如果我們試著將中國館這件作品重置於貝聿銘的作品系列中的話，我們將會發現，在貝聿銘的作品系列中，除了早期貝聿銘結構理性的態度，以東方木構建築構件搭接的理念，嘗試設計了為自己及家庭所設計的自宅（1952）及夏威夷東西文化中心（1963）的兩件作品之後，完成於1968年的雪城大學埃佛森美術館，雕刻形式般的外觀造型及如「柳暗花明又一村」的展覽空間組織，有如園林空間般轉化而成的平面機能所形成獨特參觀經驗，延續了貝聿銘藏於內心深層中的東方心靈狀態的作品創作。事實上，貝聿銘以他的幾何形式的建築作品告訴我們應善用具文化深層意義的思想所發展出的在地建築空間文化形式，這才是我們在中國館的建築設計過程中所獲得最有價值的經驗。（全文請見《實構築季刊》12期）

If we tried to place the Chinese Pavilion among Pei’s works, we would realize that in his works over the years, in addition to his earlier attitude of structural rationality and principle of representing Oriental wood structure, with which he attempted to design his own residence (1952) and the East-West Center in Hawaii (1963), the Everson Museum of Art at Syracuse University completed in 1968 featured sculptural forms on the outside and exhibition spatial organization of “past dark willows and flowers in bloom lies another village” in the interior, and the floor plan converted from garden space provided unique visitor experience. This work was the continuation and extension of the Oriental spirit deeply hidden in the heart of Pei. In fact, take the design process and results of the Chinese Pavilion as a case, we should realize that utilize ideas with deep cultural meanings to develop local architectural spatial form, and this is the most valuable experience we have learned from the design process of the Chinese Pavilion.