I should have made it clear that I am not in any way suggesting that George Coles could not be responsible for the design of the “new” Empire… just curious for the above reasons. Indeed, this plan was by his practice:
That said, a (non-cinema) example is Centre Point, which looms over Oxford Street. It had been attributed to Richard Seifert for many years but it is now considered to be designed by George Marsh, who worked for his practice.
My preference is for art deco and modernist designs; the 1928 Empire interior to me (my apologies to all those on this site who are enthusiastic about the work of Thomas Lamb) is absolutely hideous, albeit I can only find B&W photos and films of it.
For me, the 1962 Empire is, aesthetically, the high point of cinema design. Whilst the staggered walls/ceiling with bands of concealed lighting is clearly reminiscent of Radio City Music Hall, I consider the design to be more elegant, whilst producing the effect of massive spaciousness, and I think the tiled walls/ceiling added to this.
So, I wouldn’t agree with the opinion of the author of your quote! (Except regarding the seats—they were fantastic.) Incidentally, I have a copy of the book “The First Hundred Years: The Story of The Empire Leicester Square” by David High; unfortunately I don’t have access to it at the moment, but my recollection is that it discusses the trepidation around the 1962 reconstruction, but states that subsequent to opening, the public was “delighted” by what they saw.
Mike… My Father was a Project Architect and so I know a little bit on how things work in that field, which is what lead me to ask the question.
Unfortunately (for me?!), he did not work on any cinemas but the most relevant projects he had some involvement with were Planet Hollywood London and Planet Hollywood Gatwick Airport. If I remember correctly, in both cases the designs were done by an American practice and sent to the practice he worked for, to produce final drawings, ensure that UK building regulations were met, etc. (e.g. Some of the materials the Americans had specified did not meet UK fire regulations!) Also, as you say, once building work commences supervision is required and in this example it was also undertaken by the same UK practice.
Also, in projects he worked on, the individual(s) whom the practice bore the name of (or rather the partners/bosses) had varying levels of involvement, but they would always be responsible for having contact with potential clients and getting in work. Design wise, their input varied from none whatsoever (one practice he worked for had 100+ staff…) to designing the building (but not producing detailed drawings… one of them apparently didn’t even know how to use a mouse!) Different parts of a building could be designed by different Architects… or others could be responsible for the interior design details/fit-out…
All of which is to say that, on a project of larger scale than a house extension, the idea of an Architect as “auteur” can be, I suspect, a bit misguided.
Speaking of George Coles, does anyone know who was actually responsible for the design of Empire 1? AFAIK it bears no resemblance to any other cinema designed by Coles' practice, and I can’t help but wonder if they were the UK architect for what was in fact an American design, or if MGM had instructed them to do something “inspired” by the Radio City Music Hall.
I can’t find the references right now, but my previous archive searches brought up articles which stated that, in 1961, MGM sold the Empire to Mecca, and their intention was to replace it with a new building incorporating offices, cinema, dance hall, etc. By 1962 this scheme had been shelved for the conversion of the existing building to what came to be known as Empire 1, and of course the dance hall below.
Terry—A lot of “ifs” there! When the multiplexes arrived, the greater choice and pristine interiors were a revelation.
Now I’m not saying I liked them—outside of venues such as the Warner West End, the ambience was often poor and the presentation could be sloppy (e.g. failure to do the anamorphic lens change!) I also remember being shocked to see slide projection with adverts for local businesses in a Cineworld… hardly the way to set the mood…
Regarding IMAX/laser projection—I fully anticipate it to provide superior picture quality.
It is not the “fault” of the technology but the operator if there is a failure to achieve a good standard of presentation in all respects. The Empire’s IMAX auditorium may lack tabs, but the colour-changing concealed lighting, suitable “non-sync” music, etc., and of course the very attractive foyer, remain.
As for the Chinese, it’s a world-famous landmark theatre in a “megacity” which also happens to be the movie capital of the West. They were fortunate enough that the building/site constraints did not stop them from digging a large hole in the ground. The Empire LS was more constrained, but in upgrading to meet today’s expectations, was fortunate enough to have a steeply racked circle which works well for IMAX, and that modern acoustic absorption could be applied to the walls/ceilings without annihilating the interior look and feel.
In most cases, it’s surely easier and presumably cheaper to sell out to a developer looking to build flats or similar and do a new-build on another site…
JD Wetherspoon (operators of The Twyburn pub, within the same complex as the Odeon Marble Arch) have received permission for outdoor seating until February 2016, so it may be assumed the existent Odeon Marble Arch will stand until at least then…
The developer has submitted a planning application dated November 2014, which is pending a decision. Perhaps surprisingly, 6 screens, albeit 5 of which appear to be “studio” size, are shown in the drawing for basement level 1. The proposed entrance is on Edgware Road with access via escalators.
Here’s the link to the IMAX press release—it is one of three Empire Cinemas locations, following on from the Empire Leicester Square, that will have an IMAX screen:
According to Empire’s Auditorium Information page, Screen 1 will be the IMAX screen, with 337 seats, and therefore will co-exist with the IMPACT screen.
FanaticalAboutOdeon, thanks for the reply. A shame so few images of the house curtains are available, but the “replica” pair do add that special touch to your home cinema—very nice!
What was on the splay walls after the 1960’s “zing” alterations?
Seems the Odeon LS has an uncertain future, perhaps? I noticed in Cinema Technology Magazine that the new “MK Dons” Odeon is said to be their “flagship” site. In the meantime, as you say, still a wonderful place to watch a film…
Rather odd to see comments regarding the 1980s American ‘invasion’ on the page of a cinema originally built for Loews/MGM…!
Suffice to say that by the time of the ‘first wave’ of new-build multiplexes in the UK, the average local cinema, at least in my experience, had been badly subdivided and in some cases offered an utterly miserable standard of presentation and comfort.
However, the current situation is very different; the leading operators are Cineworld, Odeon/UCI and VUE, and the first generation multiplexes, if not refitted and/or reconfigured, are obsolete in design. Indeed, ‘The Point’ in Milton Keynes, ostensibly the first ‘true’ multiplex in the UK, is approved for demolition, having been sidelined after the construction of a nearby Cineworld, and finally closed following the recent opening of a replacement Odeon (with IMAX screen.)
A replacement basement cinema is shown.
The purposed quasi-“pastiche”/postmodern (or whatever—“carbuncle-style” will do ;–) ) exterior design, IMO, is hideous.
The 400 seater at least has the potential to be a decent “large format”-style screen and (presumably?) is needed for moveovers from the OLS. The cinemas (once opened) could be repurposed as conference spaces, but then again, they can always be hired out as such anyway…
Further thoughts on the (potential?) Atmos installation: the rear stalls don’t have enough height for the ceiling speakers. Also, might they be intending to become a “Dolby Cinema” location, which Dolby are promoting as an IMAX-competitor? (Laser projectors., HDR, etc…)
On a different topic, I recall before the 1998 refurbishment, when the “flying ladies” were recreated, there sections of red neon strips on the splay walls which mirrored the red pattern on the main tabs. I cannot find any photos or reference to this anywhere, although by then it looked terribly dated!
It would appear that a lot of politics are in motion in relation to Empire’s IMAX screen!
Empire’s booking page shows that the current and next film for IMAX/Screen 3 are IMAX releases.
I completely agree, non-IMAX features should not be advertised as such, though I’ve not noticed anything other than the gaff with the online booking system.
Empire seem to have gone to some lengths to get IMAX signage up, I notice the planning application for a “high level” sign (visible from the Coventry Street approach) was rejected but one has been installed nevertheless, so I assume it went to appeal.
One also has to also wonder if IMAX were aware of the potential booking situation, as the Empire is cited by them as being of their “landmark” installations in a world-famous location and is one of the venues due to be equipped with their laser projectors. I imagine that it remains to be seen how this plays out; the current situation is at best absurd.
The former Screen 1 had premium ticket prices, e.g. the “£9.95 all day” offer is/was only valid for Screens 4-9.
AFAIK the cost of the IMAX/IMPACT conversion was £4m.
The above-linked BBC article states that “the tower of the OLS… still stands today… despite not being listed.”
This is, of course, true, but since Leicester Square is a conservation area, the frontage is afforded some protection. I suspect an OWE-like scheme for the OLS would go down like the Titanic.
All of these issues—IMAX exterior branding and potential confusion—occur with all multi-screen venues with a single IMAX screen. The strategy of IMAX Corporation in recent years can be questioned, but there is plenty of upside.
Of course, Empire used to have a THX sign attached to the marquee, and that did not mean all screens were THX-certified!
Non-IMAX films aren’t advertised as “IMAX” presentations and Empire’s IMAX screen should be listed as “Screen 3.” There seems to be a slight problem with the online booking system in this respect, as when proceeding with the booking it displays “IMAX” as the screen, but on the main listing page all of the IMAX branding is dropped.
As I understand, most IMAX screens play IMAX content for the vast majority of—if not all—presentations. The Empire Leicester Square is unique in having difficulties in obtaining IMAX bookings.
Looking through the “Decision Notice” in the previously linked planning documents, Condition 6 of the Planning Permission states that “the hotel use… must not begin until the cinema has been provided with services and made ready for fit out by the relevant tenant and evidence has been submitted to and approved by the Council…”
I have fond memories of seeing movies in Screen 2. But let’s be fair, the cinema—with its asbestos and crumbling-ceiling laden void areas—not to mention the rest of the block—is long overdue for an overhaul.
In my view, however, this scheme is a missed opportunity, as the two screens are almost the minimum option, being tucked away in less than one half of Basement Level 2. If only slightly more space had been allocated! Granted, services and structural considerations may render that impossible.
One might anticipate that Odeon will install a 50ft. wide screen in the larger auditorium and brand it an “iSense” screen…
Finally some good news after much speculation!
I assume this means that the ‘Dutchess’ will be kept.
Not sure what there is to ‘expensively’ refurbish in the auditorium other than upgrading the seats—perhaps some carefully integrated elements to control the acoustics?
I don’t understand how Dolby Atmos could be installed without eliminating the rear stalls. The only option I can see is to have two levels of side and ceiling speakers, with the lower level time aligned/delayed with the upper, and careful choice and positioning of the upper speakers. Still would seem to be an audio scrambled egg in the making!
I do hope the current bland foyer areas will be completely reimaged.
FanaticalAboutOdeon—thanks for the reply!
I should have made it clear that I am not in any way suggesting that George Coles could not be responsible for the design of the “new” Empire… just curious for the above reasons. Indeed, this plan was by his practice:
http://www.arthurlloyd.co.uk/Archive/July2003/Plan.htm
That said, a (non-cinema) example is Centre Point, which looms over Oxford Street. It had been attributed to Richard Seifert for many years but it is now considered to be designed by George Marsh, who worked for his practice.
My preference is for art deco and modernist designs; the 1928 Empire interior to me (my apologies to all those on this site who are enthusiastic about the work of Thomas Lamb) is absolutely hideous, albeit I can only find B&W photos and films of it.
For me, the 1962 Empire is, aesthetically, the high point of cinema design. Whilst the staggered walls/ceiling with bands of concealed lighting is clearly reminiscent of Radio City Music Hall, I consider the design to be more elegant, whilst producing the effect of massive spaciousness, and I think the tiled walls/ceiling added to this.
So, I wouldn’t agree with the opinion of the author of your quote! (Except regarding the seats—they were fantastic.) Incidentally, I have a copy of the book “The First Hundred Years: The Story of The Empire Leicester Square” by David High; unfortunately I don’t have access to it at the moment, but my recollection is that it discusses the trepidation around the 1962 reconstruction, but states that subsequent to opening, the public was “delighted” by what they saw.
Also, according to:
http://www.arthurlloyd.co.uk/Archive/July2003/Facts.htm
The “New” Empire had “ceiling and walls of plaster tiles finished in mink and gold.” Perhaps you know if this was the case?
Mike… My Father was a Project Architect and so I know a little bit on how things work in that field, which is what lead me to ask the question.
Unfortunately (for me?!), he did not work on any cinemas but the most relevant projects he had some involvement with were Planet Hollywood London and Planet Hollywood Gatwick Airport. If I remember correctly, in both cases the designs were done by an American practice and sent to the practice he worked for, to produce final drawings, ensure that UK building regulations were met, etc. (e.g. Some of the materials the Americans had specified did not meet UK fire regulations!) Also, as you say, once building work commences supervision is required and in this example it was also undertaken by the same UK practice.
Also, in projects he worked on, the individual(s) whom the practice bore the name of (or rather the partners/bosses) had varying levels of involvement, but they would always be responsible for having contact with potential clients and getting in work. Design wise, their input varied from none whatsoever (one practice he worked for had 100+ staff…) to designing the building (but not producing detailed drawings… one of them apparently didn’t even know how to use a mouse!) Different parts of a building could be designed by different Architects… or others could be responsible for the interior design details/fit-out…
All of which is to say that, on a project of larger scale than a house extension, the idea of an Architect as “auteur” can be, I suspect, a bit misguided.
Speaking of George Coles, does anyone know who was actually responsible for the design of Empire 1? AFAIK it bears no resemblance to any other cinema designed by Coles' practice, and I can’t help but wonder if they were the UK architect for what was in fact an American design, or if MGM had instructed them to do something “inspired” by the Radio City Music Hall.
I can’t find the references right now, but my previous archive searches brought up articles which stated that, in 1961, MGM sold the Empire to Mecca, and their intention was to replace it with a new building incorporating offices, cinema, dance hall, etc. By 1962 this scheme had been shelved for the conversion of the existing building to what came to be known as Empire 1, and of course the dance hall below.
Terry—My apologies if I misinterpreted what you had said regarding technology/presentation. Looks like we’re on the same page there!
Up to date with trends… including modern B-chain sound equipment… or were still using Altec VOTT?
Due to open this Summer.
https://www.picturehouses.com/cinema/Picturehouse_Central
Some drawings of the bar area etc. Looks hideous!
Terry—A lot of “ifs” there! When the multiplexes arrived, the greater choice and pristine interiors were a revelation.
Now I’m not saying I liked them—outside of venues such as the Warner West End, the ambience was often poor and the presentation could be sloppy (e.g. failure to do the anamorphic lens change!) I also remember being shocked to see slide projection with adverts for local businesses in a Cineworld… hardly the way to set the mood…
Regarding IMAX/laser projection—I fully anticipate it to provide superior picture quality.
It is not the “fault” of the technology but the operator if there is a failure to achieve a good standard of presentation in all respects. The Empire’s IMAX auditorium may lack tabs, but the colour-changing concealed lighting, suitable “non-sync” music, etc., and of course the very attractive foyer, remain.
As for the Chinese, it’s a world-famous landmark theatre in a “megacity” which also happens to be the movie capital of the West. They were fortunate enough that the building/site constraints did not stop them from digging a large hole in the ground. The Empire LS was more constrained, but in upgrading to meet today’s expectations, was fortunate enough to have a steeply racked circle which works well for IMAX, and that modern acoustic absorption could be applied to the walls/ceilings without annihilating the interior look and feel.
In most cases, it’s surely easier and presumably cheaper to sell out to a developer looking to build flats or similar and do a new-build on another site…
JD Wetherspoon (operators of The Twyburn pub, within the same complex as the Odeon Marble Arch) have received permission for outdoor seating until February 2016, so it may be assumed the existent Odeon Marble Arch will stand until at least then…
The developer has submitted a planning application dated November 2014, which is pending a decision. Perhaps surprisingly, 6 screens, albeit 5 of which appear to be “studio” size, are shown in the drawing for basement level 1. The proposed entrance is on Edgware Road with access via escalators.
Wonderful!
This is one of three Empire Cinemas locations, following on from the Empire Leicester Square, that will have an IMAX screen:
http://www.prnewswire.com/news-releases/empire-cinemas-expands-imax-commitment-with-three-theatre-deal-in-england-300068241.html
According to Empire’s Auditorium Information page, Screen 7 will be the IMAX screen, and is due to open June 11 for Jurassic World.
Here’s the link to the IMAX press release—it is one of three Empire Cinemas locations, following on from the Empire Leicester Square, that will have an IMAX screen:
http://www.prnewswire.com/news-releases/empire-cinemas-expands-imax-commitment-with-three-theatre-deal-in-england-300068241.html
According to Empire’s Auditorium Information page, Screen 1 will be the IMAX screen, with 337 seats, and therefore will co-exist with the IMPACT screen.
One of three Empire Cinemas locations, following on from the Empire Leicester Square, that will have an IMAX screen:
http://www.prnewswire.com/news-releases/empire-cinemas-expands-imax-commitment-with-three-theatre-deal-in-england-300068241.html
Looks like the original foyer (in particular, the floor) has been retained, now being used as the gym’s reception:
http://www.kinesisgym.co.uk/about-us/take-a-tour/
FanaticalAboutOdeon, thanks for the reply. A shame so few images of the house curtains are available, but the “replica” pair do add that special touch to your home cinema—very nice! What was on the splay walls after the 1960’s “zing” alterations?
Seems the Odeon LS has an uncertain future, perhaps? I noticed in Cinema Technology Magazine that the new “MK Dons” Odeon is said to be their “flagship” site. In the meantime, as you say, still a wonderful place to watch a film…
Rather odd to see comments regarding the 1980s American ‘invasion’ on the page of a cinema originally built for Loews/MGM…!
Suffice to say that by the time of the ‘first wave’ of new-build multiplexes in the UK, the average local cinema, at least in my experience, had been badly subdivided and in some cases offered an utterly miserable standard of presentation and comfort.
However, the current situation is very different; the leading operators are Cineworld, Odeon/UCI and VUE, and the first generation multiplexes, if not refitted and/or reconfigured, are obsolete in design. Indeed, ‘The Point’ in Milton Keynes, ostensibly the first ‘true’ multiplex in the UK, is approved for demolition, having been sidelined after the construction of a nearby Cineworld, and finally closed following the recent opening of a replacement Odeon (with IMAX screen.)
Here’s an article on the laser projectors/12 channel audio system. Not yet known which film will be first to feature?
http://www.pocket-lint.com/news/133875-imax-laser-projectors-and-12-channel-surround-sound-to-arrive-in-uk-by-summer
Looks like Terminator Genisys will be playing also…
More details on this replacement scheme from this public exhibition blurb:
http://www.marblearchtower.co.uk/consultation-boards_2014_1027.pdf
A replacement basement cinema is shown. The purposed quasi-“pastiche”/postmodern (or whatever—“carbuncle-style” will do ;–) ) exterior design, IMO, is hideous.
The 400 seater at least has the potential to be a decent “large format”-style screen and (presumably?) is needed for moveovers from the OLS. The cinemas (once opened) could be repurposed as conference spaces, but then again, they can always be hired out as such anyway…
MasterImage 3D’s DUAL3D system to be installed in the IMPACT screen:
http://www.sys-con.com/node/3278918
Further thoughts on the (potential?) Atmos installation: the rear stalls don’t have enough height for the ceiling speakers. Also, might they be intending to become a “Dolby Cinema” location, which Dolby are promoting as an IMAX-competitor? (Laser projectors., HDR, etc…)
On a different topic, I recall before the 1998 refurbishment, when the “flying ladies” were recreated, there sections of red neon strips on the splay walls which mirrored the red pattern on the main tabs. I cannot find any photos or reference to this anywhere, although by then it looked terribly dated!
It would appear that a lot of politics are in motion in relation to Empire’s IMAX screen!
Empire’s booking page shows that the current and next film for IMAX/Screen 3 are IMAX releases.
I completely agree, non-IMAX features should not be advertised as such, though I’ve not noticed anything other than the gaff with the online booking system. Empire seem to have gone to some lengths to get IMAX signage up, I notice the planning application for a “high level” sign (visible from the Coventry Street approach) was rejected but one has been installed nevertheless, so I assume it went to appeal.
One also has to also wonder if IMAX were aware of the potential booking situation, as the Empire is cited by them as being of their “landmark” installations in a world-famous location and is one of the venues due to be equipped with their laser projectors. I imagine that it remains to be seen how this plays out; the current situation is at best absurd.
The former Screen 1 had premium ticket prices, e.g. the “£9.95 all day” offer is/was only valid for Screens 4-9.
AFAIK the cost of the IMAX/IMPACT conversion was £4m.
The above-linked BBC article states that “the tower of the OLS… still stands today… despite not being listed.”
This is, of course, true, but since Leicester Square is a conservation area, the frontage is afforded some protection. I suspect an OWE-like scheme for the OLS would go down like the Titanic.
All of these issues—IMAX exterior branding and potential confusion—occur with all multi-screen venues with a single IMAX screen. The strategy of IMAX Corporation in recent years can be questioned, but there is plenty of upside.
Of course, Empire used to have a THX sign attached to the marquee, and that did not mean all screens were THX-certified!
Non-IMAX films aren’t advertised as “IMAX” presentations and Empire’s IMAX screen should be listed as “Screen 3.” There seems to be a slight problem with the online booking system in this respect, as when proceeding with the booking it displays “IMAX” as the screen, but on the main listing page all of the IMAX branding is dropped.
As I understand, most IMAX screens play IMAX content for the vast majority of—if not all—presentations. The Empire Leicester Square is unique in having difficulties in obtaining IMAX bookings.
Looking through the “Decision Notice” in the previously linked planning documents, Condition 6 of the Planning Permission states that “the hotel use… must not begin until the cinema has been provided with services and made ready for fit out by the relevant tenant and evidence has been submitted to and approved by the Council…”
I have fond memories of seeing movies in Screen 2. But let’s be fair, the cinema—with its asbestos and crumbling-ceiling laden void areas—not to mention the rest of the block—is long overdue for an overhaul.
In my view, however, this scheme is a missed opportunity, as the two screens are almost the minimum option, being tucked away in less than one half of Basement Level 2. If only slightly more space had been allocated! Granted, services and structural considerations may render that impossible.
One might anticipate that Odeon will install a 50ft. wide screen in the larger auditorium and brand it an “iSense” screen…
Finally some good news after much speculation! I assume this means that the ‘Dutchess’ will be kept.
Not sure what there is to ‘expensively’ refurbish in the auditorium other than upgrading the seats—perhaps some carefully integrated elements to control the acoustics? I don’t understand how Dolby Atmos could be installed without eliminating the rear stalls. The only option I can see is to have two levels of side and ceiling speakers, with the lower level time aligned/delayed with the upper, and careful choice and positioning of the upper speakers. Still would seem to be an audio scrambled egg in the making!
I do hope the current bland foyer areas will be completely reimaged.