The “Qingshui Chamber” project went together with my doctoral dissertation. In my preparations for my dissertation, I found the independent nature of fragments in Chinese garden was quite different from the architectural integrity that I had learned from Western architecture. Set free from the architectural education by this “otherness”, I tried to represent those independent fragments that had moved me in this project. The project acknowledges the life style of wealthy people, who live in big houses and courtyards that formerly received much criticism from the American media. It breaks the ritual forms of traditional courtyard through the tension of the garden, thus becoming a transitional stage between the traditional courtyard and garden and at the same time able to satify the needs of a new life style.
I was also trying to use the antithesis of what I had learned to manifest a particular artistic conception in Chinese culture, but to date with no adequate performance. So as a constructed work, “Qingshui” was a test of my theory and practice during those years, and its theoretical advantages are attracting me to make further related constructions.

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