Projection our Reflection
Changing The Face 2011 - Pushkinsky Cinema
Changing The Face 2011 - Pushkinsky Cinema
PROGRAM: Facade Refurbishment of Pushkinsky Cinema Hall
TYPE: International Ideas Competition
YEAR: 2011
LOCATION: Moscow, Russia
CREATIVE TEAM: Sérgio Magalhães ARQ, Isis Campos ARQ, Márcia Oliveira ARQ, Diogo Cotim DSG
The project geographic and climatic context favors the association of water as a natural material in the design concept. This gives the building a more sustained regional context which is categorized as of extreme conditions and thermal amplitude. The design uses this material in a controlled combination of infinite distortions, refractions, projections and reflections enhanced with the use of the Dupont® SentryGlas® Expressions and Butacite® technological marriage and the humanity owned, raw, pure, WATER. This achievement, real or pictorial, reflected or projected frames represent the past, present and future of the Russian Society and the Art of Cinema in a dual atmosphere between (respectively) Reality and Fiction.
The design concept defines itself as a new shell, generating interior and exterior space, built with modulated Glass containers (with projection/reflection capability dependent of the direction it faces) in a parallel offset from the original building. The glass module has a pure, geometric, triangulated, container like design, embedded in the previous mentioned structural grid. This grid is a direct extrusion of the existent and original façade composition.
Water acts as a catalyst for the cycled, seasonal change of matter1 due to the temperatures that affects Moscow Weather and symbolizes the Annual character of the MIFF2 Events in a poetic and infinite loop of changes assuming the symbolic role of the building changed face. Water in different states of matter (solid and liquid) is an added plastic value. This water fills the façade containers and brings the weather and geographical context to the conversation with the surroundings. The chosen materials inherit transparency from one another's and brings, with the correct lightning a kaleidoscope of controlled iconography to the city of Moscow and to the Pushkin Square.
An expected change will happen in the hot month of July when the Winter defrosting process will peak and the city feels its highest precipitation values of the year. The falling water from the rain will be collected by the façade to an approximate value of 730 L (aprox. When this value is reached it will over flows the edge of the module and this will act as a controlled waterfall, comparing it to a champagne fountain commonly used in events and openings emphasizing the festive atmosphere of the events it will hold. This effect is given by the filling and continuous over filling of rain water in the façade glass modules. That water will be collected by the last module, nearest to the ground, through the matrix support structure and directed to the Moscow Rain Collection Grid.
The project reflects, in the form of the used module1 humanized scale, the opposition between the mirrored surroundings and the projected (and thus controlled) frames of the new building façade. This dichotomy is the main emphasis of the theory behind the presented concept. Projection and Reflection and all the connected purposes of the dual reality of the building.
This is achieved in two directions and with different goals.
In the NE-SW direction of the building towards de Pushkin Square, we can see our foregrounded reflection framed in the mirrored2 and modulated parts of the façade. Then we can perceive the Square itself in the background. The Russians (and others) will see themselves reflected in the building in the near base module parts of the new shell structure. These ones are geometrically directed to the center of the adjacent sidewalk and oriented opposite to the entrance of the building.
In the opposite SW-NE direction of the building (and directly aligned with the foregrounded Square), we can absorb the entire and urban backgrounded presence of the new and dynamic object that constantly changes in a film like frame rate per second motion. This is projected by the climacteric changed and modulated shell canvas of the building that presents not only the new semi transparent architectural form of the cinema hall, but also its main function by acting as a controlled water changed, distorted and refracted surface for projections of any kind.
YEAR: 2011
LOCATION: Moscow, Russia
CREATIVE TEAM: Sérgio Magalhães ARQ, Isis Campos ARQ, Márcia Oliveira ARQ, Diogo Cotim DSG
The design concept defines itself as a new shell, generating interior and exterior space, built with modulated Glass containers (with projection/reflection capability dependent of the direction it faces) in a parallel offset from the original building. The glass module has a pure, geometric, triangulated, container like design, embedded in the previous mentioned structural grid. This grid is a direct extrusion of the existent and original façade composition.
Water acts as a catalyst for the cycled, seasonal change of matter1 due to the temperatures that affects Moscow Weather and symbolizes the Annual character of the MIFF2 Events in a poetic and infinite loop of changes assuming the symbolic role of the building changed face. Water in different states of matter (solid and liquid) is an added plastic value. This water fills the façade containers and brings the weather and geographical context to the conversation with the surroundings. The chosen materials inherit transparency from one another's and brings, with the correct lightning a kaleidoscope of controlled iconography to the city of Moscow and to the Pushkin Square.
An expected change will happen in the hot month of July when the Winter defrosting process will peak and the city feels its highest precipitation values of the year. The falling water from the rain will be collected by the façade to an approximate value of 730 L (aprox. When this value is reached it will over flows the edge of the module and this will act as a controlled waterfall, comparing it to a champagne fountain commonly used in events and openings emphasizing the festive atmosphere of the events it will hold. This effect is given by the filling and continuous over filling of rain water in the façade glass modules. That water will be collected by the last module, nearest to the ground, through the matrix support structure and directed to the Moscow Rain Collection Grid.
The project reflects, in the form of the used module1 humanized scale, the opposition between the mirrored surroundings and the projected (and thus controlled) frames of the new building façade. This dichotomy is the main emphasis of the theory behind the presented concept. Projection and Reflection and all the connected purposes of the dual reality of the building.
This is achieved in two directions and with different goals.
In the NE-SW direction of the building towards de Pushkin Square, we can see our foregrounded reflection framed in the mirrored2 and modulated parts of the façade. Then we can perceive the Square itself in the background. The Russians (and others) will see themselves reflected in the building in the near base module parts of the new shell structure. These ones are geometrically directed to the center of the adjacent sidewalk and oriented opposite to the entrance of the building.
In the opposite SW-NE direction of the building (and directly aligned with the foregrounded Square), we can absorb the entire and urban backgrounded presence of the new and dynamic object that constantly changes in a film like frame rate per second motion. This is projected by the climacteric changed and modulated shell canvas of the building that presents not only the new semi transparent architectural form of the cinema hall, but also its main function by acting as a controlled water changed, distorted and refracted surface for projections of any kind.
Explanatory diagram - behavior of the facade along the year relating to rain water retention/release
