Drawing inspiration from the tradition of grand social ante-spaces like the Paris Opera, in which circulation area exceeds theater area by 5:1, Jump Cuts re-frames the question, on which side of the theater wall is the spectacle? An electronic marquee at the façade of the glass lobby consists of twelve liquid crystal panels over the street and corresponding projectors stationed before each of the panels at the interior. The projectors are fed by a string of live cameras positioned along the multiple levels of escalators in the grand lobby, either looking down in plan or across in elevation. The mechanical movement of the escalators past the stationary cameras supplies a succession of movie patrons on parade. As moviegoers zigzag through the stacked lobbies, they are reconfigured and displayed dynamically across the facade. The continuous stream of patrons is interrupted periodically by movie trailers.
