Interviews with Xie Min Xuan

My company is located in Taipei, Taiwan, and I also have a branch in Vietnam

Use unconventional logical thinking to solve problems

Soulful design

My favorite is the design that blends with nature

A 60 square meter home

Natural marble

At midnight when one is not disturbed

I am more concerned about the interaction between people and space

It ’s complicated, sometimes I am happy, but sometimes I feel anxious

When designing, I will feel the dialogue with the space

I think the definition of success should be to give a new life to the space, and the people in the space are happy

First I will notice the atmosphere of the space

Designers should use their own ability to coordinate everything, whether it ’s the environment or the people

What can change the world and make the world a better place has always been design, has n’t it?

Usually my work design inspiration comes from my life experience

I found a place in the space that can echo the environment, this is probably my design style

Designers in Taiwan are actually not an easy industry. Taiwan is a small country, but there are a lot of design talents going international. I think the reason for this part is probably that the market is too small, and I am also very proud. Taiwan has many Excellent design talent

In the company we will discuss the development possibilities of the design case together

I think the attitude of work is much more important than talent. Only by conscientiously and paying attention to each design case can we make a good design.

When I am quietly designing, the surrounding environment must be very quiet, which helps me think.

You have to discover unique things that will make you different

On the positive side, always come up with fresh solutions, but you have to sleep later than the average person

Use unconventional logical thinking to solve problems

Anything that can express your thoughts and let others know is a good way

Usually I like to use 3D software

How do i touch others

Construction company, restaurant, school, private

Design works by the sea or by the lake, maybe I like the vastness of the sea, it always makes me feel relaxed

In the future plan, I hope to actively develop the Vietnamese market

Usually I will judge how much manpower is needed according to the type or size of the case

You can contact my company through the website, http://www.chuan-wo.com/index.php

This project is a cultural dialogue between "ritual" and "comfort." Japanese tea ceremony emphasizes Wa, Kei, Sei, Jaku (Harmony, Respect, Purity, and Tranquility). We strictly adhered to the spatial proportions, tatami layout, and kneeling (seiza) dynamics of traditional Japanese tearooms to preserve that grounding, solemn sense of ritual. Conversely, Taiwanese tea culture emphasizes sharing, hospitality, and a more relaxed, lifestyle-oriented approach. To reflect this, we infused warmth, approachability, and flexibility into the material palette and the reception area. By seamlessly juxtaposing these two design languages, we allowed the rigorous Japanese structure to form the backbone, while the warm, spontaneous soul of Taiwanese tea culture breathes life into it. This modern transformation creates a perfect, harmonious balance where dynamism and stillness coexist.

When dealing with a derelict, structurally aging storage space, the core of the transformation lies in treating the root cause. Before pursuing aesthetic expression, we dedicated substantial effort to a comprehensive structural checkup and reinforcement. To combat severe water leakage and deteriorating walls, we implemented systematic waterproofing methods and structural reinforcement to guarantee long-term durability and indoor comfort. This was a process of turning the obsolete into the extraordinary. We deliberately preserved parts of the original aged textures to give the space historical narrative. Once the persistent dampness and darkness were completely resolved, the raw honesty of the structure became the perfect foundation for fostering serenity. Through meticulous lighting design and invisible structural engineering, we successfully transformed an abandoned, forgotten space into a peaceful sanctuary that quietens the mind.

The inspiration for these materials stems directly from the natural essence of "tea" itself and the holistic sensory experience we aimed to deliver. Since tea originates in the mountain forests, we selected bamboo and wood—two natural materials with organic warmth—as the primary protagonists of the space. The woven texture of the bamboo ceiling is inspired by traditional tea utensils and craftsmanship; it not only enriches the visual depth of the ceiling but also casts dappled shadows under lighting, evoking the poetic ambiance of enjoying tea beneath a bamboo grove. Meanwhile, the extensive use of warm timber elements soothes urban restlessness through sight, touch, and scent. These breathing materials gently develop a rich patina over time, enriching the sensory layers of the environment and blending with the aroma of the tea to make the ceremony an immersive journey of natural healing.

In a school environment, safety is a non-negotiable baseline, but it does not have to come at the expense of visual transparency and architectural aesthetics. Facing the school's initial concerns regarding the large windows, we rejected the idea of installing restrictive iron grilles or reducing the window size. Instead, we balanced openness and security through "invisible protection" and "material upgrades." Structurally, we utilized high-strength, double-glazed safety glass coupled with precision window limiters to control the opening angle. This maintains cross-ventilation while eliminating the risk of falls or injuries. Externally, we integrated landscape planting and soft barriers to subtly guide movement, creating a natural safety buffer zone. Consequently, the large windows retain their openness—inviting campus greenery and sunlight indoors—while establishing a robust safety defense line, allowing teachers and students to experience the space with complete peace of mind.

Traditional classrooms are often static spaces designed for one-way information transmission, characterized by rows of desks and rigid podiums that reduce culture to flat textbook knowledge. Transforming this environment into an "experiential space" means expanding learning from mere sight and sound to a full-body sensory experience. As students step into the classroom, remove their shoes, and walk onto the warm timber floors, the shift in their physical posture and movement instantly establishes a sense of ritual. The distance created by a traditional lecture stage is replaced by the intimacy of gathering around a tea hearth. The woven bamboo light shadows, the curling tea aroma, and the tactile natural materials create a deeply immersive atmosphere. This profound spatial shift ensures that students are no longer passive onlookers of tea culture, but active participants and practitioners, learning intuitively to slow down and embrace the inner peace and etiquette of the tea ceremony.

The inspiration for this teahouse classroom is deeply rooted in the "Feng Cha" (free tea offering) culture of early agricultural Taiwanese society. It was a heartwarming custom where locals placed large jars of herbal tea by the roadside to selflessly welcome and refresh weary strangers. This tradition embodies the core values of pure kindness and hospitality in Taiwanese culture. In our design, we specifically emphasized this spirit of hospitality. We designed a highly inclusive welcoming tea area at the entrance, dismantling barriers of hierarchy and identity. The color tones and materials are intentionally chosen for their soft, warm qualities, and the lighting is gentle, resembling a safe pavilion welcoming travelers out of a storm. We want this space to communicate to students and visitors alike: no matter how exhausted you are by academics or daily life, once you step inside and receive a warm cup of tea, you are fully respected and comforted. This is a contemporary and heartfelt tribute to Taiwan's traditional virtue of "Feng Cha."

Indeed, the inclusion of natural elements is never merely decorative; it is the spatial manifestation of "mindfulness" and the "unity of humanity and nature" central to tea philosophy. The tea ceremony teaches us to be aware of the present moment, and nature is the ultimate teacher. We deliberately allowed materials like bamboo, wood, and stone to retain their near-primitive textures, encouraging occupants to observe the shifting seasons and the passage of light through the windows. As the wind rustles the bamboo blinds and light traces long shadows across the wooden walls over the course of the day, these subtle environmental shifts remind tea practitioners of Ichigo Ichie (one time, one meeting)—the fleeting nature of time. The natural elements act as a catalyst for centering the mind. They gently guide individuals to cast aside external noise and refocus their awareness inward onto the tea liquor, their own breath, and genuine human connection, beautifully supporting the meditative and spiritual dimensions of the ceremony within a physical framework.

The success of this teahouse classroom proves one vital point: cultural transmission does not need to be rigid or didactic; it can regain immense charisma and contemporary vitality through modern spatial design. I believe that future cultural educational spaces will evolve toward hybridity and experiential priority. This classroom offers a clear paradigm. We do not need to build a historical replica to promote heritage. Instead, we must extract the spiritual core of a cultural tradition and translate it using contemporary architectural vocabularies and engineering technologies. Future educational spaces should be highly flexible and sensorially inclusive, ensuring that cultural heritage is no longer a static antique locked inside a museum showcase, but a living, breathing field that resonates with students' daily lives and modern design sensibilities.

The physical layout of a space directly dictates the emotional dynamics between its users. In traditional classrooms, people stare at the backs of each other's heads; however, in the Shiting Teahouse Classroom, we adopted a centripetal, barrier-free circular layout. A concrete example of this is our open-concept tea seating paired with low floor elevations. When external visitors or students from different grades enter this space, everyone sits at the same physical height (either seated directly on the floor or on low seating), bringing them to an equal eye level. This lowering of physical stance naturally diffuses psychological defensiveness. Furthermore, due to the serene and transparent quality of the room, people intuitively lower their speaking volume and listen more attentively, cultivating high-quality eye contact and deep conversation. The host-guest unity fundamental to the tea ceremony is amplified within this boundaryless layout, enabling previously unacquainted students and visitors to rapidly build profound communal connections and trust through the silent rituals of pouring, receiving, and sharing tea.