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| "La Corte Lombarda" - Bellinzago Lombardo (MI) |
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| Client: |
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Arcadia |
| Architectural design: |
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Arch. Benjamin Feldtkeller - DW9 Studio Milan |
| Lighting design: |
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Norlight SpA |
| Electrical installation: |
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Busi Impianti SpA |
| Lighting solution: |
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ILLO, BIANCA, NHC, SL, Vicelight, Eta, Delta |
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ARCADIA CINEPLEXES
Arcadia first introduced the cineplex concept in Italy as a multifunction location orbiting around the movie theatre.
Since the beginning, Arcadia bet on two elements to become a market leader: technical excellence of the film show and premium customer service, which make up the best conditions to enjoy the movies.
Arcadia cineplexes are designed for perfect enjoyment of the movies, but also offer a range of ancillary services. The new Arcadia cineplex in Bellinzago Lombardo features as many as 10 auditoriums and a 900-sq m lobby with sensory walls, LCD screens informing about all house activities, an array of self-service fridges with a wide variety of food and beverages, a wine bar and a well stocked bookshop.
As usual, Piero Fumagalli, owner of Arcadia, only wanted the most advanced solutions. All auditoriums are designed to provide optimal reproduction and diffusion of sound and images, and are equipped for 3D DIGITAL film show, that is state-of-the-art quality.
Once again Arcadia and its ownership stand out in Italy for their forefront offer and excellent service.
THE PROJECT
Being fond of creativity and technology, Piero Fumagalli open-mindedly decided to rely on Benjamin Feldtkeller's unusual solutions. Thus, customised solutions were worked out in co-operation with suppliers available to experiment and innovate.
The resulting project was obviously characterised by many original elements, first of all space distribution.
The unfavourable starting situation with a narrow side entrance was overcome by implementing a thematic path. All typical environments (entrance, self-service, ticket desk, cafeteria, ramp, and lobbies) were sequentially arranged into a sort of inescapable fixed course for the visitors.
The Customer also wished to have a few formal and colour reminders of the famous Arcadia cineplex in Melzo in the new facility to promote company image consistency in users on the basis of common elements only slightly adapted to the specific identity of each location.
Three elements were recaptured in this new project: the dark blue colour in the lobby, the round shapes, and the huge cylindrical light fittings either as white standing lamps or dark blue suspended luminaires.
A daring architectural standpoint deprived all structural elements, walls and ceilings of a personality of their own and washed them out in dumb grey. Light only was to draw paths, create atmospheres, make spaces meaningful and differentiate their purposes.
Consequently, lighting was expressly engineered to suit environment peculiarities and perfectly perform its functions. We designed and manufactured luminaires original both in shape and function that give light and are architectural elements at the same time.
LIGHT IS ARCHITECTURE
Passing from the thousand colours and striking illumination of the shopping centre into the cineplex entrance is an intense sensory experience. It is like entering a magic box with hard-to-grasp contours. Instinctively, you tend to rapidly walk through the barely illuminated entrance and on towards brighter light.
This entrance works as a "visual decompression zone" with an intermediate amount of light compared to the outside and to the sales area. It is the first environment along the path that will eventually lead users to the auditoriums.
For this transit area, architect Feldkeller requested simply styled yet technologically sophisticated light fittings that should carry the theme of the circle. We designed ILLO, a modern revival of the bare lamp hanging from a wire. Installed at a 1.5m centre-to-centre distance, these LED luminaires cast nice light bubbles on the floor and provide the necessary amount of light for walking on.
In the sales area, light is strong enough to highlight and allow selection of beverages, foodstuff, and books. All of them are displayed in conveniently designed units that are architectural and technological placements, but with discretion. Steel was privileged as the basic material and also characterises the cafeteria and box-office desks, these being movable in view of increased flexibility.
For this part of the cineplex, we designed huge luminaires with a typical parabolic shape. Their name is "BIANCA" (white) for the innumerable recollections of the world of planets, and the moon in particular. These luminaires perform a threefold function: contain the light sources, diffuse light and are architectural elements. Installed side to side, they replace the suspended ceiling and create an expanse of light.
After the box-office desks, the cafeteria and relax area feature technological materials skilfully mixed with the warm hues of wood finishings. Also the colour of the lamps is warmer here than in the sales area. To cast accent light on some of the tables, luminaires are partly equipped with two light sources, namely a 22W fluorescent lamp for diffused room lighting and a 35W metal iodide lamp for direct emission.
After the cafeteria, light decreases and you start your way up to the auditoriums along a ramp that seems floating above light. The structural elements and walkway are painted grey and seem to have no identity and materiality in the darkness. The same happens with the banisters and clear glass lift. The only strong signal is a light line placed either side of the ramp that beckons upwards both your steps and your eyes.
At the upper floor, visitors dive into a totally dark blue ambiance (dark blue being the colour of cinematography by excellence) with the surprising feeling of being suspended in the middle of nowhere, floating amidst light. The loss of bearings is purposely induced and offset by a strong attractive signal consisting in a long wavy red panel running across the ceiling. It reminds of an unwinding film reel and urges you to find the auditorium desired.
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