The project:

The client’s initial ideas were of paramount importance in developing this project. On the one hand, the set of Wes Anderson’s film Grand Budapest Hotel had to be taken into consideration and, on the other, the relationship between the Jayan Cinema and its geographical location – the Port of Javea, or more specifically, the Mediterranean Sea.

In principle, one idea had nothing to do with the other. The set of the Grand Hotel Budapest is classical in order to evoke the Vienna of 1900 with very clear symmetries and a palette of colours that employs mainly peach, gold and olive green tones. The sea, however, is bathed in an almost constant and dazzling yellow sunlight, and reflects an infinite blue, the sea and sky merging into one, often flecked with radiant white light. At first the marriage of these two ideas appeared to be impossible, yet slowly but surely a very interesting relationship began to develop.
Changes to the distribution of the foyer are kept to a minimum. Outside the stairs were extended and the entrance to the cinema set back from the road a little to allow the box office to be positioned outside, in the gap that already existed to the right of the entry porch. However, inside no structural changes are envisaged for the refreshments or screen access areas.

In terms of décor, the entrance changes its look completely. From the façade to the entrance door, the walls are covered in pinky-peach aluminium panelling, a tone that fits in well with the marble stonework on the existing façade of the building. In this way, the entrance to the cinema does not clash with the rest of the façade. The billboards on either side of the entrance seeks to create the symmetry so common in Anderson’s film and the positioning of a large neon sign of classic typography on the overhanging roof helps to frame and enhance the new entrance to the cinema as a whole.

Inside, the foyer invites the spectator, through Anderson and the sea, to set out on an unexpected journey. For a start, the floor. Based on pink marble, cream-coloured marble and gold mosaic tiles, a lineal rhythm of three differing widths evokes the movement of the sea and the stillness of the waves when the sea is calm. The gold mosaic tiles recall flecks of sunlight on the sea. That warm and inviting sea takes us on a voyage towards the auditorium and ‘voyage’ is the word, as the rest of the décor alternates between Anderson and sea. The line of seats to our right could easily be found on board a yacht. There, facing the refreshment counter, we sit and wait for our friends and perhaps have an ice cream, popcorn or other snack before the film starts. This line of seats forms a plinth, above which the rest of the wall is decorated with very simple elements (mirrors, traditional bracket LED lamps and shades, or picture frames), an ambience reminiscent of the Grand Budapest Hotel. Opposite the seats, to the left of the foyer, is the refreshments counter. The leather-lined counter takes its inspiration from the suitcases designed by Prada for Anderson’s film. The area behind the counter, also inspired by the film, has a drinks cabinet of natural wood with a rear mirror. The lighting proposed for the refreshment area is unpretentious, but its modern and gilded style provides the area with a subtle touch, both elegant and simple.
Finally, as far as the foyer is concerned, there is the end wall where the auditorium access door is located. The entire wall is painted champagne colour. The door to the auditorium is to be completely retouched in accordance with the proposed image, to provide it with a tobacco brown tone in line with Vienna 1900 style.

As for the toilets access stairs, one banister is to be of medium-height solid wood and the other a very simple, medium-height chestnut banister. The stairs will continue with the same materials as the floor; pink and cream marble for the steps and risers, with a gold mosaic tile border on each step. On the central landing, the wall is to be painted in wide bands of peach-red and off-white, on which a set of mirrors will be positioned. Taking advantage of its height, a set of Vienna 1900-style lamps will be hung from the ceiling.

The Ladies toilet will be of gold and champagne tones with large in-built mirrors and very traditional sanitary furnishings. The Gents, in contrast, will be more solemn, with blue tiled floor and walls and sanitary furnishings of a more modern, simple and straight-line design.