The Americas, China, and India

Summary

This week, I read chapters 7 and 8 on the Americas, China, and India in Mark Hinchman’s book History of Interior Architecture. What really stood out to me was how each region developed its own style of architecture and interiors, deeply shaped by local beliefs, traditions, and environments. The Mayans created massive ceremonial centers that expressed their religion and political power. In China, architecture and furniture reflected a strong sense of order and social hierarchy, while Indian temple design was all about spiritual experiences and intricate ornamentation. Although their approaches were different, each culture used design as a way to express what mattered most to them, connecting people to their values and cultures.

Old vs. New

The Chinese couch/day bed with back and side panels, which I found is also known as a luohan chuang, from the Ming or early Qing dynasty, shows how furniture can be both functional and decorative. Made from wood, these couches have broad seats, raised panels, and simple yet elegant proportions created through careful craftsmanship. The design provides a sense of structure and creates a small architectural space without excessive ornamentation. A good modern example of this is the IKEA HEMNES Daybed, which has a very similar function. The daybed keeps the broad seats and raised panels but adds bottom drawers and a more modern or simplistic finish.

Traditional Chinese Luohan Chuang (1.1)

IKEA HEMNES Daybed (1.2)

Palenque, in southern Mexico, is one of the most impressive sites from the ancient Maya civilization. What makes it special isn’t just the monumental stone buildings and detailed carvings, but how everything is arranged. Instead of building everything separately, the Maya organized their temples, courtyards, and platforms around ceremonial spaces, connecting their architecture to the surrounding landscape. The Palace at Palenque, with its raised terraces and distinctive tower, really shows how architecture could communicate power and importance, both through its size and the way spaces flow together. The Hollyhock House, designed by Frank Lloyd Wright, uses bold shapes, stepped platforms, and open courtyards to create a sense of identity and connect people to the landscape, like Palenque. As you can see, the Hollyhock House is one of my favorites.

Ruins of Palenque (2.1)

Hollyhock House (2.2)

Hollyhock House (wider angle) (2.3)

Hollyhock House Interior (2.4)

Here is a more detailed background: 

https://youtu.be/zhwhZEetVoA?si=ZNxcvgMCdvV9SrKp 

Angkor Wat in Cambodia, built in the twelfth century, is truly beautiful. Originally dedicated to the Hindu god Vishnu and later a major Buddhist site, it’s packed with symbolism: the galleries, courtyards, and five towers all represent Mount Meru, a sacred mountain in Hindu and Buddhist tradition. The symmetry and surrounding moat give the whole complex a sense of calm and focus, making the journey through it feel almost meditative. A more modern example is the Lotus Temple in New Delhi, which takes a similar approach. Its blooming lotus shape, symmetry, and reflecting pools are designed to create a peaceful and meaningful experience. Both places use geometry, water, and careful design to guide people toward a sense of spirituality.

Angkor Wat (3.1)

Lotus Temple (3.2)

One Step Further

I. M. Pei was a Chinese-American architect celebrated for blending modernist ideas with the history and culture of each place he built. Rather than copying historical forms, Pei reinterpreted traditional concepts through geometry, materials, and the experience of space, showing that architecture can honor the past while looking forward. His Chinese background and modernist training in the US both influenced him, and you can see that in his use of clean lines, bold geometry, and thoughtful connections to the landscape. One of his most famous works is the glass pyramid at the Louvre in Paris, which stands out against the historic palace but also feels right at home. Pei’s talent shines in projects like the Suzhou Museum in China and the Bank of China Tower in Hong Kong, too. Each one reflects local traditions but pushes the design forward in a fresh way. What I admire most is how Pei strikes a balance between honoring the past and embracing the future; his work proves that architecture can bridge generations and cultures.

I. M. Pei (4.1)

Suzhou Museum (4.2)

Louvre Museum in Paris (4.3)

Bank of China Tower (4.4)

Closing Reflection

Reading these chapters showed me that architecture and interiors in the Americas, China, and India reflect much more than practical needs. They’re important expressions of belief, identity, and a connection to nature. I was especially intrigued by how the grand scale of places like Palenque and Angkor Wat contrasts with more modern structures, like the Suzhou Museum and the Hollyhock House, reminding me that design can shape experience in so many different ways. Historical design ideas still inspire today’s architects and designers, who keep reworking classic forms and materials for modern life. Most importantly, I now see historical design as a living source of creativity that is shaping what’s possible now.