Silence is Universal

Mason Innovation
May 18, 2017
9 min read

Client: Mottershaw Cinema & Venue (Own Brand)

Location: Russell's Bike Shed, Midland Train Station, Sheffield, UK

Project Status: Completed

Awards: Charted Society of Designers CEP Student Award - Won

Free Range London Exibition IE: Studio Awards - Longlisted

Portfolio Link: For Research PDF: click here || For Design Development PDF: click here

|| For Proposed Design PDF click here || For Video click here || For Banner click here

T H E C L I E N T

Cinemas showcase motion picture movies for public viewing. However, audiences often forget the roots of this hundred-year-old leisure activity.

The beauty of many silent films are their community qualities that allow audiences of all cultures, ages and genders to engage in an activity that is universal; viewing a film without a language barrier.

Despite this, few cinemas are completely dedicated to silent film, with an arguable debate that audiences aren’t given enough opportunities to view the origins of cinema. Over the last few years, the discovery and restoration of archival treasures have gifted audiences better access to silent cinema; consequently resurrecting viewer interest.

The Yorkshire Silent Film Festival is encouraging venues to welcome silent film viewings for audiences throughout the Yorkshire district and beyond.

T H E S I T E

One of the earliest films produced featured a train arriving at a station. As the train entered the station, the audience suddenly leapt up and ran to the back of the room in fear and shock. A train station for a silent film cinema seems only fitting in regards to this fact. In addition to this, there are a number of facts regarding Yorkshire as a pioneer for techniques and processes of silent film.

The first moving picture, and oldest surviving film, was shot in Roundhay, Leeds, by a Frenchman named Lois Le Prince, 1888, and a British Inventor, William Friese-Greene developed the first moving pictures on Celluloid film in Hyde Park, London, 1890. A little closer to home, Frank Mottershaw of Sheffield produced “A Daring Daylight Robbery” in 1903, which launched the chase genre of film. Additionally, the Yorkshire Silent Film Festival debuted in 2016, presenting Sheffield as a prime location in Yorkshire for a dedicated silent cinema.

Situated on Cross Turner Street to the south of the Sheffield Train Station concourse, Russell’s Bike Hub was formerly a parcel office. The 320sqm site became parking spaces for disabled accessibility; however the site is currently home to cycle storage, repairs and accessory purchases. Local bus and tram networks are all within a few minute's walk in addition to the site opening out onto a taxi rank and Midland Train Station platforms.

Beside the Cycle Hub is a currently unused 340sqm site that I plan to use in extension to create a 660sqm design space. The site is completely accessible from street level that is uniformed to platform one.

The exterior of the combined site compromises of eight grade II listed stone arches along the west and east facades. Timber frames accommodate a mix of glazed windows and boarded advertisement panels. There are a number of street level entrances to both separate sites across the east and west facades. An existing open plan interior consists of polished and painted concrete flooring with white painted breeze block walls, alongside steel and timber trusses that support an asphalt hipped roof with incorporated fixtures.

T H E B R I E F

Many cinemas within close proximity to the centre of Sheffield appear run down and dated; my project approach is to consider a fresh design that is accessible for all ages, genders, backgrounds and cultures within the busy hub of the Sheffield Midland Train Station.

Primarily, my elite goal is to raise a new interest of silent film in Sheffield and encourage the viewing of early cinema, in honor of Sheffield's own Frank Mottershaw; the pioneer of the chase genre in film.

My secondary aim is to provide a dedicated space that explores sensory and metaphoric approaches and encourage culture and diversity in a well networked location.

The spaces required within this concept are as follows; Cinema, Projection Room, Breakout Space, Venue, Office & Point of Sale.

E X T E R I O R

The grade II listed facades along the east and west remain relatively untouched; however, the glazed glass within the arches are replaced with LCD and LED panels and frosted glass doors. In addition to this, the cinema entrance features an extended archway and ticket purchase and collection booths line both sides.

Entrances into the space vary from all four locations, creating a metaphor of contrast. The North-east entrance enters into an open Foyer space with high ceiling; from the south-east is a staff use or fire exit only door, with a built up surrounding and tall ceiling. the south-west is metaphoric of a camera interior; dark and confined with natural and artificial apertures as a source of light. The north-west entrance enters at a low panoramic view before opening up to the full height of the ceiling.

I N T E R I O R

Through day and night the space is utilised to suit events of all kinds. A monochromatic palette allows for a simple canvas enhanced by carefully considered light solutions.

E N T R A N C E

Entering the cinema is commonly accessed via the farmost entrance along the west facade beneath an arched tunnel; fitted with back lit panels displaying film grain within the interior, the edging it detailed in steel with an etched inscription "In honor of Frank Mottershaw, 1850 - 1932. The pioneer of the chase film genre.

T U N N E L S & B R E A K O U T S P A C E

This entrance leads into a tunnel with recessed hidden LED lighting along the base of the wall and an open skylight along the top right corner to allow natural lighting to flow over the coarse concrete finished wall during the day; hidden artificial LED strips along the top of the aperture; compensate for darker or overcast periods of the day. The opening is unglazed, and instead adds intrigue to the space as any events or noise from the rest of the interior will enter via the skylight.

The interior breakout space is situated at the end of the tunnel as a break up point, providing seating in an atmospheric and bold interior; hidden lighting is located beneath a long bench along the back wall, with apertures allowing for natural light to create a bold impact over the concrete finished feature wall.

B A L C O N Y

Along another tunnel, a balcony overlooking the Foyer is located at the end, allowing for users to interact with more than one space at a time. This also allows for events within the Foyer to take impact from more than one level.

F O Y E R

The foyer introduces an open, high ceiling space that can be used for events, pop-up or simply a meeting concourse; the fact that the Foyer also networks to the platforms adjacent to the taxi rank introduces audiences who are travelling onto the platforms an insight into the interior of the site and spark interest.

O F F I C E

Suspended above the Foyer is a security, help and storage office which is operated at all times. A help button located on the ticket banners calls directly up to the office for aid.

S U B S T R A T U M

A fully accessible series of ramps recess from the Foyer down to the south of the interior, revealing a cork pavilion for events and more relaxed film presentations. The space is completely accessible at all times when private events are not engaged, and can be utilised in a number of ways such as film screenings, puppet-theatre, a lunchtime retreat, social hub and a space of relaxation.

F L O A T I N G C I N E M A

The main feature of the design is the floating cinema; suspended by the strengthened structural trusses of the roof; Above the Substratum and between the Foyer and breakout space, the cinema is furnished with 63 flip down seats and space for up to three wheelchairs. The entrance is located in the second tunnel of the Breakout space; an acoustic sliding door. The dark carpet floor and slatted timber walls allow for excellent acoustics with lights recessed vertically up the slats and across the stair treads. The projection room to the rear of the cinema is fully furnished with top-of-the-range Christie projection equipment and a ventilation system that controls the interior heating of the cinema.

T H E F U R N I S H I N G S

Simple and minimalistic furnishings adorn both the interior and exterior, however, they hold metaphoric inspirations.

T I C K E T P U R C H A S E & C O L L E C T I O N

Inspired by unrolled film, tall ticket dispensers line the exterior walls to the east and south; digitally enhanced to allow for ticket booking and collection both via an online app or in person at the dispensers. Purchasing a film viewing will dispense individual tickets pre-printed within a Mottershaw Cinema branded film canister, which can then be passed onto the steward within the cinema as an entry token; A membership program option to return the canister will benefit members by awarding them a discount on their next ticket.

L O U V R E S

Louvres enhance the interior with natural lighting from the skylights that, during bright periods, streaks across the planes within the space for a dramatic effect that contrasts between smooth matte coarse concrete walls.

B R E A K O U T S E A T I N G

A long rectangular bench with recessed LED lighting beneath lines the interior breakout space for cinema audiences to rest or wait on.

C I N E M A C O M F O R T

The cinema provides 63 fully furnished seats, with space for up to three wheelchairs in the center of the front row. The seats are fabricated from high quality, comfortable material with holders as standard at the end of the arms.

I N S T R U M E N T A L

A traditional timber piano typical of early film screenings is situated in the corner of the cinema beside the screen with a small lamp on top for reading the musical score.

S U B S T R A T U M S E A T I N G

The cork stairway under the cinema is a softer solution to stone or concrete in addition to a better acoustic sound quality. Pews of the same material are modular with rubber lining beneath to prevent slipping on the cork. These furnishings can be moved around the Substratum for higher seating options, or even carried up into the Foyer for other seating arrangements. The overall appearance of the Substratum replicates that of a piano; inspired by traditional instrumentation used to accompany early cinema.

P R O J E C T I O N

Fitted with a state of the art projector for the cinema, and mini projector for the Substratum wall, the projection room is equipped with servers and extraction systems to enhance productivity and functionality of the space. The extraction system also provides heat and cooling solutions through ducting in the floor of the cinema; air is then distributed evenly and unnoticeably through vents under cinema seating.

O F F I C E & S T O R A G E

The office is furnished with key administrative processes in mind; technology for printing tickets in addition to timber shelving units allow for storage of film cannisters, movie posters, film reels and methods of digital film.

A D D E D E X T R A S

Acoustic tiles along the ceiling allow for improved sound quality in the space. Furthermore, acoustic panels in place of the arches along the walls further impact the interior sound.

The exterior arch windows are replaced with blank LED back lit panels for a grainy appearance, and LCD screens presenting short clips of the film banner corresponding beside it on the ticket banner. Additionally, some arches feature frosted glass doors for entry into the site.

C O N C L U D E

Silent cinema provides a solution towards community viewing. The proposal of a dedicated cinema is estimated to enhance this outlook, as audiences tend to be unaware of this fact. Providing communities with spaces to encourage integration and communication can create a cultural sense of togetherness. The abstract aesthetic of the Mottershaw Cinema & Venue forms an intriguing and pleasing space for silent and spoken word with the benefit of completely functional and accessible public spaces that are devoid of clutter and allow audiences to interact with each other through apertures of all types. An opening for a more connected future, influenced by the past.