The color of the space is coherent, single, and minimal. The architect gives the space gloss and layering by treating the plaster surface. The bright hall contrasts with the previous space, and the sound-absorbing panels and wall-to-wall benches on the interior wall make this separate room slightly softer; the audience can breathe for a moment before the show begins, waiting quietly for the arrival of the climax.
The audience who came to this theater were the actors and directors of their own play.
In a unique form, the drama provides the audience with a unique experience. The concept of the theatre requires architects to carefully think about and design space, events, and movements, and to deal with the relationship at the architectural level. After careful consideration, MDO decided to respond to this challenge in exaggerated form, lighting and streamlines. The architects incorporated the artistic expression of black film and the enhanced sense of drama into the design, creating a series of contrasting spaces; it is like watching a set of film lens montages.
The Jianliju theatre company, in an interesting examination of typology, offers a unique spectator experience where the audience plays an integral part of their performances and productions, as such the brief for their new premises in Shanghai demands a careful architectural approach to the relationship between space Mb, the architects selected to take on this mantle, have addressed these conditions with a deliberate and exaggerated exploration of form, lighting and circulation. The practice has taken the cinematic expression of film noir and applied its heightened sense of drama To the atmosphere within to create a sequence of contrasting spaces that read as a montage of screenshots from a film reel.
The architectural theory of Bernard Qumi, especially the 1976 book Screenplay, has had a profound impact on such projects. Many of the strategies used by MDO refer to the concept of film editing and the spatiotemporal nature of architecture. The transformation, repetition and superposition that are often used by several well-known black film directors are used by architects to create the atmosphere of the Hollywood Fantasy movie in the fifties.
With work of this nature, the architectural theory of Tschumi, especially the 1976 Screenplays project, is never far away and many of the formal strategies employed by MDO directly reference the parallels with screen editing and the time-space nature of architecture. Distortion, repetition and superimposition often used by the great directors of the film noir scene have all been applied as a method to soak the interior with all the atmosphere of a 50s Hollywood melodrama.
The theatre is located on an inconspicuous street in the center of Shanghai, and the gate is hidden behind the antique furniture store. The audience will first receive the three messages of time, place and number. Entering from the main entrance, a step takes the audience into almost all black space; the architect makes the audience pay a farewell to the outside world through the design of the convection line; the dark corridors, the dim light and the asymmetrical composition Creates a sense of loss and leads the audience to the interior of the theater. The space is arranged in a linear arrangement, prompting the audience to explore forward as if they were following an unknown figure in the middle of the night.
The theatre is accessed off a non-descript side-street in central Shanghai, the entrance door hidden at the back of an antique furniture emporium. Visitors arrive only with a time, location and number. From the door, a stair leads down into the Darkness and from there the circulation seeks to create a sense of departure from the world outside, a deliberate act of disorientation initiated by a dark curved corridor that emphasizes low-key lighting and unbalanced compositions leads to the spaces inside. The functions are organized into a Linear arrangement of spaces, where the visitor is prevented from going backwards, as if following an unknown figure through the street at night.
The color of the space is coherent, single, and minimal. The architect gives the space gloss and layering by treating the plaster surface. The bright hall contrasts with the previous space, and the sound-absorbing panels and wall-to-wall benches on the interior wall make this separate room slightly softer; the audience can breathe for a moment before the show begins, waiting quietly for the arrival of the climax.
The palette is simple throughout, monotone, minimal with a hint at texture through the treatment of the plaster to give a lustre and depth to the spaces. In contrast to the threshold sequence, the first space, the lobby, is bright and lined with acoustic Paneling on the walls and benches creating a closed and soft environment, a moment of respite before the performance begins and the drama is further heightened.
When the time comes, the participants each enter a small locker room. The pinhole aperture projects the room number onto the dark corridor floor, giving the atmosphere a slightly different atmosphere. In the locker room, the heavy flannel curtains made people think of David Lynch's movie scene. At this point, the participant receives a manuscript and begins role preparation.
When it is time, each participant in the production enters a small changing space, highlighted by an eerie number projected from a pinhole aperture on to the dark corridor floor. Here in a space reminiscent of a Lynch production set complete with heavy velvet curtains, Are provided with a script and transform into character.
The performers who put on the costumes walked into a narrow surrounding corridor and found the corresponding room based on the conspicuous figures in the magnifying glass. The completely asymmetrical corridor design deliberately creates an uneasy mood that kicks off the next performance.
They emerge from a costume change into a small anti-chamber where the four enclosing walls are asymmetrical, an unsettling space where the main focus is on a number displayed through a magnifying glass giving stage directions to the participating balloons waiting in anticipation.
After the show, everyone will come to a fully mirrored room and take a photo here. Through this design, the architect once again pays tribute to the film and film traditions, and tries to interpret and think about the fuzzy boundaries between the actors and the audience, and echoes the design concept of the entire space.
After the show concludes the sequence finishes with a hall of mirrors, one final nod to the film reel and the cinematic traditions that their design engages with. Given this final space is predominantly used for photographs and selfies, their last note is intentionally witty, a Critical reflection perhaps on the ambiguous relationship between actor and audience that their architecture has curated throughout.
Project Name: Interplay
Office: More Design Office (MDO) / Mujun Architectural Design Consulting (Shanghai) Co., Ltd.
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