A museum interacting with our feelings establishes an intimate dialogue with the past
KOREAN WAR MEMORIAL MUSEUM
#competition, #koreanwar, #museum, #landscape, #lüleburgaz, #memorialdesign
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 deliberately avoided and the visitors are rised (emancipated) from the plane (the world) they are standing on, with a feeling that exalts the peace.
Süveyda BAYRAKTAR ATAGÜR
Mustafa Yavuz BİLGİÇ
THE THRESHOLD AND THE METAMORPHOSIS PROCESS
The exhibition area, which is the most featured and largest part of the program, is large and somewhat boldly located at the threshold that separates the woodland and the frost area. By standing on the same axis with the structures of the surrounding military areas, it establishes a relationship with the military context at the upper scale and belongs to neither one side nor the other by settling between the two parcels within the project area. In other words, it belongs to non-place.
Based on its calm and plain language, the structure is respectful to its environment and context. All individual parts tread on the ground slightly. The message it gives about the subject of the building, which was positioned in a space that does not belong to either side and as if it had stopped at the moment of rising from the ground by touching the ground on which it is located was found meaningful.
Project tries to emphasize the dignity of the subject, the unity of dedication, and a humble monumentality ...
In today's war-memorial spaces design, the idea of "bringing the user underground" has been avoided, which has almost become a reflex. With a feeling that glorifies peace, users have been raised (isolated) from the plane they are in.
As if stopped at the moment of rising - In a void that does not belong nowhere
The exhibition space unit, which gives the building all its dignity, emotionality and sensitivity, has been carefully studied. Pebblestone was chosen for the floor material so that every step of the visitors made a sound. Rather than a sterile, silent, and comfortable visit, it is aimed to create a situation that calls the users back to the time of the documents they are navigating.
As they return near the entrance wall, the users encounter the panels that open into the densely wooded area on the south side. The arrangements of these panels establish an analogical connection with the old war technologies. The use of the roller-hoop systems used to fasten the milieu in artillery shots to open the darkness to light in a war-memory structure was found to be meaningful.