Artleon Cinema
Artleon Cinema in Seoul, South Korea by Architecture Studio Himma
One of the consistent formal themes present in the completed work of Korean Architecture Studio Himma is the continuous surface. Be it a rolling roof terrace (Heyri Art Valley Community Center) or folded concrete walls (House of Open Books), the architects evidently find the interaction of the project with its context to be the most important consideration, the layer where the two meet.
For their Artleon Cinema Multiplex in Seoul, Korea, it's all about the curtain wall, the surface that divides inside from outside, project from context. Recalling the undulating rooftop of the Heyri Art Valley project, this design makes that undulation vertical. In essence, the design is a series of glass walls that overlap and intersect to create micro spaces along the exterior, a zone typically treated as flat by most architects. This section and photograph illustrate how one wall rises vertically from ground level, only to be interrupted by a curving glass wall that begins at the underside of one of the stacked theaters.
In the areas of the exterior where the curtain wall folds into the interior, the architects have kept the structural frame vertical, rather than having it follow the skin, a la Frank Gehry and others. Here we find the intersection of a classically modern frame with a contemporary mullionless, curving window system. The architects seem to delight in the tension and of the two competing systems.
Beyond the undulating glass wall and the exposed structure, the last main element of the exterior is the frosted glass, set at seemingly random locations and intervals. But given the fact that some glass panels are only partially frosted points towards some intention. By frosting half of most panels, a vertical composition is created, reinforcing the verticality of the round, concrete columns that penetrate the glass wall and leave at the top of the building to support a canopy above a rooftop terrace. The image at left illustrates that perhaps these periods of translucency are not only for people looking in but also people looking out. As the architects placed the main interior circulation next to this wall -- reinforcing its importance -- this skin becomes an active participant in this interaction between inside and outside, not content to merely be clear like many curtain walls.
One of the consistent formal themes present in the completed work of Korean Architecture Studio Himma is the continuous surface. Be it a rolling roof terrace (Heyri Art Valley Community Center) or folded concrete walls (House of Open Books), the architects evidently find the interaction of the project with its context to be the most important consideration, the layer where the two meet.
For their Artleon Cinema Multiplex in Seoul, Korea, it's all about the curtain wall, the surface that divides inside from outside, project from context. Recalling the undulating rooftop of the Heyri Art Valley project, this design makes that undulation vertical. In essence, the design is a series of glass walls that overlap and intersect to create micro spaces along the exterior, a zone typically treated as flat by most architects. This section and photograph illustrate how one wall rises vertically from ground level, only to be interrupted by a curving glass wall that begins at the underside of one of the stacked theaters.
In the areas of the exterior where the curtain wall folds into the interior, the architects have kept the structural frame vertical, rather than having it follow the skin, a la Frank Gehry and others. Here we find the intersection of a classically modern frame with a contemporary mullionless, curving window system. The architects seem to delight in the tension and of the two competing systems.
Beyond the undulating glass wall and the exposed structure, the last main element of the exterior is the frosted glass, set at seemingly random locations and intervals. But given the fact that some glass panels are only partially frosted points towards some intention. By frosting half of most panels, a vertical composition is created, reinforcing the verticality of the round, concrete columns that penetrate the glass wall and leave at the top of the building to support a canopy above a rooftop terrace. The image at left illustrates that perhaps these periods of translucency are not only for people looking in but also people looking out. As the architects placed the main interior circulation next to this wall -- reinforcing its importance -- this skin becomes an active participant in this interaction between inside and outside, not content to merely be clear like many curtain walls.
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