With the concept explained at the beginning, the creation of a parallel world, which behaves as a place of refuge in relation to the real existing world, the idea of the transformation of reality also arose. Just as perception is composed of several layers of remembering, feeling and expecting, we wanted to design a successive process of transition. By entering the designed space, the visitor* gradually penetrates through the layers of consciousness. With each step one takes into the space, the real outside world becomes obscured. The creation of such a Ñtransit zoneì is literally designed in layers, in which transparent fabric panels hang from the ceiling and are bathed in monochromatic light. Monochromatic light is visible, monochromatic light of a single color frequency, which illuminates the occupied surfaces in 

only this one spectral color and graduated shades of gray appear. It filters out all other colors, so that everything appears in the respective color frequency. We chose the color orange with a wavelength of 600nm. The audience is deprived of the full colorfulness of the outside world and alienated from the familiar. The idea is that in this way one is freed from everyday life and the ordinary and is thus receptive to new sensations and impressions. In the cinema hall, the new world, the colors then return in full. In reference to the concept of the Lichtspielhaus, we take up the motif, which is hidden in this play on words, in an abstracted form - a game of perception of light, color, space and material.

With the central idea explained at the beginning, the creation of a parallel world, which behaves as a place of refuge in relation to the real existing world, the idea of the transformation of reality also arose. Just as perception is composed of several layers of remembering, sensing and expecting, we wanted to design a gradual process of transition. By entering our designed space, the visitor gradually dives through the layers of consciousness. With each additional step one takes into the space, the real outside world becomes veiled. We literally design the creation of such a Ñtransit zoneì in layers by hanging transparent fabric banners from the ceiling and illuminating them in monochromatic light. Monochromatic light is visible monochromatic light of a single color frequency, which makes everything appear in only this one spectral color and graduated shades of gray. It filters out all other colors, so that everything is immersed in the respective color frequency. We have chosen the Orange ribbon with a wavelength of 590nm - 630nm. The visitor is deprived of the full colorfulness of the outside world and alienated from the familiar, so that inside he is freed from everyday life and the ordinary and is receptive to new sensations and impressions. In the cinema hall, the new world, the colors then return in full. In reference to the nostalgic concept of the Lichtspielhaus, we take up the motif hidden in this play on words again in an abstracted form. The play of perception of color, space and material.

The utilization concept of our building envisages a three-part division. Divided into foyer, cinema axis and meeting room. 

The foyer houses the ticket counter and the bar. The foyer is the first point of contact with our transcendental space concept, it serves as a transit zone and is staged by the lighting concept. The foyer invites you to linger and forms a flowing transition to the ÑNew Worldì.

In the cinema hall, one is completely immersed in another, Ñnew worldì. The checkroom is located in the recesses of the walls and serves as a further acoustic element. 

Adjacent to the cinema hall is the meeting room, which is used throughout the day. In the sense of the UNSECO support program ÑLong Life Learningì, intergenerational and neighborhood-strengthening activities take place here. The freely designed floor plan offers the greatest possible freedom of use. Thus, depending on the location of our urban building block, the program can be individually selected.

The facade made of reused canvas is attached to the supporting structure by means of scaffold swivel couplers. The raising and lowering of the canvas is done mechanically without the use of electronics. By means of a combination of pulley block and cable tie, we ensure manual raising and lowering of the facade elements. The pulley blocks are a common component in stage technology and shipbuilding. The system is also used in the interior and serves as an insulating layer. Here we use denim felt sheets as insulation material.

The roof cladding is a fixed mounted element. The facade material canvas is used here as well.  The roof cladding extends over the upper outer edges of the building and ensures a suitable transition to the faÁade.

The materials determining the design are canvas and jeans. For the outer skin, the decision was made in favor of sailcloth. On the one hand, sailcloth is a highly available material due to Amsterdamës maritime location. On the other hand, the material fulfills the requirements we have for our faÁade construction. The goal is to guarantee a self-sufficient translucent envelope in order to make the individual supporting structure tangible. 

The canvas is water-repellent and impermeable to wind. Due to its flexibility, the canvas can be easily gathered up which allows a translucent facade in summer. 

We use denim blocks for lining our wall structure. The abundance of old clothes promotes the idea. By folding, stacking and assembling, we create the acoustic and thermal insulation blocks. These also serve as a weighting element of our construction.

generate energy, for example for the projector and the lighting. The rainwater is stored in tanks and supplies the sanitary area. The tanks filled with rainwater also serve as weights for the construction.Item description

Our concept is based on the idea to rent all main components and to allow flexibility and mobility with as little material as possible. 

The event scaffolding and conventional scaffolding thus provide the ideal basis.

Due to the high adaptability and various connection possibilities, complex shapes can be made possible. The unconventional shape of our building demands the elaboration of individual junctions.

The supporting structure consists of 4 structural levels, this results from our extreme wall slopes. The slopes make it difficult to build a standardized floor structure, which is usually orthogonal to the inner edges. In our case, the framework is not orthogonal. The trusses also have different angles due to their orientation, based on the double tilted structure. We solve this problem by separating the supporting scaffold, which we understand as the outer scaffold, from the inner scaffold, which includes the cinema hall and the pedestrian level. The first level is oriented to the course of the trusses, which lie on the floor. The second, on the other hand, is built according to the standard and the resulting free spaces are bridged by cantilevers, from their own system. The two systems are united by Ñdeck to deckì connections and swivel couplings. The inter-bolted floor structure forms the foundation. 

On the lowest level are the connection points of our trusses. The trusses are connected to the floor construction with swivel couplers. The pedestrian level is formed by the 1m high Ñtableì. This consists of a standardized stage deck system. This deck can be aligned and attached to the first level with swivel couplers, ÑLayer Beam Adapterì and ÑPlatform Limiterì. The two-layer functional floor provides enough space inside to generate sufficient counterweight for the conspicuously large cantilever. The cinema hall, consisting of scaffolding, forms the third level of our supporting structure.Here, our solid denim blocks function in two ways. On the one hand as a weighting element of our supporting structure and on the other hand as a very effective acoustic element. The grandstand, inside the cinema hall, is another standard element from event construction. Trusses, connected by swivel couplers to the scaffolding and a conventional counter batten, form the ceiling of the hall. The trusses are laid over the above-mentioned levels and close the supporting structure.