Uncovering the Genius Loci in a Chinese City

Asher Durham

Undergraduate Honors Thesis

China is a country that cannot be understood through just one of its many cities. To fully

experience China would mean to travel to each one of its twenty-two provinces, four

municipalities, and five autonomous regions. It is home to over 1.3 billion people and stretches

nearly four million square miles. Nearly every biome is represented there, along with fifty-five

minority people groups. It is a country with a deep and widespread history. Therefore, it is hard

for me to speak on all of China, as I have not been through it all, yet still I have developed some

understanding from the cities I have visited. Some of these cities stood apart from each other,

while not becoming foreign to one other. Rather, these cities all held their own individuality.

There was a unique and understandable spirit of the place, or genius loci. I will be expanding on

this concept of genius loci, originating from the ancient Roman belief that everything had its

genius, a protective spirt. Christian Norberg-Schulz develops upon this idea in relation to

architecture. He states, “To identify with a place primarily means to be open to its character or

‘genius loci’ and to have a place in common means to share the experience of the local

character. To respect the place, finally, means to adapt new buildings to this character.”3 It is

important to understand that I am not saying that these places all simply contained the Chinese

genius loci. My previously stated information on the size and diversity of China was to

emphasize caution in trying to overly generalize Chinese culture and identity, and it is not just us

foreigners who are at fault for this. Both the government and people of China can be susceptible

to forgetting about local identity. All these cities would naturally have Chinese elements, as they

are still Chinese cities. However, the cities where the genius loci was more prevalent, the

people would identify with the city first, and the country second. They would be a citizen of

Dunhuang, a Chinese City, rather than a citizen of a Chinese city that happened to be called

Dunhuang.

To elaborate on this, I will discuss the experiences of past trips to Chinese cities, and

how I, as a foreigner, successfully or not, uncovered the genius loci there. I will speak on both

the success and failure of the different cities abilities to foster individuality and a spirit based on

place, especially through architecture. “Architecture means to visualize the ‘genius loci’, and the

task of the architect is to create meaningful places, whereby he helps man to dwell.”2 I will then

look at how the “genius loci” was considered with great detail when designing a project in China.

Hong Kong is a Special Administrative Region of China. In Hong Kong, there feels a

healthy disconnect from the rest of China. While part of the region is an island, this disconnect

comes more from the region’s identity. Hong Kong was a British colony from 1842 to 1997,

when it was returned to the PRC, however, it had been able to remain a Special Administrative

Region and privileged certain liberties not given in the rest of China.4 Additionally, during its time

as British colony, capitalism allowed it to blossom as a wealthy state. While its Chinese roots

are certainly not lost, its western influences has mixed with its eastern ties to create a singularly

unique city.

As I was flying into Hong Kong I was taken aback by the lush, tropical mountains that

seemed to have floated there from Brazil. It was not one of the typical Chinese backdrops I was

accustomed to. After leaving the airport and driving through hills and mountains of Hong Kong,

for a moment it did not seem likely that a city would be nearby. However after emerging from a

tunnel that pierced a mountain it came into view. Across the channel was a forest of buildings. I

saw an array of magnificent skyscrapers. The skyline was admirable due to its variety of design

and height, as well as its density. The term urban jungle had never seemed so fitting. My hotel

was right outside the heart of the financial district. As I arrived at the pencil tower I would be

staying in, I felt like I was in a homely area, despite still being surrounded by towers. Currently,

less than seventy-five percent of the Land in Hong Kong is developed. However to

accommodate for their some seven million inhabitants, Hong Kong developers have built up into

the sky, resulting in one of the world’s densest cities. Additionally, with how three dimensional

the topography is, building horizontally would be rather inconvenient.

The city itself responds to the topography in a very interesting way. Rather than cutting

into the mountains and hills, the city rises and fall with the folds of the landscape. The buildings

on the edge of the city are overtaken by bush and vine, and within the city are countless parks

and green spaces. A walk through the city can feel like a hike up a mountain. Once arriving to

the base of the hills and mountains, at the heart of the financial district where the grounds starts

to level out, the dimensionality continues to thrive. In Hong Kong many of the skyscrapers are

designed with a podium complex. Before the tower actually begins it seems to rest into another

structure, raising it off from the ground. This starts to blur Norberg-Schulz’s idea of the building

being of the earth, and reaching to the sky,2 rather the podium lifts the building from the earth,

and lets it exist in the sky. Additionally the podiums combine together to create a pathway for

pedestrians above the ground. The ground level becomes a place for machines, where

pedestrians must be wary, but on the podium level it is all humans walking on roadways

reserved for feet. This also makes these buildings more accessible and integrated into the

urban fabric. The architecture is responding to both the needs of the city as well as the

dimensionality of local environment.

One interesting building to observe is the HSBC building in the central district. While this

building does not sit on a podium, the base level is largely carved out, lifting it off the ground

and into the sky. The resulting space has become useful to the public to pass through or gather,

especially for the maids of Hong Kong, as they gather in masses to play card games on their

day off under the protection of the HSBC building. This void has become an integral transition

space both through and into the building. The glass ceiling in the base level allows for views into

the building itself. The structural expressionism design of the building is certainly not

representative of Chinese architecture, but seems more fitting for Hong Kong, a city controlled

and ran by industry and commerce. Yet still, in accordance with Feng Shui philosophies, the

building faces the water, and no other buildings block its view. While Hong Kong may seem a

special case for China due to its extended period away from PRC sovereignty, it was certainly a

city with a healthy spirit. The many iconic towers that stretch toward the heavens are actively

integrated back into the public. The city responds to its environment and respected it, building

vertically to preserve and avoid deforestation. The city was not void of Chinese culture, as there

were naturally many temples and smaller traditional style constructs, however the Chinese

culture was not forced where it was impractical.

From Hong Kong we venture to the capital city of China: Beijing. This city was built near

the base of a mountain range, and is not nearly as diverse in terms of topology as Hong Kong.

The air there is dry and the haze from the smog is more prevalent. Driving through the city

initially, the feeling was not the same as Hong Kong. I felt lost and unable to orientate myself. I

look for the mountains which I know are supposed to be to the northwest, but any view of them

is blocked by brutalist towers marked by little design effort. The buildings begin to look the same

and repeated. The architecture in Beijing is generally reminiscent of three different styles. The

first is the ancient Chinese architecture, whether that be actual historically significant buildings

or recent one that whole heartedly emulate the old ways of construction. The second and most

common, as well as disappointing, is the buildings from and inspired by the industrial revolution.

A lot of places in China seek to build for buildings sake and nothing else. They do not try and

give man meaning through dwelling. These buildings are easy to spot, as they are bare of any

true design effort. Looking upon them is disheartening enough, it should seem unfair to dwell in

them. The third style is the most varied, and that is the iconic international designs. From the

Bird’s nest to the CCTV, Beijing is surprisingly filled with designs from big-name architects.

The buildings and urban developments in Beijing were less porous and public than that

of Hong Kong. If Beijing is the capital city of China, a symbol of a vast land uniting as one,

shouldn’t the urban spaces follow in form? Steven Holl believed so, and attempted to create a

porous urban space, a city within a city, with his Linked Hyrbrid. The towers, while connected

above through enclosed bridges, are sited in a complex that attempted to promote relations and

interactions among commercial, residential, and educational programs. However, due to the

neighborhood the project is in, it ultimately had to remain a private urban space, and is for the

most part closed off from the public. Additionally, the design of the towers itself seems to ignore

the local architecture of China. Holl himself said "my position as an architect is to work in the

spirit of international civilization and cooperation."5 This in stark contrast with the values that

Norberg-Schulz speaks of. Norberg-Schulz does not say that building need to be the same as

they were hundreds of years ago. “To respect the ‘genius loci’ does not mean to copy old

models. It means to determine the identity of the place and to interpret it in ever new ways.”2

However Holl is explicitly stating that he is working with the genius of the world. The resulting

development is a dwelling that isolates oneself completely from the rest of Beijing, and loses its

initial meaning.

Galaxy SOHO, by Zaha Hadid, is a development that more successfully integrates back

into the public. Its five flowing volumes linked by stretched bridges gather together a space for

public occupation and flow. The project is a multi-use complex, with shops, restaurants,

entertainment, and office space. The top levels will be reserved for restaurants, bars, and cafés,

which allow for prime views of one of the most spectacular streets of the city. The design is

respectful in height, and is intended to be an iconic landmark in Beijing. Its integration into the

urban fabric is very welcoming, and does well to gather people of Beijing. However, the form still

feels too foreign of its setting. While Norberg-Shulz states that “any place ought to have the

‘capacity’ of receiving different ‘contents’, naturally within certain limits” and “a place may be

‘interpreted’ in different ways,”2 The form of Galaxy SOHO does not seem to be interpreting the

spirit of Beijing. It does nothing to gather the identity of the nearby buildings. “The ‘meaning’ of

any object consists in its relationships to other objects, that is, it consists in what the object

‘gathers’. A thing is a thing by virtue of its gathering.”2

On from here we move away from the great metropolises of China and into a “village”.

An oasis “village” of nearly two hundred thousand people. Dunhuang is a city in the Gansu

province that was once a major stop among the ancient road. It has a rich history and is filled

with historical significance. As for the neighboring dunes, Dunhuang celebrates them from a

distance, framing them as Hong Kong would the sea. Being an oasis, the citizens can

appreciate the trials of the desert without having to fully endure them. Despite being quite large

still, the city has a quaint feel. The people of Dunhuang identify with the desert, and have a

strong sense of pride and belonging to their city and its historical relevance. Whenever our tour

guide, Steven, would mention Dunhuang, he would do so by calling it “my beautiful hometown,

Dunhuang.” The city’s design follows in the spirit of the dunes, or the cosmic landscape. The

buildings were modest in height and stretch out horizontally. Our hotel was massing echoing a

Chinese gate, pierced by small windows, reminiscent of desert houses that were wary of letting

too much light in. In the evening, the stretches of buildings walled in a street that turned into a

night market. The road became a runway of seats and tables, where adjacent restaurants would

bring their wares outside and cook fried delicacies. The market felt safe and the cool air was

pleasant. The oasis was understood, as the desert was still in view, but there was immense

amount of comfort. I felt that was the beauty of Dunhuang. After journeying into the vast and

endless desert, despite its majesty, it was much a relief arriving back in the comfort of this Oasis

city. It takes into its protective arms the humans who found despair traveling through the desert

on the silk path, and even more so those who are fully familiar with Dunhuang, and call it home.

“We comfort ourselves by reliving memories of protection. Something closed must retain our

memories, while leaving them their original value as images. Memories of the outside world will

never have the same tonality as those of home and, by recalling these memories, we add to our

store of dreams.”1

The city thrives off the tourism revolving around the history and local environment, so

naturally the spirit of the place is consequently sought after with great effort by developers,

whether or not for noble reasons. Still, Dunhuang in many of its recent constructs has done well

to idolize its location and history. One of the nearby attractions in Dunhuang are the Mogao

Grottoes. These caves contain a system of temples carved into the side of a low cliff. Now a

museum, these caves house many forms of art including, murals, textiles, and sculptures.

Nearby is the Dunhuang Cave Culture Asset Preservation Research and Exhibition Center

designed by the Japanese firm Nikken Sekkei. The building was designed to serve the grottoes

in tourism and research. The construction and design of the building is one of the more

successful interpretations of the local genius loci into architecture that I’ve seen in China. The

building is a massing that rises out from the earth as if another dune. The materials are a similar

shade to the sand, and will age well over time. The interior is simple yet elegant, in order to not

overtake the artwork and exhibitions. Ample natural light is permitted into the interior through top

of the walls, but only by reflecting off of the convex ceiling, still remaining wary of direct sunlight.

Dunhuang wasn’t completely full of fascinating and thoughtful architecture, but it

naturally contained an easily connectable genius loci, which was being respected when

affordable. A major issue in China is the demand for the cost of construction to be as low as

possible. The result is a plethora of lifeless towers and buildings with no true identity or

connection to its local place. These a-contextual designs do not work to celebrate their

inhabitants’ existence or work to give them meaning. One thing that made Dunhuang so

spectacular were the buildings that were a combination of Chinese architecture and desert

architecture, embodying the genius loci of Dunhuang, a Chinese desert city along the Silk Road.

Rather than just mixing in Asian flavor in an attempt to give it culture, it stays true to the spirit of

the place, and celebrates its history. “To protect and conserve the ‘genius loci’ in fact means to

concretize its essence in ever new historical contexts.”2 It has an identity outside of being just a

Chinese city. In many modern and new Chinese cities the genius loci seems to be hidden, if

there even is one. To support their massive population, China started pumping out urban

centers at a relatively rapid rate. These once small cities grew too fast to acknowledge there

was something meaningful there before.

People often generalize Chinese culture, or even Asian culture for that matter. It baffles

me how different Korea, Japan, and China are from each other, and still within China the north

holds such a different way of life from the south. Certain costumes prevail throughout China, but

they still have a lot of disconnect, often more than they realize themselves. What made Hong

Kong so spectacular was its uniqueness from not just China, but the rest of the world. It is a city

of layers and levels. The landscape and climate is not only recognized but celebrated, and

respected. The city itself begins to climb up the mountain. Beijing was harder to understand.

The city holds a lot of history, however those sites have become merely relics of the past. Their

revival in the modern architecture is absent, and their integration into the modern urban context

is minimal. Beijing was still a wonderful city to explore, but I never understood a sense of

belonging there, compare to Dunhuang or Hong Kong. It’s certainly harder for a city like Beijing

considering its size, but I fear it is beginning to lose effort in trying to preserve and respect the

genius loci. As more iconic architects come and leave their footprint and Beijing becomes a

more international city, it’s curious to see whether or not Beijing will be able to hold on to its

past. I believe it will try at least, as China is a nation that relishes in its culture, history, and

custom, but Beijing will not be able to celebrate its genius loci by applying broad Chinese

culture. It will need to look within the city itself for the answer.

With all this in mind, the studio project began with a greater understanding of the steps

necessary to create a successful project in a foreign land. While understanding context and

history were important, going beyond that and discovering the spirit of the place was equally

beneficial. In the city of Xi’an, in the Shaanxi province lays many historical preservation sites.

Whether it’s the city inter wall to the many temples that seemingly pop up out of now where, the

city has an issue in stitching together these important historical artifacts with the present day

China that is so eager to be part of the modern world, which is critical for the success of the city.

Xi’an, like many Chinese cities, as rich ties to the past. Much of its identity lies with its Tang and

Ming dynasty relics and how the cities flows around them. The spirit of Xi’an is a ghost of the

past that still haunts its citizens and streets.

The city of Xi’an once had a prominent axis that was reinforced by the city’s inner wall

and its gates. This axis shifted with the city’s expansion and the changing of dynasties. As the

city began to sprawl out, the wall’s identity as a city center, while still present, has begun to

dissipate, and the axis of the city has faded much from what it once was. The Small Wild Goose

Pagoda is an important Tang Dynasty temple that sits between two important axes of the city,

the Tang and the Ming (current), and was the selected site for the studio project. Built in 652

A.D., the Pagoda is one of few remaining historical temples. The site as whole suffers from an

Fig. 1 – historical zones of Xi’an. The site for the studio project was originally constructed during the

Tang dynasty, and exists right outside the walls of the Ming dynasty.

identity crisis. Its modern walls reject the neighborhood, and the modern research facilities

create unnecessary eyesores that distract from the beauty and peace the pagoda brings. The

current entrance to the site is ambiguous, which is uncharacteristic of a temple in Tang Dynasty

China. The north gate was closed for preservation and the original axis through the site has

completely vanished. While the intention was to create a simpler and more controlled itinerary,

the result is a museum that has lost its spirit of what it once was, and removed the axis which

was so iconic of Tang temples. The historical sites of Xi’an are more than just gateways to the

past, they have current day relevance as Buddhist principals still emanate through the cities

people and culture, and so cohesion into the city’s spirit is important, otherwise they are merely

relics. In a city that is already beginning to forget its local genius loci, and become part of the

whole Chinese identity that I have warned so much about, the Small Wild Goose Pagoda

serves.

Fig. 2 – historical axes – the site exists between the modern city axis and the underlying Tang axis.

Looking at the site of the Small Wild Goose Pagoda (figures 3), there is a lot of

opportunity for interaction with the community. The area is surrounded by residential and

educational property, with a city stadium directly to the south. There were three major issues

found with Pagoda: the neighboring’s community identity with the pagoda, the accurate and

historical progression of courtyards through the site, and the supporting program.

The walls and restrictive access that are present today would certainly not be found in

previous times. The local government as erected walls to separate then from now, which is

entirely contrary to the spirit of the ancient city of Xi’an. The proposal offers a new circulation to

the site and surrounding area, giving it easier access to the surrounding area, and a more

meaningful axis. The west side of the site is largely unused space, which is here proposed to

give back to the public as more accessible gardens. The central axis of the Pagoda is reinforced

by opening the north gate once again, allowing a forward progression of courtyards. To the

Fig. 3 – neighborhood maps showing existing zoning boundaries and infrastructure.

north end of the site is an archeological dig site, where even now relics are being reclaimed.

The proposal allows for the site to keep its restrictive access, while still allowing view of the

Fig. 4 – circulation proposal

Fig. 5 – translation of the urban village into antique market

excavations, much like the terracotta warriors of Xi’an. Lastly, the urban village to the south east

seemed ignored completely. It could be seen at the southern entrance but, was largely walled

off from the site as a whole. This seemed to be further contrary to the spirit of Xi’an and its

connection with its history and people. Mimicking the fabric of the urban village, an antique

market (figure 6) was created to the west of the village, allowing for the villagers to properly

interact with the site and its visitors, giving them a sense of belonging to its antiquity. The

market serves as a precursor to the rest of the temple.

Within the site, the supporting buildings are lacking an identity. They are random and

sporadic and do not properly add to the flow of the temple as a whole. The proposed design

offers and supporting axis of buildings that are secondary to the pagoda’s axis. These buildings

are programed to enrich the experience for both locals and visitors at the site. Three buildings

have been including in this axis: a research center (south), a teahouse (north), and an education

center (middle).

Fig. 6 – Proposed antique market. The density and layout of the buildings mimics the nearby urban village.

Fig. 7 – proposed renewal of site. The outside walls are brought in significantly to give back space to the community, and

the buildings, circulation, and courtyards are aligned on a more intentional axis, as it existed in previous times.

The teahouse is placed on the northern wall and offers a less advertised entrance to be used by

locals. It is integrated into the wall that surrounds the site, and offers outside seating area that

provides views of the pagoda. The education center is directly east of the Pagoda, which lies in

the center of the site. The center is embedded into the ground and its recessed sand gardens

are a response to respect the towering pagoda.

Lastly, at the southern end of the site is a research center. The research center is a two

story building that wraps around a courtyard, in similar fashion to the wall surrounding the

pagoda temple. The building is narrow, carved, and recessed into the ground, as to not

Fig. 9 – supporting axis section. The three buildings are connected on a direct route that goes underground through the

education center.

Fig. 10 – research center design process. The surrounding massing around a courtyard is representative of a traditional

courtyard house. The carving and transparent volumes allow for piercing views of the pagoda throughout the complex.

challenge the height or grandeur of the pagoda, as well as provide views of the pagoda

throughout the complex.

The overall purpose of the project was to reunite Xi’an with its increasingly vanishing

heritage. Like most large cities in China, Xi’an is industrialized, however, it still tries to hold on to

Fig. 11 – teahouse (left) and education center (right) on the north and center positions of the axis (respectively) and the

research center (bottom) at the south end

its abundant relics and past culture. Clearly the citizens take pride in their city not because of

the malls per year being constructed, but because Xi’an is one of the most historically

fascinating cities in the world. The issue its running into now is how to take the step into being a

developed city, while still properly respecting its spirit of the past. Xi’an’s genius loci is found in

its history and its people. The temple’s reorganization of the courtyards ensures its identity with

a Tang dynasty temple as it was, rather than a temple with an ambiguous face. The repurposed

wall and public space aim to create a renewed ownership in the hearts of the neighboring urban

villages and communities.

The proposal sets to capture the genius loci of Xi’an by reuniting its community back into

its antiquity. The historic relics of Xi’an are more than just museums, they show the procession

of the city into what it is today. If the people of Xi’an do not feel they belong to these antiquity

sites, and are responsible for its providence and beauty, then the city is culturally failing, much

like many other Chinese cities. Xi’an needs to create sites that celebrate Xi’an architecture and

heritage for its citizens and tourists, rather than just creating museums that display generic

Chinese culture for its tourists.

References

1. Bachelard, G., & Jolas, M. (1994). The Poetics of Space. Boston: Beacon Press. 6

2. Norberg-Schulz, C. (1980). Genius Loci: Toward a Phenomenology of

Architecture. New York: Rizzoli International Publications, Inc. 5, 18

3. Norberg-Schulz, C. (1985) The Concept of Dwelling, on the way to figurative

architecture. New York: Rizzoli. 63

4. Leung, C. (2006). Hong Kong. In Encyclopedia Britannica. Retrieved from:

http://www.britannica.com/EBchecked/topic/270971/Hong-Kong

5. Pogrebin, R. (2008, June 22) I’m the Designer. My Client’s the Autocrat. Retrieved from:

http://www.nytimes.com/2008/06/22/arts/design/22pogr.html?pa

gewanted=print

6. All figures are from East Asia 2015 design project in collaboration with XUAT

UF Students: Asher Durham, Michelle Hook, Matthew Livingston

XUAT Students: Li Cici, Yue Yaun, Lu Xing Cheng. Lu Young