Alesia Cinema Theaters

2011年，Gaumont-Pathé決定改造巴黎左岸Alésia電影院，以創(chuàng)造新的文化場(chǎng)所。自1921年開(kāi)業(yè)以來(lái)該建筑物在建筑學(xué)上被視為大膽構(gòu)造，可容納2 800名觀眾，之后經(jīng)過(guò)多次改造將原有體積劃分為多個(gè)影視廳，從而失去了連貫性。

在大家新建的視聽(tīng)效果最佳且比例恰當(dāng)?shù)挠皠≡褐車覀兺ǔＴO(shè)計(jì)了接待區(qū)，在那里可循環(huán)播放最具戲劇性的影片。大型立式門廳包括樓梯、自動(dòng)扶梯和分層座位，共同構(gòu)成一種面對(duì)Place d'Alésia在光滑外墻內(nèi)部懸掛雕塑的感覺(jué)。

建筑物內(nèi)部是播放影片的電影院，可通過(guò)強(qiáng)光照射分層座位底部的臺(tái)階，而外部則是中心舞臺(tái)——電影，可通過(guò)像素化LED熒幕在較大墻面上放映電影，活靈活現(xiàn)。該墻面由十幾根垂直絲帶組成，這些絲帶折疊形成瀑布一般的交替面。面向中心，這些巨大的折疊裝上玻璃并由若干LED燈覆蓋形成巨大的熒幕。中心LED燈分布密集，在墻面邊緣則分布較少：此做法的目的是在您離開(kāi)中心時(shí)組件使圖像逐漸像素化，以具備詩(shī)意甚至藝術(shù)的方式播放圖像。

該項(xiàng)目墻面，即在燈光裝置與數(shù)字皮膚之間的某個(gè)地方需要進(jìn)行特殊的設(shè)計(jì)。在高12米、寬19米的墻面上分布著230 000個(gè)獨(dú)立控制的發(fā)光點(diǎn)，使得放映成為了可能。這個(gè)大型影院將不斷播放圖像和內(nèi)容，不分晝夜。通過(guò)作為發(fā)光濾光器的圖像移動(dòng)，可以看到內(nèi)部門廳空間。在較低部分，各絲帶的最后一段折疊起來(lái)罩住路面，觀眾可從那里猶如走進(jìn)圖像一般進(jìn)入建筑物。

進(jìn)去后你便進(jìn)入一個(gè)由電影院組成的大廳，其天花板呈階梯式。電影院則猶如拼圖塊一般以盡可能最有效、緊湊的方式組合在一起。電影院上方的垂直環(huán)流在多處被露臺(tái)打斷，在電影院前方形成小的圓形劇場(chǎng)，由交替放映的插播廣告組成，此時(shí)電影院再次由表達(dá)方式所控制。猶如電影院前排座位位于影劇院外一般，繼續(xù)歡迎著由電影和投影所照亮的空間里的觀眾。

In 2011, Gaumont-Pathé decided to rebuild the Alésia cinemas on Paris' Left Bank to create a new cultural destination. While at its opening in 1921 the building was considered architecturally audacious, with its 2 800-place fi lm theatre, it subsequently suffered numerous alterations, dividing the original volume into multiple screens and losing all coherence.

Around eight new, well-proportioned fi lm theatres, conceived for optimum visual and acoustic quality, we have designed unusually generous reception spaces, where cinemas are accessed via a circulation that is almost theatrical. A large vertical foyer contains stairs, escalators and tiered seating, which together form a sort of sculptural composition hung on the inside of the glazed facade that gives onto the Place d'Alésia.Inside the building it is the cinemas that are dramatised, by highlighting the steps made by the underside of the tiers of seating, whereas outside it is the fi lms that are centre stage, screened on a huge facade brought to life by a curtain of pixelated LEDs that enable a variety of animation.This facade is composed of a dozen vertical ribbons,folded to form a cascade of alternating facets. Towards the centre, these great folds are glazed and covered in bars of LEDs to form a huge curtain of pixels.While the LEDs are densely grouped towards the centre, they become more dissipated toward the edges of the facade: the aim of this is to gradually pixelate the image as you move away from the centre, screening the images in a way that has a certain poetic, even artistic quality.

The facade for the project required a specific design, somewhere between a lighting installation and a digital skin. Screening is made possible by 230 000 luminous points spread over a height of 12m and a width of 19m, each independently controlled.Day and night, this large animated envelope will play with a superimposition of images and content. The internal foyer spaces can be glimpsed through moving images that act like a luminous fi lter. Across the lower section, the last segment of each ribbon folds up to form a canopy over the pavement, beneath which the public enters, as if stepping into the image to come into the building ...

The entrance brings you in to a large hall beneath the stepped ceilings formed by the film theatres above, which themselves are fitted together like pieces of a puzzle, in the most effcient and compact arrangement possible. Vertical circulation up to the cinemas is punctuated in several places by tiers of terraces forming little amphitheatres in front of the cinemas, comprising spots for alternative screenings where again cinema is given full rein of expression. It is as if the cinema stalls have stepped outside their theatres to continue welcoming the public in a space illuminated by fi lm and projections...