After the Boxer Rebellion ended with China’s crushing defeat and the signing of the Boxer Protocol, China participated in the 1904 Louisiana Purchase Exposition as its official debut at world’s fairs. The Chinese pavilion was supposed to represent the country’s national pride and cultural identity, yet ironically, the pavilion materialised the Chinese government’s weak position in its quasi-colonial relationship with the US – both politically and culturally – in terms of the appointment of architects, the design process, and the arrangement of construction. Such power interaction shaped an ambiguous ‘Chinese architecture’ presented at the fair, imitating the Beijing residence of a Chinese Prince while incorporating vernacular architectural elements from south China. It reflected the Chinese government’s early self-vision of its global image in an age of political turmoil and cultural uncertainty, and pioneered the exploration of an architectural ‘Chinese-ness’ in the early twentieth century.