This paper examines the concept of “Shan-Shui” (mountains-and-waters) and its manifestation in contemporary Chinese architectural design, while identifying three approaches to creating Shan-Shui experiences in modern architecture. In Chinese culture, Shan-Shui holds profound connotations. Drawing on the theories of Shao Yong, a philosopher from the Northern Song Dynasty, this study categorizes Shan-Shui Yi-Xiang (the image of Shan-Shui) into three levels: Shan-Shui Yi-Xiang in graphics, in words, and in laws, which are respectively related to the issues of form, structure, and pattern generation in architecture. To illustrate these concepts, Wang Shu’s design of the “Taihu Pavilion” is analyzed in detail: (i) when Shan-Shui is perceived as graphics, the outward manifestation of the physical Shan-Shui or the artistic one can be served as a point of reference for the generation of architectural forms; (ii) when Shan-Shui is regarded as words, people’s lifestyles and structures while they are immersed in or observing Shan-Shui art can be utilized as the framework for architectural organization; (iii) when Shan-Shui is understood as a pattern, its generative model can be translated into an architectural generative model to facilitate design development. This paper summarizes various methods for expressing Shan-Shui in architectural design while providing insights for establishing Chinese architecture’s own discourse and cultural identity.