Public / Commercial Art-Tech · Immersive Experience · Media Art
Tongjeyoung: Light of Peace
A ₩2B national heritage site transformed into a nine-zone digital theme park — one narrative of 'Peace and Return' told through holograms, facades, and light.
Year
2025
Format
National Heritage media art festival — site-wide immersive experience
Location / Institution
Tongyeong, South Korea · Cultural Heritage Administration & Tongyeong City
Role
Content Project Manager & Main Performance Director (Dotmill)
Collaborators
Dotmill creative, technical, design, and performance teams
₩2B
Project budget
9
Interactive zones
130,000+
Visitors engaged
Concept
How can a historic naval headquarters be experienced not as a monument, but as a world to walk through? Sponsored by the Cultural Heritage Administration and Tongyeong City, the project revitalizes the Tongjeyeong site into an immersive night journey, translating a single unifying narrative — 'Peace and Return' — across the entire grounds.
Experience Design
Nine zones compose one continuous dramaturgy. Visitors enter through the Sea of Protection, an intro path of wave-like light; pass the Gate of Return (Jigwamun), where a facade show depicts soldiers laying down spears that turn to light; play a collaborative strategy game inside Unjudang, the old war council hall; share desserts and craft in Baekhwadang's immersive dining; and arrive at Sebyeonggwan, where a holographic multimedia performance of spirits and lions gathers dreams to light up Tongjeyeong — before resting in the Galaxy of Purification, a finale garden where wishes become light.
Technology / Medium
Holograms, projection-mapped media facades, interactive floor-map gaming, immersive dining design, dynamic lighting and sound, and AI-generated key and promotional visuals — engineered onto protected heritage structures.
Process
As Content PM, I oversaw creation from initial storytelling and concept art through the full planning proposal and storyboarding, then managed the translation of historical narratives into engineering specifications. I served as the central point of communication between technical, design, and performance teams, coordinating to resolve conflicts between heritage preservation and digital installation. I directed the holographic performance at Sebyeonggwan as Main Performance Director, and created the project's AI-generated key visuals and promotional imagery.
Outcome
Engaged over 130,000 visitors on a ₩2B budget across nine zones — proving the viability of narrative-driven systems at a massive public scale.
Reflection
This project confirmed the core proposition of my practice, the Director-as-Architect: directing here meant designing the invisible architecture of the visit itself — pacing, gaze, and the walking body — so a heritage site could be experienced as a world rather than a display.
Credits
Produced by Dotmill, sponsored by the Cultural Heritage Administration and Tongyeong City. Team of 3 in planning; full production credits available on request.
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