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Representing Korean architecture in the modern West: two Korean Pavilions from 1960s international expositions

机译：代表现代西方韩国建筑：两个1960年代国际博览会的韩国馆

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摘要

The award of the most honourable Golden Lion Prize to the Korean Pavilion at the 2014 Venice Architecture Biennale is meaningful in the history of Korean architecture [1]. All the more so when we consider the relatively belated development of modern architecture in Korea, largely due to the country's trials resulting from the Japanese occupation of the Korean Peninsula (1910-45) and the Korean War (1950-3). The award is also meaningful if we consider the sense of inferiority that the Korean architectural community has felt in relation to other cultural genres such as pop music and film, which have gained international recognition over the last few decades, forming the so-called 'Hallyu' or Korean Wave. Of course, the prize at the Venice Biennale, however honourable it may have been, did not automatically admit Korea to the highest rank in world architecture. In addition, the prominence that the Korean Pavilion achieved there seemed to be more related to curation that illustrated the architectural realities of two Koreas (South and North), regardless of architectural excellence itself. Nevertheless, this event is undoubtedly significant since it served as a catalyst for refreshing the view of Korean architecture from a broader perspective. In particular, it encourages us to ruminate on how Korean architecture has appeared in the world and how it has been recognised.
机译：在2014年威尼斯建筑双年展上，韩国馆获得了最光荣的金狮奖，这在韩国建筑史上意义重大[1]。当我们考虑韩国现代建筑相对迟来的发展时尤其如此，这在很大程度上归因于日本对朝鲜半岛（1910-45年）和朝鲜战争（1950-3年）的占领对朝鲜的审判。如果我们考虑到韩国建筑界对流行音乐和电影等其他文化流派的自卑感，这一奖项也很有意义，在过去的几十年中，流行音乐和电影已获得国际认可，形成了所谓的“ Hallyu”或韩流。当然，在威尼斯双年展上获得的奖项，无论多么荣幸，都不会自动使韩国获得世界建筑的最高荣誉。此外，韩国馆在这里取得的突出成就似乎与策展活动更多相关，该策展活动说明了两个韩国（南北）的建筑现实，无论建筑本身如何出色。尽管如此，这一事件无疑具有重要意义，因为它从更广阔的角度推动了人们对韩国建筑观念的更新。特别是，它鼓励我们对韩国建筑如何出现在世界上以及如何被认可进行反思。

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