suckerpunchdaily.com Competition Spring 2011 | LANDSCAPE CINEMA
Collaboration with ADAM HOSTETLER

A Cinemtic Landscape takes the stepping necessary in any theater space, extends that logic throughout the rest of the building and site, then sculpts it to create
fluid and continuous space without the conventional distinctions between spaces of vertical circulation and those of the occupiable flat floor plates. This
project borrows ideas of landscape, namely that of the meander, allowing for indeterminate movement and use, while questioning the assumption that landscapes
are inherently fl at and confi ned to the realm of surface. By repeatedly folding that surface on itself, we arrive on a much more complex and interesting environment
of sectional relationships while creating a level of density appropriate to the urban context. More akin to a public park than a private theater, lingering is
allowed and encouraged, and the environment is as much about seeing, being seen, and interacting as it is about viewing film.

Collections of diverse, overlapping circulatory spaces have intentionally been left undefined, allowing occupants to sit and lounge, discuss, or move as
desired. As with any landscape, internal boundaries become blurred; public spaces exist outside of, on top of, and move throughout the building; large
portions of the upper levels remain exterior or are only partially sheltered; and theaters stack and overlap. Consequently, while more traditional theaters
exist in the building, most reject the assumption that the goal of a theater is to create a contained and controlled environment, instead allowing a level of
visual bleed between adjacent spaces and to the city beyond. One can sit through an entire movie if desired, but it is no longer stigmatized to move
or change theaters. Porosity and transparency are paramount, films are projected onto the facade or are visible from the exterior, creating a glowing beacon to
entice and attract passers by on the street, riverfront, or from Manhattan. Ultimately, the undefined and indeterminate nature of a landscape is most ideally
suited to address the ever-changing media of film.