© José Hevia

(JoséHevia)

架构师提供的文本描述。位于第二大购物中心内的Gran Vía的Filmax电影院于15年前开业。在这个黄金时代之后，在范式转变之前，客户寻求一个项目，通过减少影院的尺寸，优化它们的功能，并提供超出房间内发生的体验，来整顿电影院。

Text description provided by the architects. The Filmax Cinemas in Gran Vía, located within the Gran Vía 2 shopping centre, opened their doors 15 years ago. After this golden age and before the paradigm shift, the client seeks a project to straighten up the cinemas by reducing their dimension, optimising their functioning and offering an experience which goes beyond what happens inside the room.

 © José Hevia

(JoséHevia)

运作和效率

FUNCTIONING AND EFFICIENCY

减少房间数目

REDUCTION OF THE NUMBER OF ROOMS

电影院从15个房间到12个房间。这些房间将被改建成保龄球馆，可以从电影院进入。

The cinemas go from having 15 rooms to 12. These rooms will be converted into a bowling alley, which will be accesible from the cinemas.

单一销售点

SINGLE POINT OF SALE

取消了传统的售票窗口概念，去掉了位于购物中心修复平台上的这种功能的容量。在主酒吧，公众现在可以购买门票，爆米花，饮料和其他，形成一个单一的队列。

The conventional concept of the ticket window is eliminated, getting rid of the volume destined to this function, located in the shopping centre’s restoration terrace. At the main bar, the public can now buy the tickets as well as popcorn, drinks and others, making a single queue.

 © José Hevia

(JoséHevia)

这些障碍已经被消除，推迟了通道的进入和开放，接管了整个流动大厅，并缓解了流体的循环。去电影院消费他们的产品已不再是强制性的了。通过执行上述所有要点，获得了一个允许工人在不移动或干扰公众的情况下完成所有工作的酒吧。因此，工人现在可以更换销售点和仓库的产品，出售门票、饮料、爆米花、糖果，控制进入不同房间的通道，控制动态的数字内容和空间的照明。

The barriers have been eliminated, delaying the access and opening the hall, taking over the entire fl oor and easing a fluid circulation. It is no longer compulsory to go to the cinemas to consume their products. With the execution of all the previous points stated above, a bar that allows the worker to carry out all the jobs without moving or interfering with the public is obtained. Thus, the worker can now replace products in the points of sale and in the storehouse, sell tickets, drinks, popcorn, sweets, control the access to the different rooms, control the dynamic digital content and the lighting of the space.

ENVIRONMENT

整个虚假天花板被拆除的方式，台阶的板块部分站在大厅，丰富了入口处的概念，电影院。由于在某些点的高度很大，它被选择在2.70米的舒适高度，因为所有的元素和涂层将到达。从这个高度上看，所看到的装置和结构都是用相同的颜色画的，这给人一种统一的感觉。

The whole false ceiling is demolished in a way that the steps’ slabs section stand on the hall, enriching the concept of the entrance to the cinemas. Given the great height in some points, it is opted for a comfort height of 2.70m, as far as all the elements and coatings will arrive. As from this height, seen installations and structure are painted in a same colour, which gives a sense of uniformity.

 © José Hevia

(JoséHevia)

INFORMATION

考虑到原始的无序性和随机性，决定将数字信息按两轴顺序排列。第一部，正面与酒吧平行，将公布FI LMS、饮料和其他消耗品的时间表。在一个垂直的方向，并通过筛选原来的支柱，将有一个广告牌与所有的FI LMS和拖车。建筑将根据信息变化，使空间充满活力。

Given the original disorder and randomness, it is decided to order the digital information in two axes. The fi rst one, frontal from the access and parallel to the bar, will announce the schedules of fi lms, drinks and other consumables. In a perpendicular direction, and by screening the original pillars, there will be a billboard with all the fi lms and trailers. The architecture will change according to the information, energising the space.

 © José Hevia

(JoséHevia)

ILLUMINATION

进入电影院的经历，除其他外，是从光明到黑暗的转变。在270厘米的高度，建立了一个子结构，以支持所有布置的照明在连续的条状，与他们的锯齿，引导观众从门到入口的房间。因此，大厅变成了黑暗的第一梯度。

The experience of entering the cinemas is, amongst other things, the change from light to darkness. At a height of 270 cm, a sub-structure is created to support all the arranged lighting in continuous strips that, with their zig-zag, guide the spectator from the doors to the entrance of the rooms. Therefore, the hall becomes the fi rst gradient of darkness.

整个环境的黑暗是用一个黑色的白色聚集体组成的水磨石，模拟爆米花溢出的效果，有助于避免在高峰时段疏忽或不可能清洗的感觉。

The darkening of the whole environment is fi nished off with a black terrazzo of large white aggregates that, simulating the effect of spilled popcorn, help to avoid the feeling of negligence during peak service hours or impossibility of cleaning.

 © José Hevia

(JoséHevia)

在一组网状几何中，它被选择为一个奇异的，不和谐的轮式元素，这将是甜蜜的手推车。这个元素可以根据不同的日期和房间的使用而改变其位置。

Within the set of reticulated geometry, it is opted for a singular, dissonant and wheeled element, which will be the sweet trolley. This element can vary its position depending on the day and the use of the rooms.

 © José Hevia

(JoséHevia)

Architects AMOO, Arquitecturia

Location L'Hospitalet de Llobregat, Barcelona, España

Category Adaptive Reuse

Arquitectos a Cargo Josep Camps, Olga Felip, Aureli Mora, Omar Ornaque

Area 640.0 m2

Project Year 2016