A habit for some and an occasional leisure activity for others—experiencing movies has become integral to us in many ways. Not merely limited to being a reflection of our extant cultures, cinema and by extension, theatre, are powerful forces exploring, dissecting and displaying the complexities and nuances of our world through storytelling, on a spectrum of realism. One of the most fascinating things about the visual medium is its ability to evoke a storm, regardless of its proximity to reality, transporting us to different worlds. Theatres, rather than being destinations, become liminal portals to other realms.
Theatre, as an architectural space, provides a sense of anticipation and pause between the turbulence of life and the stimulating nature of cinema. The monochromatic hospitality interiors of the Haikou Gaoxingli Insun Cinema and Coffee Bar in China portray a vision of much-needed desaturation sandwiched between two highly stimulating experiences—life and cinema.
Modern theatres, however, do not just account for their spatial nature as liminal spaces, often just portraying a globally homogenised, consumerist space saturated with colours, lights and mixed narratives. With the rise of streaming platforms (akin to the advent and rise of televisions), the business of theatres is threatened with movies being easily accessible, quite literally at your fingertips. Their essence of once being an exclusive source of new films has been diluted.
Alongside the exuberance that movie palaces once held to provide a sense of luxury to movie-goers, the contemporary architecture of theatres can be perceived as integrated public spaces contrasting the private experience of viewing films on TVs or phones. This exploration of a theatre as a place of pause and community is witnessed in the Chinese Haikou Gaoxingli Insun Cinema and Coffee Bar. Located in Haikou, an island surrounded by the South China Sea and situated on the north coast of Hainan Island, the theatre possesses a visually striking, sculptural nature, metamorphosing the stark nature of bricks into a softer gentleness through curves and undulant surfaces referencing the island’s coastal allure.
One Plus Partnership, the Hong Kong-based practice behind the theatre design comprising two auditoriums and a coffee bar, expressed their ambition to incorporate the context of the sea without employing the colour blue as a blatant visual connection. Elaborating on the conceptual development of the theatre and coffee bar, the firm tells STIR, “Initially, the idea may have centred around a straightforward maritime aesthetic. However, by incorporating brick materials and warm colours, the design transformed into a narrative that connects the essence of the beach and the ocean with the warmth and durability of brick…we decided to use the brick material for the theme of our design [as] bricks are made of sand which lay on the beach…This evolution allowed for a more immersive experience, where the interplay of light, texture and colour creates an environment that feels both inviting and dynamic, setting it apart from conventional cinema designs.” Unlike the many commercial architectures of cinemas, natural light enters the hospitality design in abundance, dynamically transforming it throughout the day. The wave-like forms that inhabit the floor and ceiling of the monochromatic space conjure a surreal sense of being submerged.
The interior design’s monolithic nature presented more challenges than one, not only in terms of the design process but also its execution, as One Plus Partnership shares with STIR. The architecture studio expressed how “one major challenge was achieving the intricate layering of bricks to resemble waves while ensuring structural integrity. If you look around you can see the waves that turn into countertops and booths, with all curves swooping in different directions. The need for precise craftsmanship to create unique brick lengths and maintain a cohesive flow throughout the space would have demanded rigorous quality control.”
The lights were positioned to be hidden inside the nooks and the air vents were also camouflaged within the compositions of the brick architecture. The furniture—tables and benches—formed as an extension of the brick waves, merge visual coherence with the space’s functional requirements. To avoid accidents/ tripping owing to the space’s homogeneity, the bricks are painted grey on the floor and the benches’ sides. The lighting for the Chinese architecture is also designed to highlight this detail for an additional layer of safety.
The characteristic brick masonry aesthetic is also followed along the pillars and pipes running along the ceiling, giving the space an elemental earthiness, made distinct and contemporised via the clean lines and curves. This is carried on throughout the interiors of the Haikou Gaoxingli Insun Cinema and Coffee Bar with features such as velvety, brick-coloured sofa chairs. The theatre also carries the same vocabulary without the use of brick. The panelling and the lighting design on the brick walls and ceiling form a concentric pattern that pulls the eyes towards the screen, while the whimsical patterns on the floor anchor the vision from all four planes.
The Haikou Gaoxingli Insun Cinema and Coffee Bar explores in its curated combination of pause and transience, a liminal experience in public architecture. Exploring the evolving identity of theatre designs, One Plus Partnership relays to STIR, “In the age of OTT streaming platforms, cinemas are adapting by enhancing the overall experience—offering unique designs, premium seating and social spaces that foster community engagement. This shift reflects an understanding that, while home viewing is convenient, the cinema experience offers something that cannot be replicated—shared moments, the thrill of the big screen and the atmosphere of a communal event. As a result, contemporary cinema architecture should be focused on creating memorable experiences that keep audiences returning, even in a landscape dominated by digital streaming.”