[Bae Su-kyeong] What our spaces reveal
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No life is exempt from scars. Across cultures, people have long sought ways to live with them. In Japan, the art of “kintsugi” adorns a fractured vessel with
No life is exempt from scars. Across cultures, people have long sought ways to live with them. In Japan, the art of “kintsugi” adorns a fractured vessel with gold, transforming the damage into conspicuous beauty and allowing it to continue its life. In contrast, Korea's tradition of repairing “onggi,” traditional earthenware vessels, restores them to everyday use while usually leaving their scars visible. Years ago, I encountered this same question not in a piece of pottery, but in a city.
One early autumn, I stood before the Darmstadtium, a gentle breeze drifting through the square. The modern center was designed to embrace the weathered remnants of the German city of Darmstadt's 14th-century city wall, one end of which is seamlessly integrated into the structure.
Across the street stood the Residential Palace, its origins dating back to the Middle Ages. After the devastation of World War II, its buildings were reconstructed from salvaged stone fragments, preserving as much of their historic fabric as possible. Its reflection shimmered across the Darmstadtium's glass facade beneath the golden light of late afternoon.
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