架构师提供的文本描述。有着100多年的历史，电影院“韦尔特斯皮格尔科特布斯”是德国最古老的电影院之一，并在许多童年记忆中留下了印记。当地一位热心人士要求亚历山大·费尔工作室为以前的单厅影院构思一个新的整体概念，并给它一个连贯的内部设计。现在又有两个影剧院，每间有80个地方，还有一个电影吧属于这座大楼的附属物。有520个地方和一个金色天花板的历史大厅也被一个可伸缩的平台用来举办活动。通过一种令人兴奋和普遍的室内设计，并参考早期电影史，一个令人兴奋的历史和现代融合成功。

Text description provided by the architects. With more than 100-year-old history, the movie theater "Weltspiegel Cottbus" is one of the oldest cinema buildings of Germany and has stamped many childhood memories. A local enthusiast asked Studio Alexander Fehre to conceive a new overall concept for the former single-hall cinema and to give it a coherent interior design . Now two additional film halls with 80 places in each and a film bar belong in the annexe to the building. The historical hall with 520 places and a golden ceiling was utilised by a retractable platform also for events. By an exciting and universal interior design with references to the early film history an exciting merging of history and modern age succeeded.

 © Zooey Braun

佐伊·布劳恩(Zooey Braun)

进入电影院是对现实的逃避。一个人以微妙的方式遇到这个主题，首先是在门厅，这是完全重新设计的。就在入口处，你会发现两盏大吊灯，每个盒子里都有三盏黄铜色的照明灯。它们提醒人们电影技术的起源，序列摄影。进一步移动地毯在空间，你会注意到特殊的3D效果，在莫尔的地毯。门厅的天花板从必要的空气扩散器修改，并保持均匀，以突出椭圆天花板投影。在柱面外，一个特殊的放映机投射在椭圆天花板的高度上，从而打开了幻想世界中的一个想象窗口。将所需的槽式空气扩散器放置在侧壁上，并与光缝结合。酒吧区由纺织元素组成，一直延伸到历史大厅，并与橡木单板一起创造出两个房间之间物质世界的连接。通过列出的楼梯，一个到达阳台在第一层上楼。墙上的图片显示了威尔士人历史上的照片。

The entry into the cinema is the escape from the reality. One meets this leitmotif in subtle manner first of all in the foyer  which was completely redesigned. Right behind the entrance, you find two big chandeliers consisting of three brass-coloured photo lights  in each case. They remind of the origin of the film technology, the sequence photography. Further moving on the carpet in the space, you will notice the special 3D-effect in the Moiré of the carpet . The ceiling of the foyer was revised from the necessary air diffusors and was held homogeneous to highlight the elliptical ceiling projection. Out of the column cladding projects a special video projector projects exactly in the elliptical ceiling elevation and opens thus an imaginary window in the fantasy world. The necessary slot diffusors for the incoming air were put in the side walls and combined with light slits. The bar area is cladded by textile elements running till the historical hall and creating, together with the oak veneer, a connection of the material worlds between both rooms. Through the listed staircase one reaches the balcony in the 1st upper floor. A picture wall shows photos from the history of the Weltspiegel.

 Floor Plan

经过精心修缮后，这座历史大厅焕发出新的光彩。这是尚年轻的中型影院早期的罕见证据。带有温暖的铜金色色调的镶板天花板，在反身和黑暗之间，对于电影放映来说，有着完全正确的平衡。天花板被列为具有历史意义的建筑元素，并在1911年恢复原状。在盒式录音带中，灯泡被建造在里面，使天花板成为星空，并随着电影的开始慢慢变暗。为了配合灯光的情况，在车顶的一侧插上了荧光灯，突出了天花板的弧度，并提供了更多的亮光。为了纪念无声电影时代没有扬声器干扰的印象，所有的扬声器都建在墙上，用墙板覆盖。PTO能够使用大厅进行开发人员关注的活动，并与执行公司合作开发了一个特殊的平台。根据使用要求，该平台被完全收回和释放，从而使地板位于它下面。安装椅子行的平台可以通过几个像望远镜一样的手动作来收回。机械同步是内置的事实，各阶段不边缘和运作顺利的时间很长时间。520个座位被翻新，新的软垫，符合旧的颜色概念。还保留了玻璃杯和零食板。旧的舞台是全新的，尽管如此，它仍然是以她的基本形式和高度，作为椅子排的储藏空间。

The historical hall shines after careful renovation in new brilliance. It is the rare testimony from the early epochs of the still young medium Cinema. The panelled ceiling with its warm copper-golden tone owns exactly the right balance between reflexion and darkness for the movie projection. The ceiling is listed as a historic building element and was restored  in the original state of 1911. In the cassettes light bulbs are built in which make the ceiling a star sky and slowly darken themselves with the beginning of the film.  To the support of the light situation, fluorescent lamps were inserted at the side which emphasise the curvature of the ceiling and lend additional shine. In memory of  silent film times when no loudspeakers disturbed the impression, all the loudspeakers a built into the wall and covered by the fabric of the wall panelling. pTo be able to use the hall for events which were a preoccupation of the developer, a special platform was developed in cooperation with the executive company. According to the usage requirements this platform be completely retracted and releases thus the parquet flooring located under it. The platform on which the chair rows are mounted can be retracted with a few hand movements like a telescope. A mechanical synchronisation is built in for the fact that the stages do not edge over and function smoothly for a long time. 520 seats were refurbished upholstered new, matching the old color concept. The board for glasses and snacks was also kept. The old stage was completely new built up, nevertheless, was left in her basic form and height and serves as a storage space for the chair rows.

 © Zooey Braun

佐伊·布劳恩(Zooey Braun)

底层的木板在开放式层板结构和封闭式盒式磁带之间发生变化，其设计类似于阳台上的原始结构。然而，在入口处，木板有一个不寻常的细节来拿起灭火器。这个细节也代表了一个电影应该提供的有趣的体验，并巧妙地抵消了历史大厅的主要古典外观。色彩和材料的概念以天花板和墙壁元素的原始色调为导向，并辅之以新的材料和颜色，例如椅子和墙面织物。不仅由于历史的原因，对声调和材料的选择给予了特别的重视，而且在活动中也达到了礼堂所要求的优雅外观。舞台入口和阳台被涂上相同的色调，以表明这些部件在1911年不存在于旧状态，但在50年代被插入重建阶段。(鼓掌)

The wood panelling in the ground floor changes between open lamella structure and closed cassettes and is designed like the original one in the balcony. Nevertheless, in the area of the entrances the wood panelling has an unusual detail to take up the fire extinguishers. This detail also stands for the playful experience a cinema should offer and subtly counteracts against the mainly classical appearance of the of the historic hall. The colour and material concept is orientated to the original tones of the ceiling and the wall elements and is complemented with new materials and colours, as for example of the chairs and the wall fabrics. Not only due to the history special attention was paid to the choice of the tones and materials, but also reach the demanded elegant appearance of the hall during events. The stage portal and the balcony were coated in the same tone to mark that these components did not exist in the old state in 1911, but were inserted in a rebuilding phase in the 50s.  

 © Zooey Braun

佐伊·布劳恩(Zooey Braun)

旧楼地下室的卫生间让人想起过去的日子，天花板上有纺织电缆，还有黑灯。电缆从一个特别制造的分配器盒中发出，直穿过天花板，每一盏灯。在男人的厕所里，电缆被严格地平行线移动，在女士的厕所里，它们描述了一种丢失的形式。由科里安建造的洗衣处在圆形镜子前以光学方式漂浮，并将大小借给洗衣间。再加上墙壁的浓烈色彩，建造了一座通往现在的桥梁。新建立的附件，两个新的电影大厅和一个酒吧在底层完成了新的整体概念的韦尔特斯皮格尔。在正常的电影时间里，三个电影院都可以达到合理的使用程度。如果这座历史建筑是为某一活动预订的，新的附属建筑可以继续作为一个有两个大厅的普通电影院运营。三角形的楼梯连接旧建筑和新建筑，通过电梯，残疾人可以进入所有电影大厅。

The toilet rooms in the basement of the old building remind of past days with the textile cables on the ceiling and the black lights. The cables make their way, outgoing from an especially made distributor box, straight across the ceiling every single light. In the man's toilet the cables are moved strictly in parallel lines, in the lady's toilet, they describe a lose form. The washing places made of Corian float optically in front of the circular mirrors and lend size to the washing rooms. Together with the intensive colour of the walls a bridge is built to present time. The new established annexe with two new film halls and a bar in the ground floor completes the new total concept of the Weltspiegel. During regular movie times a reasonable extent of utilisation can be reached with the three film halls. If the historic building is booked for an event, the new annexe can continue to operate as a regular cinema with two halls . The staircasel in a triangular shape connects old building and new building and by the lift all film halls can by accessed by handicapped persons.

这两个新的电影院各有80个地方，都有相似的建筑布局，但都显示了两种不同的原型。大厅2代表可体验和叙事空间，黑色大厅3是非常技术性的，让游客有一个没有偏斜和集中的电影体验。就数字投影技术而言，建筑平面图的具体特点在于投影机空间位于电影大厅内。这两个大厅都配备了冷却天花板，进入的空气被引导到平台，这是一个中空的房间。在胶片厅2，墙板的褶皱和大的圆形投影窗口提醒着旧相机的形状和结构。一小部分特殊玻璃是清晰的投影，其余的表面是打印一个照片孔径的图形。此外，在天花板中插入了下行灯，突出了座椅，并在投影仪和帆布之间产生了连接。与第三厅不同的是，这些排是圆形的。

Both new film halls with 80 places in each case have a similar floorplan, but show two different archetypes. The hall 2 stands for the experienceable and narrative space, the black hall 3 is held very technical and allows the visitor an undeflected and concentrated movie experience. Allegorically for the digital projection technology the specific feature of the floorplan lies in the fact that the projector space is situated in the film hall. Both halls were equipped with a cooling ceiling, the incoming air is directed to the platform which is built as a hollow chamber. In the film hall 2 the folds of the wall panelling and the big round projection window remind of form and construction of old cameras. A small part of the special glass is clear for the projection, the rest of the surface is printed with graphics of a photo aperture. In addition downlight are inserted in the ceiling accentuating the seats and producing a connection between projector and the canvas. In contrast to the third hall, the rows are organized in a round shape.

 Floor Plan

在它的黑色，技术上现代的外观和光线，第三电影大厅在第二层楼上立即唤醒与科幻电影。同时，它让游客有一个即时和强烈的电影体验，比其他大厅更多。整个空间都是黑色的，所有的扩音器都被隐藏在墙面的后面，没有什么可以分散电影的注意力。所谓的“黑匣子”，由多边形表面组成，从天花板折叠到墙壁，形成一个令人兴奋的空间结构。为了加强这一点，LED照明线遵循这一结构，从天花板上方的投影室向外延伸到帆布的侧壁。投影室是一个六角形玻璃元素的领域，这反映了房间，使它更加抽象。

In its black, technically modern appearance and with the light lines, the third film hall in the 2nd upper floor wakes immediately associations with science fiction films. Simultaneously it allows the visitor an immediate and strong cinematic experience, more than the other halls. The complete space is held in black and all loudspeakers are kept invisibly behind the wall fabric, nothing should distract from the film. The so-called "black box", consists of polygonal surfaces which folds from the ceiling to the wall, forming an exciting spatial structure. To intensify this even stronger, a LED light line follows this structure, outgoing from the projection room over the ceiling and up to the side walls of the canvas. The projection room is cladded with a field of hexagonal glass elements which reflect the room and make it even more abstract.

 © Zooey Braun

佐伊·布劳恩(Zooey Braun)

新的酒吧在一楼的附件可以运作，而不考虑电影播放时间。长的L字形酒吧形成了游客的进场点，并将电影院和酒吧柜台的售票统一起来。台面一方面是从吧台延伸而来的，因此加重了酒吧的状况，另一方面则展示了内置的爆米花机。背板上的架子排列松松，胶合板呈白色，可适配使用。较低的天花板被一条LED线所占据，它描述了从内置视频投影机到折叠镜面墙的自由形式。“新”的韦尔斯皮埃格尔·科特布斯(WeltSpiegel Cottbus)成为一家电影公司，它满足了人们对过去辉煌电影宫殿的渴望，同时也为一家当代城市中心电影院发表了一份声明。作为一个拥有音乐会、歌舞表演、活动和电影的广泛观众的文化中心，在最现代的数字投影中，它仍然是一个记忆被塑造的地方。

The new bar in the ground floor of the annexe can be operated regardless of the film playing times. The long L-shaped bar forms the approach point for the visitors and unites the ticket sale for the cinemas and the bar counter. The countertop on the one hand, extends from the bar and accentuates therefore the bar situation, on the other side the built in popcorn machine is showcased. The shelves on the back wall are laxly arranged, whitened plywood cubes and can be equipped adaptably. The lower ceiling is occupied by a LED line which describes a free form starting from built-in video projector to the folded mirror wall. The "new" old Weltspiegel Cottbus became a cinema which fulfils the longing for the splendid film palaces of the past times and delivers at the same time a statement for a contemporary city centre cinema. As a cultural center for a wide audience with concerts, cabaret, events and films in the most modern digital projection it still remains a place where memories get shaped.