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Cinema Terrestre
Cinema Terrestre
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Cinema Terrestre
Firm
Type
The face change of this legendary and historical
landmark, Pushkinsky Cinema in Moscow,
culminates a design approach that embodies both soft and hard system assembly
and experience. It is a giant three-dimensional screen that covers and revamps
the existing exterior façade of the cinema. The new face for Pushkinsky is
bright and is situated on the outside of the existing building envelope. Cinema
Terrestre is conceived as an extroverted screen that has an immediate
projection as an ultra public space. The incorporation of filmmaking technology
is strategically embedded in the design. This exposure of filmic apparatus
enhances its thematic saturation and reshapes the Pushkinsky Cinema into a new
contemporariness.
-
The project is initially influenced by the images
of 80’s SCI-FI movie Videodome, a radical force of protrusion
constructed as an ultimate spectacle, stretching the source and the envelope of
media, eagerly and willfully intended to break loose into the physical world.
This scene is perceived here as a critic on the power of media terrain via
cinema as an elusive machine. It generates a form of collapse or mitigation
between films (or whatever plays on the cinematic silver screen) and the
presumptions of everyday life. It is considered as a space that embodies the
experience of both blur and violence between the reel and the real.
-
Cinema Terrestre speculates the use of DuPont Tyvek
and Corian as primary materials for the skin and the solid massing construction
of the new façade. This combination produces the effect of transparency and
opacity, expressing softness and hardness at various specific programmatic
locations of the façade. The industrial version of Tyvek is utilized to stretch
as the screen and is the economic portion of the project. It will have the
ability to serve as a thin moisture barrier while having the capacity to be
breathable, allowing the ventilation and outdoor film projection to occur on
the largest area of the project. Corian solid surface is deployed to contain
volumes and cavities, as well as framing larger apertures of the project. It is
featured as a smaller yet robust and thicker portion of the project. The portal
massing for ingress and egress, balcony space, and integrated housings for
cameras and atmospheric lighting arm extensions are designed with the usage of
Corian.
-
The overall experience and encounter of Cinema
Terrestre is both mechanical and fluid. It is conceived as a binary that
encompasses film and architecture, a hybrid of soft and hard media, fast and
slow technology. The gizmo component of the project is a series of mechanical
arms that is designed to drag and push the screen at the same time serve as a
light source, moving camera, and projector. They are functionally spectacular, designed
to be programmed to cover special premiere events to showcase the honorary
guild and personnel of the featured films.
landmark, Pushkinsky Cinema in Moscow,
culminates a design approach that embodies both soft and hard system assembly
and experience. It is a giant three-dimensional screen that covers and revamps
the existing exterior façade of the cinema. The new face for Pushkinsky is
bright and is situated on the outside of the existing building envelope. Cinema
Terrestre is conceived as an extroverted screen that has an immediate
projection as an ultra public space. The incorporation of filmmaking technology
is strategically embedded in the design. This exposure of filmic apparatus
enhances its thematic saturation and reshapes the Pushkinsky Cinema into a new
contemporariness.
-
The project is initially influenced by the images
of 80’s SCI-FI movie Videodome, a radical force of protrusion
constructed as an ultimate spectacle, stretching the source and the envelope of
media, eagerly and willfully intended to break loose into the physical world.
This scene is perceived here as a critic on the power of media terrain via
cinema as an elusive machine. It generates a form of collapse or mitigation
between films (or whatever plays on the cinematic silver screen) and the
presumptions of everyday life. It is considered as a space that embodies the
experience of both blur and violence between the reel and the real.
-
Cinema Terrestre speculates the use of DuPont Tyvek
and Corian as primary materials for the skin and the solid massing construction
of the new façade. This combination produces the effect of transparency and
opacity, expressing softness and hardness at various specific programmatic
locations of the façade. The industrial version of Tyvek is utilized to stretch
as the screen and is the economic portion of the project. It will have the
ability to serve as a thin moisture barrier while having the capacity to be
breathable, allowing the ventilation and outdoor film projection to occur on
the largest area of the project. Corian solid surface is deployed to contain
volumes and cavities, as well as framing larger apertures of the project. It is
featured as a smaller yet robust and thicker portion of the project. The portal
massing for ingress and egress, balcony space, and integrated housings for
cameras and atmospheric lighting arm extensions are designed with the usage of
Corian.
-
The overall experience and encounter of Cinema
Terrestre is both mechanical and fluid. It is conceived as a binary that
encompasses film and architecture, a hybrid of soft and hard media, fast and
slow technology. The gizmo component of the project is a series of mechanical
arms that is designed to drag and push the screen at the same time serve as a
light source, moving camera, and projector. They are functionally spectacular, designed
to be programmed to cover special premiere events to showcase the honorary
guild and personnel of the featured films.
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