KOREAN WAR MEMORIAL MUSEUM
The building located on the urban-rural intersection of the city, builds this state of being by dividing the program into small parts, not by formal or imaginative searches. It is not possible to talk about a single building which is open and controlled during visiting hours. Instead, it is more valuable to think about the sincerity of the visitors to pick up the key to the library from the administration building when needed. Therefore, the program is divided into individual units and each unit is positioned to feed the outer space.
The museum, which is the part of the program that gives all the respect, emotionality and sensitivity to the building, has been studied with care. The idea of an underground memorial space which has become a reflex in today’s war memorial space design, is biliçli olarak avoided and the visitors are rised (emancipated) from the plane (the world) they are standing on, with a feeling that exalts the peace.
Gravel is preferred for the floor finishings, so that every step of the visitors could make a sound. Instead of a sterile, quiet and comfortable visiting moment, it is aimed to create a situation where the stepping sounds call the visitors back from the time of the documents they are looking at.
Upon returning ftom the entrance wall, the visitor encounters panels which open to the dense forest area on the southern part of the site. The mechanisms of these panels establish an anological connection with the old war technologies.
The use of pulley systems -which were previously used for fixing mills from shotgun shots- in a war-memorial building to bring light to the darkness, was found to be touching.
Looking at the forest area from the museum, there are four clusters in between which there is a pathway. These are the four installations representing 4 brigades. Galvanized metal poles are viewed from 2 meters high, giving the visitors an emotional moment as if they were looking at the soldiers on the battlefield. These pillars reflect the trees, soil, visitors around them and they establish a dynamic relationship with the visitors.
The individual units of the program are positioned to feed and define the exterior space. Thanks to the rich cross sections, the public space is used countinuously on a daily basis, instead of being used only on a day of memorial ceremony and abondened the rest of the time.
The building is respectful to its surroundings and its subject with its calm and simple character. All the individual parts lightly touch the ground.
The largest and the most special part of the program, the exhibition area is located on the threshold that seperates the forest area and the rural area. In the same axiality as the surrounding millitary areas (north-south axis), it is associated with the military context in the upper scale. Inside the project site though, it is located in the middle of the two parcels in particular, belonging to the neither side, in other words, belonging to a non-place.
It is thought that the message given by the subject of the structure, which is located in a space that does not belong to both sides, is meaningful.
As a result, the design tries to emphasize the dignity of the subject, the unity based of selflessness and the humble monumentalism...
Sacit Arda KARAATLI
Lebriz ATAN KARAATLI
Süveyda BAYRAKTAR ATAGÜR
Mustafa Yavuz BİLGİÇ