRUCTURE PROVIDES VARYING INTENSITIES OF LIGHT UNDER THE CANOPY AND ALSO ACTS AS THE GLUE THAT CONNECTS THE SHOP SPACE TO THE CINEMA BLOCK WITHOUT CREATING A RIFT IN THE FLOW.

SPACE, BE IT BY BEING A STRUCTURAL ELEMENT, INTERIOR DESIGN ELEMENT OR AN EXTERIOR DISPLAY FEATURE. •IT CAN ACT AS AN URBAN CATALYST, A SPACE DEFINER AND SET THE INTENDED MOOD.

4.SPECIAL STUDY 4.1 GENERAL STUDY CLIMAX - THE FINAL FOCAL POINT This is the destination of the focal point of a special Journey. It is placed in an appropriate position in the movement path; this may vary, perhaps at the middle or end to gather impact. Each space therefore it organized in an hierarchical odd which ends up with this central or Major space, this begets the climax of the total special experience The climax ultimately acquires predominance of a spatial experience and communicates this to the user. This Is the essence of the total special experience. INTERMEDIATE CLIMAX - THE NECESSARY SUBSIDARY Introduced by lobby places intervals connecting price spaces, to the main space. They perform a specific meaning gradually serving the heighten quality of the main space that is climax. This may also act to provide and immediate movement before the climax, creating the transformation possible. The proper handling of scale, volume, textural effects of a light and darkness makes the required transformation in order to receive the major Space. The intermediate climaxes accumulate the bracket major climates, and creates a powerful impact the emotions and expectations of the spectator. 4.1.2 TOOLS 4.1.2.1.PHYSICAL PENETRABILITY It establishes a visual continuity and a constant optical and perceptual connection between the building and the environment in which it is installed, between inside and outside, trailing the route from the confined towards infinity.

HILL OF BUDDHA - TADAO ANDO (statue of Budha is almost completely hidden by the dome of the building unto the spectator reaches the point of focus )

4.1.2.2.FUNCTIONAL CORRELEATION Functional transparency ensures a high level of cross-correlation and grouping of similar operations. This is often dictated by the functional programs themselves, or else it is added in the program and constitutes part of the architect’s intention.

TAJ MAHAL - ENTRANCE (the path to the entrance is perpendicular to the entry doorway hiding the Taj Mahal until the point of entry )

4.1.2.3.SYNTHETIC DISTINCTNESS It is the synthetic perception, which allows the reading of space through successive conscious groupings and divisions, following the architect’s will.

CHURCH OF LIGHT - BY TADAO ANDO (deliberate attempt at creating a hidden path of revelation to the church)

4.1.2.4 PSYCHOLOGICAL COHERENCY The next tool of climax has to do with the psychological quality of the notion of continuity, union and belonging. Something which is present and accessible, at least visually, is recognizable and familiar and conceived mentally.

JEWISH MUSEUM - BY DANIEL LEBISKIND (a dark interior lane leading to a narrowing space with skylight giving a sudden influx of light along with the contrast of metal clankings to the deafening silence )

4.1.2.5.ETHICAL CLARITY It is the philosophical implications that transparency holds. While they are related to a noble, immaterial notion, simultaneously there is a potent, direct link with the first version of transparency, the natural transparency, that involves the concepts of natural nakedness, instinctive human reflexes in this, self-exposure, indiscretion etc. Increasing drama

Increasing drama

PATH TO THE GARBAGRIHA - IN INDIAN TEMPLES (breakdown of the sequential spaces into varying gradients of light penetrability giving a grand revelation of the diety at the focal point)

IDEAL REALITY

ABSOLUTE ILLUSION

It is the fascinating purity of absolute

Here one can evaluate transparency

truth. It is the addition of all previous

as a powerful tool of representation. It is not reality which is crystal clear,

stages. It is the perceptual territory, where transparency potentially at-

ABSOLUTE ILLUSION

IDEAL REALITY

but its spacially or conceptually rep-

tains features of an ideal reality. It is

resented hallucination / experience.It

the top point of the whole climax.

is in short, a purposeful deviation from reality engineered by the designer.

4.2 INFERENCES 4.2.1. PHYSICAL PENETRABILITY •On the inside, the tunnels produce a similarly theatrical experience for visitors coming for operas, concerts, plays, and other events. •A bridge on the fourth level and windows on the fifth overlook the grand space. The lobby’s square ceiling somewhat diminishes the bold impact of the cylinder, but its intersection with a circular skylight creates the kind of dramatic daylighting for which Ando is known. • From the lobby, the foyer tube skillfully compresses the visitor’s experience, allowing for an explosion of space when entering the theater .

LOBBY

FIG 4.2.1

VIEW THROUGH THE PUNCTURE

FIG 4.2.2

SHANGHAI POLY GRAND THEATRE- TADAO ANDO •The punctures acts as a visually opaque peek into the closed volume from the outside, without revealing the activities inside. •From inside it acts a dramatic climax to the user coming from the theatres and also to the users inside a few functional spaces through whicjh the punctures are made.

4.2.2. FUNCTIONAL CORRELEATION •A silvery shining and softly deformed ‘cloud’ serves as a central orientation and access element on the plaza. •With its curved surface the Cloud opens into the space reflecting the idea of two museums under one roof

OPEN MUSEUM SPACE

COMMON CORRIDOR

ENCLOSED MUSEUM SPACE

FIG 4.2.3 •the user, when inside the enclosed museum volOPEN ume, stays oblivious to the other volume . MUSEUM •Through the small organic opening on the stair SPACE well wall, th euser gets a hint of a possible secondary enclosing volume and hence after the descent into the common corridor the user is revealed of the other museum space hence giving a feeling of two museum under a roof. SHENZHEN ART AND CINEMA COMPLEX

FIG 4.2.4

ENCLOSED MUSEUM SPACE

COMMON CORRIDOR

4.2.3. SYNTHETIC DISTINCTNESS •Jingdezhen Imperial Kiln Museum is entered through a foyer at ground level, housed within one of the arched structures. •Only after ascending to the ground floor level , can the user view the entire theme of the building. FOLIAGES BLOCKING DIRECT VIEW FROM OUTSIDE

FOLIAGES BLOCKING DIRECT VIEW FROM OUTSIDE

FIG 4.2.5

WAY TO THE OPEN VIEW

ENTRY TO THE BASEMENT FROM OUTSIDE

JINGDEZHEN IMPERIAL KILN MUSEUM •The foliage surrounding the complex blocks view from the entry pints and the entrance leads the user into teh basement from where they have to travel to the ground floor to view the actual view. •This denial and reward dramatise the ultimate revelation of the final view.

4.2.4. PSYCHOLOGICAL COHERENCY •The horizontality of the site in combination with the light theme has been used to create illusions of infinitely long path that gives revelatory experience in the end after the exit from the dark cinema hall .

•Use of optical illusion to create spaces that gives surreal psychological experiences along with the feelinf of movement. •Can be achieved using play of simple geometrical elements like lines and planes along with the use of light , colors and materials. •Con: could create confusion in wayfinding. MATADERO DE LEGAZPI

FIG 4.2.6

4.2.5. ETHICAL CLARITY •The arena that can be accessed from the screening theatre by a strategically placed transition space acts as a place reserved for self reflection after a very moving cinema experience. •This area supposedly completes the entire cinema watching experience. EW

VI E

ARENA

WAY TO ARENA AFTER THE MOVIE

FIG 4.2.7

EYE FILM MUSEUM-AMSTERDAM

TRANSITION SPACE

VIE W

SCREENING ROOM

TSI

SCREENING ROOM TRANSITION SPACE

WAY TO ARENA AFTER THE MOVIE

•as soon as the visitor leaves the screening room, charged with a film experience, he dives into a space, where the film can Be digested. •. The Arena is a transit space without concrete usage. It leaves the decision-making on how to move within it to the user.

5.SITE STUDY 5.1 SITE PARAMETERS 5.1.1 NEIGHBOURHOOD •Landuse around the site constitutes mixed residential on two sides , commercial / institutional on the major edge and open green space on the other edges. •Landuse around the site can devise the rough zoning of the design. open green space

predominantly commercial and institutional

predominantly residential

orientation of open space recreation related zonne

commercial / institutional zone

FIG 5.1.1

5.1.2 SITE- SHAPE / AREA •Traffic concentration due to the bend of the road makes this corner of the site a blind spot for usage and hence cant be used as the appropriate entry to the site. •The traffic concentration due to the sharp edge of the site creates an entry point slightly towards the centre of the edge and this gives th user a choice of path.

prima rimary movement nt path

possible vehicular

sharp corner along with the bent road

FIG 5.1.2

5.1.3 SITE- IMPLICATIONS OF REGULATIONS •max height-18.3m-maximum no of floors: 3 •plot coverage - 75%-usable site area: 33,657m2 •max FSI- 2.0-max, built-up area-67,315m2 •osr - 10%, dim ratio-1:5 -area:4487.6 m2 , ratio- 30m:150m •The OSR is placed along the main access road because the direct view to wards the site is the least from this edge.

g+2 f loors maximum (5m height per floor)

plot coverage 75%

setback of 3m on all sides

4487 m2 osr along t he m ain street

FIG 5.1.3 15

5.1.4 URBAN DESIGN CONSIDERATIONS •Buildings around the site are predominantly residential and commercial with the buildings not owning upto any particular design style. •plot coverage - 75%-usable site area: 33,657m2 •The closest cinema studios from the yesteryear has had a very 60s-80s contemporary look to it. •Usage of subtle curves in contrast with the sharp rectangular blocks were the characteris-

ARCOT ROAD

VIJAYA PRODUCTIONS

SRIDEVI KUPPAM MAIN ROAD

PLANTATION

tic feature of the studio complex buildings.

Old Vijaya Vauhini Complex

SITE

Possible response

FIG 5.1.4

5.1.5 NATURAL FEATURES-CONTOURS •Site is situated in a plain terrain with no contours and this gives easy opportunity for orienting views and giving by directing the users to the predetermined spaces in the experiencial path. •The plain site makes it possible to have various vistas and view points with straightforward or climactic orientation.

view points from the site

view points from the e streets i n thee neighbourhood Straight view points

FIG 5.1.5

5.1.6 NATURAL FEATURES-DRAINAGE AND SLOPE •the site slopes to the north-east by a height variation of 0.5m. • sewage drain runs accross north south direction. •the service entry for the waste collection and drainage maintenance can be positioned in this zone for ease. service e xit/ e ntry f or garbage collection and drainage maintenance

catchment area sewage drain

FIG 5.1.6

5.1.7 NATURAL FEATURES-LANDSCAPE AND WATERBODIES •the site has abundant natural vegetation , with the line of trees in the west acting as a visual barrier from the main access street. •vegetation in the west acts as the climactic catalyst for the primacy effect of the entry •the abundant plantation around the site acts as major views from the site huge tree plantation provides a forest like view from the site.

foliages in the west acts as a visual barrier and helps in creating the suspense factor factor.

view to plantation ation onn

the central patch off trees tr proviedes an appropriate focal cal point for the central commercial space / courtyard

FIG 5.1.7

5.1.8 MAN MADE FEATURES •floor ruins concrete floor left open in ruins. • this was the spot where the main block of the studio was once situated. •this spot can be used as a local landmark commemorating the old studio campus and can be used as the location for the museum block.

FIG 5.1.8

angular w alls o n south for least solar contact

5.1.9 CLIMATE-SUNPATH •Maximum level of sun radiation falls along the region marked due to the angular sunlight oriented along the southern side. •orienting the shorter side to the direction of sunlight. •angular wall acting as a shading device

maximum intensity of s sun un light received in this is p ortion for the majority tyy of o the yea year. ye N

oriienting t he o penings alo ong t he north s outh direction. rection.

FIG 5.1.9

orienting rie the shorter side to the di th direction ti offi m aximum incidentatal solar contact.

5.1.10 CLIMATE-WIND •Primary wind direction is from the south east to the north west •orienting the blocks to create a opening / path along the direction of wind •in the end of the path, a block in placed in the direction of flow to create a cycling motion of wind.

smaller wind e xitit ways opening pg a long g t he wind direction

FIG 5.1.10 5.1.11 UTILITIES

•north and part of the east side of the site are not lit and is in stark contrast to the other sides that are well lit. •connecting the two contrasting areas using a light tunnel, giving direct visual connectivity of wind. well lit with street lights

well lit with street lights

block placement blocking the connect

FIG 5.1.11

light tunnel visually connecting both the sides

5.1.12 CIRCULATION •sridevi kuppam road shows high density vehicular flow. And the other adjoining streets shows high density pedstrian movements •hence, the main street can be used for vehicular access •residencial streets for pedestrian access.

HIG

SR IDE VI HIC

ULA

KU P

PA M

RA TE P

RO AD IAN

FIG 5.1.12

R DE MO

ATE

N RIA EST ED HP HIG R, ULA HIC VE

R GI NA

ve hic ularexit ve hicula r entry pathway connecting the residential streets pedestrian crossing

5.1.13 SENSORY-VISUAL (VIEW FROM SITE) •the plantations and open green space to the north and •viewpoints from the site •central green space will act as the focal point of the viewpoints

view i nto the serene o pen green s pace gives a possibility for an unre unreal frame.

view it towards dt the h green space

view e towardss the h open pen space p p central r courtyard ard

FIG 5.1.13 18

5.1.14 SENSORY-VISUAL(VIEW TO SITE) •sridevi kuppam road a stunted view into the site and this can be utilised to create a climactic entrace using the sence of place created by the narrow opening through the foliages •foliages lining the west making the site opaque to the street. •great acccess into the site from the residential zone making the complex locally relevant. view from the residential street being t he b iggest view i nto the site accounts for the second major entryy to the complex.This enhances the neighbou bourhood context too.

visual landmark a d Using t he legibility due t o a s mall v isual opening t o create a sense offpplace. senseo lace. view from the main street

FIG 5.1.14

view f rom the main s treet i s almost f ully opaque except for t he s parsely vegetated region earmarked for the entry

5.1.15 SENSORY-AUDIBLE(NOISE) •noise from the main street is absorbed by the trees along the west in the site. •noise from the residential streets can be muffled by strategical positioning of vegetation not exceeding height above the cone of vision.

buffer zone without affecting the visual connect

FIG 5.1.15

buffer zone without affecting the visual connect

5.1.16 SENSORY-OLFACTORY •Vehicular traffic in the bend of the street creates congestion in peak usage time. •foliage lattice in the opening towards the east side to avert the odor from the sewage drain.

foliage lattice sewage drain

FIG 5.1.16

foliage lattice acting as the odor filter

5.1.17 TRAFFIC VEHICULAR •Vehicular traffic in the bend of the street creates congestion in peak usage time. •The area adjoining the street bend must act as a traffic diluter •Increasing the transparency of the zone by making it a pedestrian island will play the dual role of a traffic diluter and a visual connect between the street, site and the residential zone.

FIG 5.1.17 High traffic zone due to the swift bend in the street.Hence, cannot be a good choice for the entry

Proposed main entry to t he s ite due to t he e optimal trafficc conditions.

space to act as a traffic diluter

5.1.18 TRAFFIC PEDESTRIAN •High pedestrian traffic and is also a blind spot for the pedestrian motion. •poses threat to the users dure to the bend in the street direction. •bringing in pedestrian islands on the two residential street junctions will connect the street, site and the residential zone.

pedestrian islands

FIG 5.1.18

5.1.19 TEMPORAL UNDERSTANDING OF SITE ACTIVITIES •The site is surrounded by mild to moderate commercial activity and medium to high vehicular activities. The residential zone houses the peak time school and office goer traffic. •Public spaces are restricted to spaces with maximum open space compatibility. Semi-private spaces are aligned along the spaces with moderate to high publiv movement.Private spaces are flanked by semi-private or inaccessible places. plantation

OSR N

street hawkers PEAK TIME: 8am -11am and 5pm to 9pm PUBLIC SEMI-PUBLIC

FIG 5.1.19

school / office goers

PRIVATE

5.1.20 ACCESS •sridevi kuppam road shows high density vehicular flow. And the other adjoining streets shows high density pedstrian movements •hence, the main street can be used for vehicular access •residencial streets for pedestrian access.

High traffic zone due to the swift bend in the street.Hence, cannot be a good choice for the entry

FIG 5.1.20 20

vehicula rexit ve hic ular entry

pedestrian crossing

5.2 SITE ANALYSIS

193.40

VADAPALANI

FORUM JN. MALLKAMALA

VIJAYA

CINEMAS

AVM

270.50

ARCOT ROAD

BHARANI

AD T RO RCO

VIJAYA PROD.

63,384.94 sq.m.

283.50

SITE

ARCOT ROAD

CHANDRA MALL

MEGA MART

PARK

SIVAN TEMPLE

RES

•No direct view into the site from the main street. •High traffic in peak times in the Arcot road.

PP AM

.00 20 6°

ARCOT ROAD

DIMENSIONS AND SETBACKS

IAL

M CO

N ET

TRE

RO AD

GI NA

YS EDD

IAL

M CO

•The foliages in the west aid the creation of an experiential entry. •Almost unreal green viewpoints from the site .

IDE

TIAL

IDEN

RES

SITE

TIA IDEN

VIJAYA PRODUCTIONS

SRIDEVI KUPPAM MAIN ROAD

•Accesibility •Surrounded by cinema related legendary landmarks

LOCATION: TAMIL NADU|CHENNAI|VALASARAVAKKAM

0 60.50 260.50 26

PLANTATION

APPROPRIATION | LANDMARKS | ACCESSIBILITY

SRIDEVI KUPPAM MAIN ROAD

•9m wide, gives direct access to the site. ARCOT ROAD •distributes the crowd into this road from the •connects the site to the other typologically approvery crowded arcot road. priate landmarks. •acts as the crowd attracting factor due to the presence of many commercial and recreational spaces

•possible creation of a traffic hotspot.

CIRCULATION | PEDESTRIAN | VEHICULAR:

NATURAL | SOLAR | CLIMATIC: •orienting the shorter side to the direction of sunlight. •angular wall acting ass a shading device

•primary vehicular access is by the 9m main street (

IDE

HIG

HIC

PP AM

maximum intensity of sun light received in this portion for the majority of the year.

AT E

RO AD

RIA

huge tree plantation o provides a forest like view NATURAL | VEGETATION: from the site. •The site is filled with plenty of tree plantations in and around.

high traffic zone due to the swift bend in the street.Hence, cannot be a goo good choice for the entry

using the legibility from the small visual opening to create a sense of place.

SENSORY | VIEWS INTO AND FROM THE SITE | NOISE: •View from the main street is blocked by the foliage.

foliages in the west acts as a visual barrier and helps in creating the suspense factor factor.

view from the main street is almost fully opaque except for the sparsely vegetated region earmarked for the entry

the central patch of trees proviedes an appropriate focal point for the central commercial space / courtyard

POINTS OF INTEREST ON SITE:

MAN-MADE | ON AND OFF SITE:

•viewpoints from the site •central green space •foliages lining the west making the site opaque to the street. •great acccess into the site from the residential zone making the complex locally relevant.

PEDESTRIAN ENTRY

S DY

E TR

R GI NA

view into the serene plantation gives a possibility for an u n r e a l frame.

view from the residential street being the biggest view into the site accounts for the second major entry to the complex.This enhances the neighbourhood context too. war the green towards space

view towards the green space

PEDESTRIAN ENTRY

TE RA

proposed main entry to the site due e du to the optimal traffic conditions.

RIA

EST

HP IG , H

L ICU

central courtyard

view towards the open space

VEHICULAR ENTRY

concrete floor left open in ruins.This has prevented growth of vegetation in this spot and can act as a clear entry for the vehicular access

residential zone

central courtyard

visually opaque to the site hence promoting suspense except for the entry point that acts as the small opening for the primacy effect.

5.3 SITE ZONING The different blocks are to be be arranged with respect to accessibility and priority of usage.The distance of the block from the primary entrance i.e. the entrance plaza is determined by its order of importance in the user experience path. Position of the entrance plaza is fixed using the cues from the site study in combination with the need to maximise the user experience. 1.Exit slit to open screen 8.Basement Parking Entry

7.Basement Parking Exit

10.Pick Up 9.Drop off

6.Central plaza

/ entrance plaza

2.Walk of fame 3.Chaos lobby

FIG 5.3.1

4.Pedestrian island

5.Surface parking

9.Drop off / entrance plaza 4.Pedestrian island

5.Surface parking

7.Basement Parking Exit

3.Chaos lobby 6.Central plaza

10.Pick Up

2.Walk of fame

FIG 5.3.2

8.Basement Parking Entry 11.Open screening area

1.Exit slit to open screen

6.CONCEPT 6.1 CONCEPT 6.1.1 PRIMACY EFFECT •Logic of first impression. •A film’s opening sets a benchmark against which we measure what happens later. •Architectural narratives are also driven by similar intents of curiosity, suspense and surprise. •This can sustain a continuous interest in the spacial interest and foster a sense of attachment to the space, provided , the curiosity and suspense trigger exciting memories within the users’s mind. SUCESSFUL PRIMACY EFFECT

Sense of place

Legibility

Sequential art

Sense of dignity

Mystery

real entry

VIEW A apparent entry

VIEW B

denial and reward effect creates a dramatic entry and leaves a “first impression” in the user’s mind.

ascent into the lobby

real entry

hidden light source 1.SENSE O F PLACE: s parsely vegetated space in the west marks the entry point

2.LEGIBILITY: the regulated view f rom the entry point creates a path / direction of movement.

FIG 6.1.1.1

VIEW A

5.SENSE O F DIGNITY: a fter t he d ramatic descent into the lobby , the user experiences a “spotlight” experience

VIEW B

4.MYSTERY: b locking the direct v iew into the entry way creates a feeling of mystery.

FIG 6.1.1.2

FIG 6.1.1.3

6.1.2 FOCALISATION •This particular point in a cinema is where the plot remains , for most part in the same space as a particular character and is focalised through that character. •Such techniques induce the response to the characters . •In architecture, focalisation of every character moving through the space will help us generate unique trajectories and narratives for every individual.This can bring about a collective memory and architectural narrative to the crowd. denial and reward effect

COMMON “CIRCLE”: common lobby for all the spaces

cinema

wax museum

CHAOS RAMP: in the same lines as overlapping plots in a narrative, this s pace acts a s the passing point f or a ll t he paths connecting different spaces.

FIG 6.1.2.1

FIG 6.1.2.2

View from central courtyard to the plantation (green space) creating a dramatic / climactic extry into the open space.

FIG 6.1.2.3

6.1.3 SPATIAL MEMORY •This element can pin points in space and time of the narration which are crutial to the story-almost like a turning point in the story. •Design has spacial and narrative memories along with them which can be interpreted for experiential movement through the space. •These deliberately designed memories can be manipulated and contracdicted to evoke feelings of surprise and self reflection.

contrast part visible from the street

LOBBY OF SELF REFLECTION •after the movie watching creates a scintillating self-reflection space •this transition space from the cinema theatre will complete the movie watching experience as the user will be able to digest the ideas in the movie by acting as a space of trance.

FIG 6.1.3.2 •the walk of fame acts as the climactic pathway to the final destination i.e. the public screening space. •each of t he f unctional s paces h as i ts exit into t he walk of fame •placing the souvenir shops here, creates a sense of goodbye. •peek walls g ives a b rief g limse i nto each of t hese spaces creating a sense of memory.

elevated flap wall visible from the road, creating anticipation in the users moving through the street

FIG 6.1.3.1

cinema

lobby of self reflection

FIG 6.1.3.3

6.1.4 CLIMAX •This is the destination of the focal point of a special Journey. •It is placed in an appropriate position in the movement path; this may vary, perhaps at the middle or end to gather impact. •The climax ultimately acquires predominance of a spatial experience and communicates this to the user.

ENTRY

SEQUENCE

public-place entry

THE EXIT SLIT

public screen

THE EXIT S LIT: c reates a n apparent exit that inturn leads the user into the final grand climax i.e. into the public screening space

FIG 6.1.4.1 24

OPEN T HEATRE: ultimate c limax l eads the user into the large public screening space which marks the end of t he experiential j ourney o f c inematic sequence.

PUBLIC SCREEN 4.climax

MUSEUM red d carpet

lobby of self reflection

FUNCTIONAL PATH

cinema

FILM-FEST 3.spatial memory WALK PEEK OF WALLS FAME

FIG 6.1.4.2

MOVEMENT THROUGH THE CINEMA CENTRE

2.focalisation COMMON LOBBY

CINEMA

SHOPS SOUVENIRS/ GADGETS

EXPO

RESTAURANTS

ARTIST MUSEUM

EXPERIENTIAL PATH

1.primacy effect

6.2 CONCEPT ZONING ABSTRACT

FIG 6.2 25

6.2 CONCEPT ZONING ABSTRACT

FIG 6.2 26

6.3 DESIGN PROCESS ILLUSTRATION 6.3.1 ACCESS •cons: possible increase of traffic congestion in the main street. •solution: giving access flaps in the entry and exit areas correspoding to the main street. •pros: least resistant path and doesnt disturb the taffic motion of the residential areas.

vehic ular exit vehic ular entry

Fig 6.3.1.1 OPTION 01

pedestrian crossing

•con: private entry is accessed from the residential zone.

vehicular exit

•pro: privacy of the private block well maintained.

vehicula rentry N

Fig 6.3.1.2 OPTION 02

pedestrian entry exit

•con: public vehicular traffic congestion and noise in the residential streets •pro: well separated entry and exit giv-

pedestrian entry exit

ing a slight possibility for reduction of overlap of entry and exit vehicles.

vehicular entry

vehic ular exit

Fig 6.3.1.3 OPTION 03

6.3.2 SITE ZONING

•con: private entry is accessed from the residential zone.

pick-up p

•pro: privacy of the private block well maintained.

UG parking exit private p entry

Exit

UG parking p entry

surface parking g

OSR

drop p off ff

Fig 6.3.2.1 OPTION 01

•con: privacy of the private entry point is lost. •pro: better access to the larger surface parking.

p private drop off dro

exit pick-up up Exit

UG G parking exit

UG parking p entry surface parking

OSR

drop p off

Fig 6.3.2.2 OPTION 02

•con: comparatively no cons in this option. •pro: well connected pedestrian network from the main street and residential streets with the pedesrian islands in the site corners. •private entry is also inculcated in the

private at at drop p off of

exit pick up p Exit

OSR

drop-off p pedestrian connect surface parking

normal ambulatory connection hence

increasing its efficiency. Fig 6.3.2.3 OPTION 03

UG parking p rkking ng entry

UG parking exit

6.3.3 BLUE AND GREEN/NATURAL FEATURES

•Functional approach •positioning the central service lane to

view vie vi iew ew w to green space e in

accomodate view into the rear plantation land with a view. N

Fig 6.3.3.1 OPTION 01

•Functional approach •positioning the open screening space in order to face the adjacent open spaces.

open screening space seaters facing the adjacent green space

Fig 6.3.3.2 OPTION 02

•concept / user perspective apprach •usage of the central vegetation to be a part of the user experience path and marking the space for an interactive N

open courtyard.

open screening space seaters facing the adjacent green space

central t green space doubling up as the wind tunnel and the open food court for the commercial block

Fig 6.3.3.3 OPTION 03

6.3.4 BUILDING FOOTPRINT

•Functional approach •creation of a single footprint block. •Foot print area : 16,658 m2 •Plot coverage :45% N

•Fsi : 1.5 (Maximum builtup: 60,564)

Fig 6.3.4.1 OPTION 01

•Functional approach •creation of a single footprint block. •Foot print area : 16,189 m2 •Plot coverage :44% •Fsi : 1.5 (Maximum builtup: 60,564) N

Fig 6.3.4.2 OPTION 02

•concept / user perspective apprach •with more open spaces and access to the separate blocks •Foot print area : 16,189 m2

•Plot coverage :44% •Fsi : 1.5 (Maximum builtup: 60,564)

Fig 6.3.4.3 OPTION 03

6.3.5 CORES

•concept / user perspective apprach •openings and open spaces oriented towards the surrounding open spaces and vegetation. N

Fig 6.3.5.1 OPTION 01

•Functional approach •openings and open spaces oriented towards the surrounding open spaces and vegetation.

Fig 6.3.5.2 OPTION 02

•Functional approach •openings and open spaces oriented towards the surrounding open spaces and vegetation.

commercial open screening space

Fig 6.3.5.3 OPTION 03

film festival venue expo wax / artist museum multiplex museum circulation/core

6.3.6 BLOCK ZONING

CENTRAL FOODCOURT/ COURTYARD COM. LOBBY

COMM.

•concept / user perspective ap-

COMM.

WOF COMM.

WOF

COMM.

FILM FEST FILM FEST FILM FEST

SECTION A

prach COMMON LOBBY / FOCALISATION AREA

ENTRY

SEQUENCE O

MOVEMENT THROUGH THE CINEMA CENTRE

MUSEUM tr trasient entry/ red re d carpett

FUNCTIONAL PATH

p public-place entry e

PUBLIC SCREEN 4.climax 4

FILM-FEST 3.spatial memory WALK PEEK OF WALLS FAME

2 2.focalisation COMMON LOBBY

CINEMA

ARTIST MUSEUM

EXPO

SHOPS SOUVENIRS/

RESTAURANTS

ARTIST MUSEUM

OPEN SCREENING

WOF COMM.

EXPO

CENTRAL FOODCOURT/ COURTYARD

SECTION B

EXPERIENTIAL PATH

1.primacy effect

COMMON LOBBY / FOCALISATION AREA

FILM FESTIVAL FILM FESTIVAL WOF

MULTIPLEX

OPEN SCREENING

SECTION C

Fig 6.3.6.1 OPTION 01

GADGETS

•Functional approach

WOF WO FILM FESTIVAL

CENTRAL FOODCOURT/ COURTYARD

WOF COMM.

FILM FESTIVAL FILM FESTIVAL

COMM.

SECTION A

FILM FESTIVAL

WOF OPEN SCREENING

COMM.

FILM FESTIVAL

COMM.

FILM FESTIVAL

MULTIPLEX

ARTIST MUSEUM

MULTIPLEX

EXPO

MULTIPLEX MUSEUM- PERF. SPACE

SECTION B

WOF FILM FESTIVAL

MULTIPLEX MULTIPLEX

FILM FESTIVAL

MULTIPLEX

WOF OPEN SCREENING

FILM FESTIVAL

SECTION C

Fig 6.3.6.2 OPTION 02

•Functional approach

FILM FESTIVAL

WOF

COMM.

WOF

FILM FESTIVAL

COMM.

FILM FESTIVAL

COMM.

SECTION A

WOF WOF OPEN SCREENING

MUSEUM

ARTIST MUSEUM

MUSEUM

EXPO

MUSEUM

MUSEUM- PERF. SPACE

SECTION B

WOF

SECTION C

MUSEUM

MULTIPLEX MULTIPLEX MULTIPLEX

FILM FESTIVAL

Fig 6.3.6.3 OPTION 03

FILM FESTIVAL

ARTIST MUSEUM

FILM FESTIVAL

E EXPO

MUSEUM

OPEN SCREENING

6.3.7 CIRCULATION

•Walk of Fame -acts as the block connecting exits from all the blocks •Chaos lobby - spine of movement •connecting all the blocks and acts as N

the major vein of the user experience path.

Fig 6.3.7.1 OPTION 01

•Functional approach •functional arrangement of blocks with

respect to the user access priority. Fig 6.3.7.2 OPTION 02

•Functional approach •functional arrangement of blocks with respect to the user access priority.

commercial

Fig 6.3.7.3 OPTION 03

open screening space film festival venue expo wax / artist museum multiplex museum circulation/core

6.3.8 ACTIVITY

1.Exit slit to open screen 2.Walk of fame 3.Chaos lobby

•Exit slit •part of the final piece of the user expe-

4.Pedestrian island

rience path ( ultimate climax) THE E

public screen

1.EXIT SLIT | PEAK TIME: EXIT PORTION OF EXPERIENCE PATH (for the typology specific users)

Fig 6.3.8.1 OPTION 01

•accessible from the exits of all the blocks •leads into the final climactic space.

elevated flap wall visible from the road, creating antici pation in the users moving through the street

2.WALK OF FAME | PEAK TIME: EXIT PORTION OF EXPERIENCE PATH (for the typology specific users)

Fig 6.3.8.2 OPTION 02

•Chaos lobby - spine of movement •connecting all the blocks and acts as the major vein of the user experience path.

3.CHAOS LOBBY | PEAK TIME: OPERATING HOURS (main spine of movement in the complex)

4.PEDESTRIAN ISLAND | PEAK TIME: 8am-10am AND 4pm-8pm bringing in pedestrian islands on the two residential street junctions will connect the street, site and the residential zone.

Fig 6.3.8.3 OPTION 03

6.3.9 MASSING

•Walk of Fame -acts as the block connecting exits from all the blocks •Chaos lobby - spine of movement •connecting all the blocks and acts as

the major vein of the user experience path. Fig 6.3.9.1 OPTION 01

•Functional approach •functional arrangement of blocks with N

respect to the user access priority.

Fig 6.3.9.2 OPTION 02

•Functional approach •functional arrangement of blocks with respect to the user access priority. N

Fig 6.3.9.3 OPTION 03

6.3.10 FACADE

•Monumental facade of the Chaos Lobby acts as a visual landmark •The extending walls of the walk of

Chaos Lobby

fame is highlighted to provide visual emphasis in the user experience path and also acts as a local landmark of the complex

highlighted walls of the walk of fame

Fig 6.3.10.1 OPTION 01

•Use of arches (inspired by the contemporary style of the 60s in the Vijaya Vauhini Studios building)

Fig 6.3.10.2 OPTION 02

•Use of dynamic facade (to attract the user to the starting point of the experience path)

Fig 6.3.10.3 OPTION 03

6.4 USER PERSPECTIVES 6.4.1 USER 1- CINEMA BUFF

6.4.1.1 SPOTLIGHT-PRIMACY EFFECT

The spotlight was on me !!! Only me!

Fig 6.4.1.1 Spotlight The opening element of the sequence is the primacy effect created by the entrance lobby skylight element that symbolizes the spotlight. Leading the user from an ascend and into a descent to find the spotlight acts as the element of surprise here. This sets a benchmark against which we measure what happens later.

6.4.1.2 FOCALISATION- CHAOS LOBBY Let’s go there!!!

No, here!!! No, here!!!

Gotta go there. So much to see in such less time!!! Fig 6.4.1.2 Chaos Lobby The subsequent plot point is focalization which translates into the chaos lobby space that acts as the glue holding all the blocks together and, in a sense, it acts as a knot connecting all plot points together. This can bring about a collective memory and architectural narrative to the crowd.

6.4.1.3 RED ARENA-SPATIAL MEMORY

Goodness!!! Thats them... like 20metres from me....

Fig 6.4.1.3 Red Arena This is followed by the elements of spatial memory which is achieved by the central red arena , the lobby of self-reflection in the multiplex block and the exits from all the functional blocks into the walk of fame. This element can pin point the space and time of the narrative which are crucial to the story almost like a turning point in the plot.

6.4.1.4 OPEN SCREENING-CLIMAX

Serene ending to the pilgrimage.

Fig 6.4.1.4 Open screening The final element is the destination or the focal point of the spatial journey. This plot point is metaphorized into the final revelation to the open screening space from the path below the ground. The climax ultimately acquires predominance of a spatial experience and communicates this to the user.

6.4.2 USER 2- VIP / CELEBRITY 6.4.2.1 RED STAGE

Hello everyone !!! (Today , I’m flaunting Sabya Winter Collection ) Fig 6.4.2.1 Red Stage VIP / celebrity is given private access to the red stage from the private VIP access core from the parking. This red stage acts as the stage for the celbrity to absorb fanfare.

6.4.2.2 PRIVATE ENTRY TO FILM FESTIVAL BLOCK

The screening starts in 3 minutes. I better hurry...

Fig 6.4.2.2 Private access path VIP service core gives the celebrity, the private access to the film festival block , the Red stage and the walk of fame.

6.4.2.3 PRIVATE ENTRY TO WALK OF FAME

Finally my moment of truth...

Fig 6.4.2.3 Private access to walk of fame VIP service core gives the celebrity, the private access to the film festival block , the Red stage and the walk of fame.This potion of the walk of fame has aadditional access from the wax museum and opens into shops and the finally the climactic point of Chaos Lobby.

6.4.3 USER 3- GENERIC USER 6.4.3.1 INDIVIDUAL DROP OFF POINTS

Meh

Feels like a movie day.

Fig 6.4.3.1 Individual drop off Individual access drop off points makes the circulation accessible for the generic user who aims to use the functional aspect of the different blocks.

6.4.3.2 MULTIPLEX-LOBBY OF SELF REFLECTION

? ?

Was the ending open? But why?

Fig 6.4.3.2 Lobby of self reflection This space acts as a space of transition for the theatre users to assimilate the throughts that arises after viewing a powerful piece of cinema.

6.4.3.3 CENTRAL PLAZA

Lets kill some time. Food ? Another movie?

Fig 6.4.3.3 Central Plaza Apart from being the VIP attraction, the central red arena also acts as a space that collects users from all the blocks and redirects the users to the commercial block.For a generic user ,this space gives a refreshing meaning to leisure.

7.DESIGN PROPOSAL 7.1 SITE CUM GROUND FLOOR PLAN EE’

DD’

D A

B 10.00

145

144

143

10.00

LADIES WASHROOM

LIFT 3

LIFT 4

UP UP

±0m LVL

-3m LVL

10.00

+3m LVL

10.00

45 44

15 17

10.00

SCREEN

±0m LVL

LADIES WASHROOM

CINEMA THEATRE 2 ±0m LVL

CINEMA THEATRE 1

10.00

19 20

108

SHOP 4 WALK OF FAME

SHOP 1

110

10.00

109

WALK OF FAME

111

112

LIFT 1

81 80

79 78

MEDIA ROOM

113

10.00

77 76

75 74

114

115

118

SHOP 2

±0m LVL

119

61 60

STORAGE

RED ARENA

RED STAGE

-0.75m LVL

±0m LVL

VR MUSEUM UP

120

SOUVENIR

WAX MUSEUM HALL

7M WIDE DRIVEW

BB’

10.00

117

RESTAURANT 2

116

70 69

PAPARAZZI

WALK OF FAME

72 71

LIFT 1

88 87

SCREEN

86 85 84

SHOP 5

WALK OF FAME

ELEC. ROOM

GENTS WASHROOM

40 39 38

5.00

104 105 106 107

±0m LVL

WALK OF FAME AHU

5.00

103

99 98 97 96 95 94 93

92 91 90

CINEMA THEATRE 3

-0.15m LVL

7M WIDE DRIVEW AY

100

±0m LVL

JANITOR

-0.15m LVL

LADIES WASHROOM

102

101

GENTS WASHROOM

±0m LVL

102

SCREEN

101

±0m LVL

7M WIDE DRIVEW

10m WIDE SRID

99 100

±0m LVL

111 110

109 108 107 106 105

-0.15m LVL

104 103

+3m LVL

±0m LVL

MULTIPLEX DROP OFF

5.23

1.23 3.54

-2.1m LVL

±0m LVL

EVI KUPPAM

122 121 120 119 118 117 116 115 114 113 112

ROAD

49 48

CHAOS LOBBY

95 96

123

UP UP

±0m LVL

127 126 125 124

-3m LVL

-2.1m LVL

LOBBY OF SELF REFLECTION

MULTIPLEX LOBBY

±0m LVL

LOBBY

-1.00m LVL

±0m LVL

130 129 128

-1.2m LVL +3m LVL

54 53 52

5.00

7M WIDE DRIVEW

90 91 92 93

5.00

3.00

LIFT 2

±0m LVL ±0m LVL

140 139 138 137

136

AC AD AE 10.00

7.00

LIFT 1

EXIT TO

±0m LVL

-1.2m LVL

135 134 133

AB 10.00

5.00

±0m LVL

CHANGING ROOM

REHEARSAL ROOM

132 131

5.00

7M WIDE DRIVEWAY

141

CC’

10.00

142

V 10.00

LIFT 4

U 10.00

DROP OFF

5.00

BACKSTAGE

STAGE

LIFT 3

147 146

S 5.00

ARTIST LOUNGE 3

-1.5m LVL

LIFT 3

20.00

LIFT 2

10.00

7M WIDE DRIVEWAY

-1.2m LVL

ARTIST LOUNGE 2

LIFT 2

150 149 148

5.00

LIFT 1

2.11

83 84

2.89

OPEN SCREENING

155 154 153

152 151

2.11

-1.2m LVL

ARTIST LOUNGE 1

LIFT 1

7M WIDE DRIVEW AY

64 63

2.89

AHU

80 81 82

2.11

JANITOR

79 162 161 160 159 158 157 156

2.89

GENTS WASHROOM

2.11

OSR

N M

ELEC. ROOM

165 164 163

2.89

3.00

69 68 67

5.00

75 76 77

5.00

173 172 171 170 169 168 167 166

2.11

L K

5.00

2.89

J I

7M WIDE DRIVEWAY

5.00

73 74

10.00

3.50 1.50 5.00

1 2

SECURITY KIOSK

180 179 178 177 176 175 174

H G

MAIN EXIT

F E

CUTOUT SCULPTURE 02

CHAOS LOBBY

JANITOR

±0m LVL

SCREEN

TICKETING LOBBY

±0m LVL

CONTACT CENTRE

TIC.

SCREEN

±0m LVL

SCREEN DN

MAIN EXHIBIT AREA TEMPORARY EXHIBITION / INSTALLATION OUTSIDE

PRIVATE SCREEN 4

±0m LVL

PRIVATE SCREEN 3

PRIVATE SCREEN 2

PRIVATE SCREEN 1

LOBBY ABOVE UP ±0m LVL

UP UP

±0m LVL

ENTRANCE PLAZA

CUTOUT SCULPTURE 01

±0m LVL

-0.9m LVL

-0.9m LVL ±0m LVL

S @ ARC 20 OT 0m R O

±0m LVL

FILM FEST DROP OFF MUSEUM DROP OFF

RD WA

VIP ENTRANCE

7M WIDE DRIVEW

SECURITY KIOSK

LIFT 1

OPEN AIR PERFORMANCE SPACE

JANITOR

LIFT 3

10.00

LIFT 2

5.69

141 142

LIFT 1

±0m LVL

MAIN LOBBY UP

4.31

6 5 4 3 2

±0m LVL

CORRIDOR

10.00

29 30

5.00

8 7 6 5

136 137 138 139 140

5.00

10m WIDE SRID

7M WIDE DRIVEW

16 15

14 13 12 11 9

8 7

ELEC. ROOM

LIFT 2

AHU UP

MAIN ENTRANCE

LIFT 3

JANITOR

10.00

AHU LADIES WASHROOM

EVI KUPPAM

11 10

GENTS WASHROOM

132 133 134 135

DROP OFF

27 26 25 24 23 22 21 20 19 18 17

ROAD

131

LADIES WASHROOM

AA’

PRIVATE ENTRY / RED CARPET

ELEC. ROOM

CUTOUT SCULPTURE 03

16 15 14

29 28

7M WIDE DRIVEW

128 129 130

10.00

127 36 35

34 33 32 31

LIFT 2

GENTS WASHROOM

±0m LVL

STREET

LIFT 3

10.00

SHOP 6

EXPO / WAX MUSEUM

126

TEMP. EXHIB./INSTALLATION

LOBBY

RESTAURANT 1 ±0m LVL

±0m LVL

GENTS WASHROOM

ELEC. ROOM

125

LIFT 3

UP LIFT 1

LADIES WASHROOM

10.00

±0m LVL

41 40

TIC.

OFFICE

WALK OF FAME GENTS WASHROOM

±0m LVL

AHU

124

WALK OF FAME

JANITOR

44 43 42

PRIVATE ENTRY ROUTE

±0m LVL

SHOP 3

TIC.

22 21

LIFT 3

122 123

±0m LVL

7m WIDE NEITHAL

50 49 48 47

46 45

LIFT 2

7M WIDE DRIVEW AY

LIFT 1

53 52 51

55 54

LADIES WASHROOM

121

10.00

58 57 56

7M WIDE DRIVEWAY 7M WIDE DRIVEWAY

7M WIDE DRIVEWAY

7m WIDE NAGI REDDY STREET 7m WIDE NAGI REDDY STREET

Fig 7.1.1 SITE PLAN CUM GROUND FLOOR PLAN

Fig 7.1.2 AERIAL VIEW FROM NORTH-EAST 42

SCALE 1:2000

7.2 BASEMENT FLOOR PLAN

D A

5.00

20.00

5.00

ARTIST LOUNGE 2

Z 5.00

AC AD AE

5.00

10.00

5.00

-4.8m LVL

ARTIST LOUNGE 3

1 1

CHANGING ROOM

LIFT 1

CHANGING ROOM

LIFT 2

LIFT 4

LIFT 3

-3.6m LVL

10m WIDE RAMP

5.00

1 1 1

REHEARSAL ROOM

-4.8m LVL

LIFT 3

-3.6m LVL

1 1

LIFT 4

LIFT 3

10.00

LIFT 2

1 1

-3.6m LVL

JANITOR

1 1

5.00

1 1

10m WIDE RAMP

1 1

ELEC. ROOM

1 1

1 1 1

1 1

10.00

1 1

5.00

1 1

1.23 3.54

1 1

AHU

5.23

1 1

JANITOR

10.00

1 1

ELEC. ROOM

10.00

21 10.00

10.00

1 1

1 1 1

10.00

-3.6m LVL

1 1

LIFT 1

1 1

LIFT 1

1 1

10.00

ORCHESTRA

-4.8m LVL

ARTIST LOUNGE 1

LIFT 2

10.00

AHU

V 10.00

10.00

5.00

S 5.00

7.00 5.00

1 1

10.00

LIFT 1

9 11

2.89 2.11 2.89 2.11 2.89 2.11 2.89 2.11 2.89 2.11

LIFT 1

1 1

5.00

OSR

N M

3.50 1.50 5.00

10.00

L K

3.00

10.00

J I

H G

3.00

10.00

1 2

F E

1 LIFT 1

1 LIFT 2

1 1

JANITOR

1 1

AHU

ELEC. ROOM

LIFT 1

UP LIFT 2

LIFT 1

JANITOR

LIFT 3

10.00

-3.6m LVL

1 1

5.69

4.31

5.00

1 1

5.00

1 1

10.00

1 1

10.00

1 1

1 1 1

-3.6m LVL

1 1

LIFT 2

LIFT 3

ELEC. ROOM

LIFT 3

-3.6m LVL

AHU

10.00

1 1

LIFT 2

10.00

1 JANITOR

1 1

JANITOR

-3.6m LVL

LIFT 3

ELEC. ROOM

AHU

1 1

-3.6m LVL

1 LIFT 2

LIFT 1

LIFT 3

10.00

Fig 7.2.1 BASEMENT FLOOR PLAN

SCALE 1:2000

Fig 7.2.2 AERIAL VIEW FROM SOUTH-WEST 43

7.3 SITE SECTIONS

10.00

+4.2m

±0m

-3.6m

SECOND FLOOR

SET 8

7.00

10.00

SOUVENIR SHOP

10.00

SET BOOTHS

SOUVENIR SHOP

SEASONAL SET +8.4m

E 3.00

10.00

SET BOOTHS

SET 2

10.00

5.00

OBSERVATORY

SET 6

CONVENTION HALL CONVENTION HALL

OBSERVATORY STAGE

MUSEUM LOBBY

FIRST FLOOR

10.00

PRIVATE SCREEN 1

PRIVATE SCREEN 2

PRIVATE SCREEN 3

PRIVATE SCREEN 4

LOBBY

OFFICE LOBBY

GROUND FLOOR

OFFICE SPACE

OFFICE SPACE AND LOBBY

BASEMENT FLOOR

Fig 7.3.1 SITE SECTION A-A’

10.00

SCALE 1:2000

10.00

3.00

7.00

10.00

WALK OF FAME

VR BOOTHS

DEMO HALL

CAFE +4.2m

±0m

-3.6m

10.00

SHOP 3

CENTRAL PLAZA

RESTAURANT

CHAOS LOBBY

5.00

EXPO HALL

5.00

WORKSHOP

FIRST FLOOR

GROUND FLOOR

10.00

WAX MUSEUM HALL

STORAGE

RED STAGE

RED ARENA

BASEMENT FLOOR

Fig 7.3.2 SITE SECTION B-B’

10.00

SCALE 1:2000

3.00

7.00

10.00

SECOND FLOOR LOBBY +8.4m

10.00

5.00

LOBBY OF SELF REFLECTION

SECOND FLOOR

FIRST FLOOR LOBBY +4.2m ±0m

-3.6m

FIRST FLOOR GROUND FLOOR

BASEMENT FLOOR

Fig 7.3.3 SITE SECTION C-C’

B 10.00

+8.4m

3.00

10.00

6.50

3.50

SCALE 1:2000

10.00

SECOND FLOOR

LOBBY OF SELF REFLECTION +4.2m ±0m

-3.6m

FIRST FLOOR

RESTAURANT

GROUND FLOOR

BASEMENT FLOOR

SCALE 1:2000

Fig 7.3.4 SITE SECTION D-D’

B 10.00

+8.4m

+4.2m

±0m

-3.6m

B 3.00

C 10.00

D 10.00

E 6.50

F 3.50

G 10.00

H 10.00

I 10.00

J 10.00

K 10.00

L 10.00

M 10.00

N 10.00

O 10.00

P 10.00

Q 10.00

R 10.00

S 10.00

T 10.00

S 10.00

T 10.00

S 10.00

T 10.00

SECOND FLOOR

FIRST FLOOR

GROUND FLOOR

OPEN SCREENING

BASEMENT FLOOR

Fig 7.3.5 SITE SECTION E-E’

SCALE 1:2000 DD’

EE’

CC’ BB’ AA’ N

KEY PLAN

7.4 MULTIPLEX BLOCK B

10.00

2.89 2.11 2.89 2.11 2.89 2.11 2.89 2.11 2.89 2.11

5.00

STAGE

-1.2m LVL

5.00

ARTIST LOUNGE 1

ARTIST LOUNGE 2

GENTS WASHROOM

-1.2m LVL

LADIES WASHROOM

BACKSTAGE

5.00

10.00

3.00

10.00

ARTIST LOUNGE 3

-1.5m LVL LIFT 1

LIFT 2

LIFT 3

LIFT 4

±0m LVL

CHANGING ROOM

±0m LVL ±0m LVL

-1.2m LVL

5.00

EXIT TO

±0m LVL

-1.2m LVL

+3m LVL

LIFT 2 LIFT 3

LIFT 3

-3m LVL

±0m LVL

LIFT 4

10.00

A3 LOBBY

+3m LVL

10.00 5.23

SCREEN

10.00

MULTIPLEX DRO P OFF

+3m LVL

±0m LVL

-0.15m LVL

±0m LVL

DN LADIES WASHROOM

CINEMA THEATRE 2

±0m LVL

1.23 3.54

GENTS WASHROOM

±0m LVL

CINEMA THEATRE 1

±0m LVL

-3m LVL

LOBBY OF SELF REFLECTION

MULTIPLEX LOBBY

±0m LVL

LIFT 1

LIFT 2

REHEARSAL ROOM

LIFT 1

9 10

3.50 1.50 5.00

7M WIDE DRI VEWAY

5.00

JANITOR

10.00

-0.15m LVL

±0m LVL

-0.15m LVL

SCREEN

WALK OF FA AHU

ELEC. ROOM

CINEMA THEATRE 3 SCREEN

5.00

SHOP 4

SCALE 1:1000 N

Fig 7.4.1 GROUND FLOOR PLAN

10.00

2.89 2.11 2.89 2.11 2.89 2.11 2.89 2.11 2.89 2.11

5.00

-1.2m LVL

+3m LVL

5.00

ARTIST LOUNGE 1

ARTIST LOUNGE 2

GENTS WASHROOM

STAGE

LADIES WASHROOM

BACKSTAGE BELOW

5.00

10.00

3.00

10.00

ARTIST LOUNGE 3

-1.5m LVL LIFT 1 CHANGING ROOM

LIFT 2

LIFT 3

LIFT 4

±0m LVL

CHANGING ROOM

5.00

REHEARSAL ROOM

±0m LVL

+3m LVL

EXIT TO

±0m LVL

5.00

±0m LVL

LIFT 3

3.50 1.50 5.00

+3m LVL

LIFT 2

LIFT 3

+3m LVL

LIFT 4

PROJECTION / ELECTRICAL CONTROL ROOM

+3.0m LVL

TICKET

10.00

LIFT 1

LIFT 2

LIFT 1

9 10

+3m LVL

DN UP

±0m LVL

LOBBY

MULTIPLEX LOBBY

+3m LVL

LOBBY OF SELF REFLECTION

+3m LVL

10.00

±0m LVL

UP TICKET

+3m LVL

PROJ. ROOM DN

-0.15m LVL

+3m LVLDN

±0m LVL

+3m LVL

SCREEN

10.00

PROJ. STORAGE DN

PROJ. ROOM

±0m LVL

5.23

+3.00m LVL

±0m LVL

+3.00m LVL

+3m LVL

GENTS WASHROOM

+3.0m LVL

+3m LVL

CINEMA THEATRE 1

LADIES WASHROOM

±0m LVL

1.23 3.54

CINEMA THEATRE 2

PROJ. STORAGE

+3m LVL

JANITOR

PROJ. ROOM

±0m LVL

-0.15m LVL AHU

PROJ. STORAGE

5.00

-0.15m LVL

ELEC. ROOM

10.00

SCREEN

CINEMA THEATRE 3

Fig 7.4.2 FIRST FLOOR PLAN

SHOP 4

SCALE 1:1000 N

10.00

2.89 2.11 2.89 2.11 2.89 2.11 2.89 2.11 2.89 2.11

5.00

STAGE BELOW

GENTS WASHROOM

LADIES WASHROOM

BACKSTAGE BELOW

5.00

10.00

3.00

10.00

+7.2m LVL

5.00

5 LIFT 1

LIFT 2

+7.2m LVL

LIFT 3

LIFT 4

5.00

+7.2m LVL

5.00

LIFT 1

LIFT 2

LIFT 3

+7.2m LVL

UP LIFT 4

+3.0m LVL

PROJECTION / ELECTRICAL CONTROL ROOM

+9.0m LVL

TICKET AND SNACKS

10.00

LIFT 1

9 10

3.50 1.50 5.00

+9.0m LVL

MULTIPLEX LOBBY BELOW

LOBBY OF SELF REFLECTION BELOW

+9.0m LVL

10.00

PROJ. STORAGE DN

PROJ. ROOM +9.0m DN LVL

+9.0m LVL

+5.85m LVL

+6.0m LVL

+9.0m LVL

PROJ. ROOM

5.23

LADIES WASHROOM

PROJ. STORAGE

CINEMA THEATRE 2

+6.0m LVL

+9.0m LVL

+9.0m LVL +6.0m LVL

1.23 3.54

+3.0m LVL

GENTS WASHROOM

+9.0m LVL

CINEMA THEATRE 1 JANITOR

PROJ. ROOM AHU

PROJ. STORAGE

ELEC. ROOM

5.00

10.00

+5.85m LVL

CINEMA THEATRE 3

Fig 7.4.3 SECOND FLOOR PLAN

SCALE 1:1000 N

Fig 7.4.4 ENTRANCE

Fig 7.4.5 LOBBY OF SELF REFLECTION INITIAL VIEW

Fig 7.4.6 LOBBY OF SELF REFLECTION

Fig 7.4.7 LOBBY OF SELF REFLECTION FROM CHAOS LOBBY

T 10.00

3.00

10.00

6.50

3.50

10.00

5.00

KEY PLAN

+8.4m

+4.2m ±0m

-3.6m

SECOND FLOOR

LOBBY OF SELF REFLECTION

FIRST FLOOR GROUND FLOOR

BASEMENT FLOOR

Fig 7.4.8 SECTION A1

S 10.00

SCALE 1:2000

3.00

10.00

6.50

3.50

10.00

SECOND FLOOR LOBBY +8.4m

+4.2m

±0m

-3.6m

PROJECTOR ROOM

SECOND FLOOR

AUDITORIUM

FIRST FLOOR

GROUND FLOOR

BACKSTAGE

BASEMENT FLOOR

PROJECTOR ROOM

STAGE

R 10.00

SCALE 1:2000

S 10.00

10.00

3.00

K 7.00

L 10.00

T 6.50

SECOND FLOOR LOBBY

±0m

-3.6m

STORAGE

EXIT CORRIDOR

ORCHESTRA

+4.2m

STORAGE

EXIT CORRIDOR

FIRST FLOOR LOBBY

Fig 7.4.9 SECTION A2

+8.4m

10.00

M 3.50

N 10.00

O 10.00

10.00

LOBBY OF SELF REFLECTION

SECOND FLOOR

FIRST FLOOR

FIRST FLOOR LOBBY

GROUND FLOOR

BASEMENT FLOOR

Fig 7.4.10 SECTION A3

SCALE 1:2000

The third element of the concept , i.e. the spatial memory is interpreted by the lobby of self reflection in the multiplex block. This element can pin points in space and time of the narration which are crutial to the story-almost like a turning point in the story. Design has spacial and narrative memories along with them which can be interpreted for experiential movement through the space.These deliberately designed memories can be manipulated and contracdicted to evoke feelings of surprise and self reflection. After the movie watching creates a scintillating self-reflection space This transition space from the cinema theatre will complete the movie watching experience as the user will be able to digest the ideas in the movie by acting as a space of trance.

7.5 MUSEUM BLOCK B

10.00

2.89 2.11 2.89 2.11 2.89 2.11 2.89 2.11 2.89 2.11

5.00

10.00

CUTOUT SCULPTURE 03

OPEN AIR PERFORMANCE SPACE AHU

GENTS WASHROOM

10.00

ELEC. ROOM

LADIES WASHROOM UP

±0m LVL

C1 LIFT 1

LIFT 2

JANITOR

LIFT 3

5.00

CORRIDOR ±0m LVL

MAIN LOBBY 5.00

29 UP

TICKETING LOBBY

±0m LVL

MAIN EXHIBIT AREA

TIC.

5.69

CONTACT CENTRE

±0m LVL

TEMPORARY EXHIBITION / INSTALLATION OUTSIDE

LOBBY ABOVE

4.31

UP ±0m LVL

32 UP

Fig 7.5.1 GROUND FLOOR PLAN

SCALE 1:500

AHU

GENTS WASHROOM

10.00

ELEC. ROOM

LADIES WASHROOM

C1 UP LIFT 1

LIFT 2

JANITOR

LIFT 3

5.00

CORRIDOR +4.2m LVL

5.00

EQUIPMENT MUSEUM

+4.2m LVL

RESTING SPOT

+4.2m LVL

5.69

TEMPORARY EXHIBITION / INSTALLATION OUTSIDE

LOBBY

4.31

+4.2m LVL

32 UP

±0m LVL

Fig 7.5.2 FIRST FLOOR PLAN

SCALE 1:500

AHU

GENTS WASHROOM

10.00

ELEC. ROOM

OPEN AIR PERFORMANCE SPACE BELOW

LADIES WASHROOM

UP LIFT 1

LIFT 2

JANITOR

LIFT 3

5.00

CORRIDOR

+8.4m LVL

5.00

29 SET 1

SET 7

+8.55m LVL

TEMP. EXHIB. BELOW

5.69

4.31

+8.7m LVL

SET 8 (SEASONAL) / SET OF THE WEEK(RELATED TO FILM FEST)

SET 2

+8.4m LVL +8.55m LVL

+8.55m LVL

SET MUSEUM

SET 6

+8.4m LVL

+8.55m LVL

SOUVENIR SHOP SET 3

+8.55m LVL

SET 4

+8.55m LVL

EXHIBIT AREA BELOW

SET 5

+8.4m LVL

+8.55m LVL

Fig 7.5.3 SECOND FLOOR PLAN 48

SCALE 1:500

10.00

SECOND FLOOR +8.4m

OPEN PERFORMANCE AREA FIRST FLOOR +4.2m

STAURANT GROUND FLOOR ±0m

-3.6m

BASEMENT FLOOR

Fig 7.5.4 SECTION B1

SCALE 1:500

K 10.00

SEASONAL SET +8.4m

+4.2m

±0m

-3.6m

SECOND FLOOR

FIRST FLOOR

GROUND FLOOR

SET 8

L 10.00

T 3.00

SOUVENIR SHOP SOUVENIR SHOP

M 7.00

SET BOOTHS SET 2

N 10.00

O 10.00

10.00

SET BOOTHS SET 6

10.00

OBSERVATORY OBSERVATORY

MUSEUM LOBBY LOBBY

OFFICE LOBBY

OFFICE SPACE

OFFICE SPACE AND LOBBY

20200s

BASEMENT FLOOR

Fig 7.5.5 SECTION B2

SCALE 1:500

The prime element of the cinematic sequence is metaphorised in the entrance of the museum block. It uses the logic of first impression. A film’s opening sets a benchmark against which we measure what happens later. Architectural narratives are also driven by similar intents of curiosity, B1

suspense and surprise. This can sustain a continuous interest in the spacial interest and foster a sense of attachment to the space, provided , the

curiosity and suspense trigger exciting memories within the users’s mind.

KEY PLAN

Fig 7.5.6 ENTRANCE

Fig 7.5.7 VIEW FROM ENTRANCE PLAZA

Fig 7.5.8 ELEVATED VIEW FROM ADJACENT STREET

7.6 FILM FESTIVAL BLOCK V

10.00

5.00

LIFT 1

GENTS WASHROOM

21 MEDIA ROOM

10.00

SOUVENIR

WAX MUSEUM HALL

RED STAGE

5m LVL

7M WIDE DRIVEWA

10.00

STORAGE

ARENA

±0m LVL

VR MUSEUM

LIFT 1

LADIES WASHROOM

10.00

TIC.

±0m LVL

LIFT 3

10.00

TEMP. EXHIB./INSTALLATION

WALK OF FAME GENTS WASHROOM

LOBBY

5.00

10.00

5.00

±0m LVL

JANITOR LIFT 3

ELEC. ROOM

LIFT 2

AHU

10.00

GENTS WASHROOM LIFT 1 UP

10.00

LADIES WASHROOM

EUM DROP OFF

7M WIDE DRIVEWA

PRIVATE ENTRY / RED CARPET

5.00

EXPO / WAX MUS

10.00

SHOP 6Y

LIFT 2

JANITOR

TIC.

OFFICE LIFT 3

PRIVATE ENTRY ROUTE

LIFT 2

5.00

OS LOBBY

±0m LVL

5.00

SCREEN UP

SCREEN DN

±0m LVL

SCREEN DN

SCREEN

5.69

30 PRIVATE SCREEN 4

PRIVATE SCREEN 2

PRIVATE SCREEN 3

PRIVATE SCREEN 1

4.31

5.00

32 UP

5.00

7M WIDE DRIVEWA

10.00

35 ±0m LVL

±0m LVL

Fig 7.6.1 GROUND FLOOR PLAN U

10.00

SCALE 1:1000

10.00

LIFT 1

GENTS WASHROOM

LADIES WASHROOM

10.00

WORKSHOP

STORAGE

10.00

WORKSHOP HALL OF TRADE

DEMO HALL

23 UP

10.00

WORKSHOP

LIFT 1 LIFT 2

LADIES WASHROOM

DEMO HALL

LIFT 3

10.00

LIFT 3

TEMP. EXHIB./INSTALLATION

GENTS WASHROOM

LOBBY

LIFT 2

JANITOR

TIC.

OFFICE ±0m LVL

10.00

5.00

±0m LVL

LIFT 2

AHU

LIFT 3

ELEC. ROOM

GENTS WASHROOM

LIFT 1

LADIES WASHROOM

+3.0m LVL

10.00

EUM DROP OFF

10.00

JANITOR

PRIVATE ENTRY / RED CARPET

5.00

EXPO / WAX MUS

5.00 SHOP 6

10.00

5.00

28 ±0m LVL

SCREEN

5.00

PRIVATE SCREEN 4

SCREEN

PRIVATE SCREEN 2

PRIVATE SCREEN 3

±0m LVL

PRIVATE SCREEN 1

5.69

SNACKS/ POPCORN

CAFE / POPCORN

4.31

31 DN

DN PROJ ROOM

PROJ ROOM

DN TICKET

5.00

32 UP

+3.0m LVL

5.00

ENTRANCE AND LOBBY +3.0m LVL

10.00

35 ±0m LVL

Fig 7.6.2 FIRST FLOOR PLAN

SCALE 1:1000

10.00

LIFT 1

LADIES WASHROOM

10.00

UP LIFT 3

10.00

LIFT 2

+7.0m LVL

GENTS WASHROOM

JANITOR

10.00

5.00

LIFT 2

AHU

LIFT 3

ELEC. ROOM

GENTS WASHROOM

10.00

5.00

JANITOR

PRIVATE ENTRY / RED CARPET

5.00

10.00

LIFT 1

LADIES WASHROOM UP

+7.0m LVL

5.00

28 +7.0m LVL

5.00

WAITING AREA / BACKSTAGE

5.69

4.31

+7.75m LVL

CONVENTION HALL

+7.0m LVL

+7.15m LVL

+7.30m LVL

SNACKS/ POPCORN

CAFE / POPCORN

STAGE

TICKET

5.00

LOBBY

+7.0m LVL

5.00

10.00

ILM FESTIVAL VENUE SF PLAN Fig 7.6.3F SECOND FLOOR PLAN

SCALE 1:1000

SCALE: 1:200

CINEQUENCE

FILM FESTIVAL BLOCK S

+4.2m

±0m

-3.6m

10.00

+8.4m

RIMMISHA S KUMAR | 113716251050 | STUDIO B | BATCH 2016-21

10.00

THESIS 2021 |

10.00

SECOND FLOOR

FIRST FLOOR

GROUND FLOOR

BASEMENT FLOOR

Fig 7.6.4 SECTION C1

SCALE 1:1000

C1 T

K 10.00

+8.4m

+4.2m

±0m

-3.6m

L 10.00

10.00

SECOND FLOOR

FIRST FLOOR

STAGE

PRIVATE SCREEN 1

10.00

PRIVATE SCREEN 3

PRIVATE SCREEN 4

10.00

S 5.00

5.00

CONVENTION HALL PRIVATE SCREEN 2

GROUND FLOOR

BASEMENT FLOOR

Fig 7.6.5 SECTION C2

O 10.00

SCALE 1:1000

KEY PLAN

Fig 7.6.6 COMMON ENTRANCE

Fig 7.6.7 CORRIDOR TO PRIVATE SCREENS

Fig 7.6.8 VIP ACCESS TO PRIVATE SCREENS 53

7.7 EXPO + WAX MUSEUM BLOCK Y

5.00

10.00

5.00

ELEC. ROOM

JANITOR

5.00

AHU

10.00

LIFT 1

10.00

GENTS WASHROOM

LADIES WASHROOM

21 MEDIA ROOM

10.00

SOUVENIR

WAX MUSEUM HALL

10.00

STORAGE

10.00

VR MUSEUM

TIC.

OFFICE

LIFT 3

10.00

TEMP. EXHIB./INSTALLATION

LIFT 2

LOBBY

SHOP 6

5.00

10.00

5.00

EXPO /

Fig 7.7.1 GROUND FLOOR (WAX MUSEUM) PLAN SCALE 1:500

ELEC. ROOM

JANITOR

5.00

AHU

LIFT 1

10.00

GENTS WASHROOM

LADIES WASHROOM

10.00

WORKSHOP

STORAGE

10.00

WORKSHOP HALL OF TRADE

DEMO HALL

E2 10.00

WORKSHOP DEMO HALL

LIFT 3

10.00

TEMP. EXHIB./INSTALLATION

TIC.

OFFICE

LIFT 2

LOBBY 25

Fig 7.7.2 FIRST FLOOR (EXPO) PLAN 54

SCALE 1:500

B 5.00

+8.4m

C 10.00

10.00

SECOND FLOOR

TICKET

FILM TECH. EXPO HALL +4.2m

FIRST FLOOR

WAX MUSEUM ±0m

-3.6m

TICKET

GROUND FLOOR

BASEMENT FLOOR

Fig 7.7.3 SECTION D1

L 10.00

+8.4m

SCALE 1:500

M 10.00

N 10.00

O 10.00

10.00

±0m

-3.6m

10.00

5.00

SECOND FLOOR

DEMO HALL +4.2m

EXPO HALL

WORKSHOP

FIRST FLOOR

CHAOS LOBBY GROUND FLOOR

ARENA

WALK OF FAME

VR BOOTHS

WAX MUSEUM HALL

STORAGE

RED STAGE

BASEMENT FLOOR

Fig 7.7.4 SECTION D2

SCALE 1:500

KEY PLAN

Fig 7.7.5 COMMON ENTRANCE 55

7.8 COMMERCIAL BLOCK

10.00

2.89 2.11 2.89 2.11 2.89 2.11 2.89 2.11 2.89 2.11

5.00

10.00

5.00

10.00

SHOP 1

WALK OF FAME

10.00

PAPARAZZI

WALK OF FAME

10.00

SHOP 2

±0m LVL

RESTAURANT 2

RED ARENA

-0.75m LVL

±0m LVL

10.00

SHOP 3

±0m LVL

WALK OF FAME LIFT 1

LADIES WASHROOM

10.00

±0m LVL ±0m LVL

AHU

LIFT 2

LIFT 3

ELEC. ROOM

10.00

RESTAURANT 1 ±0m LVL

±0m LVL

JANITOR

GENTS WASHROOM

Fig 7.8.1 GROUND FLOOR

SCALE 1:1000

10.00

CAFE 3

+4.2m LVL

10.00

CAFE 4

10.00

LIFT 1

LADIES WASHROOM AHU ELEC. ROOM

10.00

5.00+4.2m LVL 5.00

10.00

5.00

LIFT 2

10.00

CAFE 1

CAFE 2

LIFT 3

10.00

JANITOR

GENTS WASHROOM

Fig 7.8.2 FIRST FLOOR

SCALE 1:1000

T 10.00

+8.4m

±0m

-3.6m

M 10.00

CAFE 3

N 10.00

CAFE 4

FIRST FLOOR

GROUND FLOOR

BASEMENT FLOOR

Fig 7.8.3 SECTION E1

L 10.00

SECOND FLOOR

CAFE 1 CAF +4.2m

K 10.00

SCALE 1:500

O 10.00

10.00

+8.4m

+4.2m

10.00

SECOND FLOOR

FIRST FLOOR

RESTAURANT ±0m

-3.6m

GROUND FLOOR

BASEMENT FLOOR

Fig 7.8.4 SECTION E2

10.00

+8.4m

SCALE 1:500

10.00

L 10.00

T 3.00

M 7.00

N 10.00

O 10.00

10.00

SECOND FLOOR

CAFE +4.2m

±0m

-3.6m

FIRST FLOOR

SHOP 3

RESTAURANT

CENTRAL PLAZA

GROUND FLOOR

BASEMENT FLOOR

Fig 7.8.5 SECTION E3

SCALE 1:500

Fig 7.8.6 VIEW FROM RED PLAZA

Fig 7.8.7 RED PLAZA FROM FIRST FLOOR

KEY PLAN

7.9 OPEN SCREENING AREA

N 20.00

±0m

O 20.00

13.00

GROUND FLOOR

P 7.00

Q 20.00

20.00

S 20.00

OPEN SCREENING

Fig 7.9.1 SECTION F1 N

SCALE 1:400

O 20.00

20.00

Q 20.00

20.00

±0m

GROUND FLOOR

Fig 7.9.2 SECTION F2

Fig 7.9.3 OPEN SCREENING THEATRE 58

SCALE 1:400

KEY PLAN

7.10 RED ARENA P

M 20.00

N 20.00

O 20.00

20.00

Q 20.00

CHAOS LOBBY ±0m

-3.6m

GROUND FLOOR

BASEMENT FLOOR

WALK OF FAME RED STAGE

RED ARENA

PARKING

RED ARENA SECTION G1 F1-1' Fig 7.10.1 SECTION

SCALE 1:400

KEY PLAN

RED ARENA CONNECTING CHAOS LOBBY, COMMERCIAL BLOCK , RED STAGE AND FILM FEST VIP ACCESS

Fig 7.10.2 VIEW FROM PUBLIC ARENA TO RED STAGE KEY PLAN

VIEW FROM RED STAGE TO THE PUBLIC PLAZA

VIEW FROM PUBLIC PLAZA TO THE RED STAGE

RED ARENA S E C T I O N | C I R C U L AT I O N

SCALE: 1:100

CINEQUENCE

THESIS 2021 |

RIMMISHA S KUMAR | 113716251050 | STUDIO B | BATCH 2016-21

Fig 7.10.3 VIEW FROM RED STAGE TO PUBLIC ARENA 59

8. BIBLIOGRAPHY 8.1 BOOKS 1.

Edited by David Crouch, Rhona Jackson, Felix “The Media and the Tourist

Imagination: Converging Cultures”,Routledge Publications,2005, pg-76-91 2.

Swarnavel Eswaran Pillai, “Madras Studios- Narrative Genre and Ideology in

Tamil Cinema”, Sage Publications , 2015 3.

Sure Beeton , “ Film Induced Tourism”, Channel View Publications, 2012

8.2 JOURNALS 1. Lalitha Gopalan, Film Quarterly ,California,2008, “Film Culture in Chennai” , Page 40 https://doi.org/10.1525/fq.2008.62.1.40 2. Crishtopher B Stapleton , Charles E Hughes ,2016,“Mixed Reality and Experiential Movie Trailers: Combining Emotions and Immersion to Innovate Entertainment Marketing” 3. Joris Weijdom , 2017 ,“Mixed reality and the theatre of the future” ,Page 8 8.3 ONLINE RESOURCES 1. Daily

Thanthi,

Available:

(Nov

29,2019)

“No

lights,

camera,

action...”

https://www.dtnext.in/News/City/2019/11/29014557/1200467/No-lights-

no-camera-no-action.vpf 2. Rediff News, (September 18, 2013) “Looking at the Dying Studios of Chennai” Available:https://www.rediff.com/movies/slide-show/slide-show-1-looking-at-thedying-studios-of-chennai/20130918.htm 3. Ajay Sreevatsan- The Hindu, (August 10 2016) “Heritage walk around old studios” Available: https://www.thehindu.com/news/cities/chennai/heritage-walk-aroundold-studios/article2381749.ece 4. Preetika B, (November 2015) “Cinema in Architecture” Available: https://issuu.com/preetikab/docs/arch_and_cinema 5. Advaith Mani, ( November 2020) “Movement in Architecture” Available: https://issuu.com/advaithmani/docs/thesis_advaith_mani_upload 6. Akshita Garg, (December 2015) ”A parallele between cinema and architecture” Available: https://issuu.com/akshitagarg7/docs/chapter_1_new_-_copy

RIMMISHA S KUMAR | REG: 113716251050 | STUDIO:B | YR:05 | THESIS 2021