A Study on the Spatial Characteristics of Coop Himmelblau Architecture

Represented in Busan Cinema Center

Gyuhye Choi
First Author. Department of Interior Design, Kookmin University, gyustyle@naver.com
Jaeeun Yoon
Corresponding Author. Professor, Department of Interior Design, Kookmin University, dreamask@hanmail.net

(Research Background and Purpose)The Busan Cinema Center, designed by Coop Himmelb(l)au, is considered a
landmark building from the perspective of deconstructive spatial aesthetics. This study examines the spatial characteristics
of the Busan Cinema Center with Coop Himmelb(l)au’s spatial philosophy as the research background. (Research methods)
This paper starts with a theoretical approach to Coop Himmelb(l)au’s philosophy of deconstruction architecture. The
spatial domain has been described in Coop Himmelb(l)au’s unique philosophy of deconstruction architecture. Hence, first,
the spatial characteristics of the Busan Cinema Center are analyzed with a theoretical approach to the architectural
philosophy of Coop Himme(l)blau. This is followed by a real-scene analysis of the Busan Cinema Center. To this end, this
paper uses a field survey to analyze the spatial and expression techniques shown in the Busan Cinema Center representing
the architectural philosophy of Coop Himmelb(l)au. (Results) The results of this study reveal five architectural
characteristics of the Busan Cinema Center. First, the structure of the space is irregular. The Busan Cinema Center
comprises an irregular space characterized by sloppiness, penetration, cleft, and geometrical conflict. Irregular space refers
to an open space causing a visual sense of motion and a feeling of tension. Second, the space is non-territorial. The Busan
Cinema Center uses spatial elements, which are overlapping and ambiguous, in a complex manner. The blurred space is
converted into a non-territorial, open space. Third, the space is transparent. The Busan Cinema Center was formed as a
transparent piece of architecture from glass and linear materials. Transparent architecture creates an open space by
enabling the mutual intersection of internal and external spaces. Fourth, the architecture is organic. Big Roof and Small Roof,
and Bridge in Air illustrate gravity-defying designs, dynamism, and fantastic, imaginary architecture. Lastly, the
architecture changes per the users’ needs. The Busan Cinema Center demonstrates new forms and spaces which have
user-oriented aesthetic characteristics such that the spaces change and move according to the users’ needs. These
results indicate that the architecture of the Busan Cinema Center is characterized by an open space that is valued most
highly in Coop Himmelb(l)au’s philosophy. (Conclusion) This study was conducted to help people understand that the
Busan Cinema Center is not only a theater dedicated to the Busan International Film Festival (BIFF), but is also a
monumental building that was constructed to promote the efficient management of the BIFF. This festival began with the
political and economic purposes of initiating the second take-off of Busan and launching the tourism industry, which is its
foundation industry, as well as to create an identity of Busan as a city of visual culture. This background knowledge helps us
understand that the Busan Cinema Center is an architectural work embodying the architectural philosophy of Coop
Himmelb(l)au and the aesthetics of open space.

Keywords Coop Himmelblau, Busan Cinema Center, Open space, Purposelessness, Spatial Characteristics
Received May. 29. 2015 Reviewed Nov. 23. 2015 Accepted Dec. 11. 2015
ISSN 1976-4405 www.kisd.or.kr

Journal of Korea Institute of Spatial Design, Vol.10 No.6 9

 부산 영화의 전당에 나타난 쿱 힘멜블라우 건축의
공간적 특성에 관한 연구

최규혜
제1저자. 국민대학교, 실내설계디자인 전공, gyustyle@naver.com
윤재은
교신저자. 교수, 국민대학교 실내설계디자인과, dreamask@hanmail.net

(연구배경 및 목적)해체주의 건축가 쿱 힘멜블라우는 60년대 말 아키그램의 영향과 초현실주의적 경향으로 다른 해체주의 건
축가들과 차별화된 그들만의 특성을 지닌다. 이러한 쿱 힘멜블라우가 설계한 부산 영화의 전당은 해체주의 공간 미학에 기초한
조형미가 우수한 건축물로 평가 받고 있다. 따라서 본 논문은 해체주의 건축가 쿱 힘멜블라우의 공간 철학에 대한 관점을 연구
배경으로 하여 부산 영화의 전당에 나타난 공간적 특성에 대한 연구를 목적으로 한다. (연구방법)본 논문의 연구 방법은 첫째,
쿱 힘멜블라우의 해체주의 건축 철학에 대한 이론적 접근으로부터 시작한다. 쿱 힘멜블라우의 공간적 특성은 그들 특유의 해체
주의 건축 이념에 의해 표현되어 왔다. 그러므로 부산 영화의 전당에 나타난 공간적 특성 역시 우선적으로 쿱 힘멜블라우의 건축
이념에 대한 이론적 접근으로부터 출발해야 할 것이다. 두 번째로는 부산 영화의 전당에 대한 실제적 현장 분석 방법이다. 본 연
구자는 이를 위해 부산 영화의 전당에 나타난 쿱 힘멜블라우의 건축 이념의 특징을 잘 보여주는 공간과 표현 기법에 대하여 현장
답사를 기초 자료로 작성하여 본 논문에 제시하고자 한다. (결과)본 논문에서 분석해본 결과 부산 영화의 전당에 나타난 쿱 힘멜
블라우의 건축적 특성은 크게 5가지로 볼 수 있다. 첫 번째, 공간의 비정형성이다. 부산 영화의 전당은 기울어짐, 비틀림, 꿰뚫음,
갈라진 틈, 기하학적 충돌에 의해 비정형적인 공간을 구성한다. 비정형적 공간은 불안정감과 불균형을 통해 시각적 운동감과 긴
장감을 유발하여 열린 공간을 표현한다. 두 번째, 공간의 비영역성이다. 부산 영화의 전당은 공간요소들이 복합적으로 사용되고
중첩되며 그 개념이 모호해진다. 모호해진 공간은 비영역성을 가지며 개방적이고 열린 공간이 된다. 세 번째, 공간의 투명성이다.
부산 영화의 전당은 유리와 선(line)적인 재료를 사용함으로서 투명한 건축으로 생성되었다. 투명한 건축은 내·외부 공간에 상
호 관입을 가능케 하여 내부에서 외부로 공간이 확장되며 열린 공간을 추구하게 된다. 네 번째, 유기적인 건축이다. 빅루프와 스
몰루프, 공중의 브리지는 반중력성과 역동성을 보여주며 환상적이고 공상적인 건축을 가능케 하였다. 마지막으로 사용자의 의도
에 따라 반응하는 건축이다. 부산 영화의 전당은 새로운 형태와 공간을 창조함으로서 사용자의 목적에 따라 공간이 변하고 움직
이는 사용자 중심의 미학적 특징을 가진다. 이러한 분석결과로 본 논문에서는 부산 영화의 전당이 쿱 힘멜블라우의 건축에서 가
장 중요시 하는 열린 공간의 성격이 잘 나타나있는 건축이라고 분석하였다. (결론)본 연구를 통해 부산 영화의 전당이 단순히 부
산국제영화제 전용관으로서가 아니라 부산의 제2의 도약이자 지역기반산업인 관광산업의 활성화라는 정치적, 경제적 목적을 가
지고 시작한 부산국제영화제의 효율적인 운영과 부산의 영상문화도시 이미지창출 및 정체성 획득을 위한 기념비적인 건축물이
라는 건립 배경을 바탕으로 쿱 힘멜블라우의 건축철학이 담긴, 열린 공간의 미학이 잘 표현된 건축물로서 이해될 수 있기를 기대
한다.

Keywords 쿱 힘멜블라우, 부산 영화의 전당, 열린 공간, 무목적성, 공간 특성

Received May. 29. 2015 Reviewed Nov. 23. 2015 Accepted Dec. 11. 2015
ISSN 1976-4405 www.kisd.or.kr

한국공간디자인학회논문집 제10권 6호 통권36호 10

1. Introduction deconstructivist spatial aesthetics. The purpose
of this study is to research the spatial
characteristics of the Busan Cinema Center
1.1 Background and Purpose of Study based on the perspective about space philosophy
People are never outside space even for a of the deconstructivist architect Coop
moment. In fact, they are surrounded by space Himmelblau.
all day. Architecture has developed and evolved
around space which is one of the many 1.2 Scope and Method of Study
conditions of human existence. Architectural The study method of this paper starts from a
spaces reflect philosophical, scientific, and theoretical approach to the deconstructivist
psychological backgrounds. and represent values architectural philosophy of Coop Himmelblau. The
in various areas of the times including politics, Busan Cinema Center was designed by the
economy, society, religion, and culture. architect group Coop Himmelblau. The spatial
Therefore, the architectural philosophy of an era characteristics of other residential, exhibition,
is based on the value system of the times. When and cinema complex cultural spaces in other
we look at the stream of the times, since the countries designed by Coop Himmelblau
modern times, people began to reject absolute expressed their unique deconstructivist
ideologies and standardization and to adopt architectural philosophy. Therefore, our
multifactorial attitudes toward life with the discussion about the spatial characteristics of
development of science and technology. In this Busan Cinema Center must first start from a
trend, poststructuralism appeared, which theoretical approach to the architectural
criticized attachment to ‘structure, source, and philosophy of Coop Himmelblau.
center’ and aimed at open society while The second approach is actual field analysis
rejecting the dichotomous thinking of the West. about the Busan Cinema Center. For this
The deconstructivist architecture was influenced purpose, the author conducted a field survey of
by deconstructivism which was one of the trends Busan Cinema Center and prepared basic data
of the poststructuralism, and has become a about the spatial expression techniques that
centripetal agent of modern architecture as a clearly show the architectural philosophy of Coop
space concept pursuing de-standardization and Himmelblau, which will be presented in this
diversification. This deconstructivist architecture paper.
can be divided into conceptual approach that Therefore, the theoretical scope of this study
centers on the space composition system and will not only encompass the architectural
formative approach that centers on the form philosophy of Coop Himmelblau, but also include
itself and its composition(Choi, 1998, p.44). an expanded discussion about understanding of
Coop Himmelblau is a representative architectural the general deconstructivist architectural
design group that has adopted the formative ideology. Furthermore, our discussion about
approach. Influenced by Archigram in late 1960s, Busan Cinema Center will go beyond simple
they show surrealistic tendency and have unique information and introduction in the existing
characteristics that are different from other materials and the scope of study will be
deconstructivist architects. expanded to practical analytical data including
Busan Cinema Center designed by Coop photographs taken by the author.
Himmelblau is praised as an aesthetically
valuable architecture based on the 1.3 Preceding Research and Data Review

Journal of Korea Institute of Spatial Design, Vol.10 No.6 11

 Busan Cinema Center was
exclusively for the Busan International Film
Festival(BIFF). The BIFF has shared the history
of films. Therefore, the history of films and the
political, economical, and social aspects of the
BIFF should be examined through previous
studies, and the Busan Cinema Center needs to
be examined from such perspectives.
Past discussions about Busan Cinema Center
have just provided information in most cases.
Rather than academical discussions such as
dissertations for degrees or journal papers, they
were mainly books providing facts or data. For
example, tour guidebooks, source books, records,
and pamphlets comprised the literature giving
facts or historical information about
Cinema Center. A review of such previous
research materials1) revealed that there has
been no serious academic approach to Busan
Cinema Center and the center has not be
recognized as an independent subject
research. Therefore, according to the need for
academic research of Busan Cinema Center, the
spatial characteristics of the Busan Cinema
Center were researched in this study based on
the architectural philosophy of Coop Himmelblau.
2. Concept of Space in Busan Cinema
Center
2.1 BIFF and Busan Cinema Center from the
Viewpoint of Film History
Looking at the film history, the early films
were watched through the device
Kinetoscope which could be watched by only one
person at a time. Later, cinematograph was
developed by the Lumiere brothers
allowed a group of people to watch films
together as they do now.2)
Films have artistic and entertainment character
by giving psychological influence on audiences.
They also have commercial and social character
한국공간디자인학회논문집 제10권 6호 통권36호
designed
<Figure 1> Kinetoscope(left), Cinematograph(right)
Reference: Eduhacker(left), Digital Media for Artist(right)
when they meet with audiences in theaters
through distributors and play a function of mass
communication. Therefore, films are a form of
art and an industry at the same time.
Film festivals are not unrelated with such
characteristics of films in that many films are
gathered and shown at one place. Film festivals
that lead the level of culture and film industry of
the hosting country mostly started with political
Busan and economical intentions. The so-called top
three film festivals, Venice, Cannes, and Berlin
Film Festivals also started with political and
economical purposes3). BIFF is no exception in
this regard.4)
of BIFF has grown into a major regional
industrial event of Busan. However, problems
about the event timing were raised due to lack
of a dedicated theater, and the need for building
Busan Cinema Center for the stable holding of
BIFF was raised.5) Busan Cinema Center was
designed to create the image and identity of
Busan as a city of film culture and to promote
the efficient operation of BIFF. Busan is
expecting to grow their tourism industry through
the center.
2.2 Overview and Size of Busan Cinema Center
Busan Cinema Center is the exclusive theater
called for BIFF and a film complex cultural space that
combines films and performing art. The design of
Busan Cinema Center was proposed by Coop
which Himmelblau from Austria which was selected
through an international design competition in
2005. It is regarded as an excellent architectural
work that has implemented excellent
formativeness and deconstructivist architectural
aesthetics. Wolf Prix, CEO of Coop Himmelblau
12
which designed Busan Cinema
emphatically said about Busan Cinema Center
that they started from“a harmony of open space
and closed space.” He also explained that the
building expressed the city’s slogan, “Dynamic
Busan” in three dimensions.6)
<Figure 2> Busan Cinema Center plan
reference: BusanCinemaCenter ConstructionProject HHIC
Busan Cinema Center consists
Cinemountain, BIFF Hill, Double Cone, BIFF
Square and an outdoor theater.
components symbolize the open space of the
earth and sky through high mountain and hill.
This open space of Busan Cinema Center as an
exuberant building with innovative modern design
contributes to the improvement of the image and
international competitive edge of Busan City. As
a cultural space that plays a role for cultural
experiments and changes where entertainment,
leisure, media, and technology are merged in the
architecture. It is also called “Durerarum”
which means a “place where people gather and
play.”
More specifically, Busan Cinema Center is
located at Centum City, Haeundae-gu, Busan and
consists of three buildings on a site of 32,137
m2 and a total floor space of 54,335 m2. These
three buildings(Cinemountain, BIFF Hill,
Double Cone) are interconnected through an
aerial bridge for convenient movement.
Furthermore, below the projecting Big Roof and
Small Roof which is the world’s largest roof
with an area of 2.5 times a soccer field, there is
Center a LED illumination plate providing fantastic visual
effects after sunset. Furthermore, the buildings
are connected with the Square, producing a
multifunctional public urban space. The Big Roof
is designed as a floating structure in air
supported by the Double Cone. The Double Cone
which is the column supporting the Big Roof
consists of two cones engaging with each other,
forming the shape of a janggu barrel, which adds
originality and artistic spatial beauty of the
buildings.
2.3 Correlation with the Architectural Philosophy
of Coop Himmelblau
2.3.1 Expansion of Open Space
Busan Cinema Center shows an extension of
open space by connecting with the APEC Naru
Park at the opposite side and with the Suyeong
of River. The flow around the Cinema Center is
drawn toward the Square, which is expanded to
These the open space by connecting with the APEC
Naru Park and the Suyeong River so that the
center is used as a link between nature and
downtown. The Cinemountain building is designed
with full glass facade to provide a view of the
APEC Naru Park and the Suyeong River from
the BIFF Square in front of Cinemountain and
from any floor including 4th floor and 6th floors
of Cinemountain. This brings nature into the
building, thereby creating harmony.
<Figure 3> Panoramic View of Busan Cinema Center
and 2.3.2 Placeness and Context of Surrounding
Environment
Busan Cinema Center creates formative
aesthetics through the relationship between the
sky and the earth. For example, the earth is
perceived as the Square, and a mountain and a
Journal of Korea Institute of Spatial Design, Vol.10 No.6 13
hill were created by uplifting a part of the 3. Characteristics of Spaces in the
Square. Furthermore, the inside of the mountain
Architectural Philosophy of Coop
and hill was set up as a residential space. In
addition, a public space was formed with the Himmelblau
space between the artificially created sky(Big
Roof) and the uplifted ground. Besides, the same
Coop Himmelblau, the designer of Busan
basalt stones were used for the Square and the
Cinema Center, is an architectural design group
exterior walls to express the texture of naturally
consisting of architects Wolf Prix and Helmut
hardened shape that was uplifted from the
Swiczinsky among others. The name Coop
surface of the earth. The pedestrian flow
Himmelblau comes from cooperative(Coop),
elevator, escalator, and bridge were expressed
sky(Himmel), and blue(Blau). When these words
by metals signifying the artificial connections
are combined, it means ‘a company creating
among natural creations.7)
blue sky.’ As this name suggests, they
2.3.3 Multipurpose Architecture
ultimately pursue ‘open space’(Cho, 2010).
The architecture of Coop Himmelblau with
such philosophy is often discussed as example of
the deconstructivist architecture. With the
philosophical background of deconstructivism as
their basis, Coop Himmelblau was influenced by
Archigram during the late 1960s. Their
surrealistic tendency in their space design
method is their unique characteristics that is
<Figure 4> BIFF Square, BIFF Theatre, Red Carpet Zone8) different from other deconstructivist architects
(Lee, 2003, p.11)
As shown in <Figure 4>, Busan Cinema Center
To examine the spatial characteristics of Coop
has well-formed multipurpose urban Squares.
Himmelblau in more detail, their works between
There is BIFF Square in front of the
1980s and 2005 when they designed Busan
Cinemountain, an outdoor theater between
Cinema Center were analyzed.9)
Cinemountain and BIFF Hill, and a red carpet
zone around Double Cone. The Squares in the
3.1 Atypicality
site are used as memorial square, outdoor
The architecture of Coop Himmelblau goes
theater, and open-air cafe at ordinary times, and
beyond the two-dimensional plane and breaks
for event and exhibition during the BIFF and
away from the orthogonal system of the
other events. During the winter, they are also
gravitational direction through the
used as sledding slopes and ice-skating rink.
three-dimensional crash of masses. Their
As mentioned above, the architectural
expressions of forms stress diagonal composition
philosophy of Coop Himmelblau that has been
and represents shapes that are anti-gravitational
expressed in Busan Cinema Center is expressed
like floating, dynamic, unpredictable, and hard to
by the expansion of open space, creation of
comprehend. Spaces represent unstable, atypical
architectural forms through the relationship
forms where different masses are penetrating,
between the sky and the earth, and formation of
causing geometric collisions and destroying
multipurpose urban Squares.
corners. Atypical forms express open space by

한국공간디자인학회논문집 제10권 6호 통권36호 14

<Table 1> Representative spatial characteristics of the works causing visual sense of motion and tension
of Coop Himmelblau10)
through imbalance and insecurity(Lee, 2003,
p.69).
Appearance Representative spatial
Name of work
Image characteristics
3.2 Non-territoriality
In the architecture of Coop Himmelblau,
Non-territoriality,
Rooftop
Transparency, Dynamics, vagueness and overlaps of complex space
Remodeling
Atypicality
elements can be found frequently. The
architecture of Coop Himmelblau consists of
Non-territoriality,
Open House
Transparency, Antigravity
many new elements, liberated from the
traditional basic space elements such as walls,
floors, and roofs(Choi, 1998, p.73). In their
Funder Atypicality, Transparency,
Werk 3 Antigravity, Dynamics buildings, walls are not walls any more; they
partially become roofs and floors. Due to the
space elements that are no longer conventional,
Groninger Dynamics, Transparency,
Museum Atypicality, Antigravity the space is interpreted with hybrid,
non-territorial, and vague meanings. The vague
Dynamics, Antigravity,
UFA Cinema space is opened and pursues open space.
Transparency, Atypicality,
Center
Purposelessness
Furthermore, the overlapped and opened
New Urban Atypicality, Antigravity, buildings are never separated and these buildings
Entertainment Transparency,
Center Purposelessness stimulate users to freely occupy spaces. As a
result, closed spaces disappear, leaving open

SEG Apartment
spaces(Lee, 2003, p.27).
Purposelessness
Block Remise

3.3 Transparency
The transparency of space is a concept that
Apartment
Transparency, Atypicality, can be instantly felt visually(Kim, 2013, p.39).
Building
Purposelessness
Gasometer B The use of iron, glass, and linear members
makes buildings transparent. The use of glass
SEG Apartment
Purposelessness for the envelope gives transparency, and the use
Tower
of linear steel frames reveals the formative
Atypicality, Transparency, structure of a space. The transparency of space
Musee Des
Non-territoriality,
Confiuences reflects the external culture as it is, thereby
Antigravity
connecting haman beings with nature which is
Akron Art Transparency,
Museum Purposelessness the surrounding environment, and imbues life to
space. In a transparent building, the interior and
Non-territoriality,
Atypicality, Transparency, exterior spaces are interconnected with intimate
BMW Welt
Antigravity,
influence, and give a visual sense of liberation to
Purposelessness
the space, thus pursuing open space.
High School Atypicality

3.4 Antigravity and Dynamics

Expo.02 Forum
Atypicality, Transparency In an interview, a representative of Coop
Arteplage biel
Himmelblau said, “Coop Himmelblau does not

Journal of Korea Institute of Spatial Design, Vol.10 No.6 15

represent any color, but an ideology. This
ideology is to pursue ever-changing, fantastic,
and imaginary architecture”(Cho, 2010, recited).
Coop Himmelblau has a surrealistic tendency and
fights against typical structures, while pursuing
fantastic, antigravitational, and dynamic images.
They break out of the natural laws of gravity
and stability, transcends customary architectural
common sense, and aim at antigravitational and
dynamic forms(Seong, 2010, p.31). In order to
compose such forms, they break away from
customs and restrictions, and create experimental
spaces through the creation of new forms and
spaces with new design methods and ideas.
Their antigravitational dynamic architecture
makes watchers feel insecurity and tension, and
gives a visual impression of moving.
3.5 Purposelessness
Coop Himmelblau rejects deterministic space
program. Architecture must be able to accept the
possibility of various changes in human life.
They believe that fixed architectural programs
suppress the diverse possibilities of human life
for people who are users. therefore, they pursue
architecture of purposeless structures
contain potential possibilities and design spaces
that have possibility of transformation according
to the users’ intention. Therefore, the meaning
and functions of space are reserved
determined by users of the space(Choi, 1998,
p.73). Coop Himmelblau claims that architecture
that can be changed and moved according to
users’ intention is seeking the true open space
(Lee, 2003, p.27).
The spatial characteristics that appear in the
architecture of Coop Himmelblau can
summarized as first, atypicality; second,
non-territoriality; third, transparency; and last,
purposelessness.
4. Analysis of Spatial Expressions of the
한국공간디자인학회논문집 제10권 6호 통권36호 16
Architecture of Coop Himmelblau in
Busan Cinema Center
Busan Cinema Center expresses the
architectural philosophy of Coop Himmelblau in
various spaces. First of all, as mentioned above,
they attempt to combine the two extremely
different worlds of technology and nature.
Specifically, Busan Cinema Center creates
formative aesthetics through the relationship
between the earth and the sky. The earth is
perceived as the Square, and a mountain and a
hill were created by uplifting a part of the
Square. Furthermore, the inside of the mountain
and hill was set up as a residential space. In
addition, a public space was formed with the
space between the artificially created sky and
the uplifted ground. Besides formative aspects,
the names of the buildings of Busan Cinema
Center suggest this architectural design.
Cinemountain is a compound of cinema and
mountain, and BIFF Hill is a compound of
BIFF(Busan International Film Festival) and hill.
The last point is the connection of Busan Cinema
that Center with the APEC Naru Park and Suyeong
River. The transparent glass facade of the
Cinemountain building connects the building with
the APEC Naru Park and Suyeong River. It
and brings nature into the building that was built
with technology, thereby creating harmony. In
this way, Busan Cinema Center achieved the
combination of nature and technology through the
formative aesthetics, names of buildings, and
connection with APEC Naru Park and Suyeong
River.
be In the following sections, the spaces of Busan
Cinema Center will be analyzed around the
spatial characteristics of Coop Himmelblau, that
is, atypicality, non-territoriality, transparency,
anti-gravity, dynamics, and purposelessness.
4.1 Rejection of Uniformity - Atypicality
 to be used besides geometrical manipulations.
A representative example of atypicality by
geometric collision in Busan Cinema Center can
be seen by Cinemountain. As shown in the
Cinemountain building in <Figure 9>, the
<Figure 5> Inclination <Figure 6> Twist
escalator from the inside meets with the
escalator from the outside and moves up to sith
floor where it is projected toward the outside
and then turns inside, producing a peculiar
appearance. In other words, a

<Figure 7> Penetration <Figure 8> Chasm

hard-to-comprehend shape is created by
emphasizing a diagonal composition through
Coop Himmelblau creates atypical spaces by three-dimensional collision of masses beyond
freely applying inclination, twist, penetration, and the flat shape. Furthermore, geometric collisions
chasm to architecture. occur in the aerial bridge that is connected to
Inclinations as a method of creating atypical the Double Cone building due to the intrusion of
spaces in Busan Cinema Center can be seen in different masses, thereby creating an unstable
the exteriors of Small Roof, Cinemountain, and atypical form. The inclined, twisted, and atypical
BIFF Hill. The structures of inclined lines cause forms express an open space by causing visual
vagueness of the spatial structure and expands sense of motion and tension through insecurity
the concept of space to infinite space. Twists and imbalance.
can be found in the aerial bridge connecting the Thus, the inclination, twist, penetration, chasm,
Double Cone with three other buildings. Double and geometric collisions were examined, which
Cone has a twisted shape with two engaging are the formative characteristics of the
janggu barrels, while the aerial bridge has a architecture of Coop Himmelblau through the
twisted shape unlike conventional bridges. appearances of Cinemountain, BIFF Hill, and
Penetrations can be seen in the Cinemountain, Double Cone buildings, and the aerial bridge of
BIFF Hill, and Double Cone buildings. An aerial Big Roof and Small Roof. The atypicality of
bridge that interconnects these three buildings Busan Cinema Center can be seen from these
penetrates through the buildings. The chasm can spatial expression elements.
be seen between Big Roof and Small Roof.
4.2 Non-territoriality
Conventional architectural spaces have
traditional space elements such as walls,
columns, and roofs. However, the architecture of
Coop Himmelblau does not have basic space
<Figure 9> Cinemountain
elements. Coop Himmelblau re-interpreted basic
Besides inclination, twist, penetration, and
space elements as new meanings. Walls are used
chasm, more complex atypical shapes of
beyond the complex meaning where they can be
buildings are formed by the process of masses
partially wall, partially roof, and partially floor. In
being changed by intrusion and overlapping(Lee,
other words, space elements are not walls or
2003, p.69). As a principle of composing more
roofs, but act as components of new spaces
complex atypical forms, geometric collisions tend
(Yoon, & Lee, 2003).

Journal of Korea Institute of Spatial Design, Vol.10 No.6 17

 overlapping stairs and corridors separate the
floors, but rather than clearly separating, they
are opened in one space. Lastly, you can also
see that the concept of floors become vague
when moving through the aerial bridge
<Figure 10> Cinemountain <Figure 11> BIFF Hill
interconnecting three buildings because the third
floor of Cinemountain, the second floor of Double
Cone, and the third floor of BIFF Hill are
connected.
In this way, the diagonal appearances of the
Cinemountain building and the BIFF Hill building,
interior stairs and corridors, and the bridge
<Figure 12> Cinemountain 1F(left), 6F(right)
interconnecting three buildings show the
non-territoriality, vagueness, and overlapping
which are the architectural characteristics of
Coop Himmelblau.

<Figure 13> Cinemountain stair 4.3 Interpenetration of Spaces - Transparency

The transparency of space is a concept that
In the Busan Cinema Center, walls, columns,
can make us visually see open space(Kim, 2013,
and roofs do not exist as space elements, but
p.39). Transparent buildings enable
walls become columns or roofs or screens for
interpenetration of interior and exterior spaces.
playing videos. The concepts of wall, column,
Therefore, the architecture of Coop Himmelblau
and roof become vague; they become
pursues open space when the space is expanded
non-territorial complex space elements. Space
from the interior to the exterior.
elements that are no longer customary have new
meanings and the territoriality of space becomes
vague. Spaces with vague territoriality have
openness and pursues open space.
Spaces that reveal non-territoriality in Busan
<Figure 14> Cinemountain
Cinema Center can be found in several places.
The diagonal appearance of Cinemountain and In Busan Cinema Center, the Cinemountain and
BIFF Hill as shown in <Figure 10-11> makes BIFF Hill buildings created transparent
the concepts of wall and roof vague. Diagonal architecture by using glasses and linear
structures become walls or roofs, and act as materials. Consequently, the exterior nature was
elements comprising a new space. Furthermore, drawn into the interior space, with
when you look ahead from the lobby handrail on interpenetration between internal and external.
the 6th floor of Cinemountain as shown in Through such interpenetration of interior and
<Figure 12>, you can feel that the concept of exterior, an open space was created in which
spatial element becomes vague. In addition, the the overall context becomes one.
concept of overlapping stairs and corridors of Thus, the penetration of spaces which is an
Busan Cinema Center make the concept of floor architectural characteristic of Coop Himmelblau
vague. As shown in <Figure 12-13>, the was examined through the appearances of

한국공간디자인학회논문집 제10권 6호 통권36호 18

Cinemountain and BIFF Hill buildings in Busan In addition, an LED illumination plate
Cinema Center. consisting of about 120,000 bulbs is attached
below the Big Roof and Small Roof. After sunset,
4.4 Organic Spatiality – Anti-gravity and Dynamics the LED program11) is activated to provide
fantastic visual effects, thus producing an urban
space.

<Figure 15> Big Roof

<Figure 18> Double Cone bridge

Besides the Big Roof and Small Roof, another

fantastic and imaginary architectural feature of
<Figure 16> Double Cone bridge Coop Himmelblau can be seen in the aerial
bridge that interconnect Cinemountain, Double
Coop Himmelblau has pursued fantastic and
Cone, and BIFF Hill. As shown in <Figure 18>,
imaginary architecture and created
this bridge has a different shape from other
anti-gravitational, dynamic spaces through it.
general bridges. It looks as if it is quickly
The characteristics of such organic space
moving and rotating in a twisted and bent shape
creation in Busan Cinema Center can be seen
in three dimensions.
from the aerial bridge interconnecting Big Roof,
Through Big Roof, Small Roof, and aerial
Small Room and aerial bridge interconnecting the
bridge, the anti-gravity and dynamics of Busan
three buildings in <Figure 15-16>.
Cinema Center can be seen. These features
reflect the fantastic and imaginary architectures
which are the architectural features of Coop
Himmelblau that have been discussed above.
<Figure 17> Big Roof, Small Roof
4.5 Decentralized Architecture - Purposelessness
To look at it specifically, The Big Roof and
Coop Himmelblau rejects deterministic space
Small Roof of Busan Cinema Center are the
programs. They believe that fixed architectural
largest roof with a size that is 2.5 times as
programs suppress the diverse life and
large as a soccer field. Big Roof was designed
possibilities of human beings who are users and
as a cantilever structure and registered in
argue that architecture must accept the
Guinness Book of Records as the world’s
changeability of human life. They claim that
largest cantilever structure. Furthermore, as
“Architecture that is changed and moved by
shown in <Figure 17>, the Big Roof and Small
users’ intention is the architecture that pursues
Roof are not just flat, but has a shape of being
true open space”(Lee, 2003, p.27).
burst up from the earth. The irregular curved
Busan Cinema Center is an architecture that is
surface brings out the flexible changes of ceiling
changed and moved by the intention of users. In
height, thereby creating a dynamic space that
other words, it does not force users to behave
continuously undergoes the enlargement and
in specific ways in the space. The space
contraction of space.
changes and moves as the users want and

Journal of Korea Institute of Spatial Design, Vol.10 No.6 19

according to the users’ purpose. The concepts screening.
of space elements may become vague to express Through the lobbies of Cinemountain and BIFF
such space. The wall may become a roof or a Hill and the outdoor theater of BIFF Square,
screen. Furthermore, spaces may be formed with which express the characteristics of open space
no specific purpose. that is pursued by the architecture of Coop
Himmelblau, the purposelessness and
changeability of Busan Cinema Center can be
seen.

<Figure 19> BIFF Hill Lobby 5. Conclusion

In this paper, starting with an understanding of

the political and economical background of BIFF,
the architectural spaces of Coop Himmelblau
expressed in Busan Cinema Center were
discussed. For this purpose, the aspects of
atypical, transparent, organic, and decentralized
architectures were examined with regard to the
architectural features of Coop Himmelblau who
designed Busan Cinema Center. Specifically, the
background and purpose, scope and method of
this study, as well as previous research and data
<Figure 20> BIFF Square(left), BIFF Theatre(right)12)
review were introduced in Introduction. In the
The lobbies of Cinemountain and BIFF Hill in main discourse, the architectural philosophy
Busan Cinema Center display spaces that can be revealed in Busan Cinema Center and the
changed and moved by users’ intention. As architectural philosophy of Coop Himmelblau
shown in <Figure 19>, the lobby of BIFF Hill were examined as theoretical background. In
changes to a variety of spaces according to the conclusion, Busan Cinema Center was analyzed
users’ intention such as cafeteria, exhibition to express the major architectural philosophies
space, banquet hall, interview space, etc. of Coop Himmelblau. The conclusions of the
Furthermore, as shown in <Figure 20>, the BIFF above discussion can be outlined as follows.
Square in front of Cinemountain changes to First, the most characteristic formative feature
various spaces such as resting space for of the architecture of Coop Himmelblau that is
citizens, outdoor exhibition space, photo zone revealed in Busan Cinema Center is the
during an event, etc. The wall of the BIFF atypicality of the space. Busan Cinema Center
Square also becomes a screen for media facade. forms atypical spaces by inclination, twist,
Besides, as shown in <Figure 20>, the BIFF penetration, chasm, and geometric collision.
Theater changes to an outdoor theater and event Atypical spaces express open space by causing
site during the BIFF period, a stake rink and visual sense of motion and tension through
sledding slope during the winter when outdoor insecurity and imbalance.
screening is difficult, and a resting space and Secondly, Busan Cinema Center clearly shows
square for citizens when there is no outdoor the non-territoriality of space that has been

한국공간디자인학회논문집 제10권 6호 통권36호 20

frequently used in the architecture of Coop valued by the architecture of Coop Himmelblau.
Himmelblau. In Busan Cinema Center, the walls, BIFF started with the political and economic
columns, and ceilings do not exist as purpose of promoting the second take-off of
independent space elements, but the space Busan and activating the local tourism which is a
elements are used in a complex ways and regional foundation industry, rather than just as
overlapped and their concepts become vague. an exclusive theater for BIFF. This study is
The vague spaces have non-territoriality and expected to contribute to the better
become open space. understanding of Busan Cinema Center as an
Thirdly, transparency which visually expresses architecture that delivers the architectural
the open space that is pursued by Coop philosophy of Coop Himmelblau and clearly
Himmelblau was also discovered in Busan expresses the aesthetics of open space on the
Cinema Center. Busan Cinema Center was background of a monumental architecture for
created a transparent architecture using glasses creation of the image and identity of Busan as a
and linear materials. Transparent architecture film culture city.
enables interpenetration of interior and exterior
spaces, thereby expanding spaces from the Reference
inside to the outside and pursuing open space. Choi, Eunhee, (1998). A Study on the Expression of
Space-Time Concept in Deconstructive Architecture
Fourthly, organic architecture, which is one of
: With Focus on the Works of Rem Koolhaas and
the major architectural features of Coop Coop Himmelblau. Yonsei University Graduate
Himmelblau was also found in various spaces of School, Mater’thesis.
Busan Cinema Center. The aerial bridge Cho, Jinil, (1994). A Study on the Theoretical
Background and Design Characteristics of
connecting three buildings, the shape of Big Roof
Deconstruction in Architecture. Konkuk University
and Small Roof that is bursting out from the Graduate School, Mater’thesis.
earth, the world’s largest cantilever roof, and Cho, Youngbae, (2010). A Study on the Features of
the LED illumination plate that provides fantastic Coop Himmelblau's Spatial Design. Journal of
Korea Socity of Basic Design and Art, 11(1),
visual effects show anti-gravity and dynamics,
331-341.
and enable fantastic, imaginary architecture. Cho, Youngbae, (2005). A Study on Coop
Lastly, as a feature representing Himmelblau's Architctural Methology. Journal of
deconstructivist tendency of the architectural Korea higher vocational education association, 6(4),
467-476.
philosophy of Coop Himmelblau, Busan Cinema
Kim, Gaeun, (2013). A Study on the design for
Center was designed as an architecture that community Library. Konkuk University Graduate
responds to the intention of users. Busan Cinema School, Mater’thesis.
Center allows users to explore the diverse Kim, Juyeong, (2013). A Study on the Process of
Making the Cinema Cultural City of Busan. Busan
possibilities of free spaces by creating new
University Graduate School, Doctoral dissertation.
forms of spaces and to feel many different Kim, Jungeok, & Beomtek Jang, (2011). Busan
interpretations of the space through Cinema Complex Project. Journal of Korea Institute
reinterpretation. It is an architectural space that of Building Construction, 11(5), 15-22.
Lee, Hyeyeong, (2000). A study on cultural and
has user-oriented aesthetic features that
industrial tendency of international film festival :
changes and moves according to the desire and Centering on Pusan international film festival.
purpose of users. Gyeongseong University Graduate School,
In this paper, Busan Cinema Center was Mater’thesis.
Lee, Kyuhong, (2003). A Study on the interior planning
analyzed as an architecture that clearly shows
concept of 'Open Space' Concept and Design trait
the characteristics of open space that is most in Coop himmelb(L)au. Kookmin University

Journal of Korea Institute of Spatial Design, Vol.10 No.6 21

 Graduate School, Mater’thesis. Italian fascist regime to use culture for external coverin
Seong, Hongcheol, (2010). A Study on the Soaring g. Cannes Film festival began after the second world
Architecture Reflecting the Concept of war in the aftermath of anti-fascism. It is the most co
Time-Space: focused on the works of Coop mmercialized film festival contributing to French econo
Himmelblau. Inha University Graduate School, my. Berlin Film Festival was held as a means to show
Mater' thesis. off their determination to recover and protect Germany
Yoon, Jaeeun, & Kyuhong Lee, (2003). A Study on the
after the war(Lee, 2000).
concept of ‘Open space’ in Coop
Himmelblau’s. Korean institute of interior design 4) BIFF was first held in 1996 with the purpose of deve
journal, 40(5), 34-41. loping tourism and culture as regional foundation indus
http://ko.wikipedia.org/wiki/%EC%98%81%ED%99%94%E tries when the regional economy fell into a recession
C%9D%98%EC%A0%84%EB%8B%B9,(downloaded20 with the decline of light industry since late 1970s, and
15.03.07), wikipedia. also with the East Asian Games in 1997 and the Asian
http://www.coop-himmelblau.at/architecture/projects/bus Games in 2002 in mind(Lee, 2000).
an-cinema-center,(downloaded2015.03.07), Coop
5) Other international film festivals have fixed holding ti
Himmelblau.
me because they have exclusive theaters. However, BIF
http://www.dureraum.org/bcc/contents/contentsView.do?
F had no exclusive theaters and had to adjust the holdi
rbsIdx=194,(downloaded2015.03.07), Cinema
ng time to avoid the Chuseok holiday which is a high s
Center.
eason because they had to rent local theaters. As the
http://www.yonhapnews.co.kr/local/0899000000.html?cid
=MYH20110929002100038&from=search,(downloade Chuseok holiday changes each year because it follows
d2015.03.07), Yeonhap News. the lunar calender, BIFF had to change their opening d
ay each year(Kim, 2013).
Endnotes 6) http://www.yonhapnews.co.kr/local/0899000000.html?
cid= MYH20110929002100038&from=search,(downloade
1) RISS search result(as of 2015.03.07.), books(68), do
d2015.03.07), Yeonhap News.
mestic journals(7), degree dissertations(3), and researc
h report(1): Regarding the research or discussion about 7) http://www.dureraum.org/bcc/contents/contentsView.d
Busan Cinema Center, among the seven academic pap o? rbsIdx=194,(downloaded2015.03.07), Busan Cinema
ers in domestic journals, two papers provided mostly p Center.
hotographic information, two papers were related to the 8) (4) Picture source: http://www.biff.kr
film industry of Busan, one paper was a simple introdu
9) Works before 1980s were excluded from analysis bec
ction, and two papers were unrelated. Therefore, resear
ause they were experimental works such as performanc
ch results about Busan Cinema Center that have been
e art, installation art, and unrealistic imaginary works.
published in journals were mostly centered on the provi
10) Picture source: http://www.coop-himmelblau.at
sion of information. There are three degree dissertation
s in total. One dissertation attempted to analyze variou 11) 12 works including Mongyudowondo(12min/Jae-Wo
s social conflicts that were raised during the process o ong Kim), Swimming of Light(15min/Hyeong-Ki Kim),
f Busan City's adoption of strategies as a film culture Utopia and other six works(10min/Jong-Yeol Park)
city. It focused on the construction cost and site selec 12) (3, 4, 5, 6) Photograph source: http://www.biff.kr
tion of Busan Cinema Center. The other two dissertatio
ns were unrelated. This suggests that Busan Cinema C
enter has not been researched as a subject of academ
ic discussion. In the case of books with the largest nu
mber of search results, too, they just provided informat
ion rather than academic discussion.
2) After films began to be projected onto a screen, the
y changed from circulation screening to entertainment
screening between performances before developing into
permanent theaters.
3) Venice Film Festival, which is known to be the world
's first film festival started with political purpose by the

한국공간디자인학회논문집 제10권 6호 통권36호 22