Zappomatic: Hmm, I’d assumed they do sequential numbering of Screens 1-3 from the front-to-back (or left-to-right) of the foyer…
The former Screen 4 (96 seats) is the one that uses the space that was previously toilets; you took a photo of it from the foyer in a stripped out state a couple of months ago.
I, too, found that performances were scheduled for Screen 2 a couple of days ago. I can’t remember what seating layout was shown, though. (i.e. Whether it was the former Screen 4 or 5!)
Incidentally, there is an article on these screens in the September 2008 issue of Cinema Technology Magazine—complete with a picture taken from the roof above the former Screen 5 showing Swiss Centre in a mostly demolished state!
Now I’m getting confused. Isn’t Screen 2 the former Screen 4? Also had a good look through listings on the Cineworld site for Friday this week, couldn’t find any performances in Screens 1 or 2…
Addendum to previous post: This scheme seems to be somewhat “pie in the sky” in terms of its feasibility given the potential constraints on adding significant basement depth with numerous adjacent properties and obscuring windows of the Premier Inn and the new hotel (Hotel Indigo) in 1-4 Leicester Sq. (The cross-sectional view doesn’t make sense at all in terms of cinema auditoria size and positioning, but of course that could soon be changed were this project taken forward.)
I hope theatreofvarieties' suggestion that London & Regional Properties (who own 5-6 Leicester Square) weren’t planning on demolishing the building any time soon was correct (also, decades left on the cinema lease…)
But here’s a nightmare conceptual proposal commissioned by L&R to create an utter carbuncle with below ground cinemas:
It says that their role is the enabling works before fit-out, including “demolition, asbestos removal, form new openings and structural alterations.”
It goes on to say that only “extent of the removal works both and in turn the demolition and structural alterations” were not known at project commencement and only after “existing services, asbestos and structure [are] uncovered” will it be possible to ascertain the scope required.
Given that their stated project duration is 12 weeks, and that from what I currently think I can see externally the foyer works appear to be far from complete, it might be the case that the works have turned out to be more extensive than originally estimated, with consequential effects on the reopening date.
Correction to previous post: The screen is not filled by the pre-show slides, (out of focus) photo uploaded showing the right side unmasked screen area.
They are involved with the fit-out of the 7 screen extension phase, with scheduled completion by the end of 2018.
The O2 Cineworld will then be the “largest cinema complex in London.” (Not clear on what metric they are using, presumably gross area; surely not screen count?)
4DX confirmed for extension, which will also include VIP screens.
The pages include photos of auditoria and lobby areas, including a shot of the Superscreen clearly showing the speakers added for Atmos, as well as ironically demonstrating the folly of what looks like a floating screen. (I suppose tabs and movable masking wouldn’t make for a “cutting edge cinema”!)
I’m slightly confused by the photo of the auditorium fitted with purple-coloured stretch fabric wall finishes, as it doesn’t seem to fit with Cineworld’s current house style?
A selection of photos taken yesterday relevant to the 4DX have now been uploaded, mostly of the access from foyer level down to the auditorium entrance.
PhilipWW: I’ve uploaded a photo of the screen, when one of the slides before the programme was displayed, although I don’t think it quite filled the whole screen. Staff were eager to get everyone safely seated and, following the end credits, to clear the auditorium for the next screening, so I didn’t want to start wandering around the auditorium to take photos.
(That reminds me: Given the various issues discussed on CT regarding lighting in Cineworld auditoria, the lighting were well dimmed during the main feature, although they were slightly distracting due to the low ceiling. They were raised up when the end credits started, and raised up again after with the red sidewall concealed lighting and the “4DX Leicester Square” sidewall signs also turned on. Or rather, “sign,” as the one on the right wall had failed! “Non-sync” music playback was also concurrently initiated.)
The two photos you mention were most certainly taken before the 4DX conversion; a photo taken from the back of the auditorium is included in this linked article, and though hardly an accurate method, it does measure ~2.4:1 in that photo.
Based on these photos, referencing to the front right exit door location, the screen does seem to have been increased in size from the Empire Cinemas makeover; it’s about the widest screen that would fit given various constraints including sightlines due to the columns, access to the doors left/right of the screen, and perhaps the arrangement of the void/walls behind.
(Incidentally, IMAX have a patented system, intended for use in conversions of existing auditoria, which allows for the screen to cover front wall exits, and in case of an emergency, part of the screen is automatically moved!)
The non-IMAX version of the film was released in 2.39:1 ratio, with 1.90 used for the IMAX Digital version. IIRC, some shots actually didn’t quite fill the screen horizontally.
It was shot on Arri Alexa 65 cameras, which have slightly larger than 65mm film CCDs for digital capture; full frame = 2.11:1. Of course, in a such a CGI heavy film, some sections may hardly have been “shot” in the first place!
Based on the licensing plans, I’d guess the screen is just under 30ft. wide.
So, the above is a ridiculously long winded way of saying, no, they haven’t put in a “flat” ratio screen!
Visiting the 4DX today to attend a screening of “Avengers: Infinity War,” I must first say that the whole experience was tainted by what must be the worst film I’ve seen in a cinema in a very long time—quite possibly ever.
I’m not someone who would normally watch a “Marvel franchise” film, and for me it was 160 minutes of incomprehensible drivel, interspersed with “jokes” (albeit, whilst I rolled my eyes, they were a good source of mirth for the other patrons.)
Onto the 4DX auditorium. As I fumbled around with my phone to check my seat number, a member of staff actually picked my up bag and 3D glasses off the floor, and carried them over to my seat. Fantastic!
The auditorium is exactly as expected—I previously posted the notion that the average patron “might even think that it was entirely purpose-built,” and that was absolutely the case. (I should add that the auditorium and the lobby/foyer areas still retained some of the scent of being new.)
The projection was very well aligned, with slight barrel distortion towards the bottom of the screen, and it did seem to fill the entire screen during the main feature, for which—given the dark surroundings—the lack of masking was not objectionable. There was some fall off of brightness towards the edge of the screen, but this was only really noticeable during the end credits.
However, the projection had poor black levels, whilst this was ameliorated by the 3D glasses, and colours seemed to be reasonably well calibrated, dark areas were clipped, and the brightness was not really sufficient for 2D, let alone 3D.
Klipsch rear array speakers are used. The sound was pretty good, and at times loud, although it seemed to ultimately lack LFE capability and seemed pushed and limited at peak levels. The screen speakers also sounded slightly too dull.
The 4DX seating seems to be upholstered in what I assume is microfibre-type material. The seats are well padded, but the armrests are not, and I suspect wear and tear will take its toll. They are certainly not as comfortable as they look!
Onto technical aspects of 4DX: the seating motion is impressive, the water and stobbing effects aren’t, and the fog and scent effects are reasonable, albeit the fog tends to “drift” in the current direction of airflow within the auditorium.
It worked very well indeed for the 4DX trailer, but it felt very much “tacked on” to the feature itself, and for me it tended to draw my attention out of the film rather than adding to the immersion. As an example, when an on-screen character was physically attacked, the seating poked my back! Frankly, in the context of a feature film, a sound system with good LFE capability is more effective at providing a visceral augmentation of the picture.
A word of caution: the 4DX Safety Warnings, also prominently displayed at the entrance to the 4DX, must be carefully read and understood before entry, and adhered to in the auditorium. For the sake of adding context, for example, the guidelines state that “4DX motion chairs employ strong motion,” and they mean it: the seats move rapidly with tremendous force at times, almost reminiscent of certain rollercoasters (“Saw: The Ride” at Thorpe Park, for instance.)
I think it would be a fantastic system for theme park use, it just doesn’t really work for feature films not created as 4DX-specific content from the outset.
I imagine, however, that the rest of the patrons in attendance enjoyed both the movie and the 4DX element; Cineworld have certainly made something out of a “dud” auditorium, and the limitations of 4DX may well be forgiveable in the context of a film that I liked.
Finally, the auditorium was too hot; it wasn’t stuffy, so the air change rate was adequate, but I didn’t expect to have to rely on blasts from the 4DX fans to cool off!
A few more observations and photos, particularly of the staircase down to the auditorium, to follow.
I (finally!) managed to have a “proper” visit to the Cineworld (Empire) LSQ today; alas, I should have heeded my earlier apprehension over seeing “Avengers: Infinity War”—I did see it in the 4DX auditorium, and I will post comments on that part of the cinema on the Cineworld Cinema – Leicester Square 4DX page, and this comment will cover aspects applicable to the venue as a whole.
Having had a chance to have a thorough look at the main foyer section area under the IMAX stadia, it did feel more spacious and comfortable than the “old” foyer, and certainly one can sit and relax in the sofas, which, whilst not the omega of luxury, are a definite improvement over what was there before, and they certainly look very attractive.
My previous observations about the very high fit-out standard continue to apply, except that, from what I could tell, the cove LED lighting is simply LED tape that’s been—perhaps slightly hastily—adhered to the surface. My previous concern that the foyer would be too dark wasn’t the case—it was certainly the LED display modules that made it look that way by comparison—but I’d put a question mark over the long term performance of the installation.
The reflectively lacquered stretched fabric ceiling also gives a sense of height in a space lacking it; I had to remind myself that I was looking at a reflection, and not a magically raised ceiling!
On this occasion, a forgettable selection of background music was playing throughout the main foyer area and upper vestibule, to a medicore standard of sound quality. I’m sure what was playing during my last visit was considerably louder, and seemed to have a fair bit of low frequency energy, and watching Zappomatic’s video again— in which the music seems to be played over speakers in the upper vestibule only—it seems that I’m not misremembering.
However, it must be said that the arrangement of LED display modules on the stair risers and on the curved wall section rather break the rules of showmanship, with the “finale” coming first, and, at least in the case of the 4DX, a progressive dive towards a largely featureless black box. Also, the black wall above the entrance section, with its lower ceiling, I found jarring on exiting the venue; the marble cladding served to “ease” one back into the brighter outside world. Whether that was ever an intended aspect of the 1962 design, it’s these subtle features and thought that make places special.
The foyer air conditioning was excellent, and exactly what was called for to cool off on a hot day. (Which was not the case in the 4DX!)
I had a brief conversation with a member of staff, who worked there prior to the Cineworld acquisition; they were positive about how things were going under Cineworld, and said that it (foyer refurbishment/4DX) had been a “long build,” but that it had been “worth it.”
Asked if Cineworld intended to refurbish the IMAX and Superscreen, they said that they did not that think they were at the present time, as they were only completed a few years ago.
They seemed to have their antennas up and picked up that I might be concerned about “corporatisation” of the cinema, and on telling them that I thought that the new foyer looked fantastic, they said “but it did mean the loss of the classic look that it had,” but that they supposed that it was a move “onto better and brighter things.”
Finally, the staff are to be commended for first rate and very willing customer service throughout my visit—not just as I experienced it, but from what I observed of their interactions with others. Whether or not Cineworld truly understand the special nature of what they are stewarding, and it seems that they do but perhaps not deeply enough, it’s most certainly still being run as a flagship West End venue.
The exterior gives off a strong scent of being designed by Richard Seifert and Partners, with similar “H” shaped pre-cast concrete sections as Centre Point.
This supposition on my part turns out to be correct:
Plans are held dated 1964 (plans and cross-section – R. Seifert and Partners), 1965-6 (plans – Casson Conder and Partners), and 1968 (plan – proposed alterations to the advanced booking office and battery room – “unspecified architect of Rank Theatres Ltd.”)
It says that the walls and ceiling were constructed of more than 1000 tons of Kalite sound-absorbing plaster, and the reverberation time was estimated at >1 second, noting that this is a very short time for an auditorium of such volume. Of course, today this could hardly be considered acceptable for the screening of movies.
The contractor McGee, responsible for demolition of existing, as well as basement and superstructure construction, has a web page on the project, with numerous “Community Newsletters” providing a summary of work progress.
A few paraphrased excerpts from the webpage—the works include:
-Asbestos removal.
-Excavation of 180,000m3 spoil.
-Construction of 6 storey basement, the deepest commercial basement in London at 34m (110ft.) deep.
-9 storey reinforced concrete frame above ground.
Noting again that the bulk of the cinema’s demise is on levels B3 and B4, with the entrance lobby on the Upper Ground Floor Level, in the September 2017 newsletter, it states that the B4 slab construction is underway and that construction of the new Odeon Cinema was due to commence within the next month.
November 2017 newsletter: The B3 slab had been completed and “all cores constructed to B2 level.”
February 2018 newsletter: B2 and lower ground floor slab complete, “core 1, 2, 3 & 4 walls [and all vertical columns] from B2 to lower ground floor” complete. Forthcoming: “Liner walls B3 & B2”, “B1 suspended slab”, and “ground floor entry slab.” 6x 58tonne, 25m long steel trusses to be placed “in-situ on the Ground Floor Slab.”
With formwork for the above ground reinforced concrete frame currently visible, it seems reasonable to assume that most of the cinema’s structure is now complete.
“An interactive activation (sic?) will be positioned on the North Terrace of Leicester Square (in the dip), opposite the venue. […]
“There will be a stage and members of the public will be encouraged to sit in a moving chair […] and be exposed to the 4DX elements – water, mist, wind and movement for one minute.”
An “operational set-up plan” can be downloaded from the above linked page.
The OLS' Leicester Square frontage is currently in a somewhat forlorn state, with the lower LED screens removed and canopies/balcony stripped back to steel framework. (Photo uploaded.) If only I had “X-Ray” vision to see into the auditorium…!
Swindon Interiors were the principal contractor for the “Luxe” refurbishment, and the above linked page has photos of auditoria, foyer and toilets, with Dyson Airblade hand dryers prominently featured!
According to that page, the project also involved asbestos removal.
Zappomatic: Hmm, guess that means seating replacements for the IMAX and Superscreen (and any decorative changes they might care to make) aren’t scheduled any time soon then. Not that they are in need of an overhaul!
Zappomatic: Hmm, I’d assumed they do sequential numbering of Screens 1-3 from the front-to-back (or left-to-right) of the foyer…
The former Screen 4 (96 seats) is the one that uses the space that was previously toilets; you took a photo of it from the foyer in a stripped out state a couple of months ago.
I, too, found that performances were scheduled for Screen 2 a couple of days ago. I can’t remember what seating layout was shown, though. (i.e. Whether it was the former Screen 4 or 5!)
Incidentally, there is an article on these screens in the September 2008 issue of Cinema Technology Magazine—complete with a picture taken from the roof above the former Screen 5 showing Swiss Centre in a mostly demolished state!
Now I’m getting confused. Isn’t Screen 2 the former Screen 4? Also had a good look through listings on the Cineworld site for Friday this week, couldn’t find any performances in Screens 1 or 2…
Addendum to previous post: This scheme seems to be somewhat “pie in the sky” in terms of its feasibility given the potential constraints on adding significant basement depth with numerous adjacent properties and obscuring windows of the Premier Inn and the new hotel (Hotel Indigo) in 1-4 Leicester Sq. (The cross-sectional view doesn’t make sense at all in terms of cinema auditoria size and positioning, but of course that could soon be changed were this project taken forward.)
Good news (from April 2017!):
“Curzon Mayfair cinema saved as developers back off” – City A.M.
Alas the “wrecking ball” may eventually be on the horizon as the freehold owner is applying for a Certificate of Immunity from listing:
SAVE Britain’s Heritage calls for urgent listing of last surviving grand 1920s West End cinema.
N.B. The façade is within the Haymarket Conservation Area.
I hope theatreofvarieties' suggestion that London & Regional Properties (who own 5-6 Leicester Square) weren’t planning on demolishing the building any time soon was correct (also, decades left on the cinema lease…)
But here’s a nightmare conceptual proposal commissioned by L&R to create an utter carbuncle with below ground cinemas:
The Empire Leicester Square Redevelopment Project.
Cineworld will be doing a large scale rollout of laser projection:
Cineworld Group Signs Deal for 600 Movie Screens Worldwide with Barco Laser Projectors.
IMAX and Cineworld Group Sign Agreement to Install New IMAX with Laser Experience in 55 Cineworld and Regal IMAX Locations.
Hopefully, this means that the LSQ Superscreen will benefit from new Barco laser projectors.
Surrounds look like they’re still JBL 8330s from the original 1993 installation.
8build’s website now has a page on the OLS works.
It says that their role is the enabling works before fit-out, including “demolition, asbestos removal, form new openings and structural alterations.”
It goes on to say that only “extent of the removal works both and in turn the demolition and structural alterations” were not known at project commencement and only after “existing services, asbestos and structure [are] uncovered” will it be possible to ascertain the scope required.
Given that their stated project duration is 12 weeks, and that from what I currently think I can see externally the foyer works appear to be far from complete, it might be the case that the works have turned out to be more extensive than originally estimated, with consequential effects on the reopening date.
Correction to previous post: The screen is not filled by the pre-show slides, (out of focus) photo uploaded showing the right side unmasked screen area.
The website of architectural practice Chapman Taylor has the following pages of relevance:
Chapman Taylor’s industry-leading cinema expertise.
Project page – Refurbishing, extending and equipping the largest cinema venue in London.
Summary of selected information from this pages:
The pages include photos of auditoria and lobby areas, including a shot of the Superscreen clearly showing the speakers added for Atmos, as well as ironically demonstrating the folly of what looks like a floating screen. (I suppose tabs and movable masking wouldn’t make for a “cutting edge cinema”!)
I’m slightly confused by the photo of the auditorium fitted with purple-coloured stretch fabric wall finishes, as it doesn’t seem to fit with Cineworld’s current house style?
Chapman Taylor – Cineworld Leicester Square – Refurbishment of a World-Famous Movie Premiere Location.
Architectual practice Chapman Taylor now have a project page for the refurbishment, which includes a photo of the 4DX auditorium.
According to the page, the 4DX is 410 sq. metres (=4400 sq. ft.) in area.
Chapman Taylor – Cineworld Leicester Square – Refurbishment of a World-Famous Movie Premiere Location.
Architectual practice Chapman Taylor now have a project page for the refurbishment, which includes a number of photos.
According to the page, the lobby areas are 660 sq. metres (=7100 sq. ft.) in area.
A selection of photos taken yesterday relevant to the 4DX have now been uploaded, mostly of the access from foyer level down to the auditorium entrance.
PhilipWW: I’ve uploaded a photo of the screen, when one of the slides before the programme was displayed, although I don’t think it quite filled the whole screen. Staff were eager to get everyone safely seated and, following the end credits, to clear the auditorium for the next screening, so I didn’t want to start wandering around the auditorium to take photos.
(That reminds me: Given the various issues discussed on CT regarding lighting in Cineworld auditoria, the lighting were well dimmed during the main feature, although they were slightly distracting due to the low ceiling. They were raised up when the end credits started, and raised up again after with the red sidewall concealed lighting and the “4DX Leicester Square” sidewall signs also turned on. Or rather, “sign,” as the one on the right wall had failed! “Non-sync” music playback was also concurrently initiated.)
The two photos you mention were most certainly taken before the 4DX conversion; a photo taken from the back of the auditorium is included in this linked article, and though hardly an accurate method, it does measure ~2.4:1 in that photo.
Based on these photos, referencing to the front right exit door location, the screen does seem to have been increased in size from the Empire Cinemas makeover; it’s about the widest screen that would fit given various constraints including sightlines due to the columns, access to the doors left/right of the screen, and perhaps the arrangement of the void/walls behind.
(Incidentally, IMAX have a patented system, intended for use in conversions of existing auditoria, which allows for the screen to cover front wall exits, and in case of an emergency, part of the screen is automatically moved!)
The non-IMAX version of the film was released in 2.39:1 ratio, with 1.90 used for the IMAX Digital version. IIRC, some shots actually didn’t quite fill the screen horizontally.
It was shot on Arri Alexa 65 cameras, which have slightly larger than 65mm film CCDs for digital capture; full frame = 2.11:1. Of course, in a such a CGI heavy film, some sections may hardly have been “shot” in the first place!
Based on the licensing plans, I’d guess the screen is just under 30ft. wide.
So, the above is a ridiculously long winded way of saying, no, they haven’t put in a “flat” ratio screen!
Visiting the 4DX today to attend a screening of “Avengers: Infinity War,” I must first say that the whole experience was tainted by what must be the worst film I’ve seen in a cinema in a very long time—quite possibly ever.
I’m not someone who would normally watch a “Marvel franchise” film, and for me it was 160 minutes of incomprehensible drivel, interspersed with “jokes” (albeit, whilst I rolled my eyes, they were a good source of mirth for the other patrons.)
Onto the 4DX auditorium. As I fumbled around with my phone to check my seat number, a member of staff actually picked my up bag and 3D glasses off the floor, and carried them over to my seat. Fantastic!
The auditorium is exactly as expected—I previously posted the notion that the average patron “might even think that it was entirely purpose-built,” and that was absolutely the case. (I should add that the auditorium and the lobby/foyer areas still retained some of the scent of being new.)
The projection was very well aligned, with slight barrel distortion towards the bottom of the screen, and it did seem to fill the entire screen during the main feature, for which—given the dark surroundings—the lack of masking was not objectionable. There was some fall off of brightness towards the edge of the screen, but this was only really noticeable during the end credits.
However, the projection had poor black levels, whilst this was ameliorated by the 3D glasses, and colours seemed to be reasonably well calibrated, dark areas were clipped, and the brightness was not really sufficient for 2D, let alone 3D.
Klipsch rear array speakers are used. The sound was pretty good, and at times loud, although it seemed to ultimately lack LFE capability and seemed pushed and limited at peak levels. The screen speakers also sounded slightly too dull.
The 4DX seating seems to be upholstered in what I assume is microfibre-type material. The seats are well padded, but the armrests are not, and I suspect wear and tear will take its toll. They are certainly not as comfortable as they look!
Onto technical aspects of 4DX: the seating motion is impressive, the water and stobbing effects aren’t, and the fog and scent effects are reasonable, albeit the fog tends to “drift” in the current direction of airflow within the auditorium.
It worked very well indeed for the 4DX trailer, but it felt very much “tacked on” to the feature itself, and for me it tended to draw my attention out of the film rather than adding to the immersion. As an example, when an on-screen character was physically attacked, the seating poked my back! Frankly, in the context of a feature film, a sound system with good LFE capability is more effective at providing a visceral augmentation of the picture.
A word of caution: the 4DX Safety Warnings, also prominently displayed at the entrance to the 4DX, must be carefully read and understood before entry, and adhered to in the auditorium. For the sake of adding context, for example, the guidelines state that “4DX motion chairs employ strong motion,” and they mean it: the seats move rapidly with tremendous force at times, almost reminiscent of certain rollercoasters (“Saw: The Ride” at Thorpe Park, for instance.)
I think it would be a fantastic system for theme park use, it just doesn’t really work for feature films not created as 4DX-specific content from the outset.
I imagine, however, that the rest of the patrons in attendance enjoyed both the movie and the 4DX element; Cineworld have certainly made something out of a “dud” auditorium, and the limitations of 4DX may well be forgiveable in the context of a film that I liked.
Finally, the auditorium was too hot; it wasn’t stuffy, so the air change rate was adequate, but I didn’t expect to have to rely on blasts from the 4DX fans to cool off!
A few more observations and photos, particularly of the staircase down to the auditorium, to follow.
I (finally!) managed to have a “proper” visit to the Cineworld (Empire) LSQ today; alas, I should have heeded my earlier apprehension over seeing “Avengers: Infinity War”—I did see it in the 4DX auditorium, and I will post comments on that part of the cinema on the Cineworld Cinema – Leicester Square 4DX page, and this comment will cover aspects applicable to the venue as a whole.
Having had a chance to have a thorough look at the main foyer section area under the IMAX stadia, it did feel more spacious and comfortable than the “old” foyer, and certainly one can sit and relax in the sofas, which, whilst not the omega of luxury, are a definite improvement over what was there before, and they certainly look very attractive.
My previous observations about the very high fit-out standard continue to apply, except that, from what I could tell, the cove LED lighting is simply LED tape that’s been—perhaps slightly hastily—adhered to the surface. My previous concern that the foyer would be too dark wasn’t the case—it was certainly the LED display modules that made it look that way by comparison—but I’d put a question mark over the long term performance of the installation.
The reflectively lacquered stretched fabric ceiling also gives a sense of height in a space lacking it; I had to remind myself that I was looking at a reflection, and not a magically raised ceiling!
On this occasion, a forgettable selection of background music was playing throughout the main foyer area and upper vestibule, to a medicore standard of sound quality. I’m sure what was playing during my last visit was considerably louder, and seemed to have a fair bit of low frequency energy, and watching Zappomatic’s video again— in which the music seems to be played over speakers in the upper vestibule only—it seems that I’m not misremembering.
However, it must be said that the arrangement of LED display modules on the stair risers and on the curved wall section rather break the rules of showmanship, with the “finale” coming first, and, at least in the case of the 4DX, a progressive dive towards a largely featureless black box. Also, the black wall above the entrance section, with its lower ceiling, I found jarring on exiting the venue; the marble cladding served to “ease” one back into the brighter outside world. Whether that was ever an intended aspect of the 1962 design, it’s these subtle features and thought that make places special.
The foyer air conditioning was excellent, and exactly what was called for to cool off on a hot day. (Which was not the case in the 4DX!)
I had a brief conversation with a member of staff, who worked there prior to the Cineworld acquisition; they were positive about how things were going under Cineworld, and said that it (foyer refurbishment/4DX) had been a “long build,” but that it had been “worth it.”
Asked if Cineworld intended to refurbish the IMAX and Superscreen, they said that they did not that think they were at the present time, as they were only completed a few years ago.
They seemed to have their antennas up and picked up that I might be concerned about “corporatisation” of the cinema, and on telling them that I thought that the new foyer looked fantastic, they said “but it did mean the loss of the classic look that it had,” but that they supposed that it was a move “onto better and brighter things.”
Finally, the staff are to be commended for first rate and very willing customer service throughout my visit—not just as I experienced it, but from what I observed of their interactions with others. Whether or not Cineworld truly understand the special nature of what they are stewarding, and it seems that they do but perhaps not deeply enough, it’s most certainly still being run as a flagship West End venue.
The exterior gives off a strong scent of being designed by Richard Seifert and Partners, with similar “H” shaped pre-cast concrete sections as Centre Point.
This supposition on my part turns out to be correct:
National Archives – City of Westminster Archives Centre Architectural Plans of Cinemas in the City of Westminster 1926-1981 – Odeon Cinema, St. Martin’s Lane.
Plans are held dated 1964 (plans and cross-section – R. Seifert and Partners), 1965-6 (plans – Casson Conder and Partners), and 1968 (plan – proposed alterations to the advanced booking office and battery room – “unspecified architect of Rank Theatres Ltd.”)
Article on Radio City Music Hall with photos, cut-away diagram published in a 1933 issue of Popular Science, and a 2013 plan for “America’s Got Talent.”
The auditorium’s acoustics are mentioned in the book “Spaces Speak, Are You Listening?: Experiencing Aural Architecture”, by Barry Blesser and Linda-Ruth Salter, pp109-11. (Direct link to p109.)
It says that the walls and ceiling were constructed of more than 1000 tons of Kalite sound-absorbing plaster, and the reverberation time was estimated at >1 second, noting that this is a very short time for an auditorium of such volume. Of course, today this could hardly be considered acceptable for the screening of movies.
The contractor McGee, responsible for demolition of existing, as well as basement and superstructure construction, has a web page on the project, with numerous “Community Newsletters” providing a summary of work progress.
A few paraphrased excerpts from the webpage—the works include:
-Asbestos removal. -Excavation of 180,000m3 spoil. -Construction of 6 storey basement, the deepest commercial basement in London at 34m (110ft.) deep. -9 storey reinforced concrete frame above ground.
Noting again that the bulk of the cinema’s demise is on levels B3 and B4, with the entrance lobby on the Upper Ground Floor Level, in the September 2017 newsletter, it states that the B4 slab construction is underway and that construction of the new Odeon Cinema was due to commence within the next month.
November 2017 newsletter: The B3 slab had been completed and “all cores constructed to B2 level.”
February 2018 newsletter: B2 and lower ground floor slab complete, “core 1, 2, 3 & 4 walls [and all vertical columns] from B2 to lower ground floor” complete. Forthcoming: “Liner walls B3 & B2”, “B1 suspended slab”, and “ground floor entry slab.” 6x 58tonne, 25m long steel trusses to be placed “in-situ on the Ground Floor Slab.”
With formwork for the above ground reinforced concrete frame currently visible, it seems reasonable to assume that most of the cinema’s structure is now complete.
On the main Cineworld (Empire) LSQ page I previously posted a link to a building control application, which rather confusingly described the works as:
“Cineworld 4D 2.0 – Saturday 28 April 2018. The structure will be truss based and include staging, graphics, Heras fencing, mobile LED screen.”
Details of this are currently available on the Heart of London Business Alliance site — to quote:
“An interactive activation (sic?) will be positioned on the North Terrace of Leicester Square (in the dip), opposite the venue. […]
“There will be a stage and members of the public will be encouraged to sit in a moving chair […] and be exposed to the 4DX elements – water, mist, wind and movement for one minute.”
An “operational set-up plan” can be downloaded from the above linked page.
Zappomatic: Well spotted, thanks for the correction!
The OLS' Leicester Square frontage is currently in a somewhat forlorn state, with the lower LED screens removed and canopies/balcony stripped back to steel framework. (Photo uploaded.) If only I had “X-Ray” vision to see into the auditorium…!
Swindon Interiors – Project Description – Odeon Panton Street.
Swindon Interiors were the principal contractor for the “Luxe” refurbishment, and the above linked page has photos of auditoria, foyer and toilets, with Dyson Airblade hand dryers prominently featured!
According to that page, the project also involved asbestos removal.
Building work has reached above ground level—photo uploaded.
Zappomatic: Hmm, guess that means seating replacements for the IMAX and Superscreen (and any decorative changes they might care to make) aren’t scheduled any time soon then. Not that they are in need of an overhaul!