This study re-evaluates the South Korean pavilion at EXPO ’74 in Spokane, the world’s first environmentally themed specialized exposition, to elucidate the multifaceted layers and dynamics of early environmental discourse in the 1970s. While the 1960s and 70s are conventionally dismissed as an era dominated by authoritarian, pollution-inducing industrialization, this research uncovers a pivotal node where architectural and urban elites attempted to synthesize global ecological agendas with domestic narratives. Analyzing primary institutional reports, archives, and historical media records, this study identifies three critical dimensions within the pavilion’s environmental meaning. First, in terms of spatial art, architect Swoo-Geun Kim and his team transcended rigid modular constraints to construct a multi-sensory “field” composed of localized auditory and culinary elements, directly invoking the ambient environmentality previously experimented with at EXPO ’70. Second, lacking the technical infrastructure for an active ecological approach, the pavilion strategically substituted global agenda with indigenous "Tradition." By showcasing traditional landscapes like Gangsan-mujin-do, the exhibition presented a romanticized, harmonious view of nature as a cultural compensation for Western industrialization, an ideological trajectory that later formulated Kim’s architectural theory known as "Negativism." Third, the pavilion intertwined environmental conservation with the state’s burgeoning tourism industry by displaying "the First Comprehensive National Physical Development Plan", effectively transferring an ecological crisis into an instrument for national promotion. In conclusion, the EXPO ’74 Korean Pavilion reflects the complex limitations of a developing nation that recognized global environmental imperatives yet could not confront them directly. By historicizing this forgotten pavilion, this study establishes a foundational baseline for the lineage of modern environmental design discourse in Korea.
This study aimed to elucidate the architectural characteristics of the Catholic churches of the Archdiocese of Gwangju built around the time of the Second Vatican Council, and the conclusions are as follows. While the floor plans share the common characteristic of being rectangular and auditorium-style with no distinction between the nave and aisles, the sacristy, which was previously located on the side of the altar, is now situated alongside the front vestibule starting from Sanjeong-dong; the subsequently built Honam-dong, Gyerim-dong, and Nampyeong also exhibit the same characteristics.The units of measurement are interpreted as the application of the British foot unit during the period when priests of the Irish St. Columban Foreign Mission Society served as parish priests. In terms of floor plan length, Sanjeong-dong Cathedral is the longest, measuring 50 feet in width and 120 feet in length, making it the largest in scale; it also features the longest bay spacing of 15 feet. In terms of structure, there is also a difference: after the Second Vatican Council, only Wolsan-dong, a simple auditorium-style building, was constructed of brick, while the rest were all built using reinforced concrete frame structures. Regarding expansions, Wolsan-dong Cathedral is notable for its extensive expansion; Gyerim-dong Cathedral added a bell tower to the right side of the facade, and notably, Honam-dong features a bell tower built in the center of the front, exhibiting a unique variation that significantly alters the facade.
This study examines the types and characteristics of hanging boards in the central government offices along Yukjo Street in the late Joseon Dynasty. While previous studies have mainly focused on palace signboards, this research investigates government offices in the capital by analyzing artifacts preserved in the National Palace Museum of Korea together with documentary and visual sources such as Imha Pilgi, government office chronicles, and Sukcheon-chea-to. The hanging boards are classified into name boards and indoor hanging boards, and their contents and functions are analyzed according to their spatial location and administrative use. Name boards displayed the official title and status of each office, while indoor hanging boards contained regulations, procedural information, moral instructions, and commemorative records. These boards functioned not only as informational media but also as devices that maintained administrative order and institutional memory. Therefore, hanging boards should be understood as architectural elements that articulated the identity and function of government office spaces.