© Kim Doo-Ho

金斗浩

架构师提供的文本描述。这个博物馆没有一个漂亮的入口，一个大厅，一个友好的问讯台或一个大的展览空间。战争与妇女人权博物馆坐落在孙三东的住宅区深处，只有一扇门比一座普通大小的房子的大门要小。没有大招牌告诉我们博物馆的事。相反，一个导游和参观者一起走在博物馆内外，告诉我们这个地方的故事。游客们所经历的这种不确定的情况与老年妇女作为慰安妇被带到战场时所经历的情况有些相似。

Text description provided by the architects. This museum doesn’t have a nice entrance, a lobby, a kind information desk or a large exhibition space. The Museum of War and Woman’s Human Rights sits deep in a residential area of Sungsan-Dong, and has only one door that is smaller than a normal-sized gate of a house. There is no big signboard telling us about the museum. Instead, a guide walks with visitors inside and outside of the museum and tells us the story of the place. Visitors experience this uncertain situation in which is somewhat similar to the one that the elderly ladies experienced when they were taken away to the war as comfort women.

 © Kim Doo-Ho

金斗浩

这座房子坐落在一个安静的社区，有30年的历史，100平米(330.5平方米)的面积，还有一个花园里有一片草木茂密的花园，似乎已经被废弃了一段时间。这座房子太小，无法容纳和实现原先计划的博物馆项目，而且由于预算和停车位的实际问题，这所房子的扩建很困难，外墙和挡土墙之间的空间被用作半外部空间。

The house is located in a quiet neighborhood and is 30 years old and 100 Pyung (330.5m2) in size, and has a garden with thick grasses that appears to have been abandoned for a while. The house is too small to accommodate and realize the originally planned program for the museum, and as an extension of the house was difficult because of practical matters of budget and parking space, the spaces between walls outside and the retaining walls are used as semi-external spaces.

房子之间的空间，传统的粘土砖和砖墙屏风围绕着房子，使游客有一个交叉体验的内部和外部，当他们进入小大门。

The space between the house of traditional clay bricks and the brick screen that surrounds the house enables visitors to have a cross-experience of the inside and outside as they enter through the small gate.

 © Kim Doo-Ho

金斗浩

在8月的第二个星期，当邀请赛进行的时候，曾经是慰安妇、公民团体和学生的老年女士们在关闭的日本大使馆前举行了平常的周三抗议活动。抗议持续了一个多小时，但没有得到内部的回应。只有闭路电视摄像机在看他们。当我们在这个场景中看到抗议者在酷暑中大汗淋漓，日本大使馆被红墙牢牢地关闭和保护的时候，我们想要建造一个可能很小但有很强存在的博物馆。博物馆就是这样在山脚下诞生的。孙美。

In the second week of August when the invitational design competition was going on, the elderly ladies who were former comfort women, civic groups and students were carrying out their usual Wednesday protest in front of the closed Japanese embassy. The protest went on for over an hour but there was no response from within. Only the CCTV camera was looking at them. As we was taking in this scene where the protesters were sweating heavily in the scorching summer heat and the Japanese embassy was firmly shut and protected by red walls, we wanted to build a museum that might be small but has a strong presence. That’s how the museum was born at the foot of Mt. Sungmi.

 © Kim Doo-Ho

金斗浩

叙事博物馆

The narrative museum

我建议建立一个有四个记忆空间的叙事博物馆-纪念-治愈-记录-在博物馆内外按顺序排列。

I suggested a narrative museum with four narrative spaces of Memory-Remembrance-Healing-Record laid out in sequence inside and outside the museum.

1.一扇小门：这扇小门位于博物馆西面道路上的土地高度和建筑高度相交的地方，它把游客引到一个空房间里。有一分钟的默哀。参观者将体验到老年妇女被带到战争时所经历的动荡和不确定的情况。

1. A small gate: The small door is located in the area where the height of the land and the building meet on the road west of the museum, and it leads visitors into an empty room. There’s a minute of silence. Visitors will experience the agitated and uncertain situation that the elderly women experienced when they were taken away to the war.

 © Kim Doo-Ho

金斗浩

2.碎石覆盖的小路：游客走出房间时没有名字，现在走在高挡土墙之间的狭窄小路上。从二楼窗户拍摄的图像投射在混凝土墙上，墙上仍然有时间的痕迹，而铺在狭长小径上的碎石发出的粗糙声音一直延伸到地下室的房间。

2. Crushed stone covered path: Visitors walking out of the room with no name now walk on the narrow path between the high retaining walls. Recorded images from the windows of the second floor are projected on the concrete wall that still contains traces of the time, and the rough sound from the crushed stones lying on the long and narrow path continues to the stairs down to the room in the basement.

3.一个地下的低天花板房间：低天花板地下室有另一个更低更暗的房间，通过这个房间播放老年妇女的故事。

3. An underground low-ceiling room: The low-ceiling basement has another room that is even lower and darker through which the stories of the elderly ladies are played.

 © Kim Doo-Ho

金斗浩

4.一系列房间：让我们走到二楼，进入展区。每个房间都有一个不同形状的窗户，参观者面对着两层透过窗户包裹着博物馆的皮肤。这为展区增添了更多的色彩和气氛，也保护了博物馆。

4. A series of rooms: Let’s walk up to the second floor and enter into the exhibition area. Each room has a window with a different shape, and visitors face the two layers of skin that wrap over the museum through the windows. This adds more color and atmosphere to the exhibition area and protects the museum.

 First Floor Plan

一层平面图

5.一间接待室(沙兰邦)和一间老年妇女房间：展览的顺序由“疗愈”和“交流”空间完成。体验老年妇女记忆的游客走进了课程的最后一个房间-沙朗邦，可以看到时代的文献。他们有时有机会与亲眼目睹战争的老年妇女交谈。

5. A reception room (sarangbang) and a room for the elderly women: The sequence of the exhibition is completed by the space of “healing” and “communication”. Visitors experiencing the memories of the elderly women enter into the sarangbang which is the last room of the course, and can see the documents of the times. They can sometimes have a chance to talk to the elderly women who witnessed the war first hand.

6.野花之山：野花之山在接待室前开放，指引我们走向安详的风景，老年妇女在那里度过童年。

6. A hill of wild flowers: The hill of wild flowers is opened out before the reception room and guides us to the peaceful landscape where the elderly women spent their childhoods.

7.一条石墙小路：我们可以看到人们的头在石墙上穿过野花山的小径。走近墙，我们可以看到捐赠者的名字。游客在石墙小径上走来走去，然后通过最初带领他们进入博物馆的小门回到他们来自的地方。

7. A stonewall path of donators: We can see the heads of the people walking on the stone-wall path over the hill of wild flowers. Stepping closer to the wall, we can see the names of the donators. Visitors walk around the stonewall path and go back to where they came from through the small gate that initially led them into the museum.

 © Kim Doo-Ho

金斗浩

Architects Wise Architecture

Location 39-13 Seongsan-dong, Mapo-gu, Seoul, South Korea

Category Museum

Design Team Sook Hee Chun, Young Chul Jang, Jiyong Park, Kuhyeon Kwon, Aram Yun

Area 785.0 sqm

Photographs Kim Doo-Ho