Posts Tagged ‘art’

Sangwolgok Station (상월곡역) Line 6 – Station #642

April 21, 2013

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[A short hello! from me, the newest photographer of the Sub→urban team. This is the first post for which I photographed and I really hope you enjoy what you see here as much as you enjoyed looking at Liz's and Meagan's shots. I would love to receive any feedback you may have on the photos you see here and in upcoming posts so please feel free to comment away. Cheers, Merissa]

The on-ramp leading from Hwarang-ro (화랑로) to the Bukbu Expressway (북부간선도로) rose directly above Sangwolgok Station’s Exit 4, and as I walked up the stairs it looked so low that I might bump my head on it.  It’s a weird bit of road design, and on the narrow sidewalk outside the exit I could almost lean over the rail and slap the hubcaps of cars as they rolled up the incline.

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Just a few steps down the street was the Wounded Veterans Memorial Hall (성북구 보훈회관) and I thought it might have some interesting displays, but it was closed on the Sunday that I was in the neighborhood so I couldn’t find out.

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The next left led to the main entrance of the Korean Institute of Science and Technology (KIST) (한국과학기술연구원), the campus of which spreads all the way down to near Wolgok Station.  Boxy gray buildings with large windows stood quietly behind the rolling gates of a stately black metal fence.

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KIST took up the better part of that side of the neighborhood, so there wasn’t much to explore, and I was quickly coming up on Wolgok, so I swung a U-turn and retraced my steps, heading northeast.  On the sidewalk between Exits 3 and 4 I came across an easy to overlook plaque marking the former site of Mareundaemi Hill – Seonghwangdang Tree – Puseok Mountain (마른대미고개 성황당나무 푸석산).  According to the plaque, atop the hill that crossed from Sangwolgok-dong to Jangwi-dong (formerly called Daemi Hill (대미고개)) there once stood a pine tree that represented a guardian god.  The tree ‘would protect the village from calamity and give birth to a boy if people wished.’

Just past the stone marker and also between the two exits, a bright green and brown sign traced the course of Straw Basket Health Village (삼태기 건강마을), a series of vegetable gardens and wall murals dotted among the neighborhood streets.  Just a few steps down the street was the first mural: a picnicking family enjoying themselves near a pond filled with ducks and frogs, while nearby neighbors leaned out of their windows or over balconies and an extremely well-mustachioed ice cream truck driver passed by.  In between murals, little strips of garden sat separated from the street by miniature white picket fences.  Of course the gardens were barren in mid-winter, but if the pictures painted on small signs weren’t merely decoration, in the summer carrots and lettuce were grown there.

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I hadn’t seen anything quite like this elsewhere in Seoul, but with urban farming gaining both adherents and a bit of respect in other countries it’s not unreasonable to think that we’ll start seeing more of it.  At least I hope so.  And why not?  With so many Seoulites suffering from too much stress it might provide some with a bit of catharsis, a chance to forget about the office for a bit and feel the earth between their fingers.

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The chain of gardens eventually brought me past the offices of the Seoul National Forest Station (서울국유림관리소),  a handsome modern structure of dark gray stone and reflective glass, behind which the land was dotted with Korean pines of a deep army green.

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Just beyond the forest station  was Eoreushin Health Garden and Cheonjang Mountain Walking Path (어르신 건강마당, 천장산 산책로).  Like many other parks, Eoreushin had several pieces of exercise equipment, but in an interesting twist some of the machines here were modeled on traditional village apparatuses, like one resembling a mortar for pounding rice or grain and another that looked like a wooden waterwheel you were supposed to turn with your feet.  I think.  That latter one I couldn’t quite figure out.  Beyond the exercise equipment stairs led up into the mountain for a quiet walk between denuded trees and a thin layer of snow.

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From the park I wandered through the backstreets for a bit and then headed back down to the main street.  As I was nearing it a trio of elementary school kids, two boys and one girl, were passing in the other direction, chatting, before one of the boys decided to slip into a rendition of ‘Arirang,’ trying, without success, to get his friends to join him.

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I emerged back on Hwarang-ro near a decrepit old building that sat, mostly abandoned, between a new church and a new apartment complex.  One indication of how deeply it had fallen into disregard was the sign advertising no longer used 016, 018, and 019 cell phone codes that hung in the window of a shop selling cheap, ugly shoes.  Apparently the shoe shop owner hadn’t felt it was worth his trouble to take down.

The building the shop was in had once housed the New Seokgwan Market (새석관시장), and there was still a sign above the central entrance announcing this, but from the looks of things the market had disappeared some time ago.  Now there was only trash piled up inside, though this, peculiarly, was organized in orderly rows – piles of refuse arranged in square sections between aisles as the market stalls must have been at one point.  The scene was lit by a single fluorescent light bulb tube and by the sunlight sneaking in from the doors and through the holes in the roof where the metal had rusted through.  On the edge of the trash piles, next to a couple shops fronting the street that were still open, was an old man sitting in the semi-dark, alone at what appeared to be a makeshift tea shop.

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On the opposite side of Hwarang-ro and at the end of Hwarang-ro-25-gil (화랑로25길) was Jangwi Traditional Market (장위통시장).  Despite this market having the word ‘traditional’ in its name and Seokgwan modifying itself with the word ‘new,’ the reality couldn’t have been more reversed.  Jangwi sported a brand new sign above its entrance, and the market was covered in a brand new green canopy.  The shop signs along the walkway were all uniform and everything was remarkably clean and orderly; even the whole pigs hanging in one of the market’s butcher shops were wrapped in plastic.  No doubt Jangwi had seen some considerable recent investment, perhaps from the city or national government as part of the public campaign to update and increase interest in Korea’s traditional markets.  The result was a market for people who don’t like markets – (almost) all of the charm, (almost) none of the grime.

The market more or less occupied just the one long, very long aisle, and anything one could expect to find in a less polished market one could also find here, including the largest vats of yukgaejang and chueotang that I’d ever seen.

After several minutes of walking, the new green canopy ended, there was a short open section, and then I entered into an older part of the market that either had not been renovated yet or was simply being left alone.  This section was more akin to the majority of Seoul neighborhood markets, with rusty beams holding up a corrugated metal roof, and a mish-mash of styles on the signs hanging above businesses.  When I finally emerged at the market’s far end I was met with the sight of an ajeosshi selling big bunches of green onion from the back of a truck.  Apparently quite popular, he had a dozen people gathered around, looking to buy.

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Also on the north side of the neighborhood is a large park, which, on the station map is called Aegineungteo Park (애기능터공원), on a sign near the entrance, Wolgok Mountain Park (월곡산공원), and on Naver Maps, Odong Park (오동공원).  Take your pick I guess.  Because it’s the first one I saw and it’s the most fun to say, I’m going to stick with Aegineungteo.  To reach it from the station, first go out Exit 1, U-turn, and hang the first left onto Hwarang-ro-17-gil (화랑로17길)/Jangwol-ro (장월로).  To the left is a huge yellow wall with paintings of trees, butterflies, and a giant flower.  Surrounding the painted butterflies, several dozen smaller butterflies, made of fabric, were attached to the wall, but because they were all black they seemed more pestilential that beautiful.

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Not far past the wall I took the soft left onto Jangwol-ro-3-gil (장월로3길) where it and another street meet Hwarang-ro-17-gil in a V.  I passed another wall mural, this one much brighter and depicting a starry-eyed Snoopy-like pooch and his adventures climbing a piano tree, with a digging mole, and with a flying pink whale.  The inclined road eventually came to an elementary school, and I kept following it along the school’s left side as it continued, more steeply, uphill to one of the park’s entrances.

Within the park were a number of athletic and exercise facilities, as well as separate halmeoni and harabeoji resting spots, but the park’s marquee attraction is the actual Aegineungteo (애기능터) or Wide Rock (넓은 바위) (Naming things twice (or more) seemingly the thing to do around Sangwolgok.), a large rock face that juts out from the hillside, creating a natural lookout point.  Accentuating things was a wooden pavilion built on top of the protruding rock.  There was a small book café under the pavilion – basically a shelf with some books that park-goers could read – and some stairs that led up to its main platform, which two ajummas yelled at me for starting to go up with my shoes on.

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You don’t actually need to climb the pavilion stairs to enjoy the view, though.  Simply walking out onto the big stone face of Aegineungteo’s top provides views of Yongma Mountain (용마산), Cheonggye Mountain (청계산), Gwanak Mountain (관악산), and N Seoul Tower.  Closer, the backs of Daehanbulgyo Jingakjong and the Dongduk Women’s University sign were clearly visible, as were hundreds of apartment rooftops and cars moving along the highway in miniature.

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Wounded Veterans Memorial Hall (성북구 보훈회관)

Exit 4

Korean Institute of Science and Technology (KIST) (한국과학기술연구원)

Exit 4

Left on Hwarang-ro-14-gil (화랑로14길)

Mareundaemi Hill – Seonghwangdang Tree – Puseok Mountain Plaque (마른대미고개 성황당나무 푸석산)

Exit 4

U-turn

Straw Basket Health Village (삼태기 건강마을)

Exit 4

U-turn, Right on Hwarang-ro-18-gil (화랑로18길), Right on Hwarang-ro-18-ga-gil (화랑로18가길)

Seoul National Forest Station (서울국유림관리소)

Exit 4

U-turn, Right on Hwarang-ro-18-gil (화랑로18길), Right on Hwarang-ro-18-ga-gil (화랑로18가길)

New Seokgwan Market (새석관시장)

Exit 3

Straight on Hwarang-ro (화랑로)

Jangwi Traditional Market (장위통시장)

Exit 2

Straight on Hwarang-ro (화랑로), Left on Hwarang-ro-25-gil (화랑로25길)

Aegineungteo Park (애기능터공원)

Exit 1

U-turn, Left on Hwarang-ro-17-gil (화랑로17길)/Jangwol-ro (장월로), Left onto Kkumnamu-gil (꿈나무길)

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Hangangjin Station (한강진역) Line 6 – Station #631

March 10, 2013

Hangangjin by Meagan Mastriani

Practically every neighborhood in Seoul undergoes changes on a weekly basis, some quickly, some slowly.  Hangangjin is one of the quick ones, and is steadily turning itself into one of the trendiest, most culturally fresh areas of the city.

If any one thing can be said to have kickstarted this transformation, it’s likely the arrival of the Leeum Samsung Museum of Art (삼성미술관 Leeum) in 2004, which, among other things, shows that once in a while Samsung does something more than just make money.

Hangangjin by Meagan Mastriani

Located just a short walk down Itaewon-ro-55-gil (이태원로55길) near Exit 1, the first thing visitors encounter is the outdoor sculpture garden, which, at the time of my visit featured a trio of pieces by the renowned London-based Indian artist Anish Kapoor, co-designer of the ArcelorMittal Orbit tower that twists above London’s Olympic Village and who was the subject of Leeum’s current Special Exhibition.  The first piece I came to was titled ‘Vertigo’ (‘현기증’), a pair of curved stainless steel rectangles.  Like your breakfast spoon, their concave side inverted and flipped everything they reflected, messing with the viewer’s perspective and causing a mildly unstable feeling.  The structures’ convex sides sat about two meters apart and reflected each other, creating a Russian nesting doll of the same image, each progressively smaller than the last.  In addition to ‘Vertigo,’ the garden also held ‘Tall Tree and the Eye’ (‘큰 나무와 눈’), stacked stainless steel orbs like air bubbles rising from the deep, and ‘Sky Mirror’ (‘하늘 거울’), which did exactly as its name implied.

Hangangjin by Meagan Mastriani

Hangangjin by Meagan Mastriani

The museum itself is trisected, three different permanent collections in three different structures by three different internationally acclaimed architects.  Museum 1, designed by Mario Botta, houses the Leeum’s collection of traditional Korean art, which contains some three-dozen designated national treasures.  Visitors begin their tour on the fourth floor, where the celadon (청자) collection is housed before proceeding back down to the lobby, through the collections of Buncheong ware and porcelain (분청사기 / 백자), paintings and calligraphy (고서화), and Buddhist art and metal works (불교미술 / 금속공예) on subsequent floors.  Exhibition spaces are nearly completely dark, the only light coming from subtle spot lights that illuminate individual vases and scrolls, giving the galleries a solemn, almost religious feel.

Hangangjin by Meagan Mastriani

Museum 2, its building the product of Jean Nouvel, holds the modern art collection.  The second floor houses Korean modern art (한국 근현대미술) – quite likely a great unknown to anyone who isn’t Korean, the first floor international modern art, and the basement contemporary art.  It’s an impressive collection, as a quick listing of names will attest: Koons, de Kooning, Rothko, kimsooja, Twombly, Giacometti, Bacon, Gilbert & George, Nam June Paik, Basquiat, Warhol, Cindy Sherman, Zeng Fanzhi, Damien Hurst.  My personal favorite in the collection – not the best or most groundbreaking, but the one that spoke most closely to my interests and that I stared at the longest – was a work by the Korean artist 박이소 (Bahc Yiso) called ‘드넓은 세상’ (‘Wide World Wide’).  On an enormous light blue canvas, above a map formed by their names written out in Hangeul in a barely visible sky blue script were pinned hundreds of small white papers, each bearing the name of a place that managed to at once capture both the exoticism of the world’s geography and the fecundity of its languages: Araraquara, Erhchiang, Nagykanizsa, Bobo Dioulasso, Oshkosh.

The third section of the museum, the Samsung Child Education and Culture Center (삼성아동교육문화센터), was designed by Rem Koolhaas.

Hangangjin by Meagan Mastriani

The second institution serving as a major cultural anchor for the neighborhood is Blue Square (블루스퀘어) performing arts complex.  Accessible directly from the station, it is Korea’s largest performing arts hall, with space both for musicals and concerts as well as cafes, a florist, a candy shop, restaurants, and souvenir shops.  ‘The Phantom of the Opera’ was in the middle of a run during my visit, and the main lobby had displays of costumes, a Phantom photo booth, and fake roses curling around the bases of the stairs’ handrails.

Hangangjin by Meagan Mastriani

Coincidence or no, Samsung has their enormous hands heavily involved in Blue Square as well, with the two main theaters poetically being called the Samsung Electronics Hall (삼성전자홀) and the Samsung Card Hall (삼성카드홀).  All the romance that went into naming those also went into the building itself, which, in stark contrast to the Leeum, is incredibly bland architecturally, its mirrored blue glass façade making it look more like the resident of a suburban office park than a theater.  Offering a little bit of contrast is the structure behind the main building called NEMO, which, aping Platoon Kunsthalle, is made of orange and yellow shipping containers and was hosting a children’s performance called ‘Hello! Madagascar.’

Hangangjin by Meagan Mastriani

Hangangjin by Meagan Mastriani

Hangangjin by Meagan Mastriani

The Leeum and Blue Square are indicative of the greater Itaewon area’s tendency over the last few years to get less and less scruffy, a tendency that’s well apparent in the Hangangjin neighborhood, particularly as you get closer to Itaewon.  If five years ago you had told me that Comme de Garçons would open their Seoul flagship store here and not in Apgujeong, I never would have believed you.  But there it is, selling its 400,000 won-plus hoodies just a few steps past the turnoff for the Leeum.  And just a bit further down Itaewon-ro (이태원로) is Beaker, which pairs a Williamsburg aesthetic with Cheongdam prices: Band of Outsider flannels, bike accessories, 33,000 won soda can-sized bottles of artisanal shampoo.

Hangangjin by Meagan Mastriani

Hangangjin by Meagan Mastriani

Not every new wine bar, restaurant, and boutique here is wallet emptying, thankfully.  Shops like Millimeter Milligram, not far from Exit 3, add to the offbeat, artistic atmosphere with quirky stationary, bags, and art supplies, and plenty of cafes provide a place to pause between shops or exhibitions.  One café that particularly stands out is Take Out Drawing (with another location in Noksapyeong), which, in addition to using organic and fair-trade products, also offers two-month artist residences, the second half of which include exhibitions of the residents’ work.  The café’s ‘newspaper’ has, alongside the menu, small profiles of current artists in residence in both Korean and English.

Hangangjin by Meagan Mastriani

Hangangjin by Meagan Mastriani

Hangangjin by Meagan Mastriani

When it comes to eating in Hangangjin, Brazilian churrascarias, Japanese izakayas, and Spanish tapas joints, among others, contribute to an internationalized dining scene.  Hangangjin’s cosmopolitanism is just as evident if you turn off Itaewon-ro onto Daesagwan-ro (대사관로), or Embassy Street.  Running southeast from Itaewon-ro, it’s, naturally, dotted with embassies – Thailand, Kenya, Côte d’Ivoire – as well as the Lao ambassador’s residence, more international restaurants, and cafes and boutiques catering to the locals.

Hangangjin by Meagan Mastriani

Hangangjin by Meagan Mastriani

Daesagwan-ro connects to Hannam-dae-ro (한남대로), and walking along the latter between the station and the river gives you a chance to play a bit of embassy spotting.  (If you cross Hannam-ro via the pedestrian bridge near the Daesagwan intersection you’ll also get clear views of N Seoul Tower, the minarets and onion dome of the Itaewon mosque, and the Seoul Finance Tower in Gangnam.)  Among others I was able to pick out the flags of Vietnam, Spain, Burma, Bulgaria, and Italy, which, almost too neatly, had an olive Vespa parked out front.  In addition to the embassies, Hannam-dae-ro (or, rather, down long driveways leading off of it) is also where you’ll find the Chief Justice of the Supreme Court’s Residence, the Speaker of the National Assembly’s Official Residence, and the official residence of the Minister of Foreign Affairs and Trade, the last of these gated and watched over by a soldier with an extremely large gun.

Hangangjin by Meagan Mastriani

Hangangjin by Meagan Mastriani

Hangangjin by Meagan Mastriani

If instead of turning right down Hannam-dae-ro after leaving Exit 2 you cross the pedestrian bridge that runs over it, to your left you’ll see a Harley-Davidson store that stands in front of a small residential neighborhood.  Turning down the small side street there, Hannam-dae-ro-40-gil (한남대로40길), took me past a small collection of stone statues – horses, pagodas, a reclining Buddha – and soon led to an entrance to Eungbong Neighborhood Park (응봉근린공원), a large wooded hill cut through with walking paths.  There were also some tennis courts, badminton courts, playgrounds, and a square, but most of the park was left to the trees.

Hangangjin by Meagan Mastriani

Hangangjin by Meagan Mastriani

Of course, for an even bigger park, there’s always nearby Namsan Park (남산공원), which is easy to get to from Hangangjin.  Just go out Exit 1, U-turn, and follow the sidewalk until it ends.  There go up the steps to the left, cross the street, and you’re just outside the park.  At that point there was a sign pointing to a mineral spring (남산약수터), only 200 meters away.  I followed the sign up the driveway of an adjacent wedding hall, and by the time I made it past the parking lot things had already gotten remarkably calm and quiet, the traffic on Hannam-dae-ro just a faint murmur.  The path to the spring then took me past a small artificial stream, its water frozen where the course led over a small drop.

Hangangjin by Meagan Mastriani

Hangangjin by Meagan Mastriani

The first time I arrived at the spring I walked right past it, not realizing what it was.  My image of the spring was that it would be something bubbling up from the ground, but the Namsan spring instead poured out of two narrow metal pipes that jutted out of a stone wall on a wooden platform.  (Unfortunately, the spring water here is not fit for drinking.)  As an elderly hiker pulled a radio playing old pop music out of his bag and carried it with him to the adjacent exercise equipment, water poured out of the pipes in a steady stream, falling into stone basins underneath.  One of the basins was crusted up with ice around its edges; the other was not, as the water flowing out of that pipe had better aim, and poured neatly into the drain.

Leeum Samsung Museum of Art (삼성미술관 Leeum)

Exit 1

Right on Itaewon-ro-55-gil (이태원로55길)

leeum.samsungfoundation.org

Phone: 02) 2014-6901

Hours | 10:30 – 18:00, Closed Mondays, New Year’s Day, Seollal, and Chuseok

Admission | Adults – Permanent Exhibition 10,000, Special Exhibition 8,000, Daypass 14,000; Kids, Seniors, Handicapped – Permanent Exhibition 6,000, Special Exhibition 5,000, Daypass 8,000 (9,000 for kids)

Blue Square (블루스퀘어)

Exit 2 or accessible directly from the station

www.bluesquare.kr

Take Out Drawing (Hannam Branch)

Exit 3

Straight on Itaewon-ro (이태원로)

http://www.takeoutdrawing.com

Phone: 02) 797-3139

Hours | 11:00 – 00:00

Eungbong Neighborhood Park (응봉근린공원)

Exit 2

Right on Hannam-dae-ro (한남대로), cross pedestrian bridge to the left, right on Hannam-dae-ro-40-gil (한남대로40길)

Namsan Park (남산공원)

Exit 1

U-turn, Straight on Itaewon-ro (이태원로), Up stairs and cross Soweol-ro (소월로) to park

Hangangjin by Meagan Mastriani

Children’s Grand Park Station (어린이대공원역) Line 7 – Station #726

October 21, 2012

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About halfway up the Exit 3 escalator, I heard a loud crunch followed by a sound familiar to anyone who’s ever floored the gas pedal only to have their car’s wheels spin uselessly in the mud.  As I neared the top I could see a cloud of white smoke wafting across the sidewalk, and stepping off the escalator I saw the source: a white minivan had completely crossed the centerline near the intersection and struck a black sedan head-on.  The driver of the minivan wasn’t moving from their seat, either stunned or wary of getting out of their vehicle and facing the rightfully enraged driver of the sedan, who was being restrained from approaching the minivan by the driver of another car while the sedan driver’s traumatized daughter, wearing a backpack, her face glossy with tears, screamed at her dad.

Despite the reflexive rawness of the emotions and action, from an objective point of view things weren’t so bad.  It looked like no one had been hurt, and even the two vehicles weren’t in that bad of condition.  It was even rather impressive how others had responded – while the one man restrained the angry victim, preventing things from escalating, two other drivers were directing cars around the accident, helping to keep traffic flowing as smoothly as possible.

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After rubbernecking for a bit I kept walking down Gwangnaru-ro (광나루로), which runs along the north side of Konkuk University’s (건국대학교) campus.  We’ll save explorations of the uni for when we actually get to the subway station named after it (especially since there’s another university we’re visiting in this post), but if you’re looking to get to Kon-dae’s back gate, that’s just a quick right down Gwangnaru-ro-24-gil (광나루로24길), by the big green KU sign.  As you’d expect from a street near a university gate, Gwangnaru-ro-24-gil is lined with cafes, PC bangs, print shops, bars, and cheap restaurants, as well as tall Korean firs.  Not a bad place to pause and watch the students walking to and from campus.

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The university influence, both Kon-dae’s and nearby Sejong University’s, shows up on Neungdong-ro (능동로) where, south of the station, a surprising number of quirky and hip boutiques and salons staffed by twentysomethings line the sidewalks underneath rows of leafy trees.  Just outside of Exit 4 you’ll also find University Culture Street (대학문화의거리), administratively known as Neungdong-ro-19-gil (능동로19길), a long strip full of inexpensive restaurants and a mix of bars, noraebangs, and the occasional shop.  Predictably, it was pretty dead on a Sunday afternoon, but it looked like it might be a pretty lively place on a weekend night.  The street runs for several blocks, all the way to Dongil-ro (동일로), and as you go west, away from the station, more and more love motels start popping up, and business cards featuring girls clad only in lingerie and come hither looks dot the pavement.

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Just outside of Exit 5 is Gwangjin Square (광진광장), the entrance to which is marked by a large steel sculpture entitled ‘The Dream of Gwangjin-gu (광진구의 꿈)’.  Shaped like a crescent moon that’s been cleaved vertically down the middle, the work is by Yi Sang-min (이상민) and Yi Sang-ok (이상옥).

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The triangular park is mostly covered by a large paved plaza where a pair of elementary school boys played net-less badminton and a lone skateboarder worked on basic tricks.  Gwangjin-gu is sister city with Ereğli, Turkey, and on the north side of the plaza is a gift from the Black Sea town, a square structure of light gray marble that I believe is the type of fountain used for wudu, Islamic pre-prayer ablutions, though I could be wrong.  The fountain has gold and khaki green detailing and two faucets on each of its four sides, half at hand washing height, the others with low basins for washing the feet.

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Benches edge the park’s western side, and two old men were stretched out on them, taking naps.  It’s at that end that you’ll also find a stone engraved with the poem ‘Gwangnaru (광나루)’ by 황금찬 (Hwang Geum-chan).

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Only a few steps north, and smack bang outside of Exit 6, is Sejong University (세종대학교).  Wikipedia tells me it’s known for its hotel management, animation, and rhythmic gymnastics programs, which is a fabulous combination.

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From just outside the exit, the two most noticeable campus structures strike a befuddling contrast.  First, there’s the university’s main entrance, marked by a traditional Korean gate with twelve pillars and brightly painted eaves.  Some distance behind it, its lower third obscured by trees and other buildings, a soaring Italianate bell tower reaches into the sky, looking like it’d be more at home in Salerno than Seoul.  Approaching the tower, you see that it pairs with a similarly Italianate chapel – sandy stone blocks partly covered with ivy and capped by a red tile roof.  The low wall behind the chapel is covered in student murals, most of them reproductions of Klimt paintings.

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The Sejong-dae campus is quite appealing, with lots of trees, and in addition to a pick-up soccer game being held on the dirt pitch, several families were using the grounds to take their young kids for a walk and perhaps just get away from the commotion across the street.  If you find yourself on campus on a weekday, you might consider stopping by the Sejong Museum (세종박물관) where the university holds a large collection of royal regalia, paintings, pottery, and more inside a squat building on the campus’ north side.  Fronting the museum is a lily pond with a pair of matching fountains and a few ducks, four of them asleep on the bank, bills turned backwards and tucked into their feathers.

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Just past the university’s front gate, a folding table had been set up on the sidewalk where college-aged artists were painting cartoon characters on the faces and hands of little kids.  They were sponging up some of the business spilling over from the kidsplosion taking place in and outside Children’s Grand Park (어린이대공원) on the other side of Neungdong-ro.  Immediately outside of Exit 1 an old man in a baseball cap was holding a bouquet of Ppororo, Hello Kitty, Coco Mong, and Tyrannosaurus Rex balloons, while other nearby vendors sold cotton candy, kimbap rolls, assorted pojangmacha snacks, and even beer for the withering parent.

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Depending on how you feel about children, Children’s Grand Park may be either the most adorable place in the city or enough to make you call a pox upon Barry White, Marvin Gaye, and anyone else who was ever guilty of aiding and abetting procreation.  However, if your sentiments lean towards the latter, don’t be too put off by the scene around the entrance.  Yes, strollers may be as abundant as shopping carts at a supermarket, but the park is vast and there are sections where you can find yourself nearly alone and out of range of shrieks, giggles, and any other offending noise, you Grinch you.  In actuality, although most visitors are families with young kids, the park is also a popular place for retirees and young couples on dates.  The fact that the park is free (with the exception of rides at the amusement park) may have a lot to do with this.

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If you’re bringing your own kid but didn’t bring your own stroller (and your kid refuses to man up and walk) there’s a stroller rental just inside the front gate.  Conversely, if you did bring your bike or scooter you can check it at the entrance, along with your pet, though you may want to leave the latter at home, as pets are chucked in what are essentially coin lockers.

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The 530,000 square meters of Children’s Grand Park sits on land that was, once upon a time, the site of the royal tomb for Empress Sunmyeong, the wife of Emperor Sunjong, who was the last emperor of Korea and the final ruler of the Joseon Yi Dynasty prior to annexation by Japan.  Sunmyeong never actually served as empress, dying in 1904, three years before Sunjong assumed the throne, but she was granted the title posthumously.  She was first buried here, but in 1926 her remains were exhumed and transferred to Sunjong’s royal tomb in Namyangju.  You’ll still find, just south of the main entrance, a collection of Stone Monuments from Yugangwon in the Graveyard of Empress Sunmyeong (순명비유강원석물), Seoul Tangible Cultural Property No. 134.

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The more recent history of the park saw it opened on Children’s Day in 1973 and, after undergoing renovations, reopened on the same day in 2009.  It now has attractions ranging from an amusement park to a zoo to a botanical garden.

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After you pass through the main entrance, one of the first things you’ll come to is a large lily pond with zigzagging boardwalks running across it.  Peer over the edge and you’ll see numerous koi and a few ducks.  Beyond that is an enormous dancing fountain where a number of kids stood at the rope barrier, close enough to get splashed, while others, preferring to stay dry, watched from further back.

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Northeast of the fountain are some flower gardens and large grass fields where people were picnicking and where some families had pitched tents for the day.  The fields here are big enough that a group of teenagers was able to organize a kickball game and play unimpeded.  At the edge of the field visitors will find another monument, this one a statue of 송진우 (Song Chinwoo) (1890-1945) that was erected in 1983.  Song served as principal of Choong-ang High School (중앙고등학교) and, as the plaque beneath the statue put it, ‘masterminded’ the March 1st Independence Movement.  He later became the president and publisher of the Dong-a Ilbo Newspaper (동아일보) before earning the dubious distinction of being the first victim of political assassination in Korea’s modern history, done in by Han Hyun-woo (한현우).  He is buried in the National Cemetery.

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Past the DOM Art Hall and Adventure World (모험의나라) and its playground equipment, you’ll find the compound’s Amusement Park (놀이동산) in the far northeast corner, easily the liveliest part of the park.  Since this is an amusement park targeted mainly at kids and since it’s on a small patch of land, almost everything here is very compact and slightly miniaturized.  There’s a rollercoaster, but it’s a small rollercoaster.  There’s a Viking ride, but it’s a kid-sized Viking ride.  Parts of the sky tram are so low that you almost worry you’ll hit your head on them.  Two tiny cars run in two tiny intersecting circles at a speed so slow that it’s frustrating to watch.  There’s also a small fleet of the sort of rides that you’ll sometimes see outside places like Wal-Mart in the States: little vehicles or horses that judder and shake back and forth when you drop a coin in.

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There are rides that adults can enjoy – the rollercoaster, bumper cars, swings (and maybe a Ferris wheel, but this wasn’t operating when I visited) – but mostly this is the preserve of those who usually fall on the wrong side of the ‘You must be this tall to ride this ride’ line.  Two things made me desperately wish I was about one meter shorter and twenty years younger.  One was a sort of bungee slingshot where kids were strapped into a harness and then slung skywards to bounce up and down in the air for several minutes at a go.  The other was called ‘Water Walk (워터 워크),’ and this consisted of a large wading pool, a large helping of brilliance, and a touch of Jesus.  Kids would clamber into a big transparent bubble before an attendant zipped it up and attached a tube to pump air in.  They’d then give it a shove into the pool and a mad scramble to stay upright inside the bubble would ensue.  It looked insanely fun.

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The park’s other major attraction is its zoo, which, it has to be said, is hit and miss.  On the one hand, the enclosures for the big cats are fairly decent.  The male and female lion seemed perfectly content in their surroundings – he chilled out in the grass, she on a rock – and the two Bengal tigers slowly prowled around theirs.  The elephant pen could have been bigger but the two elephants – donated by former Khmer Rouge member, current prime minister of Cambodia, and all around shady dude Hun Sen – at least had a pool and a waterfall, which they seemed to prefer to stand behind, rather than under, facing the enclosure’s door and swaying back and forth like mental patients in a padded room.

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In the same complex, the three hyenas seemed to have gone a bit mad with boredom as well.  Their enclosure was too small, and one of the animals kept loping back and forth in its horse-like way just in front of the glass while another repeatedly jogged up to the rear wall, hopped up onto its rear legs, and propped itself up with its right forepaw before dropping back down, jogging away, and then turning around and doing the same thing again.

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The enclosures for many of the birds – owls, pheasants, a black vulture, a peacock – were poor too, little more than concrete cylinders with one or two perches, so small that they precluded any real flying.  On the other hand, the partially indoor waterfowl enclave was quite big, and its premises mixed Canadian geese, ducks, herons, storks, egrets, and at least one Japanese crane in a sort of avian United Nations.

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Besides what I’ve already mentioned, you can also find a terraced splash pool, Character World, concert hall, and more at Children’s Grand Park, enough to keep you busy for an entire day, or two.  And while it helps to be too young to legally engage in a wide variety of other fun activities it’s by no means necessary, provided you can summon your inner child or at least tolerate everyone else’s.

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Konkuk University (건국대학교)

Exit 3

Right on Gwangnaru-ro-24-gil (광나루로24길)

University Culture Street (대학문화의거리)

Exit 4

Right on Neungdong-ro-19-gil (능동로19길)

Gwangjin Square (광진광장)

Exit 5

Sejong University (세종대학교) and Sejong Museum (세종박물관)

Exit 6

Children’s Grand Park (어린이대공원)

Exit 1

www.childrenpark.or.kr

Hours | 5:00 – 22:00

Zoo Hours | 10:00 – 17:00

Admission| Free, but tickets must be purchased for amusement park rides

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Ewha Womans University Station (이대역) Line 2 – Station #241

September 9, 2012

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No, that’s not a typo.  Nor is it Engrish.  For a long time I hadn’t even noticed the anomaly in Ewha Womans University’s name; then, when I did, it rankled my English-major sensibilities.  This was the university that produced South Korea’s first female Constitutional Court justice, its first female prime minister, that was one of the country’s foremost institutions of higher learning and they couldn’t get a simple plural right?

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Well, turns out that it’s supposed to be that way.  The university’s founder, American missionary Mary F. Scranton, to emphasize that each student was unique and worthy of respect, chose to pluralize ‘woman’ by adding an s, rather than changing the vowel, thus avoiding grouping all students under what she viewed the more collective ‘women.’  In a society that places so much emphasis on the collective, it’s an interesting acknowledgement of the importance of individuality at time in one’s life when that quality is essential.  Though it still doesn’t resolve the problem of the missing possessive.

The school that would become Ewha Womans University (이화여자대학교) was founded in 1886 and a year later was christened Ewha Hakdang (이화학당), meaning ‘Pear Blossom Academy,’ by Emperor Gojong.  College courses started in 1910, and after liberation from Japan Ewha was granted full-fledged status as a university.  It is now the world’s largest women’s university and the alma mater of many prominent Korean women.

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The university, known colloquially simply as Edae (이대), is a five-minute walk from Exit 2 or 3 down Ewha Yeo-dae-gil (이화여대길), a narrow road lined with stores catering to the Four Necessities of the Co-ed Life: snacks, coffee, accessories, and assorted cuteness.

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Beginning almost immediately outside of Exit 2 is a succession of street stalls that stretches all the way to the university gate, offering sausages and saju readings, takoyaki and silver earrings, tteokbokki and other things.  Practically no two are the same.  Cosmetic shops and shoe stores are well represented, and there are a fair number of tech shops and places selling the sorts of things that for a brief period in one’s early twenties get shifted from the Why? to the Must Have!!!! column: puffy photo frames, checkered lamps, plastic duckies in fleece hoodies.  Restaurants in the area trend toward the kinds of places that sell themselves on an air of girlish sophistication and class, where the act of going there is more the point than eating.  Which is not to say that Edae girls won’t chow down on bossam and sundae, because there are those places too, the absence of squeamishness about foods not being ‘ladylike’ a trait of Korean women that I very much admire.  Bakeries selling things like tarts and cakes are popular, and this may be the one place in the entire country where the slogan hung on the local branch of Mr. Pizza actually makes some sense.  Edae, too, could arguably be credited as the wellspring of the country’s relatively recent coffee obsession, as it was here, on the main drag, that Korea’s first Starbucks was opened.  It’s still there, but now it seems as if you can’t throw a rock in the neighborhood without hitting a café.

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The side streets, particularly to the west, via Exit 1 or 2, are where you’ll find most of the area’s renowned fashion and accessories shopping.  It’s not quite the mecca it was back in the day, before internet shopping and international fast fashion chains like Zara and H&M set up shop on the peninsula, but it’s still a bustling, popular place to snag the newest threads at student-friendly prices.  The shops and stalls form a U around the huge apM building, their clothes running the line from freshman to senior, which is to say from fun and funky to young, job-seeking professional.  Imported Americana, like Abercrombie & Fitch and Aeropostale, is popular, and when you need to put the finishing touches on an outfit the alley stalls and carts can fit you out with things like socks and stockings, the latter usually arranged on two dozen disembodied plastic legs that stick up like a plaster mold of the Rockettes at work.  The amount of accessories on offer can only be described as a Frenchwoman’s nightmare.

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Sprinkled among all the apparel are your basic collegiate Good Time necessaries: noraebangs, clubs, fortune tellers, and photo booths.  There are love motels too, but don’t worry, parents reading this.  We didn’t see your daughter go in any of those.  Perhaps most exotically there are even some men’s clothing shops tucked in amongst everything, so the male study abroad students who attend Edae, as if they weren’t lucky enough already, can pick up shirts and pants here as well.  Or, more likely, girls can shop for their boyfriends.

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Underneath the constant blare of upbeat Korean and American pop, I noticed a fair bit of Chinese being spoken as I walked around the neighborhood.  This continued when I arrived at the university proper, after passing the man selling packages of bananas from cardboard boxes by the front gate, where perhaps a handful of exchange students or prospective exchange students from across the Yellow Sea were touring the campus with parents and posing for pictures.

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And Edae is a good place for being an exchange student posing for pictures.  Its campus is one of the prettiest in Korea (which partly goes hand in hand with being one of the oldest), populated with many handsome gray stone buildings, ivy climbing up their sides.  The first of these such buildings that a visitor notices is the Welch-Ryang Auditorium (대강당), directly up a long flight of stairs and looming over the entrance plaza.  Another notable building is Pfeiffer Hall (본관, or just ‘main hall’ in Korean, sparing everyone the trauma of those multiple f’s), a dignified four-story structure with peaked gables and a copper green roof.  Just to the left is a statue of Dr. Helen Kim, Korea’s first woman to receive a doctorate.  She later went on to become the school’s first Korean president.  Pfeiffer Hall is the anchor of the upper campus, an especially pretty section of more stone buildings, a hanok, and many trees – a veritable oasis from the busyness below.

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Connecting the main plaza to the upper campus is the university’s most distinguishing feature: an elegant gash in the earth called the Ewha Campus Complex.  Designed by the renowned French architect Dominique Perrault, the ECC looks a bit like the half excavated carcass of a crash-landed alien cargo ship.  From the main plaza, a wide, gentle slope descends between walls of glass and steel ribs before leveling out and then ascending again, this time more abruptly, up a long flight of steps to Pfeiffer Hall.  It’s a beautiful structure, both in the day and at night, and gives one the pleasingly bipolar feeling of being simultaneously underground and outside.

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Its ingenuity extends inside as well, as the design lets plentiful natural light into rooms that would otherwise be in a basement or taking up valuable real estate elsewhere, the shops, classrooms, study rooms, reading rooms, lounges, and cafes that occupy the ECC being the beneficiaries.  Even if you’re not an Edae student or are indifferent to architecture, there’s still an excellent reason to stop by the ECC, and that’s Arthouse Momo (아트하우스 모모), a two-screen cinema that’s one of the best places in the city to catch independent and foreign films.  For those who pine for a ‘purer’ cinema experience, one where androgynous workers dressed in black check your tickets and there’s no snack bar, this is it.  (You can, naturally, grab a latte at the adjacent café, though.)

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Leaving campus I hung a right once outside the gates and followed an advertisement bus promoting a new idol group called NU’EST as it rolled toward Sinchon Station.  Not to be confused with the subway station, this is Sinchon Railway Station (국철신촌역), where you can catch an actual train train.  This, however, was not the reason I came, nor was the enormous new station/shopping complex.  Tucked below, simultaneously sticking out and easy to miss, like a Model T parked in the lot of a new car dealership, is the original Sinchon Station (신촌역), Seoul’s oldest rail station.

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Pale yellow with wooden window frames and doors and a green tile roof, looking more like a cottage than train depot, this used to be the first stop on the Seoul Station to Pyongyang line.  In operation since 1920, it’s miraculously avoided the wrecking ball, though unfortunately for me it was undergoing renovations when I visited.  I was still able to check out the exterior, however, and to peek in through the windows where I could make out an old schedule board posting trains bound for Munsan (문산), Dorasan (도라산), and Imjingang (임진강).

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Like in some other neighborhoods we’ve been to, opposite sides of the same street can have wildly different characters, and that’s certainly true of Edae.  North of the station, the girl to guy ratio hovers in the 3:1 range and virtually every single business is targeted at the 18-30-year-old female demographic.  South of Sinchon-ro (신촌로), however, one finds themselves in a run-of-the-mill neighborhood that’s perhaps a bit on the scruffy side.  Brick apartment buildings, corner stores, and small churches fill up streets whose hilliness hints at the more pronounced inclinations in nearby Aeogae and Chungjeongno.  Even here a few concrete staircases built into the streets were necessary.

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Daeheung-ro (대홍로), south from Exit 5 or 6, was a fairly busy street, lined with supermarkets, real estate offices, and tteok shops, and up past a dirt lot where piles of tree branches sat in front of old homes I could make out the buildings of Sogang University (서강대학교) atop a hill to the southeast.  Off the avenue, the side streets showed signs of aging: paint peeled from walls and gates, and a loose exhaust pipe fan let off a high-pitched squeal whenever the wind spun its blades.  A good proportion of the denizens walking through those side streets were elderly, and I assumed it was a group of them who had set up the little improvised salon of four green plastic chairs and two stuffed pleather ones that occupied the bit of space next to a green clothing donation bin.

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The last main feature of the Edae neighborhood, and one we talked about when we went to Ahyeon Station, is Wedding Town, the stretch of Sinchon-ro between the two stations that is lined almost exclusively with wedding dress shops.  A hundred meters or so from Exit 4 or 5, dozens of shops provide gowns for soon to be brides that range from glitzy numbers studded with rhinestones to more simple pieces.  In addition to stores selling Western-style dresses many also sell hanbok, but even these range from traditional cuts to more modern interpretations.

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Ewha Womans University (이화여자대학교)

Exit 2 or 3

Straight on Ewha Yeo-dae-gil (이화여대길)

Arthouse Momo (아트하우스모모)

Exit 2 or 3

Inside the Ewha Campus Complex, Door 3

Sinchon Station (신촌역)

Exit 1

Straight on Sinchon-ro (신촌로), right on Sinchon-yeok-ro (신촌역로)

Wedding Town

Exit 4 or 5

East on Sinchon-ro (신촌로)

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Seoul Station (서울역) Line 1 – Station #133, Line 4 – Station #426, AREX – Station #A01

April 29, 2012

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For almost anyone who travels, there’s a certain romance associated with rail travel that other modes of transportation can’t quite match.  Flight had its moment of glam in the postwar years, but few still find anything romantic about the process of contemporary air travel with its steadily decreasing comforts and increasing security indignities.  Boat travel within developed countries all but doesn’t exist, and cruises aren’t so much travel as the vacation itself.  Trains, however (and their whiff of outdatedness for long distance travel may in part explain this), still evoke a certain charm, a sense that wonderful things might happen not only at your destination, but on your way there.  The names of the great routes – the Orient Express, the Trans-Siberian, the Blue Train – and the great stations – Grand Central, Union, Gare du Nord, St. Pancras – reflect that.  It’s no coincidence that the Hogwarts Express was a steam train and not a jetliner.  Magical people take the train.

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Alas, Seoul Station is not one of the world’s greats, but that’s largely due to a political twist of fate.  If reunification ever becomes a reality, Seoul will become the terminus for what would undoubtedly be one of the world’s longest and most incredible journeys: Lisbon to Seoul overland.

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Until that day, however, those of us who live and travel here have no choice but to accept the fact that what counts as Korea’s ultimate rail journey is the between-meals run to Busan or Mokpo.  What the Korean railroad suffers in its geographical limitations, however, it compensates for in its quality and in its wonderful station.

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Uh, make that two stations.

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Seoul Station, now, refers to the new Seoul Station, but it used to refer to the old Seoul Station right next door.  In the interest of historical linearity, let’s start there.

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The old Seoul Station is a beauty of a thing; it looks the way a train station is supposed to look.  Designed by the Japanese architect Tsukamoto Yasushi and completed in 1925, thick stone slabs ring the bottom below reddish-pink bricks, all below an arched central window and Byzantine dome.

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While trains may no longer run from the old station, it has fortunately been brought back to life with an extensive refurbishment and reimagining.  Reopened on August 9, 2011 and rechristened Culture Station Seoul 284 (화역서울 284), it’s been turned into an exhibition space, and until February 11 it’s hosting a preliminary exhibition entitled ‘Countdown’ before fully opening as an art complex in March.  The current exhibition is a mélange of disciplines and styles from a number of artists, foreign and Korean.  Works range from sculpture to video to slideshows to audio to site-specific installations.

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As interesting as the artworks, if not more so, is their juxtaposition with the restored station and the station itself.  The new Seoul Station is a paragon of modernity, but the original captures the imagination in a way particular to old rail stations.  It’s not hard to envision a curl of cigarette smoke drifting out from a shadowy corner, followed by a trench coated Graham Greene or Paul Theroux, leather satchel in hand.  Thick granite columns line the foyer, and light streams through a stained glass skylight in the ceiling.  There are fireplaces, candelabras, and wood-paneling on the walls.  The exhibit guide notes where the Ladies’ Waiting Room and the Barber Shop were, and you can stroll the carpeted floor of what used to be The Grill, for a long time Seoul’s best Western restaurant, imagining the intrigue as foreign powers plotted Korea’s fate in the pre-war years.

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In at least one location, the old station offers an even deeper look into its past.  In the old barber shop and restroom on the second floor, refurbishment has been left half-completed, so that you’re able to view original construction materials and techniques from behind protective glass.

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The old station is connected to the new by Seoul Square, which is known by many Seoulites primarily for being a popular gathering spot for the city’s homeless.  Indeed, you’ll always find several wandering around or seated on blankets or cardboard, drinking or eating cup ramen, but their presence here is less pronounced that at similar stations in the U.S.  There is also, more often than not, the odd demonstrator or two, bearing a sign and airing a grievance, as well as members of the Seoul Station Street Church (서울역 거리 교회), with their bright jackets, fliers, and eager entreaties to know Jesus.  I had one member, a genial middle-aged man with a voice that sounded like he lived on a diet of cigarettes and gravel, follow me down the street for a block or so before deciding to try his luck with someone else.

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Also on the square is a rather badass statue of Kang Woo-kyu (왈우 강우규 의사).  The statue, which was only unveiled last year, commemorates the anti-colonial activist who, when he was already in his 60s, threw a bomb at the Japanese Governor-General Saito Makoto on this spot in 1919.  Sporting a goatee and some serious boots, his hanbok flowing behind him, Gang’s right arm is tensed at his side, ready to unleash the grenade in his hand.

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The new Seoul Station (서울역) is bright and airy, and it handles its bustle well.  Lined with fast food places and shops, it also has floor exhibits where the likes of Chevrolet show off their latest products, but the tall, high windows create the feeling of space, and people move through the station efficiently.  A department store is attached to both the first and second floors of the station, and on the upper concourse, in addition to a food court, you’ll also find space for photo exhibits and the Open Concert Hall, where two pianos and a keyboard sat at the ready.

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After looking around the interior of the station for a bit I decided to head out to the mezzanine above the tracks, from where I could watch the trains pulling in and departing and watch the flow of passengers.  I was briskly making my way there when a line of yellow tape that I spotted on the ground caused me to stop in my tracks.  On the tape was text that read, in English, ‘We Trust You: (Only paid customers can cross this line.)’ (고객 신뢰선 (운임경계선) in Korean).  That was the security check.  All of it.  Of course, tickets are checked on the train, but there were no guards, no metal detectors, no baggage inspection.  It was remarkable, and even though I had no intention of sneaking onto a train it seemed so good-natured, so trusting, so esteeming of my character that the yellow line actually made me pause and consider for a moment whether or not I should cross it, and when I did I needed to take a moment to convince myself that what I was doing was OK, that I was acting in the name of reportage and wasn’t actually doing something wrong.

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Outside, below the woven gray canopy of beams, the sleek metallic trains lined up even-spaced on the tracks like silverware in its case, awaiting dinner.  I found a spot near the mezzanine’s edge to watch as, a stream of hundreds of dark coats poured out of a newly arrived train and up the escalators.  It was New Year’s Eve, and lots of soldiers were out on leave, heading home to spend time with their families. A group of about 20 army men went by, all dressed in identical camouflage uniforms and with green canvas duffels strapped to their backs.  More stylish were the marines in snappy gray topcoats with polished gold buttons.

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In front of Seoul Station and Seoul Square is the busy Hangang-ro (한강로), and, leaving the station behind, I headed south on it, past a busy taxi queue, to see a bit of the neighborhood.

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Several more of the city’s homeless were here and there on the street surrounding the square, including one I passed who was squatting over a pile of discarded wires, peeling the plastic coating off by hand to get at the valuable copper inside.  Not much further on, just past Exit 13, was a line of people on the sidewalk, about 50 people deep, waiting their turn to get into a soup kitchen that was being operated in a small storefront.  Workers in bright yellow jackets watched over the crowd, and when someone had finished their meal and exited they guided the next person in.

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Beyond the soup kitchen were a couple of shops on either side of the street selling medical oddities like old wooden crutches, prosthetic limbs, and fake silicon hands in a variety of sizes and colors.  None of them were open, and it was unclear if they were simply closed for the weekend or for good.

Seoul Station30web

In the opposite direction, via a five-minute walk from Exit 4, is one of Seoul’s most well-known landmarks, Sungnyemun (숭례), more commonly known as Namdaemun (남대).

Of course, for the time being there’s nothing to see, as an enormous white shed encloses the gate as it undergoes restoration following the 2008 arson attack that partially destroyed it.

Seoul Station9web

If you walk there you’ll notice that the area north of the station is far more lively and eclectic than the area to the south, owing, of course, to the nearby presence of Namdaemun Market (남대문시장) (which we’ll cover when we get to Hoehyeon Station (회현역)).  But even on Namdaemun-ro (남대문로) there’s plenty of market spillover, and the sidewalk is lined with tables where vendors sell everything from headlamps to scarves.

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To the west lies Seoul Station’s backdoor, a largely residential neighborhood whose character is entirely different from the neighborhood to the east.  I actually stopped here first, stepping out Exit 4 onto a pleasant little cobblestoned plaza planted with a ‘garden’ of blue and red-tipped metal poles.  Directly across the street was a fire engine-red complex of buildings behind a matching concrete wall, that upon closer inspection turned out to actually be warehouses for the National Theater Company of Korea (국립극장).  Right next to the complex was a recycling yard where a half-dozen men were using heavy equipment to noisily move some metal beams about.

Seoul Station18web

Behind the warehouses and the recycling yard, the hilly area between the station and Mallijae-ro (만리재로) is an older lower-class neighborhood full of brick apartments and homes, some with tile roofs, and modest, not very profitable-looking stores and businesses.

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Business picks up after you climb up to Mallijae-ro, and it’s just off here where you’ll find the Sohn Kee-Chung Athletic Park (손기정체육공원).  The easiest way to reach the park is to go out Exit 4, cross Cheongpa-ro (청파로), turn right, merge left onto Mallijae-ro just before the overpass, and cross the pedestrian overpass that will come up ahead of you.  After you cross go down on the left and Mallijae-ro-31-gil (만리재로31길) will be directly in front of you, where a small sign points to the park 120 meters away.

Longtime readers (and those savvy to Korean athletic history) may find that name ringing a bell, as we earlier had a run-in with a Sohn memorial when we visited Sports Complex Station (종합운동장역).  We touched on his history in that post, but to briefly recap: Sohn was born in 1914 in Sinuiju (신의주), on what is now the North Korean border with China.  Because Korea was under Japanese occupation at the time, Sohn was forced to compete under the Japanese flag and a Japanese name, Son Kitei.  In Berlin he set an Olympic record, and on the medal stand he used a pin oak sapling he had received as victor to cover up the Japanese sun on his chest.

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Befitting a park dedicated to Sohn, the emphasis here is on athletic facilities, and there are several terraced into the slope, including tennis courts, a nice soccer pitch, and even a ping-pong table.  Additionally, there is the Sohn Kee-Chung Culture Center (손기정문화센터) and Library (독서실), housed in handsome red brick buildings with ivy climbing up their sides.

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There are two sculptures of Sohn in the park.  One is a large rendering of just the elderly Sohn’s head, looking out from the park’s highest point over a wonderful view of the rooftops of central Seoul.  In front of the sculpture is the pin oak (손기정 월계관 기념수) that was given to Sohn upon his victory in the ­­­­1936 Olympic marathon.  According to the nearby plaque, Olympic medalists were originally presented with crowns of Mediterranean laurels, but starting with the ’36 Games the laurels were replaced with pin oak.  The oak that Sohn received was planted at Yangjeong High School (양정고등학교), Sohn’s alma mater, but when the high school relocated the former site was turned into the athletic park.

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The second statue is partway down the slope, and captures Sohn in a pose as the runner is more commonly remembered.  The bib on his chest identifies him as racer number 382, the number he wore in the Berlin race.  He is midstride, his head cocked at a peculiar angle, straining to outrun the other athletes and, just as surely, the shame and burden he was made to carry.

Culture Station Seoul 284 (화역서울 284)

Exit 2

Hours | Tues – Fri: 11:00 – 19:00; Weekends: 11:00 – 20:00; Closed Monday, January 1, and Lunar New Year’s Day

Admission: Free

02) 3407-3500

http://www.culturestationseoul284.org

www.countdown2011.org

Seoul Square

Exit 1 or 2

Seoul Station (서울역)

Accessible directly from subway

Sungnyemun (숭례) / Namdaemun (남대)

Exit 4

Straight on Namdaemun-ro (남대문로)

Sohn Kee-Chung Athletic Park (손기정체육공원)

Exit 4

Cross Cheongpa-ro (청파로), turn right, Left on Mallijae-ro (만리재로), cross pedestrian bridge, Right on Mallijae-ro-31-gil (만리재로31길)

Seoul Station8web

Parts of this post first appeared in the April 2012 issue of SEOUL magazine.


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