Wednesday, July 29, 2009

My Historic Architecture Project










Recently I began to pursue an unique project: recreating Seoul's lost and often neglected architectural history. I chose my medium to be... Legos. :)

The picture above is a postcard dating back to 1920s, showing Seoul during the colonial/modernization period. The first building pictured is today's old Seoul Station (서울역), while the second building is Seoul Central Post Office (서울중앙우체국), which was called before the liberation of Korea from Japanese rule as Keijo Post Office (경성우편국; 京城郵便局). Seoul Station is one of few buildings that survive to this day, while the post office was sadly lost by air raids during the Korean War.

These eclectic western-style buildings were built in the first half of the 20th century to reflect progress and often awe the traditional Korean public by the Japanese. Many Japanese were living in Seoul during the colonial period, and these buildings were meant to serve their needs; this was a time when Korean was forbidden and the Japanese government worked hard to "eradicate" Korean culture.

Perhaps not surprisingly, these colonial yet historic buildings did not survive more than a century; often they were either destroyed during the Korean War or demolished in order to make way for new modern development projects. Most notable demolition happened in 1995, when the former Japanese General Government Building was symbolically demolished in order to restore Gyeongbokgung Palace to its former form. (An irony here is that the Japanese Government building itself was built by the Japanese after systemically demolishing Gyeongbokgung Palace, a symbol of Korea's traditional royal authority)

However, the Korean public today is beginning to realize the historic and cultural importance of buildings created during this painful period. Even the most painful and bitter history is still history worth preserving, and often these buildings served for many decades after Korea's liberation, thus making them endearing to Koreans as well. Many are now active in preserving these historic buildings for future generations, because this act is more meaningful than destroying these buildings and thus losing all memories attached to them.



I loved to play with Legos when I was a child, but stopped playing as I grew older. Recently, though, I rediscovered childish joy (and perhaps nostalgia) of making things when I assembled my Cafe Corner and Eiffel Tower.

Lego Group supplies a freely-downloadable program called Lego Digital Designer (LDD). It allows me to design a virtual Lego building without that much of brick constraints and to even purchase my creations online.

The screenshots of my models of the old Seoul Station and Seoul Central Post Office are shown above. Neither of these models are currently finished because my laptop (MacBook) does not let me to add more by freezing and showing error messages. I think this is due to my laptop's inherent weak graphic card. :(

Still, I had a wonderful time designing and assembling my models. It was a tedious and tiresome process, for I had to constantly compare my collected photos of these buildings with my models and rethink ways of assembling Legos; but in the end, I am quite satisfied with my creations. Now I can actually see these buildings in three dimensions instead of just two with my computer, and can even dream of owning one.

This project is still not finished, and I probably will continue with a different computer in the future. :)

Legos are just amazing in their flexibility. I love them.

Monday, July 13, 2009

St. John the Baptist's Enigma




Leonardo da Vinci painted his last (known) painting, St. John the Baptist, around 1513 to 1516. Just three years later, he died in Cloux, France, while this painting still under his possession.

How St. John the Baptist is unconventionally conveyed by Leonardo, with his ambiguous gesture towards heaven, is a mystery that perplexed many art critics and scholars for centuries. The fact that the painting is Leonardo's last only deepens this mystery.

Traditionally before Leonardo, St. John the Baptist was often portrayed as a tough, determined and bearded (therefore masculine, crude) man who was fit for wilderness and desert. However, Leonardo chose to paint him as a strikingly young, handsome, and delicately featured man who simply gestures towards heaven, almost in a manner of Greek (pagan) mythological figures. His elegant curly hair graces his head, and a deep, featureless shadow is all around him, enhancing the chiaroscuro effect that the master is so famous for.

Why did Leonardo choose to portray St. John in this way?

Many generally believe that the man in the portrait is modeled after Gian Giacomo Caprotti da Oreno, Leonardo's pupil. His nickname was Salai (Trans: The Little Unclean One).

I think that perhaps Leonardo, who by then was an old (and probably retrospective) man, wanted to portray a saint full of youth and mischievousness. Maybe Leonardo himself was longing for his younger years of his life.

The baptism also symbolizes the new life, the birth, in Christianity; does it not fitting, then, that St. John, the giver of life, would have to be young?