The Reconfiguration of the Social Spaces in Which the Theatrical Exhibition Offeature Films Takes...

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INTRODUCTION

This project is planned to be constructed at Pettah in Trivandrum. This area is

situated near large apartments and the occupants of these apartments are mostly

professionals. They have no recreational facilities nearby. The airport situated near

increases the site importance. For a recreation the people may use this theatre. This

project aims at a theatre of area 2787m2 with 4 screens & 3 floors. The method used is

Limit State Method .The components such as beams, slabs, columns, walls etc are

based on IS 800:2007 & steel table. The beams are analyzed along the cross and

longitudinal section. Footing is the structural component which is used to transmit the

overall load safely to the ground. The safe bearing capacity of the soil plays an vital

role on section of the footing.

Multiplex Theatre

A Multiplex is a multi screen entertainment complex showing different films under one roof with

other type of supporting different films under one roof with other type of supporting business in the

vicinity like restaurants, shopping arcade and other entertainment avenues. Emergence of multiplexes

has made movie going and event. People can go at just about any time and find something to watch. It

also enables exhibitor to show a variety of movies appealing to several segments of movie goers while



serving patrons from common support facilities such as box office, concession areas, rest room and

lobby.

In the last decade, with the liberation of the Indian economy, people's tastes, lifestyle, social

behavior and culture have undergone fundamental transformation. The two main catalysts for this

change have been the development and growth of the electronic media as a source of information and

entertainment coupled with the increase in purchasing power of the average person. This has a

tremendous impact on the leisure and entertainment industry in general and the film industry in

particular, with far reaching consequences.

The reconfiguration of the social spaces in which the theatrical exhibition of feature films takes

place, from dedicated single-screen large-capacity cinema halls to multiplex venues subdivided into

multiple smaller auditoriums, has from the 1980s onwards rewritten the paradigm of cinema

exhibition in the West. The rise of the multiplex has been an integral part of the general spread of mall

culture, with multiplex venues often being housed within shopping mall developments or even, in the

case of the megaplexes, incorporating large-scale retail activities within the space of the entertainment

venue itself. The incorporation of cinema within the aesthetics of contemporary retail settings and

behaviors has arguably been responsible for reinvigorating the theatrical market in the face of threats

from TV and video. It has also, however, altered the nature of cinema as public space and thus,

crucially, what it means to be in the cinema hall.

In 1979, world’s first multiplex ‘Eaton Center’ in Toronto, Canada was opened for the general

public. The Eaton Center has 18-screen movie theater complex. Eaton’s movie centers, which were a

craze during the 1980s and 1990s, faded slowly and closed finally in March 2001. In 1997 PVR

established, first multiplex in India – PVR Anupam at Saket, New Delhi. The PVR Anupam changed

the Indian movie exhibition landscape. Movie exhibition till mid nineties was dominated by Cinema

halls – the traditionally single screen halls. Cinema halls witnessed a surge of customers mostly

during the festive season and on weekends. The emergence of multiplexes changed the movie

exhibition business in India. Today, all eyes in the entertainment industry have turned towards

multiplexes, as they generate a larger share of revenue though they accommodate less number of seats

per theater.

The cinema hall as public space

In thinking about the implications of the cinema as a public space in India, it is crucial to recognize

that the cinema hall, when it appeared in the colonial era, was a thoroughly ‘modern ‘addition to

public life, not simply in terms of its technological apparatus but in its reordering of social space. In a

context where respectable’ women may not have appeared in public at all, and where temples,



residential areas and water sources were often subject to exclusive access by certain caste, faith and

class groups, the gathering together of a diverse public within a single social space represented a

radical departure from existing social norms. At the same time, however, the space inside cinema

halls was always regulated by different classes of seating, typically ranging from ‘floor class’ to

‘bench class’ to ‘chair classes. The adoption of sex-segregated seating was also a very early adoption

in the general organization of the cinema hall in India.

The rise of the multiplex

In a marked contrast, and as a response, to these ‘downshifting’ trends in the exhibition sector over

the previous two decades, the appearance of multiplex cinemas in India over the last decade has

represented a sustained attempt to create appropriate public spaces for theatrical exhibition for the

middle-class family. The multiplex phenomenon in India was instigated in the up market Saket districtof New Delhi in 1997 through a tie-up between a local family-run exhibition concern, Priya

Exhibitors Ltd, and Village Road show Ltd, a multinational concern based in Australia. The site, PVR

Anupam, was the result of a refurbishment of a large, old theatre into a multi-screen site modelled on

the ‘international standard’ of a multiplex facility (what is dubbed by the industry as a retro -fit).

According to PVR, the site ‘was an instant success on account of its strategic location and first mover

advantage’ (PVR Cinemas, 2006: 2). Located in a suburban commercial district with manned security

gates at its access points and surrounded by international franchise retail outlets like McDonalds,

Pizza Hut, Barista, Nirulas, Subway, Moti Mahal, Planet M, Lee and Reebok, PVR Anupam has proved highly popular with

an upper middle-class crowd and has been one of Delhi’s most profitable cinemas over the last 10

years. The success of PVR Anupam prompted a number of other players to reconsider the

opportunities in India’s highly fragmented exhibition sector, where thousands of small, independent

single-screen theatres were still catering largely to entrenched lower class audiences.

Design of Multiplexes

Multiplexes are the new areas of entertainment as the people have become more movie loving and

comfort savvy. The multiplexes are equipped with state-of-art theatres, multiple screens, technically

advanced acoustics, comfortable large seating areas, entertaining leisure spaces like food courts,

lounge bars and gaming zones. Multiplexes are usually located in malls as it is more profitable and

they also complement each other. Multiplexes ideally require an average area of about 50,000 to

100000 square feet so that all the requirements are suitably fitted in. A definition of a multiplex

actually means, it must have at least 15 or more screens but in some of the Asian countries,

multiplexes have no more than 8 screens in a single complex. A multiplex is mostly preferred in a



mall to standalone multiplex. Nowadays, people prefer a one stop destination for the entertainment of

the entire family combining shopping, playing games and watching movies, all under one roof. So a

multiplex in a mall makes an intelligent choice for the developer. Besides, the design of an Architect,

interior designers, services, theatres, acoustics and lighting consultant’s services are indispensible.

The lobby areas and the interiors of a multiplex are meticulously planned so as to cater to all the age

groups.

The design of projection rooms, the seating arrangement, the entries and exits and the toilets

should be given special attention. Lighting is another aspect which calls for imaginative approach and

must cater to moods of all genres of people.

Lighting Techniques adopted in a Multiplex



Lighting is mainly used to create an image of ambience and exuberance in the theatre. It should be

soothing to the eyes and should be least discomforting. Just like other architectural marvels that are

evolving, multiplex designs are also becoming increasingly popular in the masses and the architects

are enjoying this new challenge of churning out their innovative and imaginative creations to the

front.

Laser projection techniques

New laser-based light sources are highly desired for projection displays because of the need

for longer lifetime, lower extended, and higher color gamut. High power, frequency doubled red,

green and blue (RGB) surface emitting diode laser arrays have been developed for use in low cost

projection micro display television

Laser illuminated projectors deliver a higher quality movie-going experience through brighter,

sharper and richer visuals. The brightness improvement is particularly apparent with 3D movies, with

lasers likely doubling the typical light output. Replacing 500-hour lifespan xenon arc lamp bulbs now

used by exhibitors with 25,000-hour laser light sources will lower operating and maintenance costs,

and provides a considerably greener solution through reduced energy consumption. Operating

conditions for cinema staff will also be far safer by switching to cool lasers and decommissioning

high-pressure, white-hot arc lamp systems that pose risks even in handling.



A Higher Quality Experience for Movie-Goers

Laser illumination advances the premium viewing experience now being demanded by both

consumers and the producers of big-budget, hyper-visual Hollywood blockbusters.

Brighter: Laser-based systems drive brighter images to screens, with estimates of projector

brightness levels two to three times that of xenon lamps. Laser engines solve the low brightness

problem that has plagued the 3D cinema business by simply driving more light. The 3D output from a

laser projector is roughly twice as bright as the light produced by an arc lamp projector.

Better: Lasers introduce significant, demonstrated increases in uniform color intensity, contrast

ratios, color gamut and color saturation. In lay terms, they’ll produce dramatically richer, sharper and

brighter visuals. Laser displays use one laser each for red, green and blue colors, and combine them to provide better definition and a wider color gamut (150%) than other displays, such as LCD (70-90%)

and OLED (100%).

Lowered Operating and Maintenance Costs: Switching to solid state laser light sources should

result in no lamp changes over the full five to ten year operating lives of cinema projectors. That

compares with 6 kW xenon bulbs that have operating lives of roughly 500 hours. At five showings a

day, and two hours per movie and trailers, a 1,000-hour bulb might last three months. The anticipated

lamp cost savings to exhibitors is $8,000-$12,000 annually.

The savings are also dramatic for the energy costs of cooling the projection units, with lasers reducing

direct and indirect power consumption by 30-50%. Using laser instead of white hot xenon lamps

should save exhibitors as much as $5,000 annually because of the removed need for cooling fans and

dedicated air conditioning.

Safer Operating Conditions: Xenon bulbs put out intense UV rays, with the resulting hazard to

exhibitor operators comparable to the blinding light of welding or carbon arcs. The bulbs also run hot,

with operating temperatures as high as 1050° C (1920°F). Socket design and connecting wires need to

be specially designed, and even the exhaust air from projection units can be hazardous. The special

glass needed for the lamps is subjected to hours of high energy heat and they grow brittle with time. If

the bulbs are not replaced on a schedule, they can explode and cause tens of thousands of dollars of

projector damage. By comparison, laser light sources run at low temperature and do not require a

cooling fan or other HVAC counter-measures.

Spacing & space requirements

The amount of space required for each auditorium depends on a number of factors but the figures

below provide an approximate guide. The calculations are based on a modern design using 1.10 – 1.20meters from seat back to seat back and 550 – 600mm seat widths.



200 seats: 270m² / 2,900 ft2

150 seats: 190m² / 2 2,000 ft2

75 seats: 125 m² / 2 1350 ft2

The number of screens and the auditorium capacity depend on many factors ranging from audience

potential estimates and the programming range that is planned to the finance available and the

characteristics and size of the site or building. In general one medium or large auditorium seating at

least 150 people is required. A more typical capacity is around 200-230 seats. This auditorium should

be able to accommodate the peak audiences at weekends – people turned away from a full house may

not return.

Additional auditoria should be graduated in size down to 70-100 seats for the smallest screen. Thevariation in capacity allows films to be placed in auditoria that match their anticipated audience.

Smaller capacity auditoria may prove to be viable as outlined in the section about digital cinemas. It

is, however, advisable to carefully investigate the operational economics of operating such small

auditoria before including them in a new design or a refurbishment project.

Seating arrangements

The chairs are set next to each other in rows, without tables in front of them. Most standard ballroom

or function room chairs are 19.5 inches to 20 inches wide. Allow 2 ft. for each chair left to right, and

allow 3 ft. from the back of one row to the back of the next row of chairs.



Sound proofing techniques

Soundproofing is any means of reducing the sound pressure with respect to a specified sound

source and receptor. There are several basic approaches to reducing sound: increasing the distance

between source and receiver, using noise barriers to reflect or absorb the energy of the sound waves,

using damping structures such as sound baffles, or using active antinoise sound generators.

Two distinct soundproofing problems may need to be considered when designing acoustic

treatments - to improve the sound within a room (See anechoic chamber), and reduce sound leakage

to/from adjacent rooms or outdoors. Acoustic quieting, noise mitigation, and noise control can be used

to limit unwanted noise. Soundproofing can suppress unwanted indirect sound waves such as

reflections that cause echoes and resonances that cause reverberation. Soundproofing can reduce the

transmission of unwanted direct sound waves from the source to an involuntary listener through the

use of distance and intervening objects in the sound path.

http://en.wikipedia.org/wiki/Antinoise

http://en.wikipedia.org/wiki/Acoustic_quieting

http://en.wikipedia.org/wiki/Acoustic_quieting

http://en.wikipedia.org/wiki/Antinoise



Damping

Damping means to reduce resonance in the room, by absorption or redirection (reflection or

diffusion). Absorption will reduce the overall sound level, whereas redirection makes unwanted sound

harmless or even beneficial by reducing coherence. Damping can reduce the acoustic resonance in the

air, or mechanical resonance in the structure of the room itself or things in the room. A room within a

room (RWAR) is one method of isolating sound and preventing it from transmitting to the outside

world where it may be undesirable.

How do movie theaters save energy?

Just like any business trying to decrease its carbon footprint, cut energy-related costs and lessen its

independence on the grid, movie theaters of both the chain and indie variety have instituted various

measures to help them do so. Some theater operators have opted to stick to more basic energy-

conserving and cost-cutting measures such as switching to LED marquee lighting and installing

motion sensors, and using the resulting savings on upgrading sound systems, converting to digital

projectors, and offering finger-friendly fare beyond popcorn, boxed candy and hot dogs (cocktails,

truffle fries and roasted Portobello sliders, anyone?)

Other theater owners have decidedly gone above and beyond when it comes to energy

conservation by installing solar arrays on their roofs and/or aiming for LEED certification. Here’s a

look at just a few of the brightest shining stars in energy-conscious cinema operation out there



Air Conditioning of Multiplexes

Over the past 5 years, India has seen a major revolution in the entertainment industry. The young

generation today, believes in working hard, earning well and spending lavishly on recreation. Having

all the entertainment facilities such as food courts, shopping malls, super markets, restaurants,

theatres, video games parlour, bowling alley and discotheque under one roof is becoming common. A

Multiplex is a building complex which provides all these facilities. In a tropical country like India,

comfort air conditioning of entertainment centers is inevitable. The first fully air-conditioned

Multiplex in India was launched in Ahmadabad four years ago, and after that another five or six

Multiplexes have sprouted in Ahmadabad alone. Throughout the country more than a 100 Multiplexes

are under construction or already complete and more than 500 are at various stages of planning.

Advantages of multiplex theatre

There are lot more shows for a single movie, so you can catch the movie without waiting for

much time.

Multiplex do have the restraunts where when can go along with the family (much better than

the side shops in single-screen theatres).

Mutliplex have other facilites like games for children, where they can enjoy while the movie

is yet to start.

Mutliplexes provide different options to you, you can choose the film from a variety of films

(whereas in single screen theatre, you have only one option).



Disadvantages of multiplex theatre

The main disadvantage of multiplexes is that they are too expensive. Not only the films but

the normal things are also very costly in the multiplexex when compared to the single screen

theatres.

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