The Elusive Nature of Cultural Expression in Architecture

Professor Peng’s reflections begin with a philosophical conundrum that has puzzled thinkers from Kant to contemporary scholars: how to define culture itself. With over 200 competing definitions, culture remains a nebulous concept—much like time before Einstein’s relativity provided framework. This fundamental ambiguity makes examining architecture’s relationship with culture particularly challenging.

The professor illustrates this through China’s iconic Tengwang Pavilion. Architecturally unremarkable, its cultural significance emerged when poet Wang Bo composed the magnificent Preface to Tengwang Pavilion, transforming brick and timber into a national symbol. Similarly, Yueyang Tower gained immortality through Fan Zhongyan’s essay concluding with the timeless civic ideal: “Be the first to worry about the world’s troubles, and the last to enjoy its comforts.” These examples reveal architecture’s unique capacity to become what Peng calls a “cultural vessel”—structures that gain profound meaning through human engagement rather than intrinsic design.

Three Dimensions of Architectural Appreciation

Professor Peng proposes a hierarchical framework for experiencing architecture, developed through his design work:

1. Formal Beauty – The immediate visual appeal of shapes, colors, and proportions that dominate contemporary architecture.
2. Emotive Resonance – Spaces that evoke emotional responses, akin to classical Chinese gardens’ ability to inspire poetry.
3. Cultural Interpretation – Structures rich with layered meanings that reward intellectual engagement, like literary texts demanding close reading.

This schema mirrors Umberto Eco’s concept of the “open work,” where buildings become texts inviting multiple interpretations. The professor acknowledges Western influence here, having initially dismissed “reading” architecture as overly intellectual before realizing its parallels with traditional Chinese literati engaging with pavilions through poetry.

Case Study 1: The Dew-Receiving Fountain at Huaqiao University

For this overseas Chinese-focused institution, Professor Peng sought to embody two abstract concepts:

1. Educational Cultivation – Symbolized through Han Dynasty imagery of dew collection (承露盘), referencing the imperial practice of gathering celestial moisture to create elixirs. The fountain’s circular basin represents nurturing knowledge.
2. Global Diaspora – A world map mosaic and four pillars (symbolizing Confucian virtues) visualize students converging from across Southeast Asia before dispersing like water channels.

The design process reveals cultural translation challenges. While Peng drew from Dream of the Red Chamber’s mystical flora and Han antiquities, he doubted viewers would grasp these references without explanatory steles—highlighting the delicate balance between subtlety and didacticism in cultural architecture.

Case Study 2: The Beiyang University Centennial Monument

This 1995 memorial for China’s first modern university (now Tianjin University) presented a unique historical paradox. The original campus blended:

– Western Neoclassicism – Palladian motifs with Doric columns
– Chinese Tradition – Double-dragon motifs atop European forms

Rather than rejecting this 19th-century “East-meets-West” aesthetic as pastiche, Peng embraced its hybridity as an authentic artifact of China’s Self-Strengthening Movement. The resulting granite monument features:

– Four Historical Artifacts – Embedded with the first diploma (awarded to diplomat V.K. Wellington Koo), school anthem, and motto in calligraphy by Mao Yisheng
– Cosmological Symbolism – A central sundial marking 1895-1995, surrounded by 12 stone blocks representing alumni unity

This case demonstrates how sensitive historical referencing can transform memorials into three-dimensional history lessons, making tangible the intellectual clashes of China’s modernization.

Case Study 3: Shenjiamen Elementary School

On Zhoushan Island, this project confronted practical constraints with cultural creativity:

– Site Challenges – A converted 1950s sanatorium with awkwardly oriented buildings and a preserved water tower
– Cultural Cues – Abstracted fishing motifs (for this maritime community) and scholar’s book symbolism
– Pedagogical Design – Cluster classrooms facilitating group learning, reflecting educational reforms

The solutions—like a bridging corridor evoking Zhejiang vernacular architecture’s “horse-head walls”—show how cultural elements can be subtly modernized rather than literally copied.

The Architect’s Evolving Role as Cultural Interpreter

Professor Peng’s journey reveals shifting professional priorities:

1. From Form-Maker to Meaning-Weaver – Moving beyond visual appeal to embed historical narratives
2. From Author to Collaborator – Accepting that users will interpret buildings beyond original intent (as with the university’s poetic fountain inscription)
3. From Style-Conscious to Context-Driven – Justifying historical references when authentically rooted, not merely decorative

This aligns with global trends toward “critical regionalism,” where architects like Kenneth Frampton advocate designs that mediate universal modernity and local identity.

Contemporary Relevance: Architecture in the Age of Cultural Confidence

As China reasserts its cultural legacy, Professor Peng’s approach offers guidelines for:

– Cultural Tourism – Enhancing heritage sites beyond superficial restoration
– Educational Spaces – Designing schools that physically embody pedagogical values
– Urban Identity – Creating landmarks that foster community memory

The key lesson transcends geography: great architecture operates simultaneously as functional space, aesthetic object, and cultural text—inviting ever-deeper engagement across generations. Just as Wang Bo’s poetry immortalized Tengwang Pavilion, today’s architects must build not just for eyes, but for hearts and minds.