Shao says "pavilion" pronounces as ting in Mandarin, which is the same as that of the character for "stop".

"People in ancient times designed pavilions as areas not only for rest, but also to gaze afar and stop for a moment to think.

"When one enjoys the vistas from the pavilion, one also becomes a part of the landscape for other people looking at it. And one can't help but wonder how things look from that alternative perspective," he says.

Through his artworks and garden designs, Shao has prompted enduring questions about the ultimate pursuit of life, eternity and human existence itself, just like people centuries back in the gardens in Suzhou.

Wang Xin, an associate professor of architecture at China Academy of Art in Hangzhou, Zhejiang province, says: "As a physical representation of Taoism, Chinese gardens were built as places for people to entertain themselves and heal, to engage in activities to keep fit and prolong life, and to find a life pace resonating with nature."

He says Chinese gardens show the subordinate roles of humans in the face of the rules of nature, and good architecture informs people of the moralities needed when dealing with the environment in human activities.

He says Suzhou's gardens also reflect the wisdom of enjoying life in a limited area, and it can be an inspiration for urbanites facing a similar situation today.

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