#koreanarchitecture

A bridge provides a unique perspective to capture the elegance of Hyangwonjeong Pavilions.

Opening

The Korean Pavilion at the Venice Architecture Biennale has opened a new exhibition titled “Little Toad: Unbuilding Pavilion”. This marks three decades since its construction in the Giardini. The exhibition shifts attention to the pavilion itself, treating it not only as a container for exhibitions but as an architectural subject in its own right. It revisits its history and imagines possible futures.

Architectural view of the Korean Pavilion at the 2025 Venice Biennale, celebrating 30 years of participation.

Rereading the Pavilion

For thirty years, the Korean Pavilion has been a stage for cultural expression. Today, it is re-examined through a deeper architectural lens. The exhibition frames the building as a “house,” both physical and symbolic, blending memory with transformation. Themes of the old house, the new house, and even the image of a house on fire emerge. These serve as metaphors for the pavilion’s journey through time, climate challenges, and shifting identities.

Interior detail of the Korean Pavilion exhibition, exploring “Unbuilding” as an architectural approach.

Featured Works

The installations spread throughout the interior and extend onto the rooftop, opening new layers of interpretation:

- Works revealing hidden connections between the pavilion and its surrounding landscape. These create a direct dialogue between architecture, trees, and open space. - Other pieces revisiting the site’s pre-pavilion history, evoking geological layers and forgotten forms of life. - On the roof, an unused space has been transformed into an observatory. This overlooks the Adriatic Sea, adding a new dimension that links the building to movement and horizon.

Interior scene highlighting the use of wood and natural materials to craft a unique spatial experience.

Symbolic and Architectural Dimensions

The exhibition goes beyond displaying art. It makes the pavilion itself the subject of dismantling and reconstruction. The figure of the toad becomes a symbol of metamorphosis and renewal. This suggests architecture’s ability to adapt and endure. The result is a space suspended between past and future, between what exists and what might come. It offers fresh reflections on national pavilions, sustainability, and architectural temporality.

Panoramic view showing the pavilion’s composition and its openness to the cultural and urban context.

✦ ArchUp Editorial Insight This article frames the Korean Pavilion at the Venice Biennale as an architectural subject undergoing self-unbuilding rather than a passive exhibition space. The imagery highlights contrasts between stark white concrete volumes and porous voids. These merge trees and natural elements into the built form, creating layered spatial dynamics. Yet a critical question emerges: does this dismantling gesture provide sufficient contextual depth beyond symbolic narratives? Despite such ambiguity, treating the pavilion itself as an evolving architectural inquiry adds significant analytical value. It positions the project within broader debates on cultural identity and sustainability in design.

What are the differences between early American architecture and Korean architecture? American architecture is a hybrid of many types, mainly from Europe. New England, as you might guess, was originally settled by colonists from England, remaking what they considered a “wilderness” into a new England, quite literally. They kept their traditional housing, with little consideration for the architecture or lifestyles of the Native Americans. They also introduced the concept of private property (owned and used by a single party) to the “New World”, with many consequences. In contrast, Korea had retained the idea of owning land for many hundreds of years, with most of the landholdings belonging to an upper class, much like Europe. Korea followed Confucian, not Christian, ideals, which translated to separating male and female spaces.