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.
A HUMBLE MONUMENTALITY
MEMORY AND REFLECTION
When you look at the wooded area from the exhibition area, you can see 4 clusters through the pathway. These are 4 memorial placements representing 4 brigades. By viewing the galvanized metal poles from two meters above, an emotional moment is provided when visitors look at the soldiers on the battlefield through the eyes of the commander. These pillars (soldiers) reflect the surrounding trees, soil, visitors, and establish a dynamic relationship with those who walk among them.
The structure located at the rural and urban cross-section establishes its state of being in the cross-section not by a formal-imaginary search, but by separating the program into small parts. This cross-section cannot be mentioned in a single building that is open and controlled during visiting hours. Instead, the sincerity of the public to take the key to the library door from the administration is precious. Therefore, the program was divided into individual parts, and care was taken to position each program in a way that feeds the outdoor space.
Individual parts of the program are positioned to nourish and define the outdoor space. It is not only a day when the commemorative event will be held, the space that can be used continuously was created via these produced generous cross-sections.
Individual parts of the program are positioned to nourish and define the outer space