LITERATURE STUDY
WHAT IS A MULTIPLEX ?
A multiplex is a movie theatre complex with multiple screens within a single complex.
They are usually housed in a specially designed building.
FIRST EVER MULTIPLEX
• The first theatre in the world exclusively devoted to showing motion pictures was the
Nickelodeon, which was opened on June 19, 1905 in Pittsburgh, Penn.
• In November 1988, Cinepolis Brussels opened with 25 screens, and is often credited as being
the first "megaplex".
• On December 30, 1996, AMC Ontario Mills 30, a 30-screen theatre, opened in Ontario,
California, and became the theatre with the most screens in the world.
• The World's Largest Cinemas. Cinepolis Madrid has 25 screens, and can sit 9,200
viewers. Cinepolis Madrid, based in Spain, holds the title of the largest cinema complex in
the world.
A HISTORY OF FILMS IN INDIA
THE ORIGIN OF THEATERS IN INDIA
• The first cinema halls, commonly known as ‘film theatres’ or ‘picture palaces,’
were constructed in the European-dominated business districts, against the backdrop
of a burgeoning freedom movement against colonial occupation.
• The first permanent cinema hall in India in 1907, the Elphinstone Picture Palace in Calcutta,
and the 1997 opening of the multiplex PVR Anupam in Delhi.
• So film theatres continued to be built, despite the active discouragement of the colonial
government.
• The latter refers to the two types of picture-houses – one that exclusively showed “Western
films” catering to Europeans, Anglo-Indians and educated Indians, and the other which
catered wholly to native Indian audiences, showing a mix of “Western” and Indian films
• The number of “permanent working cinema-houses”, all concentrated in the provincial
capitals and towns of British India, increased from 148 in 1921 to 309 in 1928 (with Bombay
leading the list with 77).
• Theatres continued to remain in short supply, as from 1948-56 the Indian government
mandated a moratorium on the construction of non-essential buildings, which included
cinema halls, because of the short supply of building materials.
• The 70s cinema, geared towards the dominant demographic of large single screen theatres,
displayed an overriding preoccupation with the concerns of the working classes.
THE LIBERALISATION ERA AND THE MULTIPLEX
• In July 1991, the Indian government embarked on a policy of liberalization that sought to
leave behind the Nehruvian socialist framework of the Indian economy and open itself out to
the forces of a global free market.
• All these contributed to “a new economic logic for film exhibition that made the multiplex
cinema a viable proposition in India” .
01
• The number of “permanent working cinema-houses”, all concentrated in the provincial capitals
and towns of British India, increased from 148 in 1921 to 309 in 1928 (with Bombay leading
the list with 77).
• Theatres continued to remain in short supply, as from 1948-56 the Indian government
mandated a moratorium on the construction of non-essential buildings, which included cinema
halls, because of the short supply of building materials.
• The 70s cinema, geared towards the dominant demographic of large single screen theatres,
displayed an overriding preoccupation with the concerns of the working classes.
• The multiplex boom that jumpstarted with the opening of PVR Anupam in 1997 continues to
this day.
• The success of PVR Anupam prompted other multiplexes to pop up in the major metropolitan
cities of India, with leading business houses jumping on to this profitable sector and expanding
into production, distribution and exhibition.
THE FIRST MULTIPLEX IN INDIA
• The multiplex arrived in India in the middle of 1997, opening its doors to an audience that until
then had only known single screen theatres.
• Priya Village Roadshow (PVR) Cinemas is one of the biggest silver screen chains in India. The
organization, which started as a joint endeavour between Priya Exhibitors Private Limited
and Village Roadshow Limited, started its operations in June 1997 with PVR Anupam in Saket,
India's first multiplex.
FIRST MULTIPLEX IN HYDERABAD
• Prasads IMAX of the L.V.Prasad group, was inaugurated on July 25, 2002 at the premises of the
historical Hussain Sagar Thermal Power Station, after its demolition. IMAX leased its
projection system to Prasads on a 33-year lease for $4.5 million.
• As of 2017, the IMAX official website has removed its name from the list of IMAX theatres in
India, stating that Prasads is no longer an IMAX theatre.
PRESENT-DAY SCENARIO
• PVR Cinemas is India’s largest multiplex chain with 497 theatres
across India; the rest of the market is shared between three other
operators: Inox Leisure, Carnival Cinemas and Cinepolis (KPMG–
FICCI Report 2016 100).
• In 2016, nineteen years after the opening of PVR Anupam, the Indian
exhibition sector is dominated by four key players – PVR Cinemas,
Table no. : 2.0
INOX Leisure, Carnival Cinemas and Cinepolis – who control 1469
multiplex screens between them .
• Technological evolution and innovation has become a growth driver for the exhibition industry,
such as the expansion of online ticketing platforms (from 6 percent in 2006 to 32 percent in
2015).
• And the adoption of newer technologies like “high-tech motion seats which are synchronised
with the on-screen action to heighten audience emotion”, called 4DX, and Dolby Atmos’
immersive audio and laser projection .
MULTIPLEX
LITERATURE STUDY
THE EFFECTS OF MULTIPLEX ON SINGLE SCREENS
• According to statistics made available by the Film Federation of India, which conducted a
census in 2010, the number of single screen theatres has dwindled to 10,167 from 13,000 over
the past five years.
• In the span of a single year in 2010, more than 1000 single screen theatres downed their
shutters because of compounding losses.
• The KPMG-FICCI Report of 2016 notes that in the Indian state of West Bengal, over a
hundred single screen theatres have shut down over the last one and a half years.
DATA COLLECTION
REQUIRED SPACES IN A THEATER
MULTIPLEX :
• “Multiplex Complex” shall mean an integrated entertainment and shopping center / complex
or a shopping mall and having atleast (3) cinema halls/screens.
• Apart from cinema halls ,the entertainment area may have restaurants , cafeteria , fast food
outlets , videogames parlous, pubs , bowling alleys , health Spa/centers , convention centers
,hotels and other recreational activities.
Site requirements for MULTIPLEX complexes:
• The minimum size of the plot for a Multiplex shall be 3000 sq.m
• The minimum abutting road width for a multiplex shall be 18 m existing. The abutting road
has to be black-topped with min 2-lane carriageway. Service roads are required for sites
abutting 30m and above roads shall be allowed only through service road. The width of the
service road shall be undertaken by the owners of such buildings to the extent of the width of
their site.
ALROUND SETBACKS
The minimum all round setbacks for a multiplex complex shall
be as follows :
• Provided the maximum height of the block/portion where in
the multiplex screens are set up shall not exceed 30 metres.
• Provided in case of sites located in Gram panchayat areas and
outside UDA areas, the maximum height of all blocks
permissible shall be 30m. Table no. : 2.1
• Provided that for heights of blocks above 30m upto 45m,the minimum abutting road width
shall be 24 m while for blocks of height above 45m ,the minimum abutting road width shall
be 30m.
DESIGN THESIS 15091AA005
02
LOCATION CRITERIA
• The requirement of furnishing traffic impact study and based on the traffic impact study a
traffic management plan for such complex will be required to be undertaken through a qualified
consultant.
• NOC from the police department (Traffic) and Director-General of Fire services will be a Pre-
requisite for considering the building permission by the Building approving authority.
• Multiplex complexes shall not be allowed in congested areas and settlement areas / a Abadi
/gram Khantam areas, in areas restricted for High-rise buildings and abutting major road
junctions.
• Multiplex complexes shall not be allowed in purely residential areas/localities.
• Where zoning regulations of a statutory plan/scheme are in force , multiplex complex site
location shall be governed as per such zoning regulations.
• Multiplexes may be permitted in zone or scheme declared as tourism zone/area along with
other recreational facilities.
• Government may by Notification, declare certain roads in any UDA/Local area where
multiplex Complexes shall not be allowed.
RESTRICTION OF BUILDING ACTIVITY IN THE VICINITY
OF CERTAIN AREAS:
Water Bodies
• No building / development activity shall be allowed in the bed of water bodies like river or nala
and in the Full Tank Level (FTL) of any lake, pond, cheruvu or kunta / shikam lands.
• Unless and otherwise stated, the area and the Full Tank Level (FTL) of a Lake / Kunta shall be
reckoned as measured and as certified by the Irrigation Department and Revenue Department.
• The above water bodies and courses shall be maintained as Recreational/Green Buffer Zone
and no building activity shall be carried out within:
1. 100m from the boundary of the River outside the Municipal Corporation / Municipality /
Nagara Panchayat limits and 50m with in the Municipal Corporation / Municipality /
NagaraPanchayat limits. The boundary of the river shall be as fixed and certified by the
Irrigation Department and Revenue Department.
2. 30m from the FTL boundary of Lakes / Tanks / Kuntas of area 10Ha and above.
3. 9m from the FTL boundary of Lakes / Tanks / Kuntas of area
less than 10Ha / shikam lands.
4. 9m from the defined boundary of Canal, Vagu, Nala, Storm
Water Drain of width more than 10m.
5. 2m from the defined boundary of Canal, Vagu, Nala, Storm
Water Drain of width up to 10m.
MULTIPLEX
DESIGN THESIS 15091AA005
DATA COLLECTION
PARKING
The parking requirements within the site shall be as follows.
Table no. : 2.2
RAMPS :
• The ramp to basement and parking floors shall not be less than 7.2m wide for two way traffic
and 4 m wide for one way traffic, provided with Gradient of 1:10 for cars and 1:15 for heavy
vehicles. At curved portions of the ramp or for circular ramps the slope should not be more
than 1:12.
• Ramp may also be provided in setback area which can be sloped considering unhindered
movement of fire Engine and in no case the gradient shall be less than 1: 10.
• All structural design/safety aspects as per latest BIS Codes & NBC, 2005 shall be complied
along with consideration of weight of Fire Engine & its maneuverings.
• Ramps shall lead directly to outside open space at ground level or courtyards or safe place.
BASEMENTS
• Basement shall be permitted within the setback lines subject to clearance from local
bodies/departments concerned, Municipal Corporation and Fire Department. Where there are
no setbacks, basement should be permitted after leaving 2 m and where there is setback, it
should be after leaving required 6 m from plot boundary ( as per provisions of development
control norms of Master Plan of Delhi).
• Each basement shall be separately ventilated. Vents with cross-sectional area not less than 2.5
percent of the floor area spread evenly round the perimeter of the basement shall be provided
in the form of grills or breakable stall board lights or pavement lights or by way of shafts.
Alternatively, a system of air inlets shall be provided at basement floor level and smoke
outlets at basement ceiling level. Ducts to convey fresh air to the basement floor level have
to be laid. Stall board and pavement lights should be in positions easily accessible to the fire
brigade and clearly marked ‘SMOKE OUTLET’ or ‘AIR INLET’ with an indication of area
served at or near the opening.
• The staircase of basements shall be of enclosed type having fire resistance rating . The
staircase shall be situated at the periphery of the basement to be entered at ground level only,
from outside open air. The staircase shall communicate with basement through a lobby with
self-closing doors with fire resistance rating.
MULTIPLEX
03
For travel distance table given below shall be followed. If travel distance exceeds that
given in the table below, additional staircases shall be provided.
Notes:
1. For fully sprinkled building, the
travel distance may be increased by
50% of the values specified above
2. Ramps shall be counted as one of
the means of escape wherever
permitted in National Building Code
2005.
Table no. : 2.3
PROJECTION ROOM:
• Minimum room size : 6.5 x 2.8 x 2.8 (W x D x H).Projection window size approx. 150/250 x
50 cm(one or two projectors) Film can be supplemented by video projectors , and space should
also be provided for horizontal film tray equipment and control desk.
• The platform under the projectors should be vibration-free. A noise level of approx. 75dB must
be damped to 30 dB by the projection window. The working temperature should not exceed
22° C in order to protect film copies and equipment.
• The usual code requirements are 48 sqft for the first projection machine and 24sq ft for each
additional projector. Dimensions based on necessary clearances around Projectors are to be
provided. Optimum auditorium
Fig. no. : 2.0 Fig. no. : 2.1
• Film widths of 16mm , 35mm and 70 mm. The centre of the projected beam should not deviate
more than 5° horizontally or vertically from the centre of the screen.
• Conventional systems use two projectors in a superimposing operation. Nowadays ,automatic
operation with only one projector using horizontal film plates provides no break film
presentations with 4000m spools. This system is sometimes used with several projection rooms
and remote control from projection and control points .The film automatically gives control
signals for all the functions of the projector , lens changes ,auditorium lighting, stage lighting ,
curtain and picture cover.
• Picture size depends on the distance of the projector from the screen ; height/side ratio is
1:2.34(cinemascope) or from the middle of the last row of seats to the outer edge of the picture
should be at most 38˚for CinemaScope. The ratio of the spacing of the last two row of seats to
the projection screen should be 3:2.
• Projection screen : Minimum distance of projection screen from wall in the case of THX is
120cm,according to theatre size and system reducible to 50cm with respect to the sound system
configuration.
• The projection screen is perforated (sound-permeable).Movable blinds or curtains limit the
projection screen to the side for the same picture height.
DESIGN
THESIS
15091AA005
DATA COLLECTION 04

PROJECTION LENSES SUBSIDARY ROOMS :

• When a new theatre is proposed it is important to determine at the outset the lens requirement
• These are to be provided as required :offices for the manager, secretary and employees ,
for the various film systems to be projected .
archive ,IT room ,staff rooms ( changing rooms , ladies ‘ and gents ‘WC’s, staff rest rooms.)
• This information will determine the location of the projection room . The better lenses have
• For the foyer and food/drinks area : catering stores , counter stores, cool room, room for
greater focal lengths and require longer projection distances.
empties, rubbish room, cleaning equipment room, stores for cleaning firm and decoration.
SCREENS
PICTURE MASKING
• All screens are perforated to allow for sound transmission from speakers placed behind the Human-figure dimensions used in
screen . (A depth of 5 ft should be provided behind the screen for the speakers .) • The most common method for masking the projected picture is to determining sight-line clearances.

• All screens are vinyl plastic with a diffusive surface or a coated surface to increase light
reflection .
• Lenticulated screens are also available . The screen material must be selected in accordance
with the shape of the seating pattern and the strength of the projector light source .
SCREEN SIZES
• Large projection screens are curved with a radius cantered on the last row of seats. The lower
edge of the projection screen should be at least 1.20 m above the floor.
• The audit0orium should have no outside light other than emergency lighting. Walls and
ceiling are made from non-reflective materials and in not too bright colours. Spectators
should sit within the outside edge of the screen. The viewing angle from the first row of seats
to the centre of the picture should not exceed 30 ˚.
Screen formats for the same screen height. Screen formats for the same screen width.
use a matte black surround . This is the simplest and least expensive
way to absorb the fuzzy edges of the projected picture . These
maskings may be in the form of a curtain that can be adjusted to
mask various picture widths .
• Another method is to use specially designed walls and ceiling that
meet the picture edges . Instead of black trim, the masking is
luminous from light reflected from the screen and blends with the
projected picture .
Fig. no. : 2.6
• If Cinemascope and 70 mm film are tube used in one theatre, the luminous masking frame
must be the same size for both systems, in which case a compromise is made by accepting a
somewhat larger CinemaScope picture and a somewhat smaller 70 mm picture .
• A compromise in the aspect ratio of the screen shape must also be made .
• The aspect ratio for 70 mm screen is 1 to 2 .22(height to width) . For Cinemascope, the aspect
ratio is 1 to 2 .34 .
• The Cinemascope frame con be cropped in the projector aperture to conform to the 1 to 2 .22
aspect ratio without any meaningful loss of Cinemascope picture material .

ONE ROW VISION

• The slope of the main-floor seating would also be increased for one-row vision . One-row
vision provides unobstructed vision over the heads of persons in the row immediately ahead .

Fig. no. : 2.3 Fig. no. : 2.4

SCREENS AND PROJECTION OPTICS
• A slight curvature in the width of the screen and
semi matte screen surfaces are used to increase
screen light reflection and to provide better
dispersed screen illumination
• This extra light is necessary for the larger screen
sizes . The curvature should have a radius equal to
about 1 1/4 times the projection distance .
TWO ROW VISION
• Two-row vision is not ideal, but it is acceptable and permits milder slopes and the inclusion of
Method viewing distance and maximum an upper level of seats . Two-row vision is made more acceptable by staggering the seats to
width of seating pattern.
permit view between the heads of the persons in the row immediately in front .
• With two-row vision the heads of all persons two or more rows in front will not obstruct any
view of the screen .
• Two-row vision is further improved by using the widest chairs(and therefore the widest space
between heads) in the rows nearest the screen .
• The view between heads is usually too narrow in the front rows where two-row vision is used .
Minimum seat widths should be 20 in . for the rows farthest from screen .
Fig. no. : 2.5

MULTIPLEX
DESIGN
THESIS
15091AA005
DATA COLLECTION 05

TICKET BOOTHS / CASH DESKS

Height of screen above floor at first row of seats. Methods of obtaining wider spacing for chairs nearest screen.

• Near the entrance . 5 sq.m / cash desk. For 2500 seats : approx. 6-8cash desks.
• The location of the ticket booth depend son the space available, the character and direction of
street and pedestrian traffic, and the volume and habits of patronage .
• The ticket booth may be isolated (as an island), centered, or included in the corner of the
entrance . It should, of course, be readily identified with its function . In metropolitan areas,
ticket booths are almost universally placed as close to sidewalks
as building codes permit in order to attract casual passers-by .
Fig. no. : 2.8
• In suburban and other centres where patrons leave their homes with the express purpose of Methods of obtaining wider spacing for chairs nearest screen.
attending the cinema, ticket booths may be removed from sidewalk lobbies and placed either
within secondary lobbies or in foyers . Fig. no. : 2.7
• It is possible to adopt a continental custom-use of an open counter located conveniently to the
manager's office-in an effort to achieve an "intimate" atmosphere .
• When operated by only one person an area approximately 4 by 4 by 8 ft is adequate ;for
larger theatres, where there are generally two ticket sellers, clearances are required. Space is
required for change makers and electrically or manually operated ticket dispensers. Fig. no. : 2.9
ROW SPACING AND AISLES
LOUNGES Minimum spacing between rows should be 34 in ., with 1-in .-thick chair backs .Greater chair- back thickness is wasteful and unnecessary.
Where 40 to 42 in . can be used for row spacing, many building code authorities permit the elimination of all longitudinal aisles other than the aisles agai
• Lounge areas, on either level, serve to separate These
the toilets from
codes, the theatre
however, seating.
require frequent exit doors along the wall aisles for this type of seating . The capacity is about the same for the 34- and40-in . spac
• For capacities of over 600 seats, at least two lounge areas should be provided and
The 40 " . seating scheme is sometimesarranged so "continental seating" because of its popularity in Europe .
termed
as to be partially or wholly visible from the lobby,
Thefoyer,
extraor circulating
comfort areas.egress afforded by this arrangement account for its increasing use .
and safer
• It is also desirable to have some part of the lounge command a view of both seating and
screen in order that waiting patrons may follow seat availability as well as performance
progress .
THEATER AUDITORIUM FLOOR SLOPES

• Unit of reference in motion picture theatre design is projection screen width, W.

• Distance from screen to first row of seats should be no less than 1 W Best viewing distance is
zone 3 W to 4 W; next in desirability are areas 2 1/2 W to 3 W,and4 W to 4'/2 W.
HANDICAPPED SEATING
Wheelchair seating space at aisles. Sight lines may be interrupted by wheel chair persons because wheelchair seat is higher than fixed seats. This may be overcome diagonal or other chair arrangement.
FLOOR GRADIENT & STAIRS :
Example of a Small theatre
• The floor gradient is achieved by an inclination of up to 10%
• By the use of steps with a maximum step height of 16 cm and with aisle widths of 1.20m

FLOOR SLOPES AND SEATING

• In the design of floor slopes and upper level steppings for cinema seating, it is necessary to
establish the physical dimensions of the seated patron and standards for vision of the screen
image .
• Most important is elimination of objectionable screen obstruction caused by persons seated in
front of the viewer . For best dramatic impact, the bottom of the projected picture should be as
Fig. no. : 2.10 Fig. no. : 2.11
close as possible to the floor under the first row of seats.

MULTIPLEX
DESIGN THESIS 15091AA005
 DATA COLLECTION 06

ring long performances. For this reason it is preferred that wheel chairs be located where floor can be remain level at cross aisles.
(c) Level floor may be used by non-handicapped with portable seating.
(b) Front and rear of theatre , or in boxes to the side.
Fig. no. : 2.13 Fig. no. : 2.14
wall is held 18” in away from top of seatback, wheelchair can park as shown without blocking row.
Seating space requirements for braces and crutches.
Wheelchair seating space at cross aisle.
Fig. no. : 1.2
• Placement choices are : first, at the junction of ceiling and side walls ; second, on the ceiling;
and third, on the side walls .The sidewalls rarely offer an acceptable location because, here,
even low intensities are often objectionable .
• Lighting during a performance should consist of a low-intensity, evenly diffused bath of light
completely covering all surfaces in view, rather than either complete darkness or spotty
lighting . In considering the utilization of screen reflected light, it is important that areas
immediately surrounding the screen should not cause a lack of clarity in the projected image .
Surfaces closest to the screen can be shaped, finished, and related to the screen surface so as to
enhance the picture.
EMERGENCY LIGHTING
• Emergency lighting generally must be provided separately . Where separate service lines are
available, one may be used with an emergency motor generator . Alternative means of
providing energy are battery systems kept charged automatically ,gasoline , Diesel or gas
engine generators.
• Exit signs are connected to the general emergency lighting circuit and should be legible from
any point viewed . Lettering usually a minimum of 8 in . high . All circulation areas, including
foyers, lounges,and lobbies should likewise be on the emergency circuit .

Fig. no. : 2.16 TOILETS

Fig. no. : 2.15
Fig. no. : 2.17
Recommended minimum toilet fixture requirements Sanitation Requirements for Assembly Occupancy Buildings (Cinema,
ating space requirements for braces and crutches. are as follows : Theatres, Auditoria. Etc.)

Fig. no. : 2.19

Note:
or other rare occasions. i) One water tap with draining arrangements
shall be provided for every 50 persons or
part thereof in the vicinity of water closets
; and urinals.
Table no. : 1.2
ii) It may be assumed that two thirds of the
e surface to be illuminated; and
ns . number is males and one third females.
alf of the auditorium by screen-reflected light . The rear portion must be illuminated by other light sources, placed so that the source is not within the spectators' normal range of vision .

MULTIPLEX
DESIGN THESIS 15091AA005
DATA COLLECTION 07

LIFTS • Handrails shall be provided with a minimum height of 0.9m from the centre of the tread.
• The minimum headroom in a passage under the lading of a staircase and under the staircase
General requirements of lifts shall be as follows: shall be 2.2m.
• No living space, store or other fire risk shall open directly into the staircase or staircases.
• All the floors shall be accessible for 24 hours by the lifts. The lifts provided in the buildings • External exit door of staircase enclosure at ground level shall open directly to the open spaces
shall not be considered as a means of escape in case of emergency. In a dual line arrangement or can be reached without passing through any door other than a door provided to form a
(lifts opposite to each other) the lobby may be between 1.5times to 2.5 times the depth of one draught lobby.
car. For in-line (single line) arrangements the lobby may be typically half of the above
recommendations. ACOUSTICS
• The lift machine room shall be separate and no other machinery shall be installed there in.
• Walls of lift enclosures and lift lobby shall have fire rating of 2 hour; lifts shall have a vent at • Neighbouring auditoriums should be separated with portioning walls of approximately 85dB
the top of area not less than 0.2 sq.m. 18-20000Hz.
• Lift car door shall have a fire resistance rating of 1 hour • Acoustic deflecting surfaces on the ceiling with low acoustic delay difference time. The
• Collapsible gates shall not be permitted for lifts and shall have solid doors with fire resistance reverberation time can increase with increasing room volume and decreases from 0.8-0.2
of at least 1 hour. seconds from low to high frequencies .
• If the lift shaft and lobby is in the core of the building, a positive pressure between25 and 30 • The rear wall behind the last two rows of seats should be sound absorbent to prevent echo.
Pa shall be maintained in the lobby and a positive pressure of 50 Pa shall be maintained in the • The loud speakers should be distributed around the auditorium so that the volume difference
lift shaft. The mechanism for pressurization shall act automatically with the fire alarm; it between the first and last roof seats does not exceed 4dB.
Permitted reverberation time Reverberation time with respect to
shall be possible to operate this mechanically also. depending room volume
Permitted noise level
• Lifts if communicating with the basement, the lift lobby of the basements shall be pressurized on frequency.
with self-closing door with fire resistance rating. Telephone or other communication facilities
shall be provided in lift cars and to be connected to fire control room for the building.
STAIRWAYS

• A staircase shall not be arranged round a lift shaft.

• The staircase shall be ventilated to the atmosphere at each landing and a vent at the top; the
vent openings shall be of 0.5 sq.m in the external wall and the top. If the staircase cannot be
ventilated, because of location or other reasons, a positive pressure 50 Pa shall be maintained
AIR-CONDITIONING
inside. The mechanism for pressurizing the staircase shall operate automatically with the fire Air-conditioning shall conform to the following:
alarm.
• The roof of the shaft shall be 1 m above the surrounding roof. Glazing or glass bricks if used • Escape routes like staircases, common corridors, lift lobbies, etc. shall not be used as return air
in staircase, shall have fire resistance rating of minimum 2 hour. passage.
• Wherever the ducts pass through fire walls or floors, the opening around the ducts shall be
• The minimum width of treads of Minimum width of staircase for different types of buildings sealed with materials having fire resistance rating of the compartment.
assembly buildings the minimum tread • Where duct crosses a compartment which is fire rated, the ducts shall be fire rated for same fire
shall be0.3m. rating. Further depending on services passing around the duct work , which may get affected in
• The treads shall be constructed and case of fire temperature rising, the ducts shall be insulated. Metallic ducts shall be used even
maintained in a manner to prevent for the return air instead of space above the false ceiling.
slipping. • The materials used for insulating the duct system (inside or outside) shall be of non
• The maximum height of riser shall be combustible material; glass wool shall not be wrapped or secured by any material of
0.15m in the case of assembly buildings combustible nature
and shall be limited to 15 risers per • Air ducts serving main floor areas, corridors, etc. shall not pass through the staircase enclosure.
flight. Table no. : 1.2
• The air-handling units shall be separate for each floor and air ducts for every floor shall be
separated and in no way inter-connected with the ducting of any other floor.

MULTIPLEX
DESIGN THESIS 15091AA005
 DATA COLLECTION 08

REQUIREMENTS FOR A DOME THEATER

TYPES OF DOMES

HORIZONTAL DOME TILTED DOME

AUDIO SYSTEM
Sound adds a vital dimension to a planetarium in the form of music, narration, and sound effects.
Audio systems range from the very simple to super high quality multi-channel systems rivaling those in state of the art live th

es are carefully-formed aluminium sheets with millions of small holes. The holes allow sound and air to flow unimpeded to the audience. The reflectivity of the paint on the sheets is carefully matched with the

e at a greater angle than the back rows.

backs or adjustable angle seats.

ecessary for cleaning and maintenance, very subtle aisle and step lighting is necessary for safety during programs. View of a dome theatre.

MULTIPLEX DESIGN THESIS 15091AA005

 DATA COLLECTION 09

• CJ 4DPLEX brings 4DX auditoriums to exhibition partners both major Hollywood

Digital Domes blockbusters and local titles. 4DX is limited to 2D or 3D.
a) Portableb) Classicc) Tilted dome d) Gaint screen dome.

WHAT IS 4DX ??

• 4DX is a motion picture technology owned and developed by South Korean company CJ
4DPLEX, a part of the CJ Group. 4DX allows a motion picture presentation to be augmented
with environmental effects such as seat motion, wind, rain, lights, and scents along with the
standard video and audio.

THE INNOVATION OF 4DX

• Originality in Creating an Entirely Different Movie Experience

• Movies are no longer confined to the screen. 4DX draws you into the movie as if you’re living
inside its world. They provide the largest number of multisensory signature effects. With 21
different kinds of signature effects, 4DX creates the most outstanding environment for movies.

4DX FEATURES
• HEAVE – UP
AND DOWN • BUBBLE
• ROLL - LEFT AND • FOG
RIGHT • WIND
• PITCH –FORWARD • RAIN
AND BACK • STROBE
• SWAY+TWIST- MOVE • SNOW
4dx Theatres SIDE TO SIDE • RAINSTORM
• TICKLER • WARM AIR
• VIBRATION • AROMA
• FACE AIR
• WATER
4DX Theatres

• World`s first 4DX was opened in Seoul , Korea in 2009.

• First 4DX of South America was opened in Mexico in 2011.
absolute cinema experience • First 4DX of Middle East was opened in Israel in 2012.
4D X • First 4DX of Europe was opened in Hungary in 2013.
• First 4DX of North America was opened in United States in 2014.
• First vibration,
ng cinematic experience that utilizes all five senses, allowing the audience to connect with movies through motion, 4DX of West Europe
water, was
wind, opened
snow, in United
lightning, Kingdom
scents, in 2015.
and other signature effects that enhance the v
• First 4DX of Oceania was opened in Australia in 2017.
Moviegoers can enjoy 4DX at more than 370 theatres in 47 countries.

MULTIPLEX
DESIGN THESIS 15091AA005
 DATA COLLECTION 10

Content

• From action packed blockbusters to adventure, horror, and even animation, all films can be
enjoyed in 4DX.
• In addition to movies, other acclaimed 4DX content include concerts, documentaries, and
commercial ads.
• This unique cinematic experience has created a demand that grows more and more each year.

Studio Relation
4DX SEATS
4D X SCREEN • 4DX Maintains a close working relationship with major Hollywood studios and brings the best
THE EVOLUTION titles to its network of 4DX screens.
• The 4DX experience is gaining recognition as an unparalleled movie-going experience.
Silent Digital Movie 3D • More than 500 Hollywood blockbusters and local titles have been released in 4DX.
Movie
FILM
Movie 4DX UNIVERSAL WARNER BROS. WALT DISNEY
PARAMOUNT 20th CENTURY FOX DREAMWORKS
LIONGATE SONY

N x
first multi- projection theatre technology that provides moviegoers with a 270-degree panoramic viewing experience by expanding the screen onto the side walls of the auditorium.
e experience that pulls you into the world of your favourite films like nothing before.

THE GLOBAL IMPACT OF 4DX

absolute cinema experience
• For the first time in the world, 4DX has widely spread the 4D movie experience trend in many
21 Stunningly Realistic Effects countries. Since 2009, over 640 Hollywood blockbusters titles and local films have been
screened in 4DX, surpassing 76 million moviegoers to date.
• 4DX has been proactively expanding its market share around the world. As of March 2019,
there are more than 72,000 4DX seats located at 620 sites in 62 countries. 4DX continues to
deliver 4DX technology around the world, partnering with a number of global multiplex
exhibitors.
Hardware
• 4DX motion chairs are equipped with the AC Servo Motor, which allows for precise
g 4D cinema brands. Our cutting-edge technology combined with quality, and distinctive, multisensory effects set 4DX apart as an industry leader.
movement and speed control. The result is that the motion system is able to sync with a variety
of movies without any lag in movement caused by the hydraulic system. With this advanced
system in place, the perfect union between motion and content is realized.

MULTIPLEX
DESIGN THESIS 15091AA005
 DATA COLLECTION 11

The I M A X Difference
nal 4DX editors to create precise synchronicity between 4D effects and movie scenes, and seamlessly deliver content to audiences around the globe.
• As soon as you walk into an IMAX theatre, the difference in this format is immediately
obvious -the screen is gigantic! There are two different types:
• The difference between IMAX and regulars is the screen ratio. For IMAX the screen ratio is
97′ wide by 76′ high and that of regular screens is 58′ wide by 28′ high. As a result of this,
4DX THEATER Types : 4DX PERFORMANCE the picture quality and frame coverage will be at a higher standard.
PRIME 2010 - 700 thousand audience members experienced 4DX. • IMAX theatres - A standard IMAX theatre has a huge rectangular screen. A typical IMAX
PRO 2011 -1.6 million audience members experienced 4DX. screen is 16 meters high by 22 meters wide (approximately 52 by 72 feet), but they can be
STANDARD 2012 -world’s best theatre chosen by CNN. much larger. The largest IMAX screen is 30 meters (98 feet) high. Imagine standing next to an
ECONOMY 2013 -6.0 million audience members to experience 4DX. eight-story apartment building that is wider than it is tall. That's how big the screen is! It is
2014 -Cinema Innovation of the year awarded by I3DS. many times larger than the screen at a normal movie theatre.
2015 -30 million audience members experienced 4DX. • IMAX domes - An IMAX dome provides a hemispherical screen that wraps the entire
2016 -45 million audience members to experience 4DX theatre. Domes can be up to 30 meters in diameter.
• Whether you are in a theatre or a dome, the effect is amazing. The screen is large enough to fill
your field of vision. By doing this, the screen gives you an incredible feeling
of immersion (there is nothing outside the film to distract your attention), and it also enhances
the feeling of motion. In fact, the feeling of motion is so strong that it makes some people ill.
• In order to fill this gigantic screen with a clear picture, IMAX films are shot and printed on
huge film stock that is completely unique in the industry.
• Most films that you see in a theatre come in a 35-millimeter format. The frame is 35
millimetres wide, and nearly square. But movie screens are not square -- they are very wide for
their height. So the wide image is compressed into the 35-millimeter frame and expanded by
I M A X DOME the projector to fill the screen.
I M A X : IMAGE MAXIMUM • Some theatre films come in a 70-millimeter format. This format provides roughly double the
resolution, and the frame is naturally the width of the screen so there is no compression.

mm film is projected through a fisheye lens on to a hemispherical screen.

s in front of the lens so that the image is oriented perfectly in front of the lens. REEL SIZES FOR DIFFERENT SCREENS

normal projector in order to let more • IMAX film is called the 15/70 film format. Each frame is 70 millimetres high and 15
tt, water-cooled xenon unit. perforations wide. In other words, the film size is about 10 times bigger than standard 35-
ojector weighs over 2 tons (1,800 kilograms) -- the equivalent of a small car! That's what it takes to get such a millimeter
bright, clear image
film. Thisonto
filmsuch
sizeagives
tremendous
an IMAXscreen.
movie incredible clarity, even on the huge
screens in IMAX theatres.
• In an IMAX projector, the film is so heavy and large that a projector cannot use a claw to
move it, and it is hard to hold such a big film frame perfectly flat with respect to the lens.
Therefore, an IMAX projector is completely different from a normal projector:

MULTIPLEX DESIGN THESIS 15091AA005

 DATA COLLECTION 12

THEATERS / CINEMAS OUTDOOR SCREENS

arious types of motion picture formats, 35mm being the most popular till digital came along. These numbers refer to the gauge or width of the film.The actual shooting takes place on

aphy, with higher resolution than the standard 35 mm motion picture film format.

8×1080 or 2.2 megapixels) or 4K (4096×2160 or 8.8 megapixels). As digital-cinema technology improved in the early 2010s, most of the theatres across the world converted to digital video projection.

alent to 4K: 35mm Imax film equates to 6K, while 70mm Imax is closer to 12K.
Unlike those super sensitive flat screen televisions, a projector can easily be moved outdoors for an evening of entertainment under the stars.
With your neighbours and friends with larger-than-life films, sports and music — all from the comfort of your own backyard. You can also bring your projec

MULTIPLEX DESIGN THESIS 15091AA005