thats on the agenda today. haunted by images i saw months ago on the net, i decided today, i'd see some spiders. a long journey ensued, but i was unperturbed by the duration. my mind were on spiders.
big scary ones.
before i left for korea, i came across a collection of interesting museum buildings online designed separately by three different prominent architects, grouped together into a single coherent complex. my malaysian counterpart in seoul, YW, had also sent me the link to these buildings and i had planned to see them today. finding them was a bit of a challenge, but after quite a distance, i found them.
perched on the terrain of a hill, i found them.
and the first thing that greeted were those spiders.
menacing, gigantic, black arachnids. humongous, bizarre and creepy.
i had arrived.
this was the relatively famous LEEUM Samsung Museum of Art, and it was designed by OMA, an international practice led by seven ( thats right, SEVEN! ) big name, famous partners – Rem Koolhaas, Ellen van Loon, Reinier de Graaf, Shohei Shigematsu, Iyad Alsaka, David Gianotten and Managing Partner, Victor van der Chijs in creative collaboration with Mario Botta and Jean Nouvel, 2 other very prominent architects with 2 very distinctive styles. Botta was known for his usage of the cladding of his buildings with red bricks in many creative techniques and methods, and Nouvel was a french modernist, through and through, who employes glass and steel in his projects.
OMA themselves indulge in a variety of projects and design styles and strategies, and when i first read on how all of them were invited to design this massive collection of art galleries in one giant interconnected complex, i just had to see the final architectural and interior concoction of concepts that physically manifested as a result from the cocktail of ideas and styles contributed by this prominent design collaboration.
as i head for the entrance, this elegant glass and steel staircase captures my attention for a bit, right above a passageway that was heading down. that passageway lead to the reception area which was the main entrance of the complex.
and here i was, and so i walk in.
it was an entrance leading to a subterranean reception, which i particular liked, like waking in a mysterious underground tavern, which i suspect was the heart of the complex.
once i arrived i could decide on how i was going to explore the variety of spaces and passages that are interlinked within the interiors.after all, there must be an organized and efficient way on how visitors who visit this art museum can circumnavigate themselves around its labyrinth - like collection of halls and corridors, rooms and passageways.
the reception area was the central nexus of all three interconnected buildings, and the first one i chose to visit was the one designed by OMA, specifically headed by Rem KoolHass, which was called the Samsung Child Education and Culture Center.
and so after deciding my destination, and as i first turned left, there was a gift. in shimmering blue steel, topped off with a shimmering maroon knot.
once i decided where to go, a peculiar offering stood next to my path, and as i stopped momentarily to appreciate its elegant personality, i looked around and saw what seemed to resemble the stair connected pathway to an elevated entrance to a massive spaceship-like hull in refined bare concrete finish, a favourite skin among architects who favour modernist tendencies.
and as i approached the entrance, inside as i walked in i saw a variety of art exhibits in the dark, contemporary in nature, scattered all over and this dimly lit hall, which then led to a open exhibition space beneath.
again modern pieces of work, abstract and incomprehensible at times, were placed all over the open hall. i try my best to appreciate what i see, but there are times when modern art simply goes over my head. besides, i was more interested in the building anyway.
so i continue walking.
now the rest of the interiors of the complex was quite a collection of refined spaces too, but unfortunately photography was not allowed. not much of a surprise actually that no photos were allowed, and so i took the time to really observe my surroundings.
as i walk around the complex after exiting the interiors, i observe on how conspicuously powerful each architects design philosophy is clearly manifested in the individual buildings they were appointed to design. Botta's influence on this part of the complex, called Museum 1, couldn't have been more evident judging by the intricate and detailed richness of the texture of these walls above, like the walls that form the huge tapered vase above, which itself was inspired by korean porcelain and pottery.
what particularly captures my attention is the way sunlight bathes the wall in a sophistciated yet subtle play of light and shadow, that results from the way the terra cotta tiles have been arranged, creating a dramatic elevation that really showcases a sense of richness to the sight and touch, and to further add to the richness that was already prevalent, alternating strips of light and dark tiles wrap themselves around some of the fort - like walls of the gallery.
next to Botta's project, was a starkly different building, in complete contrast to its bright neighbour. this was designed by Nouvell, and it clearly was a modernist structure with imposing forms and flat roofs. Museum 2, as it was called was generally a block like structure with rusted metal as its primary skin. the block itself was divided into several components so that each artist may have its own private space for public exhibition.
i entered the complex to see what was displayed inside, and spent an hour or so, observing all that i saw. but again, what really interested me was the building itself, and i'm glad, that despite the initial difficulties i faced while getting there, it was well worth the trip.
the whole complex truly was an exquisite design in its entirety, and i although i had my doubts on how it would be possible for such a variety of superstar designers with dramatically different styles and strategies to come together to design a single unified project without the final result looking like an utter mess of ludicrously driven form, scale and proportion, i have to admit, the individual design components here sit comfortably well with each other, and lovingly enhances the overall collective composition of all the buildings.
once i was done here, i decided i still had time to visit a nearby park, which i was told had some interesting public sculptures, so i decided that would be next destination. and after about 2 hours of finding the place, i breathed a sigh of relief once i reached the locale, which was marked by a series of horses riding wild in the wind.
and i have to admit, seeing all this green was a bit of a comfort too.
and i walked on, taking in the green around me, i see the the silhouette of an invisible man. i had to approach this curious sight and see how can visualize the invisible that was before me. and as i got closer, i was pleasantly surprised by the magnitude of what i saw, or rather tried to see with strained eyes.
a semi - transparent silent behemoth, molded and cloaked in a thread - like light and fragile steel mesh of a "skin", that seemed to be rising from the ground after deep hibernation, but frozen inexplicably in motion as he attempted to rise.
his presence was undoubtedly imposing, but his aura was calm, and soundless even. a strange mix of feelings and emotional projections, coming from a singular mysterious object this enormous in dimension and volume.
this shadowy giant was a good enough reason to visit this park, i thought to myself, and after i sat in his company for a moment or two, and eventually walked away, i saw many other natural and artificial treasures abound in this verdant landscape.
pristine ponds and lakes that soothe the sight and the soul.
and i continued, i was astounded by some of the things i saw.
artworks and sculptures that baffle the imagination and the intellect.
and waters that dance in tandem, shooting up next to spherical rocks.
after lazing on the grass for a while, just to enjoy the quiet of the surroundings, i got up and kept on walking to see what other surprises were lurking around the corner. and just around one of those corners was a public art gallery that was housing some every interesting pieces of work.
very interesting indeed.
these were clearly creative pieces of art made from recycled materials and items that seemed thoughtfully designed and wonderfully executed. my particular favourite among the lot was this gaggle of numerous steel flamingos in a variety of poses and dispositions.
i then see vultures and condors, snakes and rats too. nice.
and just before i leave, a couple of hedgehogs. next to a vase of flowers.
and all these pieces were really nicely done. as i walk out of the halls, i look at the skies above me and i see another beautiful day is beginning to come to an end. i was in a part of the city that i wasn't too familiar with, so i thought to myself, i best be heading back to the guesthouse.
so after this shot, its back to the subway station, and of course, the guesthouse.
time to go home.
but there was one last surprise for the night before i got home. on my way back, i had stopped at a station with a name that was synonymous with a very exciting project that was happening at the seoul at the moment. this project was making waves all over the design universe and i as i stared at the name, i knew i needed to drop by.
this was dongdaemun design park and plaza, and it was designed and being built by the world famous temperamental diva of architecture, the one and only, zaha hadid.
the site was previously a baseball stadium, and a historic one at that, but was demolished ( which did not go down too well with the city's populace it seems ) to make way for an art and performance centre.it was an international competition to redevelop this part of the city into something of an arts hub, for both national and international performances, and it seems zaha hadid and her associates had won the right to design the new complex.
well, it is zaha after all, and thats' reason enough to go, i assured myself.
so with the little extra time that i had before it got really dark, i decided i stop by this project and have a look at the progress so far the site has made, just to get a taste of things to come.
and the buildings scream "zaha" the minute i see them.
sensual curves all over the place.
fluid connections from floor to wall.
and an attempt to organically insert nature into the overall master-plan.
i enter the parts of the buildings open to the complex and notice more artwork. gifts and a host of other trinkets and souverniers were being displayed in retail space.
and as soon as i exit, the night has fallen, and the buildings starts taking on a more romantic, sensual aura. the curves add a touch of something enigmatic in the night atmosphere.
streams of unbroken light illuminate my path.
and i walk on just a little longer. the light works wonderfully in bringing out the fluid nature of the complex.
and the light works well everywhere. sensually so.
both on the new and modern.
and as well the old and ancient.
one quick drink in the cafe was something i decided to have on the spot and and once it got too dark, i decided it was finally time to go home.
this was my last shot of the night, which was a traditional gateway complex just next to the park, and after this, i would be finally be heading back. at this stage i was simply too exhausted to continue anyway, and once i got back, dinner was the priority.
but as i walked back and played the events of the day in my mind, i began to appreciate on how fantastic this day truly was. from monstrous spiders to naked sculptures, from invisible giants to mechanical animals, from verdant landscapes to sensual complexes, i gotta admit ... its been one hell of a day!
one hell of a day indeed! whoa!
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