The building, which is located on a Palaeolithic site of great geological significance in Jeongok, South Korea, aims to provide a multi-sensory space that represents prehistoric landscapes and atmospheric conditions.
The architecture, which spans two small peaks, aims to live in harmony with the natural world, essentially reflecting a transition between modern and ancient times. Smooth, rounded forms wind their way around the site, paying homage to the surrounding watery landscapes.
The oceanic scenery, which changes as the daytime advances and activity increases around the size, is reflected in the double perforated wall showing a reptile skin structure. When the light travels through the stainless steel that wraps seamlessly around the tube shape at night, the tiny holes become highlighted and mobile.
The structured paths act as outdoor gathering spaces and pass as interlocking loops around the site. Internal, external, covered, and revealed barriers are combined to get users closer to the landscape than the building.
From inside: A continuous loop of spaces for education and exercise guides guests through a variety of open and interactive areas. As their world recreates and reshapes breathtaking landscapes and animal species, the museum's freely organized islands provide an infinitesimal atmosphere.
The museum exhibits fossil structural models of human history, human and animal modifications to the environment, and cave painting reconstruction. It is based on themes in the natural history of the Chugaryeong Rift Valley. The ecosystem has been returned to its original state as a riverside nature park off the shore.
They encouraged tourists to have an adventure, meet primitive man, and explore a world that was different from daily life and similar to nature. Men in the Palaeolithic era did not live-in officious spaces as we do. They continued to meander through the landscapes, woods, stream valleys, and delta swamps that they were all familiar with. Their lifestyles consisted of rocks and bare dirt, which was as familiar to them as the floor of a house is to us.
It's a barrier on the outside, a cliff-spanning bridge. The modified version to be constructed entirely of the same material on the inside, an ancient and primitive object that appears to have been crafted from the abyss itself. Double metallic shell with various perforations, smooth, semi-organic surface, the front glitters like reptile skin; more or less glazed depending on location, it changes with the sun, it becomes a stainless-steel mirror underneath which reflects the image of the abyss.
Museum, prehistoric park doorstep:
The museum appears mysterious and unprovable from the highway, with soft glitter and a location between two hills. The landscape around it has been reclaimed, free of unnecessary structures, and back to its original identity as a natural site on the river's banks. The parking areas on the east side are obscured by the trees. The site's primitive ecosystem is being restored due to these new trees. The guest is in excellent condition after walking along the rift. It moves along the canter, like Neanderthals, through a thicket of wild copper vegetation.
When it approaches, the rift strengthens in anticipation... a museum emerges, surrounded by the cliff. Then, on the surface of the steel-painted mirror, the chasm's reflection is exposed, and finally, the chasm itself is revealed, forcing the guest to cross a walking bridge. when arrived at the only entrance to the museum and prehistoric park after crossing the chasm. A circular path in the museum leads to the prehistoric park.
Rooms and hallways are landscaped in architecture. Men in the prehistoric era did not dwell in "rooms," but rather in open areas. Those who lived near the river were free to wander the towns. They created the site's layout with their roaming routes. The museum's interior and cinematic direction are modelled after that snapshot, which looks like a landscape. The paths from the feature to the theme made by the flow of visitors meet the segment freely and allow for a return.
Scenography:
The goal was to create a scenario that could change as the research progressed. Allow visitors to experience the emotions of a paleontologist finding a baby's bare footprints on the cave's fragile soil.
The project incorporates integrated evolutionary cinematic tools, such as photo walls for text, plans, animations, and movie shows. As the research progresses, new display windows will be added to the service partitions.
To restore archaeological sites and experience the excitement of the site's creator, use a malleable recomposable white mud base. Poles for service; It provides light or supports projections or construction equipment to accommodate for the landscape and development from region to region or era to era based on its location.
Gates are randomly placed in the archipelago to create small thematic openings. Electrical and sound networks are dispersed throughout the ceilings on a daily basis.
Experience a variety of prehistoric archaeological effects on the stage:
The Prehistoric Songs Museum is quickly establishing itself as a global resource for Paleolithic monuments and the Jeongokri experience. It makes a lot of people more loyal to provide facilities to guests in order to gain a range of information and expertise in order to enrich the cultural potential for all visitors to enjoy, such as the Metropolitan Museum's prehistoric purpose of songs. The Whole Grain Prehistory Museum has a construction exhibition room for this purpose, with a range of subjects such as centralized human evolution and Paleolithic culture focused on Paleolithic remnants such as Ahsiul Lian-type ax fist unearthed from the Stone Age Jeongokri Old sites.
The Museum of Prehistoric Songs plans to conduct extensive and ongoing research in order to establish itself as a forward-thinking prehistoric culture and a specialist museum interested in the human environment with unique knowledge and personality.
Songs for the start of a new section, kindly pay more attention and admiration to the museum as a place where you can experience the romance and excitement of the prehistoric Paleolithic.
Author:
Merna Mohamed is an Egyptian girl who is interested in Korean culture, food and archaeological sites. She is passionate about the Korean culture and loves to aspire and achieve her dream of studying in Korea and to let everyone know how great this culture is and make the Korean lovers realize the unknown side of the Korean development and on the other hand the historical monuments. She wants to discover the social potential and values of Korea and passes it on to you.
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