This House Behind A Bamboo Forest Reveals A Mysterious Cinema | Manila, Philippines

Summary

Sine Pop, established in 2020, is a unique cinema in Manila designed to support independent filmmakers. Architect Justin Guiab, along with Jondi De Guzman, created a space that embraces imperfection with its raw concrete and stone, aiming for humility and honesty. The cinema is discreetly nestled behind an old house in a bamboo forest, promoting a pedestrian-oriented, human-centered design. Features include a fallen tree as a bench, a gallery in the old house, and a 'black box' transition area. The 48-seat cinema uses common fabric for walls to ensure sound quality and comfort. The design philosophy centers on creating a contemplative, connected space that encourages visitors to find peace and relaxation.

Takeaways

• 🎥 Sine Pop was established in 2020 in Manila to provide a space for independent filmmakers and their audiences.
• 🏠 The design philosophy of Sine Pop emphasizes humility and honesty, avoiding a striking facade and aiming for a sense of disappearing into the environment.
• 🌳 The cinema is intentionally hidden behind an old house in a bamboo forest to promote a sense of privacy and security for visitors.
• 🛠️ The use of concrete, stone, and unfinished materials reflects the architectural choice to embrace imperfections and reduce additional costs.
• 🚶‍♂️ The design encourages a pedestrian-oriented and human-centered approach, with a focus on natural light and a reduction in automobile reliance.
• 🪟 Large panoramic windows frame the natural surroundings, creating a cinematic experience even before entering the cinema.
• 🪑 A fallen tree from a storm was repurposed into a bench, showcasing the integration of nature and design.
• 🚾 The toilets feature natural light and ventilation, with small bamboo gardens for a unique and refreshing experience.
• 🏡 The old house was repurposed with original materials preserved, creating a gallery and gathering space with high ceilings and natural ventilation.
• 🎨 The cinema's design, including a gap between the old and new structures and the use of common fabric, focuses on sound isolation and viewer comfort.
• 🌿 The space is designed to evoke a sense of calmness and connectedness, with natural elements and thoughtful architectural details.

Q & A

What was the primary purpose of creating Sine Pop in Manila?

Sine Pop was created in 2020 as a gathering space to support independent filmmakers and provide a venue for showing and watching independent films.

What was the design philosophy behind Sine Pop's architecture?

The design philosophy was to create a space with a sense of humility and honesty, using materials as they are without hiding imperfections, and avoiding a striking facade to blend in with the environment.

Why was the cinema at Sine Pop hidden behind an old house in a bamboo forest?

The cinema was hidden to avoid standing out and to create a sense of privacy and security, aiming to be a haven for introverts and to encourage visitors to use more sustainable transportation methods.

How did the architects, Justin Guiab and Jondi De Guzman, repurpose the existing structures on the site?

They decided to keep the main house and build the cinema behind it due to budget concerns, which led to a unique integration of old and new structures.

What was the significance of the curved wall built at Sine Pop?

The curved wall was built to provide a sense of privacy and security for the cinema, shielding visitors from the outside world and creating a more introvert-friendly environment.

How did the design of Sine Pop encourage a pedestrian-oriented and human-centered space?

The design aimed to discourage car parking in favor of bikes and public transportation, and included features like big panoramic windows to bring in natural light, creating a more human-centered and pedestrian-oriented space.

What opportunity arose from the fallen tree during the construction of Sine Pop?

The fallen tree from a storm was repurposed as a bench, allowing visitors to sit and listen to the sounds of the bamboo forest after watching a film.

How was the lounge area at Sine Pop designed to reflect the honesty and imperfections of the materials used?

The lounge area was designed by stripping off old paints and revealing original columns, keeping all the old materials as they were, including nails and imperfect shapes, to embrace the beauty in ugliness.

What unique features were included in the design of the toilets at Sine Pop?

The toilets were designed with lots of natural light and ventilation, and each toilet includes a small bamboo garden for a unique and calming experience.

How does the design of the cinema at Sine Pop address sound isolation and viewer comfort?

The cinema walls are 400 millimeters thick to isolate outside sound, and the use of common fabric for the wall behind the seats provides comfort, privacy, and allows sound from rear speakers to pass through without distortion.

What was the rationale behind limiting the number of seats in the cinema at Sine Pop?

The number of seats was reduced to below 50 to avoid the need for additional fire exits and sprinklers, simplifying the building requirements and maintaining the intimate and calm atmosphere.

Outlines

00:00

🎥 Sine Pop: A Haven for Independent Cinema

Sine Pop is an independent cinema in Manila, designed by architects Justin Guiab and Jondi De Guzman. The space was created to support independent filmmakers and provide a contemplative environment. The architects chose to use humble and honest materials like concrete and stone without paint or tiles, embracing imperfections. The cinema is discreetly located behind an old house in a bamboo forest, aiming for a non-intrusive presence. A curved wall was built for privacy and security, and the space is designed to be a haven for introverts, shielding them from the outside world. The bamboo forest, initially planned as a car park, was preserved to encourage eco-friendly transportation. The cinema features large panoramic windows that frame a fallen tree trunk, enhancing the movie-watching experience. A fallen tree from a storm was repurposed as a bench, and the lounge area was stripped to its original materials, preserving the character of the old house. The design philosophy emphasizes the beauty in the raw and the old, creating a space that feels both calm and connected to nature.

05:01

🏡 Transforming the Old House into a Cultural Space

The old house at Sine Pop was transformed into a gallery and gathering space, maintaining its original high ceiling and natural ventilation. The use of capiz shell windows adds a local touch, framing both the bamboo and a concrete wall that initially seems unattractive but is revealed to be part of the cinema's design upon closer inspection. A large painting by Mark Andy Garcia in the gallery adds a narrative element, enhancing the cinematic experience. The transition from the old house to the cinema is marked by a 'black box' and a bridge that doesn't touch the house, isolating sound and vibrations. The cinema itself has 48 seats, with walls made of 400mm thick concrete for sound isolation and fabric for comfort and sound quality. The design also includes a thoughtful use of space, such as a small garden under the stairs and a congregation area outside the fire exit, which can be used for various events. The architects believe that architecture, like films, can transport people to another world, and they aim to create spaces that feel full despite their simplicity.

10:04

🌿 A Space for Reflection and Inner Peace

The final paragraph of the script emphasizes the importance of creating a space that encourages visitors to pause, rest, and reflect. The architect's wish is for every visitor to leave Sine Pop feeling more relaxed, peaceful, and happier. The design of the space, with its emphasis on natural light, open spaces, and a connection to nature, is intended to provide a tranquil environment that contrasts with the fast-paced life outside. The cinema is portrayed as a sanctuary where people can escape the hustle and bustle and find inner calm.

Keywords

💡Independent Films

Independent films are movies produced outside of the major film studio system, often characterized by a focus on artistic expression and experimentation rather than commercial appeal. In the video, Sine Pop was created as a space to support and showcase these films, highlighting the venue's commitment to fostering a community for filmmakers and audiences seeking alternative cinema experiences.

💡Gathering Space

A gathering space refers to a venue designed to accommodate groups of people for socializing, cultural, or recreational activities. Sine Pop serves as a gathering space for independent filmmakers and enthusiasts, providing a platform for communal engagement with cinema that is distinct from mainstream offerings.

💡Humility and Honesty

These terms describe an approach to design and construction that emphasizes simplicity, authenticity, and a rejection of ostentation. In the context of the video, the architects aimed to create a cinema with a sense of humility and honesty by using raw materials like concrete and stone without adornment, embracing the natural imperfections of these materials.

💡Bamboo Forest

A bamboo forest is a dense collection of bamboo plants, often used for its aesthetic and environmental benefits. In the video, the bamboo forest serves as a natural backdrop and a design element that contributes to the cinema's sense of privacy and tranquility, aligning with the architects' vision of a serene and contemplative space.

💡Pedestrian-Oriented Space

A pedestrian-oriented space is designed to prioritize the needs and experiences of people on foot over those traveling by car. The video describes how Sine Pop encourages visitors to use non-motorized transportation, aiming to create a more human-centered environment that values walkability and community interaction.

💡Natural Light

Natural light refers to the use of sunlight in interior spaces, which can enhance the ambiance and well-being of occupants. The architects of Sine Pop incorporated large panoramic windows to allow natural light to flood the space, creating a connection to the outdoors and a more inviting atmosphere for film viewing.

💡Architectural Honesty

Architectural honesty is a design philosophy that advocates for the use of materials in their natural state, without concealing their true nature. The video illustrates this concept through the use of unfinished materials like concrete and stone, which are left exposed to showcase their inherent qualities and to avoid unnecessary embellishment.

💡Cinema as Haven

This concept refers to the idea of designing a cinema not just as a place for film projection but as a sanctuary for introspection and relaxation. Sine Pop is described as a haven for introverts, with its design elements such as curved walls and natural surroundings intended to provide a sense of privacy and security for visitors.

💡Sustainable Design

Sustainable design involves creating spaces that are environmentally responsible, economically viable, and socially equitable. The video mentions the use of fallen trees as benches and the preservation of old structures, reflecting a commitment to sustainability by repurposing materials and minimizing waste.

💡Transitional Space

A transitional space is an area that serves as a link between different parts of a building or landscape. In the video, the 'black box' and the bridge between the old house and the cinema are described as transitional spaces that help visitors move from one environment to another, providing a sense of journey and discovery.

💡Sound Isolation

Sound isolation is the process of preventing sound from passing between spaces. The video highlights the cinema's thick concrete walls, which are designed to isolate the space from external noise, ensuring an immersive and undisturbed film viewing experience for the audience.

Highlights

Sine Pop was created in 2020 to support independent filmmakers in Manila, which lacks venues for independent films.

The design philosophy of Sine Pop emphasizes humility and honesty, avoiding a striking facade.

The cinema is intentionally hidden behind an old house in a bamboo forest to blend in with the surroundings.

Concrete and unfinished materials were chosen for their honesty and cost-effectiveness.

Architects Justin Guiab and Jondi De Guzman repurposed a 1948 house to build the cinema behind it.

A curved wall was constructed for privacy and to create a haven for introverts.

The original plan to demolish the house was changed to a more sustainable approach due to budget constraints.

The bamboo forest was preserved to encourage visitors to use eco-friendly transportation.

Big panoramic windows were installed to frame the natural scenery and enhance the movie-watching experience.

A fallen tree from a storm was repurposed as a bench, adding to the cinema's connection with nature.

The lounge area was designed with stripped-back materials to maintain the original character of the house.

The toilet area features small bamboo gardens for a touch of natural greenery.

The cinema's exterior is a single concrete box, but the interior is designed with openings for natural light.

The old house's second floor was transformed into a gallery and gathering space with high ceilings for natural cooling.

The cinema's walls are 400 millimeters thick to provide sound isolation, using common fabric for affordability.

The cinema has only 48 seats to simplify safety requirements and enhance the viewing experience.

The design of Sine Pop encourages visitors to pause, rest, and find peace, reflecting the philosophy of both architecture and film.

Transcripts

In Manila, there's not a lot of venues

to show and watch independent films.

In 2020, Sine Pop was created as a gathering space

to support independent filmmakers.

We wanted the create Sine Pop to be a place

where people could come to contemplate.

We weren't going for a particular look.

We wanted to build something with a sense

of humility and honesty.

We didn't want to create a striking facade,

so we hid the cinema behind an old house

in a bamboo forest.

We didn't want it to stand out.

We wanted it to disappear.

Honesty led to our use of concrete stone

and unfinished materials.

We wanted to use the material as it is

and not have to hide it behind a layer of paint and tiles.

In the end, it save us those additional costs,

no more plastering or varnishing to hide the imperfections,

we embrace the imperfections.

My name is Justin Guiab.

I'm an architect, and I designed Sine Pop

with my partner, Jondi De Guzman.

The houses here were built in 1948 by the previous owners,

a civil engineer from Laoag City.

Originally, we planned on demolishing everything

to build a bigger cinema, but later due to budget concerns

and by happy accident, we decided to keep the main house

and build the cinema behind it.

From the road, you see the old house,

a curved wall, and the bamboo forest.

You don't really feel like this is a cinema.

We built the curved wall to give a sense

of privacy and security.

We wanted the cinema to be a haven for introverts.

The intention with the walls was

to protect the visitors from the outside world

so they can be themselves.

Originally, the bamboo forest was supposed to be a car park.

Manila is a very automobile-oriented place,

but we wanted to encourage the visitors

to ride bikes, to use public transportation.

We wanted to be a more pedestrian-oriented space,

a more human-centered space.

We wanted the space to have lots of natural light,

so we thought of having big panoramic windows.

When you entered the space, the windows frame

a fallen tree trunk in the bamboo forest.

Looking out, you feel like you're watching a movie.

Before we started construction, a big storm hit Manila

and one of the beautiful trees on site fell.

We were sad, but also this gave us the opportunity

to use the fallen tree as a bench.

After watching a film, it is nice to sit here

and listen to the sounds of the birds in the bamboo.

For the lounge, we stripped off all the layers

of old paints on the wood

and took out the pieces of drywall

used to hide the original columns.

We kept all the old materials as they were,

no more sanding and painting.

Some of the wood still had nails in them.

Others were not perfectly shaped.

The concrete column looked old and almost ugly,

but we thought there was beauty in the ugliness.

We aligned the door of the lounge

with the hallway of the toilets to lead you there.

As you exit the lounge and enter the toilets,

there's an expansion and contraction of space.

We wanted the toilets to have lots

of natural light and natural ventilation.

Inside each toilet, we have a small bamboo garden.

From the outside of the cinema,

it looks like one big concrete box,

but when you go inside, there are openings to the sky.

We wanted to give a sense of privacy,

but the openness gives a sense

of connectedness to the outside world.

Despite the small area and the heaviness of the concrete,

there is still a feeling of calmness and lightness.

We also place the basin under the stairs

and open the stairs up

to allow more natural light into the space.

The old house had a small growth

of Mother Mary, Our Lady of Lourdes.

We moved her statue to this little space, which used

to be a laundry area and also had a little garden.

We wanted to create another pocket of empty space

where people can relax, even meditate,

and somehow the bamboo seemed to be growing better here.

The second floor of the old house is

where the family used to live.

We transformed it into a gallery

and a gathering space before entering the cinema.

The second floor to ceiling height was so high,

so we kept this height.

The height and the roof vents kept the house cool,

even during summer.

The windows were made of capiz,

a certain shell you can find here in the Philippines.

On one side, our window frames the bamboo.

On the other side, it frames a concrete wall.

You think it's a neighbor's ugly firewall,

but upon close inspection, you realise

it's the wall of the cinema, you then find it beautiful.

As you walk up the stairs, you see a large painting

by Mark Andy Garcia.

The painting tells a story

of the artist at a certain point in his life.

Looking at the painting feels like watching a movie itself.

From the gallery, you enter the black box, which serves

as a transition from the old house to the cinema.

This is where the old and new structures meet,

or seem to meet.

The bridge does not actually touch the house.

There's a gap that isolates the sound

and vibrations from transferring to the cinema.

At the end of the hall, you see a rusty metal door framed

by thick concrete on all sides.

After passing through this door, you enter another world.

In the cinema, there are a total of 48 seats.

We reduce the number of seats to below 50, so we didn't need

to worry about too many fire exits and adding sprinklers.

Our decision to use concrete was

not an aesthetic one, but a practical one.

The walls are 400 millimetres thick,

which isolates the space from the sound outside.

The walls of the cinema are made of common fabric,

the use of inexpensive materials.

The wall behind the seats is just fabric

to allow the viewers to have a sense of comfort and privacy,

and to allow the sound from the rear speakers

to pass through without distortion.

After viewing a film, we encourage the viewers

to leave through the fire exit.

I like the empty space between the fire exit doors.

We adjusted the height of the cinema

and the fire exit wall to relate to the old house,

and we decided to leave this area empty to act

as a congregation space in case of a fire.

Sometimes the space is used to host talks,

small gatherings, and even wedding photo.

I find that there are a lot of similarities

between architecture and films.

People come to watch a movie

and get transported to another world.

Architecture can help transport you to another world.

Some architecture designers try to fill it with things,

yet it feels empty.

Here we left the space empty, yet it feels full.

I feel like maybe it's because the people

who come fill it through their presence.

These days, we're moving so fast that we forget to pause,

rest, and go within ourselves.

Every time I visit, I leave feeling more at peace.

My wish for everyone who visits is for them

to leave a little bit more relaxed,

a little bit more at peace, a little bit happier.