Abstract This study investigates the problem of spatial and experiential homogeneity in contemporary Chinese local museums, a condition that undermines the transformative potential of museum exhibitions and educational functions. Recognizing the limitations of current museum-making practices, this research draws on Henri Lefebvre’s theory of the production of space to examine how Suzhou Museum constitutes a counter-example to this trend. Based on in-depth ethnographic fieldwork, including participant observation and semi-structured interviews, the study centers on architect Ieoh Ming Pei’s design process, which engaged deeply with local cultural origins and emphasized architectural aesthetics. The findings demonstrate that spatial and environmental aesthetics—when grounded in place-based cultural narratives—can generate affective resonance and cultural empathy among visitors, thus enhancing their engagement and participation. By situating Suzhou Museum as a successful case of heterogenized museum-making, the contribution of this research lies not only in shifting the focus of international museum studies on Chinese cases from a critical analysis of “museum politics” to the museum itself, but also in foregrounding architectural aesthetics and spatial practice as key variables in understanding how local museums can resist homogenizing forces.
Weilun Sun (Sat,) studied this question.