Identity in Concrete: Exploring the Evolution of the Sewoon Sangga
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2024-07-22
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en
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Abstract
In the beginning of 2021, at the peak of the COVID-19 pandemic, the first shots of the tvN
drama “Vincenzo” were taken.1 At the heart of the set is the Sewoon Sangga, a 1-kilometer-long
shopping mall constructed in the 1960s. The lead of the series, an Italian mafia lawyer, returns to
Korea to search for gold hidden beneath an old shopping complex, called “Geumga Plaza”.
However, his mission becomes complicated as he is forced to battle an unrivaled conglomerate,
who is determined to illegally acquire and demolish the structure to create new businesses.2
Walking through Sewoon Sangga, the film crew navigates its labyrinth of narrow hallways, each
turn revealing small electronic shops crammed to the ceiling with speakers, radios, TVs, and
other electronic devices. The dim lighting casts long shadows, creating a cold, uneasy
atmosphere in the hallways. This setting, with its electronic clutter and its dimness, provides the
perfect backdrop for a thrilling K-drama.
As the episodes near their end, Geumga Plaza is saved. The mafia lawyer finds a way to
beat his villain and to retrieve the gold without demolishing the complex, allowing its tenants to
continue their lives undisturbed.3 A parallel with real life can be observed, as the metropolitan
government of Seoul already made plans in 1995 to demolish the Sewoon Sangga.4 Despite
these plans, significant portions of the complex have endured, as both specialists and its
inhabitants have spoken out against these plans. As of today, only one of the original four
buildings has been demolished, while the remaining structures are undergoing renovations.5
Outside of Korea, the Sewoon Sangga is celebrated as an example of an early megastructure and
a landmark in Korean postwar architecture. At the same time, it is also described as a mere
utopia. Inside Korea it is also sometimes viewed as a “failure” of large-scale urban development.
Its appearance in the K drama therefore illustrates its conflicted place in Korean architecture
history, as it portrays the Sewoon as confusing and unsettling, but also as worthy of saving.
The metropolitan government has long been infamous for its urban renewal strategy,
which focuses on redevelopment and gentrification. The constant demand for housing in Seoul
has led to the demolition of older areas to make way for luxurious apartments, as seen in Itaewon
and Baeksa Village. However, this redevelopment often results in the displacement of locals and
the loss of significant architecture and heritage. It is particularly ironic that Baeksa Village, a
"moon village" that emerged due to the displacement of citizens from the Cheonggye area
between 1960 and 1970, faces demolition. In turn, this earlier displacement provided the grounds
for the construction of Sewoon Sangga.
The Sewoon Sangga, a massive complex of interconnected buildings, stands as a
testament to the ambitious urban planning of 1960s Seoul. Originally, the structure was
envisioned as a modernist utopia, blending commercial, residential, and cultural spaces into one
megastructure. However, this vision of utopia was never fully realized, as the living conditions
within the complex deteriorated over time. What was once a symbol of progress and innovation
instead faced criticism for its outdated infrastructure and neglected maintenance. In the midst of
Seoul’s continuous modernization, Sewoon Sangga remains a crucial anchor, preserving the
city’s history and cultivating a unique urban culture for its inhabitants and the neighboring areas.
While authorities remain uncertain about the future of the complex, the local community's
advocacy for its preservation, combined with its prominent feature in two K-dramas,
demonstrates its ongoing relevance.
On one hand, urban form and architecture can be viewed as manifestations of a nation's
culture. On the other hand, architecture also reflects the norms of the social, political, and
economic order, shaped by the elite who mobilize, regulate, and control society's resources.7 The
Sewoon Sangga’s complex lifecycle is emblematic of South Korean post-colonial struggles.
Korean nationalism developed in response to imperialism and occupation, leading to a postcolonial
determination to match or surpass former colonial achievements.8 South Korea had to
position itself within the context of a rapidly developing Western world while also
distinguishing itself in opposition to its former colonizer, Japan. Therefore, the Sewoon Sangga
is more than just a physical structure; it is the embodiment of South Korea's postcolonial
journey, reflecting the nation's complex socio-economic transformations. Through its
incremental development and redevelopment, Sewoon Sangga encapsulates the essence of a
post-colonial Korean identity, balancing tradition and innovation in a rapidly globalizing world.
This thesis will explore the architectural and cultural significance of Sewoon Sangga and its
influence in shaping a post-colonial South Korean identity from the 1970s to the contemporary.
Peter Herrle and Stephanus Schmitz have argued that: “Regional architecture becomes stylized
into a national architecture and often serves state governments’ interest in communicating
national unity and a concept of identity through architecture.”9 By examining the history,
architecture, and socio-cultural impact of Sewoon Sangga, this research aims to illuminate the
complex process of identity formation in a developing nation. In the first chapter, I first chapter
delve into the architecture that emerged immediately after the Korean War, a period marked by
severe housing shortages and a lack of material resources. I explore how the United States
attempted to advance its political agenda through architecture and how Korean architects
navigated the post-war context, integrating modernist principles in their designs. In the second
chapter, I examine how post-colonial ties were restored and reflected in architecture, ultimately
leading to the creation of Sewoon Sangga. In the final chapter, I analyze the complex’s
paradoxical "failure” and its broad influence on contemporary architecture and urbanism in the
country.
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