The multi-plex is Conceptual Cinerama, if you manage to
see rotate amond all the flics being shown, and stitch them
into a space-time composite, auteur-your-own Ganz's
Napolean.
We're "consulting" on a 14-plex, our first experience as
an architect rather than concession-pigouter. One being
done by United Artists which is expanding a 6-plex
in Brooklyn, which is in its small version one of the
biggest money-makers in the country. It's so lucrative that
the 6-plex is being kept in operation during expansion,
a rocky-horror design and construction task.
Sleazo-quality "architecture," you bet, but the customer-
mesmerizing technology is its premier meta-architecture,
with high-tech, exquisitely calibrated and focussed sound,
plush, seats and reality-isolation milieu to get the audience
drunk with immersive, escapist experiences, gulping down
high-profit gutrot -- syrup is distributed in huge pipes.
Specialty consultants galore, for every feature of the
simulated nirvana, national, all of them, racing from
job to job to force-feed prefabricated solutions into the
gullets of hungry architects -- who are issued a prototype
set of docs on a CD for fitting to the neighborhood entitled
"Anywhere USA."
This is a gold-rush architecture, quickly and shoddily
designed and built (we're assisting a small firm who got
the job, its first moviehouse, then fell far behind the
jack-rabbit, helter-skelter schedule and multiple changes
of UA staff, each new regime demanding changes to
fit the latest viewer poll and niche market tick. The process
is as nuttily comedic as a Chaplin (UA co-founder).
Several chains are in heated competition to construct these
wretched blow-downs, competing to see who can build the
worst for the least to make the most while trashing communities
who can't get enough of the junkheaps.
Still, the project's more fun to work on than what passes
for world class architecture, primarily because nobody
takes the shit seriously, and the easy money's sweet as
piped syrup. Urp.
Nobody I've talked to here likes the damn things but everyone
goes to them as the singles shut down like mom and pops
of every dodo stripe.
Next, we hope to work on a WWF Extreme or NASCAR
Disintegrate. That's if the Serbs don't biowar Anywhere
USA.
see rotate amond all the flics being shown, and stitch them
into a space-time composite, auteur-your-own Ganz's
Napolean.
We're "consulting" on a 14-plex, our first experience as
an architect rather than concession-pigouter. One being
done by United Artists which is expanding a 6-plex
in Brooklyn, which is in its small version one of the
biggest money-makers in the country. It's so lucrative that
the 6-plex is being kept in operation during expansion,
a rocky-horror design and construction task.
Sleazo-quality "architecture," you bet, but the customer-
mesmerizing technology is its premier meta-architecture,
with high-tech, exquisitely calibrated and focussed sound,
plush, seats and reality-isolation milieu to get the audience
drunk with immersive, escapist experiences, gulping down
high-profit gutrot -- syrup is distributed in huge pipes.
Specialty consultants galore, for every feature of the
simulated nirvana, national, all of them, racing from
job to job to force-feed prefabricated solutions into the
gullets of hungry architects -- who are issued a prototype
set of docs on a CD for fitting to the neighborhood entitled
"Anywhere USA."
This is a gold-rush architecture, quickly and shoddily
designed and built (we're assisting a small firm who got
the job, its first moviehouse, then fell far behind the
jack-rabbit, helter-skelter schedule and multiple changes
of UA staff, each new regime demanding changes to
fit the latest viewer poll and niche market tick. The process
is as nuttily comedic as a Chaplin (UA co-founder).
Several chains are in heated competition to construct these
wretched blow-downs, competing to see who can build the
worst for the least to make the most while trashing communities
who can't get enough of the junkheaps.
Still, the project's more fun to work on than what passes
for world class architecture, primarily because nobody
takes the shit seriously, and the easy money's sweet as
piped syrup. Urp.
Nobody I've talked to here likes the damn things but everyone
goes to them as the singles shut down like mom and pops
of every dodo stripe.
Next, we hope to work on a WWF Extreme or NASCAR
Disintegrate. That's if the Serbs don't biowar Anywhere
USA.