To give the screen structure a more substantial-looking base, Lee designed a series of tall ladder-like structures (6) that he covered with translucent corrugated plastic panels. This structure may have been illuminated from within at night to attract customers.
Transparent glass walls facing the sidewalk and the lobby integrate the shop with the activity going on outside. The display counter and its cabinets and drawers are sleek and cleanly designed, as are the curving lunch counter and its simple chairs. The traditional forms of the glass chandelier lend a touch of historicist elegance to the otherwise stark interior.
A hallway space, not a room, the lounge features a curved banquette and a set of drinking fountains set in a mirrored niche. A curvilinear ceiling panel conceals the indirect lighting.
The domed box office is at street level, but the entry itself is reached by a broad flight of stairs. Setting the building on a podium with an entrance set well back from the street differs from the usual motion picture theatre in the United States which is entered at street level. The theatre is made more imposing, reflecting the cosmopolitan atmosphere of Mexico City and the more formal Mexican custom of spending the whole evening out, eating and dancing in the restaurant.
A mural on the slanting and curved wall of the foyer depicts a workman carrying a heavy basket (of sugar cane?) and a woman kneeling, both in a tropical setting.
The restaurant ,located on the second floor, achieves a more elegant look with its sculptural ceiling light panels and the curvilinear back of the banquette on the far wall. The softly curtained windows overlooking the street would have cast an inviting night-time glow.
The mezzanine drink bar and adjacent spaces has a simpler, more streamlined look than the downstairs foyer. Mirrored walls set at oblique angles create a more complex and confusing space.
The design evolved into a storefront remodel using every device to capture attention from the passerby. The strong diamond pattern applied to the upper story, the series of vertical posts applied at street and the paneled entry doors draw attention to the centerpiece, the curving neon-outlined marquee. A curved box office at the sidewalk and poster cases framed in wavey edged box frames are overwhelmed by the other design elements. Here the chief purpose of the design is to draw attention to the storefront, using a variety of cheap applied elements without regard for design integration.
A close-up of the glowing panels reveals that they are not just organic leaf forms. The shapes depict a female nude facing a serpent spiraling up the leaves.
Restyled as the Vogue Theatre, this concept replaces the previous Spanish Colonial Revival façade with a Streamline Moderne design current in the late 1930s.
The bright marquee and the tower sign attract attention to the theatre at night. Lee used a similar design for the tower sign on the Tower Theatre in Compton(62701-62707) of 1935-1936.
Curving lines, recessed lighting and mirrored surfaces create an expanding space in the foyer entrance area. The wavy wall with a surface of vertical ribs adds a sleeker streamlined look to the space.(see 40804)
The Fox Wilshire on opening night illuminated by spotlights and draped with bunting. The exterior design was a much simplified version of Lee's many concepts. The Fox sign became the most prominent attribute of the tower at night.