In comparisons with the phenomenological arguments on space and place by Husserl and Heidegger, the construction of thinking on garden architecture with Chinese philosophy is further clarified. The pavilion intends to provide a place of viewing the world, instead of that of being viewed. It gathers people and space around, as well as retains the time of life as a stop. The meanings of emptiness derived from Zhuangzi philosophy is projected into the narrative of pavilion, which caused its transformation from a "ready-to-hand" to superfluous thing. The statement results its being an independent thing along with the "useless" person herein. A world established by the vacant pavilion comes into presence along with its subjectivity- people inside, who inhabits here as a permanent guest. 

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The design shows cultural sensitivity and expression of a historic site in Beijing. The narrative space in Chinese is characterized by its serene peacefulness among urban chaos. By re-purposing a public restroom into a pavilion, the design provides a place of viewing the cultural heritage of Beijing. It changes the city's skyline quietly but chronically, proving its value and existence in a modest way. The structure continues to grow with an increasing number of bricks made by polluted dusts from Beijing's air pollution.