Drawing 
a parallel between the shape of the airport terminal and that of a traditional Chinese dragon, as well as other similar speculations constructed \textit{a posteriori}, are unnecessary exaggerations. Rather, the decoration of the interior, with traditional Chinese sculptures and colors, certainly achieves much better the goal to bring locality and situatedness into the terminal's design without resulting in `gross caricatures and kitsch' of adjusting universal design to local cultural conditions\cite{rowe:1996}.  
The fundamental point is that the ensemble of the architectural components discussed thus far --- the ample concourse spaces, the natural daylight, the simplicity of the navigation system, the Chinese lines and colors --- makes Beijing's Terminal 3 a memorable airport, unique in its own way. It is in such a \textit{space} that passengers can develop an aesthetic and sensorial perception of familiarity. Passengers departing from or arriving to Beijing's Terminal 3 experience the airport in its unique nature, rather than a surrogate `airport atmosphere'. The uniqueness of T3's design, attempts to break the inherently non-placeness of contemporary airports.