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대치동 업무시설·코엑스 리모델링…서울 동남권 MICE 기능 강화_我的网站

A |     대치동 업무시설·코엑스 등 2개 사업 심의 통과테헤란로 전시·협업공간 확충…동남권 기능 강화삼성역~봉은사역 지하 보행축 잇고 환승센터 연결                    한국종합무역센터(coex) 특별계획구역 증축사업 조감도. 서울시 제공 [파이낸셜뉴스] 서울 강남구 대치동에 전시·협업공간을 갖춘 지상 24층 규모의 업무시설이 들어선다. 삼성동 코엑스 일대는 증축·리모델링을 통해 전시·컨벤션 기능을 강화하고 시민 보행·휴식공간을 확대한다. 26일 서울시에 따르면 지난 25일 열린 제15차 건축위원회는 '대치동 890-16 업무시설 건립사업'과 '한국종합무역센타 특별계획구역 증축사업' 등 2개 안건을 통과시켰다. 이에 따라 강남구 대치동 890-16, 20번지에는 대지면적 약 2760㎡, 지하 9층~지상 24층, 연면적 약 5만㎡ 규모의 업무시설이 조성된다. 저층부에는 가로 활성화를 위한 전시공간과 공동업무·협업이 가능한 회의공간이 들어선다. 상층부에는 대규모 업무공간을 배치해 다양한 기업과 비즈니스 수요에 대응할 계획이다. 건물 동측에는 테헤란로를 오가는 시민과 방문객이 이용할 수 있는 공개공지를 조성한다. 보행공간과 녹지를 함께 마련해 보행자가 이동 중 머물며 쉴 수 있는 개방형 휴식공간으로 꾸민다. 시는 사업이 완료되면 선릉·역삼 일대의 업무 중심 기능이 강화될 것으로 기대하고 있다. 삼성동에서 추진 중인 국제업무·마이스 개발사업과 연계해 대치·삼성 일대의 업무·상업 기능 간 시너지 효과도 낼 것으로 내다봤다. 전시·컨벤션과 호텔, 쇼핑몰 등이 밀집한 한국종합무역센터(coex)도 증축·리모델링된다. 컨벤션센터 외관을 새롭게 정비하고 노후 시설과 내부 공간을 개선해 이용 편의성을 높인다. 전체 연면적 97만2598.70㎡, 지하 6층~지상 54층 규모 시설 가운데 일부 공간을 리모델링하고 지상부 컨벤션센터 입면도 새롭게 디자인한다. 국제 전시·회의 수요 변화에 대응할 수 있도록 전시·컨벤션과 업무·문화·상업 기능을 정비하고, 시민이 일상적으로 이용할 수 있는 외부공간도 확대한다. 특히 선정릉에서 코엑스를 거쳐 탄천 보행로까지 이어지는 보행·녹지축을 고려해 사업지 곳곳에 공개공지와 휴식공간을 조성한다. 영동대로변에는 수목을 3열로 심어 녹지공간을 확대하고, 영동대로 복합환승센터 지상부에 들어설 녹지와 연계한다. 무역센터 전면 광장은 축제와 행사 때 시민 휴게공간으로 활용할 수 있는 대규모 시민광장으로 재편한다. 별마당도서관 주변에는 도심 생태숲을 조성한다. 평상시에는 시민이 휴식과 여가를 즐기는 생태 거점으로 활용하고, 국제행사 때는 국내 생태의 다양성을 보여주는 공간으로 운영할 계획이다. 삼성역 사거리 전면에는 지상 1층 삼성역 코너와 지하 1층 코엑스몰을 연결하는 입체광장을 조성한다. 두 공간 사이에는 대형 계단인 '그랜드 스테어'를 설치해 문화행사와 미디어아트를 즐길 수 있는 공간으로 꾸민다. 영동대로 복합환승센터와 코엑스의 연결성도 강화한다. 환승센터와 코엑스를 직접 연결하는 보행통로 2곳을 신설하고 지하주차장 진출입 동선과 내부 환경도 개선한다. 현재 영동대로변에 있는 지상 차량 진출입 동선은 영동대로 복합환승센터와 연계해 지하 2층으로 옮긴다. 지하 1층에는 삼성역부터 봉은사역까지 이어지는 공공보행통로를 조성해 보행 연속성과 접근성을 높인다. 시는 사업을 통해 코엑스 일대를 한강 이남을 대표하는 시민 중심의 열린 공간을 조성하고, 2030년 이후 변화하는 도시 수요와 국제교류 환경에 대응하는 서울의 새로운 랜드마크로 만들어 나간다는 구상이다. 명노준 서울시 주택실장은 "서울 동남권에 대한민국을 대표하는 글로벌 MICE 허브 조성으로 서울의 미래 경쟁력을 높이는 사업들"이라며 "심의 이후 각 사업의 후속 절차를 꼼꼼히 챙겨 시민이 주거와 이동, 휴식 등 일상에서 변화를 체감할 수 있도록 추진하겠다"고 말했다.。    Filmmaker Anil Sharma's association with Dharmendra and the Deol family goes back a long way. He had directed the late actor in Hukumat (1987), which went on to be one of the biggest blockbusters of the filmmaker's career. Together, they delivered more hits such as Elaan-E-Jung (1989), Farishtay (1991) and Apne (2007). Filmfare caught up with Sharma, who opened his heart about this bond with Dharmendra.Excerpts:     What kind of an impact did Dharamji have on your life and career?     My entire career exists because of him. The first star I ever saw on the big screen was Dharmendra. When I became an assistant director, I worked with him on The Burning Train (1980). And the biggest blockbuster of my life, my first blockbuster Hukumat was also with him. We also did Elaan-E-Jung, Farishtay (1991) and Tahalka (1992), and all four were hits.          I worked with his son Sunny Deol on Gadar: Ek Prem Katha (2001). I produced Policewala Gunda (1995) and directed Ab Tumhare Hawale Watan Saathiyo (2004) with Bobby Deol. My film Apne had all the three Deols in it. Then there were The Hero: Love Story of a Spy (2003) and Singh Saab The Great (2013). My whole life has been spent working with the Deols and most with Dharamji. I consider myself fortunate to have worked with this family and Dharmendra. He was a legend, an era by himself . People love him so much because he too loved them in equal measure.     Go on...     Dharmendra was a young man from Sahnewal... He would stand before the Frontier Mail train and say, 'Frontier, please take me to Bombay.' And truly, Dharmendra became the film industry. He would have 6–7 releases in a single year, and all of them were hits… Today, if an actor gives even three hits in a year, he’ll run around with a sword, ready to conquer the entire country.     Dharmendra ji delivered massive blockbusters that no hero today has ever seen on that scale. It was not just action films that worked. He did films like Anupama, Chupke Chupke, Naya Zamana, Mera Gaon Mera Desh, Pratigya, Yaadon Ki Baarat, Hukumat. He had such a range! All these were hit films. And he was so handsome… It felt like God crafted him with his own hands, and then broke the mould forever. He was what you truly call, 'a Greek God'. Today we loosely call many heroes 'Greek God' but the real Greek God was Dharmendra.          It is said that he never increased his fee even after delivering blockbusters...He had multiple hits releasing at the same time. When he watched Hukumat, he liked it a lot. His payment terms used to be that some money was given during production and the rest upon release. So, he told me, 'Anil, you've made such a wonderful film, I'm waving off my entire balance fee.' He would waive off his remaining payment if you made a good film. He had no attachment to money; his attachment was only to good cinema.     How was your last meeting with him?     It was a couple of months ago. He asked me about the films I was working on. He then said that he wants to do such a film that the world will watch in awe and asked me to find a role for him. He said, "Camera meri mehbooba hai, aur mujhe miss kar rahi hai..." (Camera is my beloved, and she is missing me) I'm missing her too and I have to go back to her. He actually had a film ready to release and in the last couple of years, he had done films, and he had such passion even at the age of 89. He would tell me, "Just watch, I’ll do such good work that the world will watch… you’ll see what I’ll do. You’ll see." It felt like he was the same little boy from Sahnewal.                                                                 View this post on Instagram          A post shared by Anil Sharma (@anilsharma_dir)               How was Dharmendra as a person when the cameras stopped rolling?      Dharamji never realised how big his stardom and influence was. We would tell him that you are such a big star and he would say, "I am nothing...I am just a farmer, a man of the soil." In fact, the entire Deol family is like that. They genuinely believe they are still new and have a lot more to achieve. Dharam ji once said that he worked only for the people and their love. He came to be a part of the film industry, and he didn’t just become a part of it, he became the film industry itself.     Tell us about Sher, Dharmendra's shelved James Bond style spy thriller...     Sher goes back to 1988. I wanted to make a James Bond–style film. Recently the poster suddenly resurfaced, and everyone was shocked seeing Dharmendra with such a fantastic, powerful physique. I was a big fan of Bond films, because what does a Bond film need? Personality, handsomeness, wit, romance in the eyes, action prowess, intelligence, and Dharam ji had every single one of those qualities. But somehow, the film couldn’t get made. Hukumat hadn’t released yet at that time and I had signed Sher during Hukumat itself. The producer ran into some issues. If the film had been made, it would have been something remarkable in Dharamji’s career. I still have the script with me. Even now, people tell me to make it with Sunny Deol. I haven’t thought about it yet, but yes, I’ll see, and maybe I will think about it again.     What do you want people to remember most about Dharmendra and his legacy?     He was a genuinely good human being who knew how to love. I used to ask him what defines a good actor and he always said that a good actor is first a good person. If today’s actors understand just this one thing, they’ll automatically become better actors. If you’re a good person, you can play a bad man, you can play a worthless man, you can play an average man. His goodness, and the way he showered love on people, these two qualities were truly special about him. And that is exactly how he will always be remembered. He is a legend and legends never die, they remain immortal.     Also Read: Exclusive: When Esha Deol Called Dharmendra and Hema Malini Excellent Babysitters。

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