LONG ISLAND CINEMA COMPETITION
Honorable Mention – $100
suckerPUNCH: describe your project.
donatas GRINIUS + donatas PABRĖŽA: If you want a cozy cinema – stay at home. Some cinemas strive to match that cozy experience of a home. Cinema should be engaging. The size of space takes your breath, the sound blows your head and the overall effect leaves you shaking for weeks. A cinema should not be a digital clock. That is boring. A cinema should be beautiful, exciting, loud and flamboy-ant. It should be cool.
The concept consists of three parts:
Landscaping was used to bring water into the site. Hunter Point water front is being converted to a rec-reational zone, so the key concept of the movie beach is to open the water front. In the daytime it’s used as a public beach with bars and shops. At night it becomes an outdoor movie theater on the beach.
The building has two facades. An outdoor cinema facade is a three-dimensional cinema screen icon. The Manhattan facade is transparent, so the movie theaters could be seen from Manhattan. The interior organisation is divided in three parts – a vertical lobby/entrance hall, a vertical structure of theaters with lobbies and a vertical exit hall.
All theater screens are turned to Manhattan and they rotate on a horizontal axis. Visitors can enjoy the fascinating skyline before the movie starts and people from Manhattan can see the screens open and close.
sP: what or who influenced this project?
Casa da Musica in Porto by OMA; Seattle Library by OMA; Elbe Philharmonic Hall by Herzog & de Meuron.
sP: what were you reading/listening to/watching while developing this project?
dG + dP:
Listening: Erik Satie; Bibio; Flying Lotus; Antoni Maiovvi.
David O’Reilly – The External World; Star Wars; MAD TV Series; Animatrix; Exit Through the Gift Shop; Rem Koolhaas: A Kind of Architect.
sP: whose work is currently on your radar?
OMA; MVRDV; Sou Fujimoto ;Herzog & de Meuron.
gil AKOS: The Cinema Machine most effectively creates an outdoor cinema space that is provocative in both its programmatic configuration – the “beach” – and its ability to use the NYC skyline as an ambient backdrop for films.
paul PREISSNER: I found the strong formal statement and clarity of shape immediately compelling. The decision to atomize the interior program and experience into an unorganized assortment of program volumes felt somehow disappointing as a conclusion.