Seosomun Shrine History Museum

_hyogeun_

As indicated by the name 'Seosomun Historical Park', there are no overpowering buildings at first glance, and only the 'Seosomun Martyrs' Monument' on one side of the park shows the historical sorrow of this place. A building with no windows and red brick walls arouses the curiosity of visitors, and the journey of this place unfolds starting from a downhill path. The method of entering the space through a downhill slope disconnects from the world, but the curvilinear brick wall leading to the entrance gives people a sense of familiarity and a positive impression. From the entrance, the sudden decrease in floor height, the long corridors, and these elements accentuate the cross-shaped structure, silencing people and reminding them of the painful history through the exhibits in between the corridors. Descending the stairs, you are met with a brightly lit exhibition space under a tunnel-shaped ceiling, which seems to embrace and comfort the painful history of this place. The emotions one feels while experiencing this place culminate in the 'consolation hall'. The roof of the consolation hall is floating, and its floating height is low, connecting the outside and inside while also separating them. Emotions are maximized through a video from inside, and the dark and black space helps focus on one's thoughts and calm oneself. The rays of light extending from this place guide people through the 'Sky Plaza', entering a space completely different from the dark past, with high walls overwhelming the visitors. The absence of a ceiling and the ensured field of view seem to provide a sense of relief from the sad emotions in the Sky Plaza. The maximized emotions in the consolation hall come to an end here, and the story ends as one follows the corridor on one side of the wall to the ground. The consolation hall and the Sky Plaza are contrasting but are the most important spaces, overwhelming the visitors in different ways and maximizing the space for remembrance. It reminds and soothes of the painful history, allowing for mourning, but all these processes are left for the visitors to undertake themselves, meaning the architect's intervention is quite restrained. The method of letting light into the basement, the detail of the materials that make up the space, and the natural flow of space are of high quality, and after 8 years of 'maturation', we are able to experience this space. I am merely grateful that such a space has been created in Seoul, and in our country, and I hope many people, regardless of religious reasons, would indeed experience this place.