A place to gather to watch movies. This is the interior plan for the common space of Kumamoto Piccadilly, a movie theater to be built on the seventh floor of the newly constructed Amu Plaza in front of JR Kumamoto Station. After a competition that took many twists and turns, the basic plan was established in early 2020, and the Corona disaster occurred during the final proposal. Gatherings began to be restricted, and an era of skepticism about the movie theater program itself had arrived.
The cinema originally originated as an institution where “kinetoscopes,” wooden box machines that allow people to watch images as if peering into them, were displayed, and the relationship between people and images began as a one-to-one relationship. However, in the 2020s, with the spread of subscriptions spurred by the Corona Disaster, people and images will once again establish a one-to-one relationship. In such an era, what possibilities exist for places where people gather to watch images, and how should these places be solved as interiors? This is how I began to think about “gathering.
We thought of treating the various elements that gather in a movie theater, such as the building frame, equipment, and advertisements, as equivalent to the interior design. Specifically, white, the brand color, and black, the color of Kumamoto’s climate, were used as colors for the interior, and the monochrome colors were used as the axis to control the gathering of the various elements.
The first step was to observe the framework of the building frame. Since the building is planned as a large-scale tenant of a station building, the site (tenant area) has an unusually large structural frame with strong columns and beams. Of course, these frames cannot be erased, but it would be more comfortable if they were close to the visitors.
A dummy volume was fitted into the frame and a floor plan was created so that visitors can gather around the structural frame. The floor texture is made of porcelain tiles with a mixture of potato and horse joints, which are used as a marker to subtly define the way visitors gather.
Looking up, one can see the many miscellaneous items that are typical of large-scale tenants, such as air conditioning, ventilation, lighting, and firefighting equipment. In order to avoid exaggerating their presence as much as possible, dummy volumes were raised on the ceiling to hide or blend in with them, and to organize the equipment and devices.
A movie theater also attracts a lot of eye-catching advertising materials. Of course, such entertainment elements are essential, but watching a movie is essentially a cultural activity that satisfies intellectual desire and curiosity. It is similar to the behavior of a museum or art museum, and as such, the interior of a movie theater should be furnished on a cultural scale. Each of the advertisements was limited in position and blended into a dummy volume like an exhibit in a museum.
Visitors and advertising media vividly gather in the cinema against a monochrome background controlled by the interior. I expect that a pure white space will softly float in the background as a blank space, but I am enjoying that it will be reflected in the everyday scenery of the pavilion.
藤本壮介・永山祐子・成瀬友梨が審査する、ケイミュー主催のアワード「ARCHITECTURAL DESIGN AWARD 2023」が応募作品を募集しています。ケイミュー商品を使用した物件を対象に“未来に残していきたい外装デザイン”を選定し表彰します。受賞者には藤本壮介の作品でもある“白井屋ホテル”での表彰式と“総額185万”の商品券が用意されています（※表彰式の会場は予定です、表彰式の招待にケイミュー賞受賞者は含まれません）。応募受付期間は2023年8月31日（ケイミュー到着分まで）。WEB応募ページはこちら【ap・ad】