In the old town, the building sets out to express itself as pure structure—no cladding whit no finishes. Also, the ruins of the Romans excavations mark the structure of the buildings. The bare concrete beams-cum-walls that form the façades are very varied, proving themselves members of the family of the dilapidated neighboring walls, where plaster crumbles to reveal their original central mass. Filters are juxtaposed on the wall. This cinematographic metaphor is not just conceptual; it is above all physical, sensible. In the old town, with very close relations between buildings, interaction must be mediated, filtered. And this is implemented by a variety of devices, with a vague cinematographic reference.
The space is organized around two movements: the descent into the darkness of the cinemas, with the reflection of the spectators (in turn reflected, actors seen in a series of mirrors) and the ascent towards the light, towards the places of work. Two courtyards, connected but not continuous, accompany and construct the movement.