LOOK…who’s lighting up the night. Not only has architect Tony Ples-kow (www.pleskowarchitects.

com) provided the perfect rendering to illustrate this year’s design theme, but he also sets the tone for our endeavor. Most eloquently, we might add. “At their base technically,” he says, “cinematic images and the narratives they create are a function of light and combinations of transparency, translucence and opacity. Architecture shares these phenomena. And to the de-gree that we can enhance and animate the user experience using methods shared with cinema, we have tried to do so.”

October marks the annual Design & Construction/Lobbies edition of Film

Journal International. As in previous years, we searched the globe for innovative ideas and exciting concepts that impress and inspire. After examining exotic, fu-turistic and artistic designs (http://bit.ly/cinemadesigns), we now prepare our

readers to be illuminated. This article will cover lighting and lighting effects, reflec-tions, video screens and projections (for another example, see our Starplex story in this issue), as well as the use of special surfaces and materials. Since “the show starts at the sidewalk,” in the immortal words of renowned architect S. Charles Lee, the selected cinema examples lead guests from the outside in, take them through the lobby and hallways all the way inside the auditorium.

The project that Pleskow rendered for Tom Stephenson’s LOOK Cinemas envisions 14 screens with one restaurant and three dining-in theatres. He notes it was “to be a part of a large lifestyle development in the Midwest and placed on one side of a planned central plaza space. Located above ground-level retail and restaurants, the goal was to encour-age more interaction between the activity in the plaza and that of the theatre. We wanted to develop some spatial interac-tion and go beyond the typical decorated

blank plaster walls we so often associate with cinema buildings. At the larger scale, particularly with respect to the plaza, the use of light within the building—coupled with a transparent building envelope—supports the connection between interior and exterior space.”

Differently colored lights to mark entry points to the individual cinemas have already been applied at LOOK Cin-emas’ flagship location at Prestonwood Creek (Addison) in North Dallas, Texas, which FJI introduced in August of last year (http://bit.ly/fji0813look). “It’s yet another cinematic/architectural parallel,” Pleskow opines. “The notion that you could identi-fy a particular space with more than just a numeral but also with color and a specific name or brand, such as the ‘Evolution’ theatre [www.lookcinemas.com/en/dallas/look/movie-experiences], was interesting to us. Tom and I feel these subtle design elements help to enhance the user’s ex-perience in a way that other cinemas no longer do, but should.”

� JKR Partners’ design for a proposed Cinema Center in State College, Pennsyl-vania, “utilizes bright neon lights to fill the large volume of the lobby,” says the firm’s Robert McCall (www.jkrpartners.com). The concept of connecting entertainment with its environment through light and transparency also applies here. “With large windows to the outside, the large video screens paired with the color-changing lights in the lobby will attract a great deal of attention to the lively space inside.”

� At Regal Moorestown (New Jersey) Mall Stadium 12 & RPX, a member of our “Class of 2013,” the equally spacious lobby “was broken into manageable areas utiliz-ing different types of lighting, from large, intense floating planes…to more intimate areas with hanging pendant fixtures.” Of special note are “the color-changing wall washers that define the concession queu-ing” from above the stand. Opened in the fall of 2004 at the downtown shopping center of the same name, Regal Gallery Place 14 in Washington, D.C. already deployed “color-changing LEDs behind frosted glass panels” at both its box office and snack bar. McCall further notes that these lights “can be programmed to change colors throughout the day for a dramatic effect, or stay a constant color depending on the desired mood” projected across the multi-story atrium entrance.

� At another government seat, halfway across the world in Moscow, Russia, For-mula Kino City marks the transition point from lively mall to even livelier movies with a gateway. “The entrance to the cinema complex features a freestanding illuminated frame made up of acrylic columns and beam

Constructio

n and Design

CINEMA ARCHITECTURE THAT SPARKLES, SHIMMERS AND SHINES

Illuminated Designs

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by Andreas Fuchs

JKR PARTNERS’ PROPOSED CINEMA CENTER IN STATE COLLEGE, PA., USES COLOR-CHANGING LIGHTS IN THE LOBBY TO ATTRACT ATTENTION.

GRAPHICS WERE APPLIED TO THE INSIDE OF THE ACRYLIC CLADDING TO CREATE THE EFFECT OF HUNDREDS OF VIDEO CUBES IN THE LOBBY OF FORMULA KINO CITY IN MOSCOW. BELOW, THE FIRST VIP IMAX IN RUSSIA, ALSO AT FORMULA KINO, DUBBED “THE IMAX SAPPHIRE.”

ARCHITECT TONY PLESKOW USES COLORED LIGHTS TO MAKE ENTRY POINTS TO INDIVIDUAL CINEMAS AT LOOK’S FLAGSHIP PRESTON CREEK IN NORTH DALLAS, TEXAS. “YOU IDENTIFY A PARTICULAR SPACE WITH MORE THAN JUST A NUMERAL BUT ALSO WITH COLOR…”

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the box office and concession—to reveal a bright, faceted, focal point” in the ceil-ing above and on the walls, as well as the entrance to each individual auditorium. “Our intention is to create something eye-catching to draw patrons’ attention.” That very eye-catcher is, in fact, made of acrylic panels that are illuminated by spotlights from behind. After Moscow’s sapphire, this highlight might very well be called a ruby gem.

“The linear topography concept is compatible with the curvilinear forms of the shopping center,” Cummings says, explaining how it all fits in with the environment. Although the center is executed in white tones, “China Film prefers a darker color palette and reflec-tive surfaces. So, our design utilized a black background and reflective surfaces before introducing the brightly colored focal elements and lighting.”

� Back in Russia, all of the above tech-niques can be found at KinoFormat Rahat Center in Orsk as well. “The curved and soft line movements in lobby and cor-ridor create a joyful atmosphere,” with additional highlights coming along the way. Mesbur explains that the six auditoriums were already under construction when his

firm came to the project. “Our role was to create a dynamic interior concept for the lobby and public spaces,” says Mesbur.

He continues, “Concession, ticket booth, cinema entrances and game zone are highlighted by bright green colors. From the walls to floors and ceilings, there are layers of magenta light along with the curved lines, which light up

the plain black and white surfaces. The reflections of ceiling lights on the shiny surface of the floor provide waves of light which accentuate the sense of movement in the corridors.” In another design move, “waiting areas are decorated with dazzling fixtures and decorations to create a distinct space for sitting.”

illuminated from within.” David Mesbur of Mesbur+Smith Architects (www.mesbur-smith.com) explains how graphics were applied to the inside of the acrylic cladding to create the effect of what looks like hun-dreds of video cubes. “As in many of our designs, lighting is used to great advantage to enliven the spaces economically. In our cinemas, we love exploring lighting effects to best advantage.” In recent years, Mesbur says “the development of specialty lighting such as LED rope lighting which simulates neon” has enriched the possibilities for architects and designers. “New systems for step lighting concealed in handrails, and di-rectional and focusable spotlights are among the tools we use to create dramatic lighting effects to enhance our interior designs.”

Formula Kino’s ten-plex also features the first VIP IMAX in Russia, Mesbur adds. “Dubbed the ‘IMAX Sapphire,’ the auditori-um offers luxurious seating, in-theatre food service and unsurpassed level of comfort for patrons. While seating only 50 people, the cinema offers a true IMAX experience for a whopping ticket price of nearly $100!” While many a light bulb is going up on pric-ing right now, the auditorium design itself is more in line with our topic. “The interior

is essentially a black box,” he elaborates, “with all the decorative effects achieved solely through innovative lighting. This in-cludes sculpted acoustic sound panels with concealed lights framing the IMAX logo, and tiny pin spots in the handrails in front of each seating row which subtly illuminate the walking path to the seats.”

� At 434 seats, the IMAX auditorium at Cavea Cinema in Tbilisi is more traditional in size. Everything else about the nine-plex, including the VIP screen, Mesbur says, “is the first of its kind in Georgia,” however. “The interior was inspired by the expressive landscape of the country. The shape of the hills can be easily identi-fied in the ceiling treatment and the pat-tern on the floor resembles the valleys. The curvature of the ceiling and the use of lighting create not only open space, but more intimate spaces as well. The floor pattern guides patrons to the auditoriums. The choice of materials, shapes, colors and lighting effects perfectly blends our inspiration with our client’s vision.”

� TK Architects’ work for China Film in Guang Dong province, China, was also inspired by the land. “We used linear cove lighting to accentuate each ‘topography’ line and to make the space feel unique and high-tech, dynamic and contemporary,” Mike Cummings notes about Dongwan Yitian Cinema. For this eight-plex, the construction documents are currently being developed by their office in Beijing (www.tkarch.com), he reports. “These lines guide the user through the space and open up at key points of interaction—like

Architecture . Conceptual Design . Interior Design . Engineeringwww.tkarch.com . 816.842.7552

A New World of Possibilities Awaits

THE CURVATURE OF THE CEILING AND USE OF LIGHTING DEFINES THE SPACE AT CAVEA IN TBILISI.SOFT CURVES AND BRIGHT COLORS “CREATE A JOYFUL ATMOSPHERE,” SAYS DAVID MESBUR OF MESBUR+SMITH ARCHITECTS ABOUT THE KINOFORMAT RAHAT CENTER IN ORSK, RUSSIA.

MESBUR+SMITH USE LIGHTING AND CON-TRAST IN CINECO’S SEEF MALL, BAHRAIN.

“WE USED LINEAR COVE LIGHTING TO ACCENTUATE THE ‘TOPOGRAPHY,’” SAYS MIKE CUMMINGS OF TK ARCHITECTS, WHICH LOOKED TO THE LOCAL LANDSCAPE AS INSPIRATION FOR CHINA FILM’S DONGWAN YITIAN CINEMA IN GUANG DONG PROVINCE.

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� For their renovations at Cineco’s ten-plex at Seef Mall in Manama, Bahrain, Mesbur+Smith were tasked “to create an eye-catching, bright environment in contrast with the existing dark and dull space.” This was created, David Mesbur says, “by the white color of the ceiling and shiny surface of floors which reflect the rays of light. Large-size screens

and video walls are also providing entertaining atmosphere for the main lobby.” Once again, colored light accentuates parts central to the space, including the cinema entrances. “Floor patterns and extra-large stainless-steel numbering…on the black background are helping the visitors to easily find the cinema halls.”

� The full-out reworking of Berlin’s great and wonderful Zoo Palast that we chronicled in detail back in March (http://bit.ly/fji0314zoopal) reveals how illuminating the actual cinema can be an art unto itself. In 2008, Zoo Palast operator Hans-Joachim Flebbe first used LED lighting to accentuate the stylistic properties of yet another classic venue in Berlin—the Astor Film Lounge (http://bit.ly/fji0712astor)—and has since perfected the art and technique as part of his Premium Entertainment offerings in Frankfurt and Cologne (www.astor-filmlounge.de). Seeing the giant Zoo Palast light up is further homage to the original 1950s setup there, which included bulbs in different colors on the stage floor that illuminated its three-layer curtains, as well as marking its ceiling and wall alcoves with dimmable neon. (And, no, it did not flicker.) What Flebbe brought back to the Zoo Palast represents a much-needed reminder about the meaning of Lichtspiele, a more formal German word for movie theatre than Kino. “Play/Games of Light” was, in fact, the very inspiration for this overview.

As if Dolby Atmos and creating a night sky illusion in the 850-seat main house today were not enough to create atmosphere and ambiance, Flebbe and his designer/architecture team also installed a waterfall curtain. This part of the curtain-raiser ceremony is played before each show

We close our “Illuminated Designs” overview with a summary by David Mes-bur. “The interiors of modern multiplex cinemas convey a sense of excitement, anticipation and wonder. This can be accomplished through the creative use of colors, materials and architectural forms, enriched by innovative lighting… Effective use of lighting establishes the desired mood and ambience of the cin-ema interior, both in public spaces and in auditoriums.”

Zoo Palast photos © Jan Bitter; all other

photos and renderings were provided by the

respective architectural firms for the project.

BERLIN’S GIANT ZOO PALAST USES COLORED BULBS ON THE STAGE FLOOR AS WELL AS DIMMABLE NEON LIGHTS IN THE WALLS AND CEILING TO TURN THE CINEMA ITSELF INTO AN ART WORK.