Adaptive Reuse of a Cultural Heritage Building in Sofia: “Theme” and “Character” in the Interior of the Old Excelsior Cinema

Abstract

The relevance of this study is determined by the ongoing loss and functional degradation of historic cinema buildings in the central areas of European cities and the growing need for methodologically grounded approaches to their adaptive reuse as cultural heritage sites. Under conditions of fragmented renovations and utilitarian transformations, early 20th-century cinema interiors require reinterpretation not merely as architectural shells but as carriers of cultural memory, spatial experience, and technological history. The study problem lies in the absence of integrated methodological models for the adaptive reuse of cinema interiors that simultaneously address spatial logic, material authenticity, acoustic qualities, and socio-cultural function. Existing approaches often prioritize architectural envelopes or visual aesthetics while neglecting the interior as a complex cultural system. The novelty of the study consists in the development and application of a conceptual and methodological framework for the adaptive reuse of early twentieth-century cinema interiors based on the operationalization of the concepts of “theme” and “character” as analytical and design tools. These concepts enable the translation of archival, spatial, and material research into coherent interior adaptation strategies. The subject of the study is a methodological model for the adaptive reuse of early twentieth-century cinema-theatre interiors within cultural heritage contexts. The object of the study is the interior of the former “Excelsior” cinema (later renamed “Assen Zlatarov”), located in the historic center of Sofia, Bulgaria, considered as a representative example of early urban cinema architecture. The study aims to develop an interdisciplinary methodology for the adaptive reuse of historic cinema interiors that preserves their identity while enabling contemporary functional, technical, and cultural use. The study methodology combines archival-documentary analysis, spatial and structural investigation, historical and technological contextual analysis, and material survey, followed by the synthesis of findings into an adaptive reuse model. The study draws upon and generalizes the ideas of architectural conservation theorists, researchers of Sofia’s urban and cultural history, scholars of early Bulgarian cinema, and contemporary approaches to adaptive reuse and interior design. The core of the study lies in conceptualizing the cinema interior as a culturally active system in which proportions, acoustics, materials, and patterns of use jointly shape historical identity. Based on the analysis of archival drawings, historical sources, and surviving material layers, an adaptation model is proposed that maintains technological and cultural continuity while accommodating new uses. The results demonstrate that successful adaptive reuse of historic cinema interiors requires the integration of historical knowledge, spatial analysis, and material authenticity into a unified design logic. The proposed framework positions adaptation as a culturally responsible practice that ensures continuity of identity and reactivation of the public and cultural role of historic cinema interiors in contemporary urban life.