Wang Qiheng

　　Many passages between pavilions are extremely narrow, and in conjunction with the thick walls, the interior space creates a force that makes the visitors feel especially repressed. If the architectural axis can be shifted slightly, the pavilion will appear more welcoming and also create an enclosed space between the German, British, and French pavilions where their current state can be compared to the congestion in human physiology, like breathing with masks on.

　　Another example of negative fengshui is in the dynamics that produce conflict and resistance. For instance, the corner of a wall at the entrance of a pavilion can seem very hostile, like a knife. The Japanese pavilion, built in the 50s, has a protruding outer wall that confronts the visitors and other pavilions with sharp corners, making it hard to form open relationships. Moreover, the Japanese pavilion does not drawn on the ground energy due to the un-utilized space of too much elevation off the ground creates a dead space below.

　　Conflict can also be found in the Spanish pavilion, where the center of the entrance directly faces the big tree blocking the energy flow of the pavilion, which could have been avoided by slightly shifting the angle of its entrance. The tree, which embodies Yin, tips the balance between Yin and Yang by blocking the exit

　　The Japan pavilion directly faces the row of columns in front of the German pavilion, like a cell. The columns, oppressively massive, hamper the luck, a fengshui concept of the circulating positive energy, of the Japan pavilion

　　The entrance of the Australian pavilion assaults the audience with a wall of corners, creating an aggressive aura. In addition, with the wall corner of the French pavilion facing its entrance, the Australian pavilion is at the same time oppressed by the facing walls of the French pavilion.

　　The Korean pavilion is equally dissonant relationship to the neighboring German, Japanese, British, and French pavilions. It conspicuously blocks the energy channel of the Japan pavilion. The enclosed walls of the Canadian pavilion also obstruct the British pavilion from reaching the water opening, or the breathing channel, located between the British and German pavilions.

　　The Arsenale, located on the east side of Venice is an advantageous location for cultural events. Formerly a site of water and fire, implying two of the Five Elements, in its former incarnation as a shipyard, now transformed into exhibition halls, the Arsenale protects architectural cultural heritage and more importantly creates a cultural discourse amongst the old, massive factory space and new national pavilions. The site collects wind and draws water, its harbor collecting breeze off the sea air, and the canal system containing the architectural complex of the medieval naval base. Its head (the harbor) connects with the tail (the canal system) in an orientation in the form of a dragon, the powerful mythical being in Chinese traditions.

　　The temporary China Pavilion is situated in the Virgini Garden, on the eastern side of the Arsenale. Ideally, the future China Pavilion should be moved further to the east to the entrance of the water meridian. This location of the China Pavilion represents the placement of the dragon's head, which will bring new vitality to the Venice Biennale, and help its role at the center stage of world cultural exchange. According to my understanding of fengshui theories, the location of the China pavilion embodies openness. Openness is an extended meaning of east, which represents tolerance and peace.