Wang Guixiang: The highest form of Chinese architecture is the wooden structure with tiled, sloping roofs, which embodies the essence of Chinese civilization. Its structural system has remained remarkably consistent. Since the advent of mortise-and-tenon joints—dating back at least to the Hemudu culture—we’re looking at a history spanning six to seven thousand years. Yet, within this enduring form, an exceptionally rich variety of spatial experiences has been cultivated.
Wang Guixiang: Proportion is carefully controlled in Chinese architecture. Typically, the ratio of a building’s height to the size of its platform is 1:1, imparting a profound sense of stability and solemnity. The structures are generally wide and somewhat low, creating an impression of closeness to the earth, as if it is gently crouching upon the land.
Wang Guixiang: At the top, there must be a dougong bracket set serving as a transitional element. The greatest strength of the Chinese dougong lies in its ability to create a connection between the pillar and the eaves that is neither fully rigid nor completely detached. This actually makes the massive, heavy roof above seem lighter, evoking a sense of floating. There is a beautiful and delicate line from the Book of Songs that says, “Like a pheasant taking flight” — a perfect metaphor for the hall, as if the wings of a great bird are about to soar.
Wang Guixiang: The three-tiered white marble terrace supports this grand hall with its triple-eaved roof. Resting on such a large platform, it resembles a precious artifact displayed on a finely crafted tray. At the top sits a magnificent pearl—like a work of art displayed on a pedestal—its proportions supremely elegant.
