Multiplex Design Nishan PDF
Multiplex Design Nishan PDF
Multiplex Design Nishan PDF
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ACKNOWLEDGEMENT
True are the words of Berchtold Bert, “……there will be singing in dark
times……..” When the mission that conquered the heart and senses was felt
for a while as a distant dream, I did hear singing; some encouraging, some
uplifting, some enthralling. Yet, all conveyed the same point; it was only my
eyes that went blind. At the very moment of completion of this thesis, it is
those words that reverberate in my ears.
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I N T R O D U C T I O N
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CONTENTS
1.0. INTRODUCTION
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1.0 INTRODUCTION
The cinema is one of the newest building types. With only a little over a
century of history, it has rapidly become ingrained in our consciousness as one
of the dispensable places in our culture. It is also one of the new building types
that is truly universal — cinemas are accessible to and enjoyed by almost
everybody, regardless of class or culture. Unlike museums or theatres,
cinemas are cultural centers which exclude none. Each of us has a relationship
with certain cinema buildings which are redolent with memories of dates and
Saturday nights, of films that have engraved themselves on our minds and
become part of our lives. Perhaps more than any other building, the cinema is
a pository of nostalgia and of memories.
The roots of the picture house lie in traveling fairground booths and seedy,
run-down dives; in rented halls, semi-derelict shops and dark, dangerous
caverns with wooden benches. Within three decades of these unrespectable
and inauspicious beginnings, the cinema had become the fastest growing and
most recognizable new building type of the twentieth century. It became a new
focus in the urban landscape — as influential as the church, and more so than
the theatre or the vaudevillian music hall, which it replaced as the pivotal
centre of public entertainment. In a staggeringly short space of time the
cinema had become established as the undisputed everyman’s venue for a
night out.
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The unique nature of a multiplex lies in the fact that such a building
encompasses multi functions - shopping complex, entertainment parlours
and other commercial activities.
Multiplexes came into India 10 years back. The first ones began to be noticed
at the metros, mainly Delhi and Mumbai. They then began to shift towards
cities like Ahmedabad and Pune.
This concept took off in South India only a few years back, in Hyderabad,
Chennai and Bangalore. Kerala hasn’t seen state-of-the-art multiplexes as of
yet.
But all that is to change with the arrival of a multiplex in Calicut. Calicut is a
logical location for such an enterprise what with a large section of its
inhabitants being Gulf-based, being accustomed to large complexes having
seen it all in their sojourns abroad.
Mini theatre of 200 capacity which can be used for private screenings.
• Food court , a restaurant and a bar.
• Toilets
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Multiplexes play an important role in the context of urban fabric in the fact
that they become immediate landmarks by which people tend to define cities.
spaces and gaming zones which the area at present lacks, and is sure to
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1.3 METHODOLOGY
survey.
• Final design
• Special topic
• Design detailing
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Presently there is no multiplex in Kerala, and Mavoor road being the central
business district of Calicut, is explored by a lot of commercial activities and
business class people
Popularity of home theatres and t.v. channels has caused a steady decrease in
audience especially in large capacity theatres.
Only theatres which survive are those with high comfort, best projection and
sound systems.
Moreover the area lacks good recreational spaces, with proper parking areas
and other services
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Electricity 5000/- per day 3000/- per day 5300/-per day 3500/- per day 1000/- per day
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The work will also include a general survey to obtain the news of the people
about the present theatres and expectation in the future.
Design demands a lot of detailing including the services, fire escape and
acoustics detailing.
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D A T A
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CONTENTS
2.0. DATA
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2.5. BILLIARDS 23
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Multiplex, primarily meant for movie theatres are classified under group
D (assembly buildings)
Maximum permissible F.A.R – 1.5 (2.5 max additional fee Rs.1000 per sq m
for area exceeding the permissible limit)
a. Max ht. of the building shall not exceed 1.5 X width of street abutting the
plot + 1.5 times front yard.
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2.1.4 ACCESS
Provided that buildings under assembly occupancies having area above 300
sq. m. shall have a minimum access width of 7 m. leading to the plot.
Table 1
Extend of built up areas Nature of open space Dimensions
Table 2
Sl Fitments ASSEMBLY OCCUPANCIES ( theatre, auditoriums, restaurant, art galleries…. etc.)
no.
(1) (2) (3)
1. Water closet 1 per 200 males or part thereof and 1 per 100 females or part thereof
3. Wash basins 1 for every 200 males or part thereof and 1 for every 200 females or part thereof
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2.2.3 STAIRCASES
There shall be at least two staircases of adequate width to provide exit in
gallery and up per floor of the building which is intended to be used for the
purposes.
Width of a passage serving a single staircase shall not be less than the width of
that staircase.
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The width of a passage serving more than one staircase shall not be less than
the width of the widest staircase it serves plus one half the sum of the width of
the remaining staircase.
The tread shall not be less than 30 cm wide and riser not more than 15 cm
high.
The treads and risers on each flight shall be of uniform width and height.
Each flight shall not have more than 15 or less than three steps.
No staircases shall have more than two flights of 15 steps without a turn and
the width of the landing between such flights shall be at least the same as the
width of the staircase.
No sta ircase shall be less than 1.5 m width which shall cater/suffice the
requirements for 100 persons and for every 15 persons the width shall be
increased by 2.5 cm divided over the number of staircase provided.
The farthest point in a cinema building from whe re the staircase affords access
shall not be more than 20m distant from such staircases.
The floors of all landings shall not be less than 15cm thick.
There shall be no recesses or projections on the walls of such staircase within
at least 2.0 m above the steps or landing.
The minimum headway of a passage if used by public under the landings shall
not be less than 2.1 m at any point between the top of the finished floor
surface and underside of landing immediately above it.
No stairways shall discharge into the passage or corridor against or across the
direction of exit.
2.2.4 RAMPS
The slope of the ramps should be such as to facilitate climbing without undue
strain. But not steeper than 1:6, at the same time it should not cause the user to
exert unnecessarily for climbing down.
All ramps shall be provided with a parapet at least 800 mm high or a suitable
hand rail of the same height to prevent falling of the user.
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2.2.5 AISLES
Clear aisles not less than 1.2 m in width shall be formed at the right angles to
the line of seating in such number and manner that no seat shall be more than
3.8 m away from an aisle, measured in the line of seating. The width of cross
aisle shall be 1m minimum.
Where possible gradients or inclined planes shall be used instead of steps, but
no gradient or inclined plane shall be steeper than 1 in 10.
If steps have to be inserted in a gangway or passage there shall be not less than
three steps at any one place. The treads shall not be less than 30 cm and risers
not more than 15 cm.
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P3
P4
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2.3.2 REELS
Present day standard spool contains 600m of film which passes through a
projector in about twenty minutes. Commercial 35mm cinema projectors now
usually have standard 1800m spool capacity which allows the make up of the
film to run for 66 minutes. Now a days towers and platters are used which will
permit between 2.5 to 4 hours running time.
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In the design of floor slopes and upper level stepping for cinema seating, it is
necessary to establish the physical dimensions of the seated patron and
standards for vision of the screen image. Most important is elimination of
objection able screen obstruction caused by persons seated in front of the
viewer. For best dramatic impact, the bottom of the projected picture should
be as close as possible to the floor under the first row of seats. This in turn will
require a more steeply pitched floor slope under the seats, and will eliminate
the possibility of an upper tier of seats, whic h would have to be too steep in
pitch.
The slope of the main-floor seating would also be increased for one -row
vision. One -row vision provides unobstructed vision over the heads of persons
in the row immediately ahead. Two-row vision is not ideal, but it is acceptable
and permits milder slopes and the inclusion of an upper level of seats. Two-
row vision is made more acceptable by staggering the seats to permit a view
between the heads of the persons in the row immediately in front. With two-
row vision the heads of all persons two or more rows in front will not obstruct
any view of the screen. Two-row vision is further improved by using the
widest chairs (and therefore the widest space between heads) in the rows
nearest the screen. The view between heads is usually too narrow in the front
rows where two-row vision s used. Minimum seat widths should be 20 in. for
the rows farthest from screen.
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Skittle and bowling alleys can be divided into the following areas:
(1) The run-up, in which the ball is bowled after a few approach steps;
(2) The lane, the surface along which the ball rolls;
(3)The catching pit, in which the fallen skittles/pins and balls are collected. (It
is also where skittles/pins can be stored.)
An asphalt alley puts the highest demands on the skittle players. The lane is
19.50m long and the width is 1.50m (with side boundary batten) or 1.34m
(with side boundary channels). The lane surface is made from asphalt or
plastic .
An important feature of some alternative wooden (or plastic) skittle alleys is
the gradient of the lanes. From the edge of the run-up to the front pin of the
skittle stand, a distance of 23.50m, the lane rises through 100mm.
The scissor skittle alley also has wooden (or plastic) lanes. The lanes are
0.35m wide until 9.5m beyond the end of the run-up, after which they widen
up to 1.25m at the mid-point of the skittles.
In bowling alleys — the run-up area is made from cleanly sanded parquet and
the lanes are of polished or varnished parquet. In contrast to skittles the pins
are arranged in a triangular forma on and there are ten of them.
Bowling ball re 21.8cm in diameter and have a range of weights up to 7257g.
They have three finger holes. For asphalt and scissor alleys, the balls have a
diameter of 16cm and weigh 2800—2900g. Other balls in use are 16.5 cm in
diameter, with weights between 3050g and 3150g. Most modern balls are
made of a composite plastic mixture. Skittles are usually made from hardwood
(white. beech wood); pins are also made of wood but are covered with plastic.
All pins and skittles have standardized dimensions.
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2.5 BILLIARDS
Requirements for billiard rooms depend on the various billiard table sizes
involved —p®. For normal private purposes, sizes IV, V and VI are used; in
bars and clubs, sizes IV and V are most common, while in billiard halls sizes
II and III will be required.
Billiard halls are usually on upper floors or in a bright basement, rarely on the
ground floor. Where there is more than one table the distance between them
should be at least 1.70m for sizes I and II and 1.60m or more for sizes III to V.
The distance from walls should, if possible, be slightly more. A clear playing
space is required all around the table and, if matches are to be televised, extra
space must be provided for cameras.
A clear wall space is needed for cue - holders (1.50 x 0.75m for 12 cues), score
boards and rule sheets.
The smallest possible light fittings should be used to give full and even
lighting of the playing surface. The normal height of the light above the table
is 800 mm.
In the UK the Billiards and Snooker Control Council (B&SCC) introduced
(with world agreement) the ‘B&SCC 3.50m standard table’ and for the first
time the actual playing a size (3.50 x 1.75m) was specified within the cushion
faces instead of the overall table size. However, these metric recommendations
are still not often utilised, even in major competitions.
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A suggested approach that allows the planner to evaluate these variables and
their effect on the dining space per seat is the modular concept. For this
situation, the module contains space for the table, the seats, and the
appropriate share of the service and access aisles. The modular concept
enables designers first to evaluate the space requirements for different choices
that may be made before reaching their final decisions.
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L I T E R A T U R E
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CONTENTS
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However, between the early years of the fairground at the end of the
nineteenth century and the years of the super-sheds in the late twentieth and
early twenty- first centuries, there was an age when the cinema became a
dream palace, a building which embodied escape and fantasy, a temporary
relief from the mundane and repetitive world of work. Cinemas, every bit as
much as films, are the physical embodiment of their eras. The extravagant
choreographed musicals of Busby Berkeley and the glittering Art Deco picture
palaces of the 1930s encapsulate the urge to escape from the depression and
the insecurity which plagued the decade following the 1929 financial crash.
The B- movie horror of aliens and radiation, and the drive- in theatres of the
1950s represented both the fear of Communism and the pioneering spirit of the
USA with its self- mythologising love of freedom (the car) and the frontier
spirit (open cinemas in the wilderness). The emergence of the art- house fleapit
in the 1 950s and 60s reflected a rebellion against Hollywood escapism and a
belated response to Italian Neo-Realism (itself a response to the tragedy of the
war).
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The intellectuals wrenched glamour away from the cinema and replaced it
with angst. The emergence of the super-cinemas, anonymous out-of-town
complexes exclusively showing big studio blockbusters, echoed the laissez-
faire and self-satisfaction of the Reagan/Thatcher era, an age of increasing
corporate domination and decreasing acceptance of the avant-garde. The
arrival of that even more overblown concept, the megaplex, coincided with the
collapse of opposition to international capitalism, signaling the victory of
corporate, global economics.
Perhaps no film better illustrates this demise than Cinema Paradiso, Giuseppe
Tornatore’s paean to the influence not just of film but of the physical fabric of
the cinema. As the film’s central character returns to his little town for the
funeral of his beloved projectionist, the cinema is being torn down while a few
old-timers who he remembers from his childhood look on sadly. The
demolition of the cinema seems to indicate the destruction of community — it
is being replaced by a car park — but also the abandonment of the communal
dreams and fantasies which the cinema embodied.
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Recently, however, the revival of city-centre cinemas and a few, lavish and
enjoyably kitsch out-of-town monsterplexes has led to a revival of interest in
the architecture of cinemas.
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American architect Jon Jerde made his international reputation with a few
huge schemes that blend urbanism with entertainment, creating whole quarters
devoted to retail and commerce.
Jerde also introduced both complexity and contradiction into his corporate
meta-worlds, which have an undeniable vibrancy.
Jerde creates a holistic environment for the cinema: a world that feeds off
corporate recognition and familiar images, but nevertheless a world in which
the architecture and the spaces count.
Jerde claims that the steel and masonry elevations of the new cinema were
inspired by the industria l buildings and warehouses around the site. The
enormous lobby, however, takes its inspiration from West Coast, USA. It is
adorned with a sprawling mural painting, sets up the semi-mythical
Hollywood story using images from films and the kind of dark, non-specific
metropolis backdrop familiar in films.
This is blended with unconventional images of studios and stars adds a
fascinating tromped effect of backlighting windows and signs.
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The mélange with projections and trailers creates most original and lively
lobbies of recent years.
Another of the complex’s cavernous lobbies, set within a tapering cylinder-
sprawling, neon-decked exterior blends images from Las Vegas with the
streamlined, neon- lit towers familiar from the Modern theatres of the 1930s
and 40s.
Star City aim to create an urban atmosphere, with public spaces where
walking and mingling is enjoyable and colourful: and car-free plazas for a
state suffocating under the weight of its traffic and the ensuing smog.
In these terms Jerde is accepting the megaplex not merely as a giant mall: a
climate-controlled box of franchises, but as a tool to recondition an entire
culture into the pleasures of strolling and, as if encouragement were needed:
His paradoxical mix of commercialism and art may well save the megaplex
from extinction and entirely alter the way that the out-of-town entertainment
centre is viewed.
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C A S E S T U D Y
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CONTENTS
4.1.1. LOCATION 32
4.1.2. GENERAL LAYOUT 33
4.1.3. DETAILS 33
4.1.4. SERVICES 33
4.1.5. ACTIVITY STUDY 35
4.1.6. USER SATISFACTION 35
4.2.1. LOCATION 36
4.2.2. SITE LAYOUT AND ACCESS 36
4.2.3. PARKING 37
4.2.4. GENERAL LAYOUT 37
4.2.5. DETAILS 38
4.2.6. SERVICES 38
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4.1.1 LOCATION
Outer Ring Road, Varathur Hobli, Bangalore South, Bangalore.It is located at
some distance from the heart of the city.
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4.1.3 DETAILS
Innovative features four screens (350 seats each) with the latest in projection
and sound: Christie Xenon Projectors, Platters, and JBL speakers.
Projector room - 80’X 25’each projector with three ports
Screen size - 30’ 6” X 13” at 8” high
Acoustics - 50mm glass wool up to 8’ high
Toilets - 18 urinals 8 WC and 12 W B for theatres in one floor
4.1.4 SERVICES
Parking - 1000 cars (no covered parking area)
Electrical room
Generator (240 KV)
a/c : to ensure maximum comfort they have used split windows so
that the temperature inside can be adjusted separately
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front view
food court
entrance
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g
first floor plan round floor plan
Additions….
1 mini theatre : 90 capacity private screenings
Entertainment block – bowling alleys, and other gaming areas
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4.2.1 LOCATION
Strategically located in the heart of the city on the banks of Hussain Sagar
Lake, Off NTR Gardens, Hyderabad
South India’s First IMAX theater India’s 3rd IMAX theater World’s largest 3-
D IMAX screen
Prasad’s entertainment center also sports
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4.2.3 PARKING
Basement floor is provided with a 45000 sq ft car parking area with Rs.10/-
per car, approximately 200 cars can be parked. The aisles around the theatre
are used for two wheeler parking with an amount of Rs. 5/- per vehicle
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4.2.5 DETAILS
Screens
Staggered seating
Lamp projectors
Toilets - every floor has toilets for gents and ladies with
4.2.5. SERVICES
Additions….
1 mini theatre : 220 capacities
Gaming areas
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Proximity from city Located outer of city center Located in the heart of the city
15 km from main city area
Facilities 1.4 theatres – 1400 total capacity 1.five theatres ( 610 total capacity)
2.food court 50 capacity 2.IMAX 630 capacity
3.5 shops and food stalls 3.food court 150 capacity
4.6 counter box office 4.shopping area 70000 sq ft in three floors
5.gym 5.food stalls, showrooms, bank, restaurants on all
6.new gaming zones are coming up. floors
6.12 counter box office
7.new gaming zone coming up
Details Latest projections and sound( dts) Latest projection and sound (Dolby and dts)
70mm (30’ X 13’) screens Worlds largest screen IMAX
Natural lighting(day) for outer lobby and ambient Multiplex with 70mm screens
lighting inside Forecourt provided with natural lighting(day) and
Dark passages ambient lighting
Natural ventilation for all areas except theatres Well lit passages
split window a/c for theatres Centrally air conditioned( 900 tonnes)
interiors with poster collages, extensive use of colour Grand interiors with stainless steel railings and tile
patterns and sign boards on every landing and
lobby space
Services 500 car parking space 45000 sq ft car parking space in the basement
1.parking no covered parking space provided 620 KV generators
2.generator 240 KV generators manual fire extinguishers
3.fire safety manual fire extinguishers fire escape stairs
fire escape stairs escalators, two lifts and three staircases
two staircases
Activities Avg. 25% crowd during weekdays Avg of 90% crowd per show
Avg. 90% crowd during weekends Special shows for students with concession
Special shows and private screening facilities Usually comes early and enjoy the space provided
Usually comes one hour before the show starts inside
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Prasad’s IMAX is located at the centre of city and has become a land mark
building. The huge lobby space with large show rooms, and shopping areas
and food court flowing to the lobby makes the spaces an experience.
Circulation and traffic control has been taken due care. Parking is at the
basement and connected to lobby.
Entry to the multiplex and IMAX are separated. Each theatre there is two
entries and separate exits to parking, staircase and lobby.
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S I T E S T U D Y
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CONTENTS
5.1. LOCATION 41
5.2. DISTANCES 41
5.6. HYDROLOGY 43
5.8. CLIMATE 44
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The site is located at the centre of Calicut city, potential area for commercial
development with good accessibility and linkages. There is an existing theatre
in the site which is going to be demolished.
5.1 LOCATION
• The site is located at Mavoor Road, Calicut.
• The south side of the site is abutting Mavoor Road
• Latitude of 11 degrees 15N and Longitude of 75 degrees 49E
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5.2 DISTANCES
The airport is 23 kms, the railway station 1.5 kms, KSRTC station 300m, fire
station 3kms and police station 1 km away.
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5.6 HYDROLOGY
In the summer season, the water
table is almost near the ground level.
In summer season the water table is
3-4m deep and raises in rainy season.
The sun path is from east to west
along the south direction.
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5.8 CLIMATE
Kozhikode has an annual temperature of 27.1° C. the monsoon is active from
May to October with an annual rainfall of 310.1 cm. The temperature goes
down in June – August, but the relative humidity goes up. The predominant
wind direction is westerly and south westerly.
35
30
25
20
max
min
15
10
0
jan feb mar apr may june july aug sep oct nov dec
100
90
80
70
60
max
50
min
40
30
20
10
0
jan feb mar apr may june july aug sep oct nov dec
900
800
700
600
500
monthly
400
rainfall
300
200
100
0
jan feb mar apr may june july aug sep oct nov dec
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P R O B L E M D E F E N I T I O N
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CONTENTS
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• Forecourt
1. lobby
2. box office
3. food court
4. exhibition area
5. circulation
• Cineplex
1. theatres( 4 nos)
2. inner lobby
3. snack bar
4. toilets
• Shopping
1. show rooms
2. shops (on all floors)
3. restaurant
• Gaming zones
1. bowling alleys
2. snooker parlour
3. game ports
• Office
• Parking
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C O N C E P T A N D D E S I G N
D E V E L O P M E N T
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CONTENTS
7.2. CONCEPT 51
7.3. DESIGN 53
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PROXIMITY CHART
BUBBLE DIAGRAM
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7.2 CONCEPT
Design scheme mainly aim to blend urbanism
with entertainment, creating whole quarters
devoted to retail and commerce.
The project aims to create a vibrant, stimulating
development for Calicut’s biggest cinema
complex in the centre of city.
Broadly, there are two approaches to the modern
cinema — the out-of town box and the funkier,
more self-conscious, city-centre cinema — the
concept is to create a holistic environment for
the cinema: a world that feeds off corporate
recognition and familiar images.
The multiplex features five screens and a huge array of retail and leisure
facilities and aims to cater to cinema-goers of all ages and tastes, whereas
other theatres tend to cater to specific audiences. Multiplex provides art
exhibition areas along with the vast food courts and other recreational
facilities, and screens art-house alongside blockbusters in a way that is still
unfamiliar in the Calicut.
Structural glazing, stainless steel and masonry elevations of the new cinema
were in contrast with the neighborhood buildings around the site. The
enormous lobby with exposed steel sections, gaming zones penetrating into
the lobby area and collaged images of classical movie stars sets up grand
welcome to the movie lovers.
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7.3. DESIGN
A theatre block with five screens, theatre lobby, smokers lobby and with
controlled circulation.
The third is the service block which includes the toilet blocks on every floor,
the A.H.U and other services.
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8.0 INTRODUCTION
The sound track of a film is complete in itself and ideal conditions for
listening to it would be a direct sound untrammeled by any acoustical
characteristics of the space in which it is played. The musical sound track of a
film is there not only to underline the dramatic mood but also to drown the
level of unwanted noise filtering from outside and caused by audience
coming in and leaving the auditorium.
Room acoustic planning should ensure that optimum audible conditions are
created for listeners in rooms where speech and music are to be carried out.
Various factors should be considered, of which the two most important are
reverberation time, and reflections
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8.1.3 ECHOES
When individual, subjectively recognisable peaks are superimposed on a
smoothly falling reverberation time curve - these are described as echoes.
Various values of time and intensity apply as the echo criterion for speech and
music. Rooms devoted to music should have a longer reverberation time, but
are usually regarded as less critical from the point of view of echoes.
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difference) with respect to the direct sound promote clarity. Speech requires
shorter delays (up to 50 ma) so as not to degrade the intelligibility.
For the music listener, early sideways reflections are better than ceiling
reflections, even at very low delay times (asymmetry of the acoustic
impression), since each ear receives a different signal. Narrow, high rooms
with geometrically reflecting walls with multiple angles and diffusely
reflecting ceilings are the simplest from the point of view of room acoustics.
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Direct sound
Early reflections
Late reverberant sound
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Noise due to air conditioners is air-borne and that due to mechanical systems
are structure borne. Ducts can carry noises to occupied spaces unless proper
mufflers and sound absorbing linings are used.
The walls floors and ceilings of mechanical equipment rooms should be of
heavy concrete and masonry construction with careful attention to air tight
seals at all openings and penetrations. Wherever ducts, pipes or conduits
penetrate a wall, floor or ceiling of a mechanical equipment room there should
be a clearance of 12" all around that is fitterd with a soft fibrous material.
Doors to these rooms should be heavy, solid construction without grills and
with complete air-tight gaskets. Heavy compressors and other large pieces of
floor mounted equipment should be located on slab on grade. If possible floor
mounted equipments are always placed on “house keeping “pads about 4”
high.
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REFERENCE
• Kevin lynch and Gary hack, site planning, 1984, The MIT press,
London.
• Ernst Neufert, Sethi e Tongue, Drug Abuse In India, Series 2.
• Joseph Chiara and John Calender, Time saver standards for Building
Types, 1983, McGraw Hill International Book Company.
• Knudsen and Harris, Architectural Acoustics.
• Roderick Ham, Theatres.
• Cinema Builders, Compilation work.
• Kerala Municipality Building rules, 1999.
• Bye Laws for Construction of Cinema Build ings, The Kerala Cinema
(regulations) Rules, 1997.
• Deconstruction in Architecture.
WEB
• www.theatres.com
• www.acoustics.com
• www.dts.com
• www.esplanade.com
• www.dierraworld.com
• www.thetarelightings.com
• www.inox.com
• www.e2.com
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