OFT设计丨30岁传奇影院复兴计划|电影院|cinema|戏院|house

分享至

1988年，“银都机构”在香港投资兴建的影艺戏院(CINEART HOUSE)，正式开启放映业务，为确立其放映“另类电影”的定位，其中一厅专门放映纯粹的内地电影，二厅则放映日本及欧洲非主流文艺片。《情书》、《那山那人那狗》、《芙蓉镇》……这些在主流院线难有一席之地的艺术片，影迷都可以在这里找到共鸣。

影艺也从名不见经传的小影院，开始在香港电影浓郁的商业氛围中树起了艺术电影的品牌，成为香港文艺青年与电影爱好者的朝圣地，包括末代港督彭定康在内的不少社会名流都曾是这里的座上宾。

In 1988, the CINEART HOUSE was built in Hong Kong with investment from the Sil-Metropole Organization Ltd., and officially opened its screening business. In order to ensure its positioning as showing "Paracinema", the first hall was dedicated to purely Mainland films, while the second hall screened Japanese and European non-mainstream art cinemas. Fans of the art films like Love Letter, Postmen in The Mountains, or Hibiscus Town can find resonance here.

From an unknown small theater, CINEART HOUSE began to build a brand of art cinemas in the strong commercial atmosphere of Hong Kong films, becoming the pilgrimage of arty youth and film lovers in Hong Kong. many celebrities, including the last Hong Kong Governor Chris Patten, have been guests here。

1988-2006

尽管如此，这个另类小众的文化消费场所，同样也因为“小众”陷入经营危机。2006年，作为香港唯一一间打正旗号的艺术戏院，影艺的结业还成为轰动当时的文化事件。

Nevertheless, this niche cultural consumption places also fell into business crisis because of its "niche". In 2006, as the only art theater in Hong Kong, the closure of CINEART HOUSE even became a cultural sensation at the time.

2009-2018

三年后，影艺重振旗鼓，为影迷带来失而复得的惊喜，直至2018年租约期满再次闭店。

在发展30年后，影艺的二次结业，也为它带来新的机遇。OFT设计把脉商业电影院，为影艺提供全新空间设计，推出适应当下消费市场的解决方案，让这个30岁的香江传奇影院再次复兴。

Three years later, Film Arts was revived to bring a lost and found surprise to the movie fans until their lease expired and closed again in 2018.

After 30 years of development, the second closing of CINEART HOUSE also brought new opportunities for it. On precise insight into commercial space, Oft Interiors provided a brand new space design for CINEART HOUSE and introduced solutions that adapt to the current consumer market, so that the 30-year-old legendary cinema of Hong Kong can be revived again.

2020-至今

面对来势汹汹的流媒体，传统影院面临着新的经营危机。

但事实上，线上永远无法取代电影院的观影效果与氛围。1905电影网发布的《2021 Z世代观影偏好调查报告》显示，电影院仍然是年轻人的线下娱乐首选。

With the aggressive streaming media, traditional cinemas are facing a new business crisis.

But the fact is that online viewing can never replace the effect and atmosphere of cinema. According to the "2021 Generation Z’s Movie Viewing Preference Survey Report" released by 1905Film.com, cinema is still the first choice of offline entertainment for young people.

来源：1905电影网

作为老牌电影院，影艺想从现代商业社会中脱颖而出，必须重新审视当下的商业环境。与过去相比，如今亚文化盛行，小众文化终于迎来了春天，同时线下体验感也成为商业空间不可或缺的重要组成。

As an old school cinema, CINEART HOUSE must re-examine the current business environment if it wants to stand out from the modern commercial society. Compared with the past, subcultures are now prevalent and niche culture finally get to prosper with a spring in its step, meanwhile, the sense of offline experience has become an essential component of the commercial space.

《抢钱家族》1990

该影院定位非常清晰，主要是为小众群体提供艺术影片观影服务，早在1990年，不走寻常路的老影艺就曾放映过香港有史以来映期最长的电影——《抢钱家族》，共上映576日，映期横跨三个年头。显然，主流商业院线的商业策略并不适用于影艺。

The theater's positioning is very clear：providing art film viewing services mainly for niche groups. In 1990, the unusual old CINEART HOUSE had screened the longest-running film ever in Hong Kong —— "The Yen Family", which was on for 576 days in total, spanning three years. Obviously, the commercial strategy of mainstream commercial cinemas does not apply to CINEART HOUSE.

但身处商业化浪潮中，老影艺要生存就必须进行突破性创新。

因此，除经营性战略定位外，在空间设计上，影艺也必须重构用户体验价值。

However, in the wave of commercialization, the old CINEART HOUSE must make breakthrough innovations in order to survive.

Therefore, in addition to operational strategic positioning, CINEART HOUSE must also reconstruct the value of user experience in terms of space design.

在OFT设计看来，随着Z世代的崛起，年轻化是不可逆的潮流，而年轻化并不意味着取悦年轻人，而是与用户认真共同进化，这是品牌长足发展的理性之举。

In Oft Interiors's view, with the rise of Generation Z, rejuvenation is an irreversible trend, and it does not mean pleasing young people, but evolving with users seriously, which is a rational move for the long-term development of the brand.

新影艺选址年轻人聚集的潮流之地——九龙城。

作为社交网络原住民的年轻影迷到底喜欢什么？新影艺如何才能成为用户心中流动的生活方式？OFT设计希望无论在意象和情境上，都更有针对性地构建一个有别于以往的文化消费目的地。

The new CINEART HOUSE is located in Kowloon City, a trendy place where young people gather.

What do young movie fans like as social network natives? How can CINEART HOUSE become a mobile lifestyle in the minds of users? Oft Interiors hopes to build a different cultural consumption destination in terms of imagery and context.

本案以”露营车“为灵感，灵感源自电影与露营车之间的内在关联——同为从熟悉之景到陌生之地的穿越工具，它们可以让影迷在这场漫无目的的旅程中，通往任何终点，一起创造新的共同记忆。

The case is inspired by the "camper van". More specifically, the inspiration is about the inherent connection between movies and camper vans ——they are both tools to travel from familiar scenes to unfamiliar places, and they allow fans to create a new shared memory together on this aimless journey to any end.

该项目位于九龙城影城旧址，作为周边唯一的电影院，新影艺具有得天独厚的优势。OFT设计摒弃电影院原有结构，在布局、影厅数量上，都进行了全新规划。

同时，设计师基于影艺作为文化消费场所而非消遣消费场所定位的考量，空间更聚焦观影本身，而未设置更多业态，提升观影效率。

The project is located at the former site of Kowloon City Cinema, and as the only cinema in the vicinity, CINEART HOUSE has a unique advantage. Oft Interiors abandoned the original structure of the cinema and made a new plan in terms of layout and number of cinema halls.

At the same time, based on the positioning of the cinema as a place of cultural consumption rather than leisure consumption, the designers focused more on the movie watching itself instead of setting up more businesses to enhance the efficiency of movie watching.

影院分为售票区和影厅区，在售票区，OFT设计用解构主义手法为”CINEART HOUSE“建立全套全新VI视觉。完全开敞式无障碍设计，让原本不大的售票区视野变得更为开阔，流线型的柜台就像一辆露营车，疾驰驶向未知的远方。

The cinema is divided into ticketing area and cinema hall area.In the ticketing area, OFT design uses deconstructionist approach to establish a full set of new VI vision for "CINEART HOUSE". The completely open and barrier-free design makes the originally small ticketing area more widen, and the streamlined counter is like a camper, speeding towards unknown distant places.

除别出心裁的空间概念之外，空间辨识度还来自湖水蓝与明黄的碰撞，黄色唤醒低调的蓝色以创建高对比度，促使旧品牌焕发新活力，这对重视内容与体验的影艺来说，是一次大胆且正确的拯救庸常的尝试。

In addition to the original space concept, the space recognition also comes from the collision of pale blue and bright yellow. The yellow evokes the understated blue to create high contrast, prompting a new vitality of the old brand, which is a bold and right attempt to save the mediocrity for CINEART HOUSE which values content and experience.

墙面与天花的格栅线条，采用不同材料拼贴而成，以疏密之分构建一种远山淡影的意境。立体化后的墙面，在视觉上缓解售票区的狭长，走近时还能发现隐藏风景。

The grille lines on the wall and ceiling are collaged with different materials to build an artistic conception of distant mountains and light shadows with sparse and dense. The three-dimensional wall visually relieves the narrow of ticketing area and reveals the hidden scenery when approaching.

除了色彩，照明也是本次设计的重点，设计师选择了高照度光源，这种刻意而为的明亮，让影艺有别于其他院线品牌的幽暗暧昧，确保能够快速在年轻群体中建立起全新品牌形象与认知。

Besides color, lighting is also the focus of this design. The designer chose a high illumination light source, whose deliberately bright makes CINEART HOUSE different from the dark and ambiguous atomsphere of other cinemas, ensuring that it can quickly establish a new brand image and recognition among young groups.

售票区到影厅入口仅几步之遥，设计师用展示架与导视标识串联起两个区域。展示架上可放置电影周边，也可展示影艺发展历程，让年轻人有机会去探索与了解香港电影风云史，构建情感链接。

The ticketing area is just a few steps away from the entrance of the cinema, and the designer uses display racks and signage to link the two areas. The display shelves can be used to place film peripheral products and to show the development of film art, giving the young the opportunity to explore and understand the history of Hong Kong cinema, hence, to build emotional links.

由于建筑本身结构关系，售票区和影厅之间有7个台阶的高度差。设计师以不规则的导视标识指引消费者通往下一段未知的观影之旅。

Due to the structure of the building itself, there is a height difference of 7 steps between the ticketing area and the cinema hall. The designers use irregular signage to guide consumers to the next unknown journey of movie-going.

进入影厅区，黄绿撞色在这里得到延续，设计师用快乐美学提醒影迷，卸下生活的盔甲，复活感受能力。

Stepping into the cinema halls, the clashing colors of yellow and green are continued here. The designer uses happy aesthetics to remind movie fans to remove the armor of life and resurrect the ability to feel.

由于影艺客群较为稳定，为让旧粉丝与新年轻影迷，都能获得最佳观影体验，OFT设计把旧影院的1个大影厅改为两小一大3个影厅，这个规划基于影艺未来更聚焦社群的品牌定位以及运营层面的考量。

Since the clientele of CINEART HOUSE is relatively stable, Oft Interiors changed the old cinema from one large theater to three theaters, two small ones and a large one, which is in order to provide the best movie-going experience for both old fans and new young ones. The plan is also based on the cinema’s future brand positioning of focusing more on the community and operational considerations.

3个影厅共两百多个座位，由于公区面积较小，为不显局促，最大的1号影厅入口被设置在走廊深处，既可以分流又在最大程度上确保影迷观影仪式感。

There are more than two hundred seats in the three halls. With the small size of the public area, the largest No. 1 hall entrance is set deep in the corridor to avoid appearing narrow, which can both divert the flow and ensure the sense of ceremony of movie viewing to the maximum degree.

水滴状镜面天花贯穿整个公区，首先从视觉上解决层高低矮问题，同时造型与露营车透明棚顶呼应，仿佛打开它就能探出身子去大声呐喊、与风和自然相拥，以空间唤醒感受。

The teardrop-shaped mirrored ceiling runs through the entire public area, which firstly solves the problem of low height visually, while the shape echoes the transparent roof of the camper van, as if opening it to explore the body to shout, and embrace with the wind and nature. It can wake up the feeling with space.

电影院里，影厅是最有趣的空间，因为它是终极目的地，还因为在观影时，我们既与他人共享同一时空，又身处个人精神世界之中。

日本导演黑泽清曾说：“在电影院看电影，当别人笑而我也在笑的时候，我们融为了一体。而当其他人在笑我却没有笑的时候，孤独感就来袭了。”

因此在影厅中，设计师以圆润幼态的半椭圆隔音板，打造出一个温和空间，消解观影时的孤独感。

The cinema is the most interesting space not only because it is the ultimate destination, but also because when we watch a movie, we share the same time and space with others and are in our own personal spiritual world.

Japanese director Kiyoshi Kurosawa once said, "When I watch a movie in the cinema and when others are laughing and I am also laughing, we become one. And when others are laughing and I am not laughing, the loneliness will strike."

Therefore, in the cinema hall, the designer used the round and juvenile semi-elliptical soundproof panel to create a gentle space to dissolve the feeling of loneliness when watching movies.

除了影厅，电影院中的封闭空间还有卫生间。

从湖水蓝到天空蓝，设计师在卫生间完成相同视觉之间的自然过渡，悬空镜面像窗帘一样垂下，让封闭空间变得灵动，仿佛有风吹过就会随风而动。

In addition to the cinema hall, there is also a bathroom in the closed space of the cinema.

From blue like lake to blue like sky, the designer completed the natural transition between the same visuals in the bathroom, with the suspended mirrors hanging down like curtains, making the closed space dynamic, as if it will move with the wind.

结语：这个传奇影院的重生是一次与过去的告别，是新使命与征程的开始，虽然曾经的映画时代让人缅怀，新影艺戏院也再没有旧时的影子，但我们仍然能在新的空间中去创造回忆，90年代落幕了，而这里，将为Z世代打开新的序幕。

Conclusion: The rebirth of this legendary theater is a farewell to the past and the beginning of a new mission and journey. Although the former picture era is remembered, and the new CINEART HOUSE no longer has the shadow of the old days, we can still create memories in the new space. The 90s have fallen, and here, a new prologue will be opened for Generation Z.

项目名称：影艺戏院

项目类别：商业空间

项目业主：影艺戏院

服务内容：策划/室内设计

设计机构：Oft Interiors

主持设计：邹卓明/张敬贵

设计团队：Yoyo Au

项目地址：香港

项目面积：970㎡

Project Name: CINEART HOUSE

Project Category: Cultural Space

Project Owner: CINEART HOUSE