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15 minutes of reading time (2982 words)

CINEUM: an exemplary project deploying BIM in the EXE phase (use cases, solutions and workflows)


The Cineum de Cannes, a remarkable project by Rudy Ricciotti, is the work of a passionate and fascinating team. A cinematographic multiplex comprising 12 theaters and 2426 seats, the Cineum called on BIM and that is why we wanted to know more.

We had the privilege of interviewing various actors involved in the project, both in the design-architecture phase, and in the execution, including the modeling and its rendering.

We will see how the Cinéum, beyond a great human adventure, posed a challenge between the alliance of digital and reality, in particular through its particular and atypical facade.

After a presentation of the speakers, we will discover the genesis of the project which was intended to be a breakthrough, thanks to a luminous and mineral vision of the BFUHP panels and the fractal geometry of the facade, breaking with the urban and architectural context of the ZAC where been erected the Cinéum, we will detail the peculiarities of its atypical facade in play of natural light, before looking at its parametric design in 3D via the Rhino software and the Grasshopper plug-in.

From the technical study, where the facade has been identified as a risk point on the site, to execution with Rhinoceros 3D, Revit and Inventor, the Bimsync collaborative platform for exchanges and conflict detection. We will understand the challenges and the role of BIM in the different stages of this particular site, from the first stroke of the pencil, to the installation by a control via Leica Geosystem tablet.

HEXABIM thanks the project stakeholders for taking the time to answer our questions.

Benoit Lecrioux

Antoine LALLEMENT / Rudy RICCIOTTI : Architects / MOE / Rudy RICCIOTI Architecture Agency

Guillaume LAMOUREUX : in charge of design and execution, BET of Structure and Façade design BFUHP / MOE / Design office LAMOUREUX & RICCIOTI

Benoît LECRIOUX : BIM Manager / General contractor / CARDINAL EDIFICE

Carla MEUNIER / Philippe SAMACOITS : Works Intern & Site Supervisor / General contractor / CARDINAL EDIFICE

Maxime WILL & Michael GOM : Head of project department and Designer / EXE / SEEI design office

1. Round table : presentations & roles

Antoine LALLEMENT / Rudy RICCIOTTI : Operation architect for the Department of Works Execution (DET) in the Rudy Ricciotti agency and previously design architect. With Mr. Ricciotti, the mission consists in the construction phase of verifying compliance with the requirements established in the plans and in the CCTP.

Benoît LECRIOUX: BIM Manager at Cardinal Edifice in charge of the BIM service which ensures the implementation of BIM in the company with, among others, the missions of BIM Management and BIM coordination on our BIM projects.

Guillaume LAMOUREUX: in charge of the design and execution for the Lamoureux & Ricciotti Ingénierie design office, a group of engineers specializing in structural works for civil engineering, for buildings or the design of building envelopes in UHPFRC . On the CINEUM de Cannes project, we were responsible for the Project Management of the Big Work lot and of the Facade BFUP lot. Regarding the engineering of UHPC facades, solid cladding and mesh, we ensured the design of the structures and the production of execution plans.

Carla MEUNIER: Civil and Urban Engineer, graduated from INSA Rennes since June 16, 2020 and I am carrying out my End of Studies Project on the Cineum de Cannes construction site at Cardinal Edifice, I am assisting Philippe SAMACOITS on the peripheral works part (UHPC supports, smoke extraction channels, metal frame and UHPC panels) on everything that is planning, production and execution monitoring.

Maxime WILL & Michael GOM : Project manager & Engineer & designer at SUD ETUDES EQUIPEMENTS et INDUSTRIE, a civil engineering and metal frame design office which has been carrying out engineering and monitoring of numerous projects in the Provence Alpes Côte d'Azur region, in France and around the world since 1988. SEEI carried out the execution studies of the frames supporting the BFUHP facade (ultra high performance fiber-reinforced concrete panel) as well as the emergency stairs.

2. The CINEUM Project

Carla MILLER & Philippe SAMACOITS : The Multiplex CINEUM cinema project will be a complex made up of 12 cinemas, intended to accommodate 2426 seats. Estimated at an annual attendance of 800 spectators, this cinema covers 000 square meters spread over four floors and offers a catering center, an immersive gallery animated by scenographies, an exhibition space to discover the backdrop of the films presented and especially rooms equipped with advanced technologies.

3. How did you come up with the idea for this atypical geometric facade? What is the genesis?  

Antoine LALLEMENT: Mr. Ricciotti designed the project taking into account the geographical location of the project, the specific needs of the program and the type of building. It is a building built within the framework of the ZAC de la Bastide Rouge, intended to better qualify the entrance to the city of Cannes in the Bocca sector. Today around the site one finds mainly buildings of activity zone, that is to say of low opaque architectural value, as well as the airport. It was therefore a question of offering a volume telling a story coming out of this banality and presenting a rich and sensitive writing. A cinema being a building essentially closed to keep the rooms in the dark, the work therefore naturally focused on the design of a dynamic facade. The fractal expression of the mineral facades in BFUHP offers multiple faces to the building over the hours of the day and the seasons. The drop shadows reveal the plasticity of the daytime volume and offer several levels of reading like a gem, a singular and multiple mineral object.  

4. Was the facade quickly designed in 3D? What software did you use and what were the benefits of using it?  

Antoine LALLEMENT: At the Rudy Ricciotti agency, during the Exe phase, the facade was designed with the software Rhino matching the plug-in Grasshopper. It is therefore a so-called parametric design mode. That is to say with the intervention of computer programming as assistance in 3d drawing. 

Note that the input parameters for the program part were data mainly related to the feasibility of the panels themselves. Indeed for transport reasons, the triangles in BFUHP cannot measure more than four meters in geometric height which is the maximum size of a transporter. For reasons of weight, the panels should not exceed eight meters. Programming therefore mainly helped us to master these two data for all of the 500 elements that make up the envelope.

5. At the time of the response to the market, how was the technical study of this facade apprehended?  

Benoît LECRIOUX: The facade was logically identified as the risk point on the site and the design manager quickly called on the company's technical services to reflect on the technical feasibility of supporting the panels and to study variants. With the structural, manufacturing and installation constraints that we had listed, we had to be able to analyze each of the panels to find out if its dimensions and position were compatible with our assumptions.

Visually on 2D plans, we were aware that some would be problematic but it was difficult to identify them with precision. Sans therefore asked the architect to obtain a 3D volumetry of this facade to see if we could use it. The model had been carried out under 3D Rhinoceros and at this phase, the file was not configured to allow an IFC export. We therefore started again from a 3D .dwg export that we imported into Revit, and which served as a support for attaching adaptive components representing each of the panels. 

The use of Dynamo was essential to automate this work and also allowed us to calculate and automatically fill in the geometric characteristics of the panels. Thus, on A360 and via an Excel table, we were able to share with the design managers and the architect a color identification of the panels that did not meet the criteria we had determined: inclination too pronounced from a broadcast point of view loads, angles that are too salient and fragile, dimensions outside the template for transport, distances that are too large with the concrete structure… This study served as an initial basis for discussion for consultation with the architect in order to find the technically adequate layout. The Dynamo codes having been produced, we used them in the EXE phase to follow the different iterations of the layout during the EXE debugging.

6. During the execution summary, how did the collaboration go and what was the place of digital tools in these exchanges? What were your biggest challenges in the technical development? How did the use of BIM help you to solve these different problems?  

Antoine LALLEMENT: In this facade there is an inside and an outside. The outside is the visible side of the panels on their smooth side, and the inside is the side where the panels are suspended from the superstructure and or routing of numerous escape stairs. The greatest difficulty was to adjust the inside, and to master all the successive interfaces, staircase support frame, panel support frame, fasteners and panels. Three actors participated in the Exe design of the book with their 3d tools. The Rudy Ricciotti agency took charge of the geometric layout of the panels. From this base, the Lamoureux & Ricciotti office carried out the Exe studies for each of the panels. The SEE office took charge of the design of the frameworks.

Guillaume LAMOUREUX: For the production of layout documents and the fabrication of clothing and mesh, we mainly used Rhinoceros 3D, Revit and Inventor software.

The geometric complexity of this facade required efficient 3D software without which the definition of the panels would not have been possible.

The execution summary and the circulation of files between stakeholders were mainly done in IFC format.

The biggest challenge resided in the design of the fasteners for the fasteners of the solid cladding panels on the metal frame.

These parts must make it possible to carry the UHPC panels while allowing adjustment in 3 dimensions, to apprehend a theoretical installation position, to take up the dynamic stresses due to the wind and the earthquake.

The interface between the metal frame, the fasteners and the frames of the UHPCF panels required numerous exchanges on the basis of BIM files.

The digital tool made it possible to ensure that the various geometric constraints that we had defined to ensure the feasibility of this facade were well respected.

Maxime WILL & Michael GOM : During the execution summary, weekly meetings were set up. The purpose of this was to achieve a synthesis between the emergency stairs, the support of the BFUHP panels and the geometry of the facade.

After modeling the stairwells and defining the panel supports on the TEKLA software, we gradually shifted the panels to allow the integration of all the elements between the UHPC facade and the concrete walls. This registration was greatly facilitated by the 3D modeling and the exchanges in IFC format.

7. Have there been other uses of BIM on this project?  

Benoît LECRIOUX: Although we had no contractual requirement to carry out the project in BIM, we made the choice with our partners to also carry out the structure / technical batch synthesis using the IFC digital models that we host in the cloud on the Bimsync platform. Following the conflict detections, the clashes are sorted, grouped, prioritized and exported to this platform via the BCF format, which allows you to quickly target the changes to be made and to log the exchanges related to a problem. The platform also makes it possible to centralize all the project documentation and provide easy access to the latest versions of the documents.

8. Once the synthesis of the facade has been completed, how were the panels and supports made?  

Guillaume LAMOUREUX: The production plans of the panels are parametric plans based on the 3D layout of the facade.

From the export of the geometric parameters of each triangular mesh of the facade, we created a tool allowing to precisely define, for each panel, the metal support frames and associated fixing plates to be inserted in the molds.

9. How is the installation of the panels on site? How do you ensure that the layout is respected? 

Guillaume THE LOVER : The respect of the layout is possible thanks to the daily use of the surveyor implantation tools based on the digital model. However, the pre-settings of the fasteners need to be improved in order to increase the installation rates and improve their quality. We are thus working with Cardinal on the production of a spreadsheet providing the preset values ​​of the fastener discs.

Carla MEUNIER & Philippe SAMACOITS: The personnel required are as follows: two or even three installers having the ability to carry out work at height and one person to guide them.

The installers' equipment is as follows: Two nacelles, a suction cup system which is hooked onto the panel to be lifted and the lifting is carried out by a 40 tonne mobile crane. The equipment of the person who guides the installers (in this case, us) is as follows: a Leica surveyor total station connected a Leica tablet on which the BIM model is inserted. The model can be read by the software ICon (Intelligent Construction) and it groups together the coordinates in space (in x, y, z) of each vertex of triangle UHPC. The installation principle is therefore as follows: we get into a station, load the BIM model into the tablet and point on the tablet screen to the top of the panel for which we want to have the coordinates. Then, we aim at this same summit using the surveyor station and we ask the tablet to measure the difference between the theory (BIM model) and reality (what we see in the viewfinder), in height, in depth and width. What the tablet displays to us, we transmit it to the installers so that they can make their adjustments directly.

In order to check the correct installation of the panels, I keep a spreadsheet describing which panel was installed on what date, and what is the position of each of its three vertices in relation to the theory, in order to see if we respect the tolerances. I made a sort of scale describing the precision with which we put our panels and if any differences can be explained.


© Photos Credit Lisa Ricciotti


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