Interviews with Chiao-Yi Tang

I believe this is related to my upbringing in the suburbs, which nurtured my sense of observation and allowed me to experience the joy of shared creativity with my playmates. Art classes further guided me to appreciate the energy conveyed by artists. These experiences inspired my later studies and creativity in the field of architecture and became a driving force behind my journey to becoming a designer.

At the beginning of any project, in addition to considering the client's needs, I prioritize three key aspects: time, quality, and budget, and I set the theme based on the project type. Currently, I am highly interested in the field of artificial intelligence, especially in how new technologies can be leveraged to shorten design time. I believe AI is an excellent tool for designers, capable of streamlining many project processes such as model rendering.

During the design process, I experience a sense of creativity and fulfillment similar to that of a mother nurturing a child. At times, there are challenges, but they are accompanied by the joy and sense of renewal that comes with the birth of something new.

I believe that the environment in which I grew up has greatly shaped who I am as a designer. The cities I have lived in and the visual experiences from the surrounding natural environments have all served as vital nourishment for my creativity.

Exploration, experience, and practice have always been the path I follow. I am currently excited about the possibilities that artificial intelligence offers, as it can bring more vitality to organic design in future projects through this powerful tool.

The vision of a better future life has always been the soul of a designer. Find inspiration in stillness, feel life with intention, enrich the depth of your design, appreciate the beauty in everyday living, and always stay true to your original intention—let it guide your creativity and decisions.

I encourage fellow designers, artists, and architects to embrace diverse experiences and environments to enrich their design perspectives and maintain passion for their work. Continuously exploring new tools and technologies—such as artificial intelligence—can enhance both creativity and efficiency. Only through ongoing learning and growth, and by staying attuned to a rapidly changing world, can excellence be realized in the field of design.

My daily work usually follows the progression of departmental tasks, while a flexible schedule varies depending on the projects I’m working on, allowing me to balance creativity and productivity.

I stay current with the latest design trends by regularly reading design publications, attending industry events, and engaging in online design communities. Design trends reflect contemporary preferences and innovations, and should be thoughtfully balanced with sustainable design principles, as well as the specific needs and themes of each project.

In terms of the service characteristics of interior design, a successful interior design outcome should include the quality level of the design work itself, as well as the positive recognition and satisfaction gained by the client during the overall service delivery process. At the same time, the designer or firm should also be able to achieve reasonable profit goals through effective time management and cost control. Only then can it be considered a successful, win-win result.

Design is a process that moves from ideation to convergence. It starts with researching the client’s objectives and communicating with them to understand their needs and preferences, which helps in developing the overall concept. Then, I define the atmosphere and details of the space based on materials, colors, furniture, and decorations. For me, it is crucial to ensure that the design meets the client's expectations at every stage of the process. After the basic design is confirmed, detailed design will follow, integrating the MEP functions to create the implementation design documents.

The first Presidential Library I participated in is one of my most honorable works. We researched the head of state and the initial historical context, referencing documents and historical materials provided by the foundation, as well as examples from the National Library and cultural and art museums. To create a humanistic atmosphere that blends profound historical significance with academic depth, we approached the design from a Sinology perspective, which inspired our approach. The design incorporates classic patterns, materials such as marble and wood, and contemporary architectural styles to connect the past and the present, creating a new social landmark that integrates culture, history, and leisure functions. This project moved me deeply and allowed me to experience the power of humanism in shaping space.

My design inspiration comes from Frank Lloyd Wright, Ieoh Ming Pei, and Zaha Hadid. Their approaches—connecting architecture with the environment, embracing clean and fluid forms, expressing poetic spatial qualities, and realizing the limitless imagination of organic architecture—have influenced me at every stage of my creative journey and continue to inspire me.

Design is deeply influenced by lifestyle and culture, drawing inspiration from both. Favorite cities such as Kyoto, Copenhagen, Tokyo, and Taipei each offer unique sources of inspiration. Music acts as a soundtrack to the creative process, setting various moods. Personal culture subtly shapes one’s design preferences.

My work culture is rooted in collaboration, innovation, and a strong attention to detail. I believe that fostering a creative and supportive environment helps ideas thrive. My professional philosophy centers on deeply understanding client needs, delivering high-quality design work, and continually exploring new technologies and methods to push the boundaries of design. This approach ensures that each project is unique, functional, and aesthetically refined—ultimately exceeding client expectations. When selecting collaborators, I place great value on their reliability and shared passion for design, while emphasizing clear communication and a mutual commitment to excellence.

To realize the impact of cross-disciplinary collaboration, we partnered with the government's cultural development council to work with underrepresented artists in our design space, offering them a platform to express their creativity and helping them build the confidence and capacity to become self-sufficient.

Participating in the A' Design Award has been an incredibly enriching experience for me. The award provided an excellent platform to showcase our work on an international stage and to connect with designers, architects, and creative professionals from around the world. This recognition not only boosted the confidence of our entire design team but also opened up opportunities for collaboration with like-minded individuals and companies.

The core focus of this project is to explore how architectural space can respond to the relationship between seismic research, disaster resilience, and future environmental challenges, while establishing a national-level research facility that integrates scientific functionality, public value, and sustainable thinking.
We aimed to move beyond the conventional image of research buildings as closed and isolated environments by creating an open platform that encourages academic exchange, interdisciplinary collaboration, and communication with society. Therefore, the spatial planning emphasizes the connection between research, education, and public interaction through clear and layered circulation, shared communication spaces, and flexible functional programs that enhance both interaction efficiency and overall user experience.
In terms of architectural expression, the design draws inspiration from the Earth’s layered structure and seismic wave movements, transforming the order and energy of geological formations into architectural language. The intention is to create spatial qualities that embody stability infused with movement, and rationality balanced with the forces of nature, reflecting the research center’s long-term dedication to earthquake science and disaster prevention technologies.
In addition, the project places strong emphasis on sustainability and resilience. Through strategies such as natural daylight utilization, energy-efficient systems, environmental integration, and high-performance MEP systems, the design reduces environmental impact while enhancing the building’s adaptability to future disasters and climate challenges. We envision this project not merely as a research facility, but as a landmark that represents Taiwan’s advancements in disaster prevention technology, academic innovation, and future-oriented architectural thinking.

In the future, we hope this project will not only be realized as a functional research facility, but also serve as an important benchmark for disaster prevention technology, resilient architecture, and sustainable design in Taiwan. By integrating architectural space, research functions, and public engagement platforms, the project aims to continuously support the development of seismic research, disaster prevention education, and interdisciplinary collaboration.
From a design perspective, we also hope to extend the project’s core philosophy of “seismic resilience × sustainable environment × public connectivity” into future public buildings, educational and research institutions, and high-tech industry spaces, providing a meaningful reference for addressing climate change and future urban challenges.
In addition, this project represents Taiwan’s professional expertise in earthquake engineering, disaster prevention technology, and integrated architectural design. Through international awards and future exchanges, we hope to showcase Taiwan’s achievements in resilient architecture and sustainable development to a broader global audience, further encouraging international collaboration and knowledge sharing.
We believe architecture should not merely serve as a functional container, but also act as a medium connecting science, people, and the environment, while continuously generating educational, research, and social value for the future.

The design concept for this project was developed over several months through extensive research, analysis, and interdisciplinary integration. The process began with studying the site conditions, the context of seismic research, and user requirements, followed by the development of architectural concepts, spatial functionality, resilience strategies, and sustainable systems through multiple rounds of discussion and design exploration.
Given the project’s highly specialized nature and its role as a national-level research institution, our focus extended beyond architectural form alone. We placed particular emphasis on integrating seismic research, disaster resilience, public engagement, and future environmental considerations into the spatial experience. As a result, the design process became a continuous journey of refinement, collaboration, and validation.

This project was developed as a commissioned design proposal; however, the concept evolved not only in response to the client’s requirements, but also from our long-term interest in the themes of earthquakes, disaster prevention, and future architectural resilience.
As the client is Taiwan’s national earthquake research institution and the site is located within a seismic zone, we sought to create more than a functional research facility. Our intention was to develop an architectural response that reflects Taiwan’s unique geographical conditions and disaster prevention challenges. We believe architecture should serve as a meaningful medium between scientific research and public engagement, while embodying resilience in the face of future environmental and climate-related challenges.
The design concept therefore draws inspiration from the Earth’s layers, geological formations, and seismic wave movements, translating the energy and order found in natural science into architectural language. These ideas informed the spatial hierarchy, circulation planning, and façade articulation, allowing the building itself to become an educational, research-oriented, and symbolic spatial medium.
At the same time, the project reflects our broader commitment to sustainable architecture and public value. We envision it not merely as a research facility, but as a landmark representing Taiwan’s expertise in disaster prevention technology, academic innovation, and future-oriented resilient urban thinking.

This project is a site-specific architectural proposal developed in response to the unique requirements of a national research institution. The project is currently being planned and coordinated by the Ruentex | Ruentec Design team in collaboration with various professional consultants and partners. As a highly customized public research facility, there are currently no plans to sell or license the production rights.
However, we hope the design concepts and integrated strategies developed through this project — including disaster resilience, sustainable environments, smart building systems integration, and public-oriented research space planning — can serve as valuable references for future public architecture, research facilities, and educational environments.
Looking ahead, we also hope to collaborate with more interdisciplinary teams to further expand the research and implementation of resilient and sustainable architectural design.

We have long been interested in how architecture can respond to environmental change, public safety, and future ways of living. As a result, we are particularly drawn to projects that integrate disaster resilience, scientific research, and sustainable environments. This project is not only a research facility, but also a platform that connects earthquake science, disaster prevention education, public engagement, and future urban resilience, making it both socially meaningful and intellectually challenging for us.
As Taiwan is located within a seismic zone, earthquakes and natural disasters are an inherent part of the environment. We believe architecture should go beyond fulfilling functional requirements and serve as an important medium for strengthening social resilience and public awareness. Through this type of project, we aim to rethink the relationship between research institutions and public space, transforming architecture from a purely functional container into a platform that encourages knowledge exchange, interdisciplinary collaboration, and social interaction.
In addition, we are interested in exploring the translation between natural science and architectural space. Inspired by the Earth’s layers, geological formations, and the dynamic movement of seismic waves, we sought to transform abstract scientific concepts into architectural language with spatial perception and emotional connection. In doing so, the building becomes not only functional and rational, but also cultural, educational, and symbolic in value.

The inspiration for this project did not come from a single architectural work or specific designer, but rather from our long-term exploration of natural science, geological formations, resilient cities, and sustainable architecture.
From an architectural perspective, we were influenced by design approaches that emphasize structural logic, environmental responsiveness, and public engagement. This includes modern architectural ideas regarding structural honesty and spatial order, as well as contemporary sustainable design strategies that integrate natural environments, energy efficiency, and human-centered experiences. Scientific phenomena such as seismic waves, geological layering, and the movement of natural energy also played an important role in shaping the project’s conceptual direction.
In addition, we studied several research-oriented and public cultural architecture precedents, particularly those capable of integrating research functionality, educational exchange, and public accessibility. These references encouraged us to rethink research institutions not as isolated professional environments, but as open platforms that foster knowledge sharing and social interaction.
As a result, this project represents a multidisciplinary integration of architecture, science, environment, and public value, rather than an extension of any singular architectural style or design language.

The primary users of this project are researchers, academic institutions, technical professionals, and disaster prevention organizations associated with the National Center for Research on Earthquake Engineering. At the same time, the project also addresses the needs of educational outreach and public engagement.
Therefore, the design focuses not only on creating a high-performance research and working environment, but also on encouraging interdisciplinary collaboration, knowledge sharing, and public interaction. Through open and interactive spatial planning, we aim to provide a stronger communication platform for researchers, scholars, students, and visitors, fostering greater awareness and exchange in earthquake science and disaster prevention education.
In addition, the project reflects the future direction of public research architecture by balancing professional research functionality with sustainable environments, human-centered experiences, and resilient design thinking. The goal is to create a national-level research facility that embodies professional excellence, educational value, and public significance.

The most distinctive aspect of this project lies in its integration of seismic research, disaster resilience, sustainable environments, and public engagement into a unified architectural language, rather than simply fulfilling the functional requirements of a research facility.
Compared to conventional research buildings, which are often characterized by enclosed and purely rational spatial models, this project places greater emphasis on the interaction between architecture and the environment, as well as between science and people. Drawing inspiration from the Earth’s layers, geological formations, and seismic wave movements, the design transforms the energy and order found in natural science into architectural space, façade articulation, and circulation planning, allowing the building itself to embody the spirit of research and disaster awareness.
Therefore, the uniqueness of this project lies not only in its architectural form, but also in its holistic design approach that integrates scientific research, public value, environmental sustainability, and future resilience into one coherent vision.

Landform × Pulsation represents the fusion of geological form and dynamic energy.
“Landform” symbolizes the Earth’s layered structure, geological formations, and natural textures, while “Pulsation” reflects seismic waves, energy transmission, and the continuous rhythm of movement and transformation.
Together, the name embodies the project’s earthquake research-driven design concept, translating the balance between geological stability and seismic dynamism into architectural space, façade articulation, and circulation design. It expresses the resonance between science, nature, and architecture.
The name also symbolizes the building’s resilience, adaptability, and evolving energy in response to future environmental and disaster-related challenges.

The design process for this project integrated architectural design, digital simulation, and interdisciplinary coordination tools to enhance spatial quality, environmental performance, and design precision.
During the concept development and spatial planning stages, we utilized sketch studies, 3D modeling, and parametric analysis tools to explore the relationship between geological layering, seismic movement, and architectural massing, translating these ideas into spatial hierarchy and architectural language.
In the architectural design and coordination phase, BIM (Building Information Modeling) systems were used to integrate architecture, structure, and MEP engineering, improving collaboration efficiency and construction feasibility. Environmental simulation tools were also applied to evaluate daylighting, energy performance, and environmental efficiency, supporting the project’s sustainability and resilience strategies.
In addition, visualization and rendering tools were used to communicate spatial atmosphere, materiality, and environmental qualities, allowing the design concept to fully express the integration of research, technology, and nature.

The most unique aspect of this project is its ability to transform the abstract concept of earthquake science into a perceivable architectural and spatial experience, while integrating disaster resilience, environmental sustainability, and public engagement into one cohesive design language.
Rather than using earthquakes merely as a formal inspiration, the project deeply explores the relationships between the Earth’s layers, geological formations, and seismic wave movements, translating them into architectural massing, façade articulation, spatial layering, and circulation systems. In this way, the building itself becomes an extension of scientific research and natural energy.
In addition, the project challenges the traditionally enclosed nature of research facilities by introducing open shared spaces, flexible programs, and public interaction platforms that strengthen the connection between research, education, and society. The architecture therefore becomes not only a research facility, but also a medium for knowledge exchange and disaster prevention education.
Another distinctive feature is the project’s simultaneous emphasis on resilience and sustainability as core design strategies. Through natural daylighting, high-performance building systems, environmental integration, and future adaptability planning, the design responds to seismic conditions and climate challenges while expressing a forward-looking architectural vision that is technological, human-centered, and future-oriented.

This project was led by the Ruentex | Ruentec Design team in collaboration with the National Center for Research on Earthquake Engineering, National Taiwan University, and various professional consultant teams. As the project involves specialized fields such as seismic research, disaster resilience, sustainable environments, and high-performance research facilities, the entire design process adopted a highly interdisciplinary collaborative approach.
The collaboration included professionals from architecture, interior design, structural engineering, MEP engineering, sustainability consulting, smart building systems, and environmental engineering. We also engaged in discussions with experts in earthquake engineering and disaster prevention research to ensure that the architectural spaces would genuinely respond to research requirements and future operational needs.
In addition, throughout the design development process, we worked closely with all professional teams through BIM integration, environmental simulations, and technical analysis. This collaborative approach allowed comprehensive coordination between architectural concepts, spatial functionality, engineering systems, and environmental performance. Such interdisciplinary cooperation strengthened both the feasibility and integrity of the project, enabling a more effective integration of scientific research, architecture, sustainability, and resilience.

Technology in this project is not merely a supporting tool, but a key element that connects research functionality, building performance, and future resilience. As a national-level earthquake research facility, the integration of technology is intended not only to improve operational efficiency, but also to support environmental monitoring, disaster prevention safety, smart management, and sustainable operations.

The preliminary research included site environmental analysis, seismic zone characteristics, climate conditions, daylight orientation, circulation patterns, and user behavior data, all of which served as important foundations for the building layout and spatial planning. At the same time, we studied scientific concepts such as the Earth’s layered structure, geological formations, and seismic wave propagation, translating them into the design logic for architectural massing, façade articulation, and spatial language.
In terms of sustainability and resilience, we further conducted environmental simulations and performance analyses to evaluate strategies related to natural daylighting, energy efficiency, indoor environmental quality, and the integration of high-performance MEP systems. These studies helped enhance the building’s energy performance and future adaptability.

One of the greatest challenges of this project was finding a balance between highly specialized research requirements, architectural spatial quality, public accessibility, and future resilience. As a national-level earthquake research facility, the building needed not only to support the efficient demands of research, office operations, and technical equipment, but also to address disaster prevention, sustainability performance, and public engagement.
Another major challenge was translating the abstract and highly technical nature of earthquake science into a perceivable architectural language. Rather than remaining at the level of formal symbolism, we sought to deeply explore the Earth’s layered structure, geological formations, and seismic wave movements, integrating these concepts into the building massing, spatial hierarchy, circulation, and façade expression so that concept and functionality could be cohesively aligned.
Ultimately, these challenges became an important driving force in refining the design, allowing the project to evolve beyond a research facility into a holistic architectural expression that integrates science, environmental responsibility, and human-centered values.

We decided to submit this project to an international design competition because it represents more than an architectural proposal — it embodies Taiwan’s integrated thinking and practical achievements in earthquake engineering, disaster prevention technology, resilient architecture, and sustainable design.
Through the platform of an international competition, we hope to showcase how Taiwan responds to seismic environments and future urban challenges through architecture, addressing public safety, scientific research, and environmental sustainability.
For us, participation is not only about seeking recognition, but also about sharing design ideas, encouraging knowledge exchange, and expanding international perspectives.

One of the greatest lessons we gained during the design process was a deeper understanding of how architecture can serve as a bridge between scientific research, public value, and environmental resilience. This project was not merely the planning of a research facility, but a design practice that required the integration of multiple disciplines while responding to future challenges.
Through collaboration with professional teams in earthquake engineering, disaster prevention, structural systems, MEP engineering, and sustainability, we strengthened our interdisciplinary integration capabilities and gained a deeper understanding of how to translate highly technical research requirements into an architectural experience with human-centered scale and spatial perception.
Overall, this project reinforced our belief that the value of architecture lies not only in formal expression, but also in its ability to respond to societal needs, integrate professional expertise, and create a positive impact for the future.

Beyond architectural form and research functionality, another important focus of this project is how space can establish a meaningful connection between science and society. We believe that a national-level research facility should not function solely as a professional research environment, but also as a platform for knowledge exchange, public education, and social engagement.
For us, architectural space is not only about solving problems, but also about responding to the environment, carrying knowledge, and creating possibilities for the future.

The key focus areas were:
1.Mobility & Freedom – enabling employees to move away from fixed desks and shift seamlessly between work settings.
2.Functional Flexibility – e.g., movable whiteboard walls that serve as both a visual feature and a spatial connector during events.
3.Branding Happiness – embedding the corporate philosophy into the physical space through daylight, open views, and shared zones.
The ultimate goal was to create a catalyst for creativity, collaboration, and workplace happiness.

In the future, I aim to continuously monitor employees’ real-world experiences and satisfaction through surveys, interviews, and spatial observations to assess which aspects most effectively promote happiness and which details require refinement. For example, analyzing how often the meditation corner is used at different times of day, or evaluating the frequency and ease of moving the whiteboards.
This design model has high potential for replication and local adaptation, so I plan to apply it to other company locations, including overseas offices, establishing Chi Mei’s “Happiness Office” as a consistent global brand identity. At the same time, I will explore how this model can be tailored to suit different industries and business scales, ensuring its flexibility across diverse contexts.

The entire design process took about three months, divided into several stages:
The first stage involved concept development and research, including studies on the psychology of happiness and dopamine, as well as employee work behavior analysis;
The second stage focused on forming spatial strategies and initial layouts, using 3D simulations and circulation testing to determine the optimal configuration;
The third stage involved detail refinement, including furniture dimensions, material sample testing, and color psychology comparison experiments;
The final stage was multiple rounds of client communication and revisions, ensuring that the concept was implemented faithfully and aligned with corporate culture.

For this project, I incorporated several innovations that blend technology with design thinking:
1.Digital Spatial Behavior Analysis – In the early design stage, I used sensors and digital analysis tools to simulate space usage scenarios. For example, heat maps were employed to predict high-traffic circulation areas and identify corners with ideal lighting and acoustics for focused work. This allowed the layout to be backed by data rather than solely relying on intuition.
2.Modular Furniture Systems – The furniture was designed to be modular, enabling quick disassembly, relocation, and reconfiguration. This flexibility allows the workspace to adapt to different events or team needs, extending the lifespan of the design and reducing future renovation costs and waste.
3.Color Psychology Experiments – For color selection, I combined research in psychology with real-world testing. Warm yellows were found to enhance social interaction, while soft greens helped reduce stress and improve focus. I tested these in small sample areas and gathered employee feedback before rolling them out across the space.
4.Multi-Functional Interactive Walls – Walls were designed to be more than decorative surfaces. They integrate information displays, writable surfaces, storage, and acoustic absorption, turning every wall into a tool for collaboration and creativity.

The biggest challenge was balancing “openness” with “privacy.” While open-plan offices encourage communication, they can also create noise and distractions, reducing focus. Chi Mei’s workforce is diverse, with some departments requiring frequent discussion and others needing intense concentration, making it a real challenge to accommodate both within the same space.
My solution was a layered zoning strategy: the space was divided into three zones—“high interaction,” “neutral flexible,” and “deep focus.” High-interaction zones are located along main circulation paths to facilitate spontaneous conversations; neutral flexible zones can switch functions depending on the task; deep-focus zones are placed in quieter peripheral areas, with enhanced sound insulation and controlled lighting.
Additionally, furniture and partitions were designed to be semi-open—maintaining visual continuity while still providing a psychological sense of boundary. This approach not only resolved the conflict but also gave employees the freedom to switch work modes according to their daily needs.

Our starting point was concrete and pragmatic: while reviewing Chi Mei’s recruitment materials, we noticed the company self-identifies as a “happiness-oriented employer” that values work–life balance. That claim wasn’t treated as mere wording—it became a design brief. The central question we set out to answer was: how can the workplace be designed so it genuinely lifts employees’ moods, stimulates dopamine-linked behaviors, improves productivity, and increases retention?
To answer it we used a behavior-first (reverse) design approach:
1.Identify the physical factors that produce happiness—things like generous natural daylight, thermal comfort and air quality, controlled acoustics, tactile, human-friendly materials, elements of novelty and curiosity in the environment, biophilic features (plants, natural textures), visual openness, and opportunities for autonomous choice of place and posture.
2.Observe which everyday behaviors create those factors—for example: short social exchanges at a counter create social connectedness; showcasing small wins creates a sense of reward; the freedom to choose where to work creates agency; tactile interactions with movable furniture create novelty. These behaviors map directly to dopamine triggers such as anticipation, reward, social bonding, control, and novelty.
3.Design spaces to enable those behaviors—turn the bar counter into both a mobile workstation and social hub; make a movable whiteboard a connector and a results-sharing wall; provide a meditation/breathing corner for emotional reset; configure long communal tables and small team nooks for spontaneous collisions; balance openness and focus via clear-glass partitions and dedicated phone/quiet booths.
Step by step we translated “what happiness means” into elements that could be designed, tested, and iterated: from the employer’s stated value (being a happiness company) → to our research objective (increase workplace happiness and stickiness) → to specific physical factors → to executable spatial strategies. We folded user research—workshops and interviews—into the process, ran pilot zones to validate hypotheses, and scaled successful patterns across the whole office.
In short: the motivation was Chi Mei’s declared commitment to employee happiness and our conviction that this commitment can and should be realized spatially. By systematically identifying the physical drivers of happiness and designing spaces to enable the associated behaviors, we aimed to tangibly improve mood, productivity, and retention—this belief propelled the entire design process.

In this project, Jan Gehl’s philosophy had a significant influence on us. Inspired by his psychologist wife, Gehl began to design from a “human perspective” rather than focusing solely on buildings or infrastructure—a mindset that aligns perfectly with our vision for Chi Mei’s Happiness Office.
From his observations in Italy, Gehl realized that comfort in cities comes from a well-balanced human scale and social distance—encouraging interaction while maintaining personal space. This inspired us to apply similar principles in the workplace, using movement flow, scale, and sightlines to create spaces where collaboration and focus can coexist.
Gehl’s years of research produced tools that subtly transform daily habits and space usage. We adopted his “small changes, big impact” approach: movable whiteboards and flexible furniture to create dynamic settings, transparent partitions to open up views, and transitional spaces to encourage natural interaction. Ultimately, just as Gehl reshaped Copenhagen, we aim to bring this human-centered approach into corporate environments, making happiness a tangible part of everyday work life.

1.B2B (Business-to-Business) Clients
a.Chi Mei Corporation is a globally recognized supplier of plastics and chemical materials, serving industries such as electronics, home appliances, automotive, packaging, and construction.
b.Clients include large multinational corporations, OEM/ODM manufacturers, and industrial customers who demand high quality and stable supply.
2.B2C (Indirect Consumer Market) Influence
a.While Chi Mei does not sell directly to end consumers, its materials are widely used in everyday products—such as appliance housings, electronics, and food packaging—indirectly shaping consumer experiences and brand perceptions.
3.Corporate Culture & Talent Market
a.As a self-proclaimed “Happiness Enterprise,” Chi Mei also treats top talent as key “internal customers.” Office design and corporate culture initiatives aim to attract, retain, and inspire employees, ensuring high productivity and innovation.

Compared to many existing office designs, the key distinction of this project lies in its foundation on the “happiness chemical reaction” and dopamine release—a deep integration of science and spatial design rather than merely focusing on aesthetics or functional zoning.
While many office spaces prioritize style or productivity, our design goes further by centering on employees’ psychological needs and emotional states. We analyzed behaviors that trigger dopamine release and then reverse-engineered spatial settings that encourage these behaviors.
Specifically, this design:
1.Implements dynamic spatial adaptability with multifunctional movable whiteboards, flexible furniture, and versatile zones, balancing interaction and focused work by allowing the workspace to adjust according to work modes.
2.Uses transparent glass partitions and open sightlines to break down visual barriers, fostering psychological closeness and strengthening a sense of belonging.
3.Pays close attention to behavioral details, such as meditation corners and mobile workstation bars, meeting diverse employee needs and naturally cultivating happiness through spatial details.
This science-driven, happiness-centered approach to office design is relatively rare in today’s market, offering not just a place to work but a space that enhances overall quality of life.

The design name, “Step Into Happiness Office / Chi Mei Corporation Office — HAPPINESS + DOPAMINE,” stems from our effort to distill the core concept of the project.
“Happiness Office” directly conveys Chi Mei’s brand promise and our ultimate goal—to create an environment where employees truly feel happiness and increased job satisfaction. Happiness is abstract and multifaceted, but we aimed to make it tangible, turning the space into both a vessel and catalyst for that feeling.
The addition of “HAPPINESS + DOPAMINE” highlights the scientific foundation of the design. Dopamine, as a key neurotransmitter linked to pleasure and motivation, represents the physiological basis of happiness. Rather than focusing only on aesthetics, we delved into the biological and psychological mechanisms behind happiness and designed spaces to naturally stimulate dopamine release, thereby enhancing employees’ mood and productivity.
The name combines both emotional resonance and rational foundation—reflecting the brand culture and emotional appeal on one side, and the scientific, evidence-based approach behind our design on the other. This naming positions the project not just as a space, but as a holistic happiness experience.

In the Chi Mei Happiness Office project, we employed a variety of design tools and methodologies to ensure the process—from conceptualization to implementation—was both creative and practical.
1.Ideation and Research Tools
a.Brainstorming sessions and design workshops to gather ideas and user needs from the team and stakeholders.
b.Behavioral observation and interviews to collect data on employee work habits and emotional responses as a basis for design.
c.Reference to psychological and neuroscience literature to understand dopamine’s role in happiness, grounding the design in science.
2.Visualization and Spatial Planning Tools
a.CAD software (e.g., AutoCAD) for detailed floor plans and layouts.
b.3D modeling tools (e.g., SketchUp, Revit) to simulate spatial volumes, proportions, and circulation paths.
c.Rendering software (e.g., Lumion, Enscape) to visualize lighting and materiality, helping clients and users better grasp design intent.
3.Collaboration and Project Management Tools
a.Digital whiteboards and collaboration platforms (e.g., Miro, Notion) to integrate cross-departmental feedback.
b.Project management software (e.g., Trello, Asana) to track progress, assign tasks, and maintain communication records.
The combined use of these tools allowed us to respect user needs while integrating scientific research and design aesthetics—resulting in a human-centered, flexible Happiness Office environment.

The most unique aspect of this design lies in its deep integration of the abstract, emotional concept of “happiness” with the physiological mechanism of dopamine release from neuroscience, translating these insights into concrete spatial design strategies. This cross-disciplinary approach moves beyond surface aesthetics or functional layouts to genuinely address users’ psychological and physiological needs.
Together, these elements build a new office experience that not only supports productivity but also prioritizes employee well-being and emotional regulation. This systematic integration of “science–behavior–space” is the most distinctive and forward-thinking innovation in our design.

This design was developed through close collaboration within a multidisciplinary and professional team. Together, we brainstormed and created a science-driven concept for the Happiness Office.
Regarding technical and professional expertise, our collaborators included:
1.MEP (Mechanical, Electrical, Plumbing) Specialists: Senior in-house engineers who conducted precise performance reviews and planning of systems like HVAC, lighting, and power, ensuring energy efficiency and comfort aligned with the happiness-driven design goals.
2.3D Modeling Professionals: Skilled 3D designers who accurately visualized floor plans and volumes, assisting the team and client in understanding spatial proportions, circulation, and lighting effects.
3.On-site Metal Consultants: Experts advising on metal materials and construction details to guarantee structural safety and aesthetic quality.
4.Architects: Responsible for regulatory compliance, structural integrity, and design coordination, ensuring the project is legal, feasible, and well-integrated.
This cross-disciplinary teamwork enabled us to balance science, function, and aesthetics—delivering a human-centered office environment grounded in technical excellence.

In the Chi Mei Happiness Office design, technology plays multiple critical roles, influencing the design process, spatial functions, and user experience.
First, during the design and planning phase, advanced 3D modeling and rendering technologies allowed us to visualize the space before physical construction, facilitating precise adjustments in scale, materials, and lighting, thus improving design accuracy and communication efficiency.
Second, technology enhances the flexibility and interactivity of the office. For example, movable whiteboards integrated with smart devices enable seamless, real-time team collaboration. Modular, multifunctional furniture can be quickly reconfigured to support diverse working modes.
Furthermore, technology plays a vital role in environmental comfort and energy management. Intelligent lighting systems adjust brightness based on natural light to save energy and maintain visual comfort; HVAC systems and air quality monitoring ensure a healthy workplace, boosting employee well-being.
Finally, technology serves as a tool to promote happiness. Through data analytics, we understand employee behaviors and preferences, continuously optimizing spatial layouts and services to create a truly user-centered Happiness Office.
Overall, technology is not just a tool but an extension of the design philosophy, enabling the space to adapt, respond, and elevate the users’ happiness experience continuously.

Yes, our design was strongly influenced by data analysis and research, particularly in environmental psychology and neuroscience, focusing on the relationship between dopamine and happiness. To make the “Happiness Office” a tangible environment that enhances employee well-being and productivity, we conducted multi-layered research and analysis.
First, through literature review and professional sources, we gained deep insights into dopamine’s physiological role in pleasure, motivation, and focus, and explored environmental factors and behaviors that promote dopamine release. These include natural lighting, color stimuli, social interaction, physical activity, and rest areas.
Second, we conducted behavioral observations and employee interviews in office settings, collecting data on emotional changes and spatial preferences during different work states. These first-hand data helped identify spatial arrangements and activities that best foster positive emotions and happiness.
Additionally, we referenced theories in environmental psychology, such as Person-Environment Fit, emphasizing that spatial design must align with users’ psychological needs to promote comfort, safety, and belonging—all closely linked to dopamine’s positive release.
Finally, data analysis tools were employed during design to evaluate usage frequency, circulation efficiency, and environmental comfort, allowing us to refine design details.
In summary, this design is a systematic integration of scientific research and practical investigation, grounded in the underlying factors of dopamine and happiness, creating an office environment that genuinely stimulates employee joy and creativity.

During the design and implementation of Chi Mei’s Happiness Office—centered on dopamine and happiness—we faced several key challenges:
1.Making the Abstract Concept of Happiness Tangible
Happiness is a subjective and multi-layered emotional experience. Extracting actionable design elements from scientific research and translating psychological and physiological theories into spatial language was a significant challenge.
2.Balancing Diverse Functions and Spatial Flexibility
The office needed to support focused work, team collaboration, relaxation, and meditation within limited space. Designing flexible furniture and partitions to accommodate multiple activities without clutter was a major planning test.
3.Integrating Technology and Aesthetics
Introducing movable whiteboards, modular furniture, and smart systems required ensuring that these technologies were both functional and harmonious with the overall aesthetic—avoiding a cold or sterile atmosphere while maintaining warmth and human touch.
4.Coordinating Multiple Experts and Regulatory Constraints
Close collaboration with MEP engineers, architects, metal consultants, and regulatory reviewers was essential to meet safety and legal standards without compromising the design vision, demanding excellent communication and adjustment skills.
5.Meeting Diverse User Needs
Employees have varied preferences for their work environment. Through surveys and iterative adjustments, we aimed to create a space that flexibly adapts to different working styles and psychological needs.
In summary, these challenges pushed us to find a balance among scientific theory, practical execution, and aesthetic innovation—resulting in a functional office space that truly fosters happiness.

We decided to submit the Chi Mei Happiness Office design to an international design competition based on several key considerations. First, the project is more than just spatial planning; it represents a cross-disciplinary practice integrating science, psychology, and innovative concepts. We wanted to share this innovative thinking on a global platform, raising awareness about the importance of happiness in the workplace.
Secondly, participating in an international competition allows us to receive expert feedback and validation of the design’s forward-thinking and practicality, encouraging continuous improvement for future projects.
Additionally, international exposure helps enhance Chi Mei Corporation’s brand image as a Happiness Enterprise, showcasing their commitment to employee well-being—a positive factor for corporate reputation and talent recruitment.
Finally, we believe the design has competitive and innovative value. Entering the competition also serves as recognition and motivation for the team’s hard work, inspiring ongoing exploration and breakthroughs in design.

During the design process of the Chi Mei Happiness Office, I experienced significant growth and improvement in multiple areas. First, I gained a deeper appreciation for cross-disciplinary integration. Happiness is not a single-dimensional issue; it spans psychology, physiology, and environmental design. This required me to combine design sensitivity with scientific research, translating abstract theories into concrete spatial language. This interdisciplinary collaboration broadened my perspective and enhanced my ability to tackle complex problems.
Second, I learned how to balance spatial flexibility with user needs. The diverse functions of the office and rapidly changing work modes led me to be more flexible in furniture selection and zoning, ensuring the design closely matches real-world use rather than just aesthetics.
Additionally, collaborating with professionals from various fields greatly improved my communication and coordination skills. Facing multiple constraints from MEP, architecture, regulations, and construction, I learned to integrate feedback effectively and find optimal solutions balancing aesthetics and technical feasibility.
Finally, this experience reinforced my understanding and practice of User-Centered Design, making me more attentive to users’ emotions and experiences, enabling me to create more humane and happiness-enhancing spaces in the future.

Beyond the design concepts, process, and challenges discussed earlier, I’d like to add that the “Happiness Office” is more than just spatial planning—it is a cultural creation.
Happiness should not be the mere result of stacking design elements; it requires ongoing cultivation and practice from the organization’s culture, management systems, and daily interactions. Throughout the design, we emphasized that space serves people, and design is a facilitator for the growth of a happiness culture. We also encourage the company to continually listen to employee needs and feedback, using design to foster a positive and sustainable workplace atmosphere.
Furthermore, as technology and work styles evolve, happiness offices must continuously adapt. The flexibility and modularity built into our design are not only for the present but also to accommodate future work modes and employee expectations. This sustainable approach is an aspect I want to particularly highlight.

This project, the first presidential library, is dedicated to studying the nation's head of state and their original spatial-temporal context, transforming it into a spatial atmosphere. Through abstract aesthetic expression, it reinterprets the conventional architectural image. Emphasizing authenticity and simplicity in material selection and integrating natural elements such as light and shadow, it creates a poetic ambiance that resonates deeply with people.

Share the joy with customers.

Inspired by calligraphy provided by the client.

Ancient relics, calligraphy exhibitions and art galleries.

The park is based on President Ching-kuo, who led Taiwan's economic takeoff, and touches on the artistic conception from ancient poems: “Although the ancients are long gone, their exemplary deeds still remain in the world; flipping through the ancient books of sages under the cool eaves, the moral demeanor of the sages jumps out of the paper, like a ray of light shining on my face.”

The main building is designed with the core volume of the cultural relics collection space, surrounding exhibition halls, libraries, multimedia rooms, and conference rooms. The lighting connects the lobby, corridors, and café with the landscape. The entire venue incorporates temperature and humidity control, lighting, acoustics, and energy-saving designs, along with healthy building materials, achieving Taiwan's diamond-level green building certification.

Incorporating a memory theater that spans from ancient times to the present, the design features a wood-textured ceiling that embodies Eastern aesthetics, while latticed structures symbolize continuity. Set against the profound granite flooring, white walls and column arrays frame the park’s scenic views. The veining of Carrara marble shapes the main landscape wall, while stacked stone blocks represent historical depth. Bronze-like decorative panels further convey cultural sustainability.

This project is jointly sponsored by the Chiang Ching-kuo Foundation and our design department (ID, MEP). The detailed design also includes professional consultants for lighting, sound, video, etc.

Changes in time sequence scenes and lighting control, etc.

This project aims to create a tranquil space by integrating a museum with global digital libraries focused on Sinology research while incorporating metaphysics. The entrance sets the serene atmosphere, transforming the rhythm of calligraphic strokes into tangible forms and light interplay. This harmonious flow of materials reveals deeper meanings, allowing visitors to experience clarity and expansiveness through contemplation.

Submit your work to the A' Design Award. This award provides an excellent platform to give us more objective encouragement and motivation for continuous improvement.

We focused on interaction, education, and versatility in the space, aiming to enhance work efficiency and employee comfort. The goal was to foster communication and creativity while retaining flexible areas for focused, independent work.

We hope this design can serve as a reference for green office spaces and be promoted to more companies, potentially becoming a catalyst for workplace cultural transformation.

The overall design phase took approximately 11 months, from January to November 2022.

This was a commissioned project. We developed the spatial strategy and design based on the client’s vision of green energy development.

The design has been implemented in the Kaohsiung office. There are currently no plans to sell or license production.

We aimed to create a space that responds to contemporary work styles, integrating sustainability and local culture, offering users a comfortable and inspiring office experience.

European and American office space strategies and atmospheres inspired us, particularly user-centered planning and human-centric design approaches.

The target clients are green tech companies that value corporate identity, work efficiency, and employee well-being.

Our design integrates green architecture principles, local color, and multifunctional spatial planning. Circular elements enhance flow and comfort, with innovations in acoustics, structure, and construction details.

The name was inspired by the idea of “flowing energy,” reflecting the mobility of lithium batteries, green energy, and interpersonal interaction.

We used 3D modeling software (such as 3D Max and Scketchup), visualization tools (like Enscape), acoustic simulation, and digital workflow management tools.

The most unique aspect is the four conical discussion pods, which combine structure, acoustics, and aesthetics to provide semi-private, multifunctional spaces.

We worked closely with acoustic consultants, steel structure manufacturers, and construction teams to ensure the design was feasible from concept to execution.

Technology played a crucial role in precise modeling, simulation, and fabrication, particularly in acoustic treatment and structural pre-assembly.

Yes, we conducted qualitative research through observations, interviews, and surveys to understand user behavior and needs, which informed the design.

The main challenges were the conflict between innovative ideas and users’ conservative habits, as well as the complexity of material selection and technical execution in a large space.

Given the project’s strength in sustainability, innovation, and user experience, we believed it was suitable to present it on an international design platform.

We learned how to balance practicality and creativity, and enhanced our ability in interdisciplinary collaboration and professional communication.

We believe office spaces are not just workplaces but important platforms to connect people, create value, and realize sustainability. We will continue exploring new possibilities in workspace design.

The motivation behind my design work stems from an imagination of a better life in the future. I enjoy experiencing the energy brought by artists and creators, and these experiences have inspired my studies and creativity in the field of architecture, becoming a driving force for my pursuit of becoming a designer.

I am currently working in interior design, and I especially enjoy designing public spaces, where I can create connections between space and environment, extending the design concept much like cinematic transitions. This approach enhances the experience of the five senses and the six perceptions.

The vision of a better future life has always been the soul of a designer. Find inspiration in stillness, feel life with intention, enrich the depth of your design, appreciate the beauty in everyday living, and always stay true to your original intention—let it guide your creativity and decisions.

Simply put, one type of design solves problems, while another adds value. Good designers give people what they want, but great design solves people's problems in unexpected ways.

A successful interior design outcome should encompass both the quality of the design work itself and the positive perception and satisfaction gained from the overall service process. Good design captures attention, solves problems, creates memorable impressions, reinforces brand identity and spirit, and most importantly, resonates with people. At the same time, it allows the client to achieve their goals through effective time management and cost control.

The value of good design goes far beyond mere aesthetics. It is an investment in functionality, user experience, and communication, ultimately leading to a better quality of life and a more progressive society. Good design is not a luxury, but a fundamental element that helps create a better, more efficient, and more enjoyable world for everyone.

Always stay true to your original intention, and let it guide your creativity and decisions.

My design inspiration comes from Frank Lloyd Wright, Ieoh Ming Pei, and Zaha Hadid. Their approaches—connecting architecture with the environment, embracing clean and fluid forms, expressing poetic spatial qualities, and realizing the limitless imagination of organic architecture—have influenced me at every stage of my creative journey and continue to inspire me.

Designed by the renowned Dutch architectural firm MVRDV, the Markthal in Rotterdam creates a space filled with a sense of everyday life. The interaction between people and the space vividly embodies a human-centered design philosophy.

Participating in the design of the first Presidential Library has been the most meaningful project of my career. We conducted in-depth research on the head of state and the historical context of the time, referencing archives and materials provided by the foundation, as well as case studies from national libraries and cultural institutions. To create a space rich in historical significance and academic depth, we approached the design from a Sinological perspective. This inspired us to incorporate classical motifs, marble, and wood, along with contemporary architectural styles, to bridge the past and the present. The result is a new civic landmark that integrates culture, history, and leisure. This project deeply moved me and allowed me to truly experience the transformative power of humanistic values in spatial design.

Stay true to your beliefs and break through the status quo.

A conscious and purposeful act of creation aimed at solving problems, meeting needs, and achieving goals, involving planning, conceptualization, production, and evaluation.

Aside from my supervisors and colleagues at the company, the most important support has come from my family, who have stood by me throughout the journey.

I’ve been very fortunate to have many people guiding, supporting, and caring for me along the way — including industry veterans, mentors, and clients. Without them, I would not have achieved anything.

Designers should present their work through a multi-faceted and integrated approach, including professional portfolios, online platforms and social media, verbal communication and presentation skills, participation in industry events, client testimonials and reputation, as well as continuous learning and self-improvement. This approach not only showcases the outcomes but also conveys the designer’s thinking, capabilities, and passion.

Human-centered, driven by creativity and professional skills, to create better, more efficient, and more inspiring living experiences and environments for people.

The cross-disciplinary collaboration involved integrating underprivileged and differently-abled artists to collectively interpret and express the space.

When every project results in client satisfaction, that is the greatest affirmation.

I believe the design industry is moving toward a future that is more technology-driven, sustainable, human-centered, and strategically oriented.

Deep integration with technology: AI, AR/VR, generative design, and advanced manufacturing technologies will be more widely applied in the design process.

The timeline varies depending on the scale of the project. For instance, in the case of office design competitions, it typically takes an average of 30 days to deliver a design proposal.

I carefully study the tasks set by the client and communicate with them to understand their needs and preferences, thereby grasping the overall concept.

Good design enables sustainability.

The relationship between design and trends is dynamic and reciprocal, rather than one-directional guidance. In short, design and trends influence each other and evolve together. A successful designer must possess both the ability to lead and adapt.

Design Director.

As an interior designer, my toolbox is filled with both tangible and intangible tools that help me transform concepts into reality. It includes a variety of software and applications, project management and collaboration tools, presentation software, and more. With the advancement of technology and the evolution of design philosophies, I continuously learn and adopt new tools. However, no matter how the tools change, the core remains a deep understanding of space, aesthetics, and human needs.

In design, color influences emotion, spatial perception, function, and branding; material concerns touch, visuals, functionality, sustainability, and budget; environment involves light, spatial characteristics, surrounding landscape, climate, culture, and user needs. The three interact: light affects the appearance of color and material, material influences color adhesion and reflection, and the environmental atmosphere impacts color and material choices. Design requires a comprehensive consideration of these three elements to create spaces that are beautiful, practical, meet needs, and coexist harmoniously.

I want to experience it and feel it.

Partners with shared beliefs can design together.

My bosses - Tsang-Jiunn Jean and Yu-Huang Lu.

The modernist architectural dame, Zaha Hadid.

Thank you for the recognition from judges in different countries. Thank you!

For a residential project, designing customized mail pouches for each household was an interesting experience that incorporated spatial elements through cross-disciplinary integration.

To keep the feeling of staying true to my original intentions, and to embrace its beauty. The core lies in creation, connection, growth, gratitude, and care, while continuously seeking passion and meaning.

You can contact me via email:RT001780@mail.ruentex.com.tw

Founded in November 1991, RTD positions itself as the “magician of spatial aesthetics,” integrating interior functionality into architectural planning from the very beginning. With over 30 years of experience in design and construction, the company serves a wide range of sectors including clinics, senior housing, bank headquarters, tech factories and offices, as well as public amenities in residential communities. RTD has also participated in international projects such as the Antai Building in Shanghai, the Nichimen Factory and Office in Kunshan, and the St. Luke’s Health Screening Center in Tokyo, continuously expanding both its depth and breadth while building a solid foundation.

Design, in simple terms, is the process of solving problems by identifying the most appropriate solutions. It generally refers to a purposeful and planned creative activity that encompasses both tangible objects and intangible ideas.

I especially enjoy designing public spaces, where I can create connections between space and environment, extending the design concept much like cinematic transitions. This approach enhances the experience of the five senses and the six perceptions.

In 2015, I had the privilege of visiting the Markthal indoor market square in Rotterdam, designed by the renowned Dutch architectural firm MVRDV. It was a truly immersive experience. The striking horseshoe-shaped arch and the vibrant interior murals seamlessly integrated with everyday life left a lasting impression on me. The way people interacted with the space vividly reflected a human-centered design approach—where people live, connect, and create enduring memories.

The entrance identity and landscape design of the bank headquarters.

I enjoy working with natural materials and textures, and I’m also an avid user of Instagram. Currently, I’m very interested in the field of artificial intelligence, especially in how new technologies can help reduce design time. I believe AI is an excellent tool in the hands of designers.

When I am alone, I enter a state of self-exploration, which often becomes the moment when design concepts are sparked.

Starting from the client's preferences, I integrate functionality, aesthetics, and the realization of a healthy indoor environment.

During the design process, I feel a sense of mission, and challenges often spark creativity and a deep sense of fulfillment.

When my design comes to life, I feel a sense of achievement and fulfillment—much like the journey of a mother from conception to birth. That joy gives me greater confidence to embrace the next project.

It effectively addresses the intended problem while meeting the aspects of practicality, aesthetics, and environmental friendliness.

When evaluating a design, aside from aesthetics, I first consider its functionality, safety, sense of security, health aspects, and how well it fulfills its intended purpose or addresses the problem.

The responsibility of a designer, in simple terms, is to be accountable to both people and the environment. Through professional knowledge and skills, designers not only create beautiful spaces but also care for social well-being and environmental sustainability.

The design field is rapidly integrating with advanced technologies, evolving toward a user-centered approach that emphasizes human care and places sustainability at its core. Increasing value is placed on customer experience and the intangible aspects of products. With the empowerment of AI, immersive experiences and generative design are being introduced, deepening emotional engagement as well as inclusive and barrier-free design. At the same time, greater emphasis is placed on design ethics and social responsibility. As a result, designers are now expected to possess a broader vision, interdisciplinary capabilities, and a strong sense of social responsibility.

In 2021, I exhibited at the Lihpao Group Hotel showroom in Taichung, Taiwan, together with winners of the Taiwan Good Design Award. The next exhibition is scheduled for the second half of 2025.

The inspiration behind my work comes from a wide range of sources, including natural forms and patterns, material textures, films, museums, humanistic poetry, cultural diversity, art history, and everyday experiences. All of these spark creativity and serve as sources of inspiration. By maintaining an open mind and exploring different disciplines, I’m able to stay creative and innovative—often drawing insight from the ideas of predecessors and the spontaneous sparks that arise in discussions with peers.

My design style is rooted in minimalism, emphasizing clarity and purity. Through clean spatial forms, I express the spirit of the place or reflect the client’s brand identity. I aim to create spatial narratives that embody daily life—much like the Markthal indoor market square in Rotterdam, where human interaction with space powerfully illustrates a human-centered design philosophy. I draw on abstract aesthetics, natural light and shadow, and humble materials to evoke a poetic atmosphere. By embracing simplicity, I enhance both user experience and visual appeal, crafting spatial sequences that flow like cinematic transitions and bring the space to life.

I am from Taipei, Taiwan, and rather than being primarily influenced by local cultural heritage, I have found greater inspiration through collaborating with designers from various countries and experiencing diverse customs and cultures during business trips. These cross-cultural exchanges have made me deeply aware of the rapid and ever-changing flow of information, which in turn fosters a flexible and adaptive design mindset.

I have been with RTD for over 30 years, currently leading the design team and actively promoting sustainable and healthy environments.

Solid fundamentals are the foundation of creativity, and clear logic is the starting point of excellence.

I thoroughly study the tasks defined by the client and communicate with them to understand their needs and preferences, in order to grasp the overall concept. Then, I define the spatial atmosphere and detailed arrangements based on materials, colors, furniture, and decorations. For me, it is crucial to ensure that the design meets the client’s expectations at every stage of the process. Once the basic design is confirmed, I proceed with the detailed design and integrate MEP functions to develop the construction documentation.

I think it would be the table and chairs. Whether indoors or in the garden, their quality greatly influences my resting environment and the sense of happiness they bring.

My daily work usually follows the progression of departmental tasks, while a flexible schedule varies depending on the projects I’m working on, allowing me to balance creativity and productivity.

The vision of a better future life has always been the soul of a designer. Find inspiration in stillness, feel life with intention, enrich the depth of your design, appreciate the beauty in everyday living, and always stay true to your original intention—let it guide your creativity and decisions.

You may call them workaholics or even madmen—while most people might not understand, that is exactly where they find joy in life.

User-centered design that integrates health, functionality, safety, security, and service.

Fundamental skill development includes spatial concepts, design drawing, ergonomics, creativity, budget planning, and communication skills.

As an interior designer, my toolbox is filled with both tangible and intangible tools that help me transform concepts into reality. It includes a variety of software and applications, project management and collaboration tools, presentation software, and more. With the advancement of technology and the evolution of design philosophies, I continuously learn and adopt new tools. However, no matter how the tools change, the core remains a deep understanding of space, aesthetics, and human needs.

Indeed, design often requires a significant investment of time and energy, especially during the stages of refining details and making repeated revisions. Setting clear goals and breaking down tasks, creating detailed schedules and timelines, prioritizing and focusing on execution, leveraging tools and optimizing processes, as well as regularly reviewing and adjusting, are all key to improving efficiency.

The timeline varies depending on the scale of the project. For instance, in the case of office design competitions, it typically takes an average of 30 days to deliver a design proposal.

As a designer, one of the most frequently asked questions is: “What does your own home look like?” or “Did you design your own home as well?”

A significant work experience involved implementing fundamental design concepts through overseas material sourcing.

CHIMEI, EPSON, gogoro, IBM, Intel, KWE, KIRIN, Mitsubishi Estate Taiwan, NetApp, PHILIPS, RICOH, SHISEIDO, Schneider Electric, TÜV Rheinland, Thermo Fisher Scientific, Takeda etc.

Concept design. The starting point for giving space feelings.

Motivate young designers. Combining design trends with the promotion of a sustainable and healthy environment.

We work collaboratively as a team.

You can contact me via email:RT001780@mail.ruentex.com.tw

We intentionally designed the visitor journey as an exploration that begins at the Earth's core and gradually unfolds outward. Visitors are guided through the origins of earthquakes, geological evolution, and tectonic movements, ultimately understanding how humanity coexists with these natural forces. We believe the relationship between people and the land is inseparable, much like the bond between lips and teeth. Therefore, the narrative focuses not on disaster itself, but on the resilience, wisdom, and adaptation that emerge from living with the Earth. Through layered exhibitions, flowing circulation, and immersive spatial experiences, visitors move from understanding to empathy, recognizing how seismic activity has shaped landscapes, civilizations, and human resilience. *Landform Pulsation Research Interior* seeks to transform earthquakes from a source of fear into a story of coexistence between people and the Earth.

We believe the most effective seismic design is not hidden behind walls but integrated into the visitor experience. In Landform Pulsation Research Interior, the patented rolling seismic isolation system and seismic-resistant ceiling were treated as more than technical solutions; they became part of the project's spatial narrative.Working closely with structural and engineering teams, we translated the principles behind these systems—resilience, flexibility, and energy dissipation—into the design language, circulation, and exhibition experience. Rather than concealing the technologies, we used them to illustrate how humans understand, respond to, and coexist with the Earth's dynamic forces.By making these protective systems visible and meaningful, the project transforms engineering infrastructure into an educational and symbolic element, expressing not only safety and performance, but also human ingenuity, resilience, and our ongoing dialogue with nature.

We believe research institutions should be more than places for scientific work; they should serve as platforms that connect science, society, and the public. In Landform Pulsation Research Interior, geological strata and seismic rhythms were translated into spatial experiences, transforming complex scientific concepts into something tangible and accessible.Material selections were inspired by geological textures and stratification, reinforcing the connection between space and research. Culturally, the project responds to Taiwan's seismic context within the Pacific Ring of Fire, highlighting the relationship between people and the land. Technologically, seismic protection systems, exhibition elements, and interactive features were integrated to make scientific knowledge more engaging and understandable.The project advocates a broader vision for research environments—one that supports researchers while also fostering public education, knowledge sharing, and meaningful engagement between science and society.

Due to adjustments to the elevator core, the original six-story reinforced concrete structure required seismic strengthening, while reserved connection rebars were utilized to support the addition of a seventh-story steel structure. This challenge became an opportunity to integrate structural upgrades with the project's spatial narrative.Architects, interior designers, structural engineers, and MEP consultants collaborated from the earliest stages to align seismic performance, functionality, and user experience. The spatial layout was reconfigured to accommodate the new structural conditions while maintaining design continuity.Rather than treating the addition as a separate intervention, we integrated it into the overall concept. Through consistent materials, circulation, and spatial sequencing, the existing and new volumes were seamlessly connected, reinforcing the themes of geological stratification, continuity, and resilience that define Landform Pulsation Research Interior.

In Landform Pulsation Research Interior, material selection was guided by the principles of the five senses and six perceptual dimensions. Materials such as mineral coatings, acoustic cork, wool felt, engineered stone, and ceramic tiles were chosen for their texture and tactile qualities, translating geological stratification and seismic energy into tangible spatial experiences.Sustainability and well-being were also key considerations. Low-carbon, healthy, and environmentally responsible materials were prioritized to support both environmental performance and occupant comfort. Acoustically, sound-absorbing materials were carefully integrated to create an appropriate auditory environment and enhance spatial perception.Through touch, sound, and movement, visitors can physically engage with the layered textures and rhythms of the space, strengthening the narrative of geological formation, energy flow, and the dynamic relationship between humans and the Earth.

In Landform Pulsation Research Interior, space was conceived as a journey extending from the Earth's core to the scale of the galaxy. Rather than relying on text, transitions are communicated through spatial form, scale, materiality, lighting, and circulation.Research areas employ enclosed and grounded spatial qualities to evoke the Earth's core and mantle. Interactive exhibition zones become more fluid and visually connected, representing tectonic movement and energy transmission. Social and gathering spaces gradually open up with greater light and spatial freedom, symbolizing the atmosphere and the vastness of the cosmos.Through a sequence that moves from enclosed to open, dense to expansive, and intimate to infinite, visitors intuitively experience an expanding awareness from the Earth beneath their feet to the universe beyond.

With nearly 30 years of interior design experience and expertise in healthy buildings and well-being, I have always viewed design as fundamentally human-centered. Landform Pulsation Research Interior further deepened this perspective by demonstrating that research institutions are not only spaces for knowledge production, but also platforms that connect science, people, and society.The project integrated scientific research, environmental storytelling, and well-being into a unified framework. Beyond functionality and seismic safety, it emphasized sensory experience, healthy materials, acoustic and lighting quality, and spatial settings that support comfort and interaction—aligning with WELL principles.This project reinforced my belief that design should move beyond form and function to create environments that promote health, resilience, learning, and meaningful connections between people and the built environment.

In Landform Pulsation Research Interior, the most influential methods shaping its visual and spatial language were structural behavior simulation and seismic waveform data translation. In collaboration with the National Center for Research on Earthquake Engineering, experimental data, vibration modes, and structural responses were visualized and transformed into spatial logic defined by rhythm, direction, and intensity.Seismic prototype studies further translated variations in wave frequency and energy transmission into spatial hierarchies, circulation flows, and surface conditions, turning architecture into a dynamic system responsive to Earth's movements.Additionally, a multi-scale data integration approach—from micro material vibration to macro structural deformation—established a design logic where form is generated from data, ultimately defining a spatial language driven by seismic waves, geological layers, and energy flow.

A key principle from Landform Pulsation Research Interior is making structural resilience visible and integral to spatial storytelling, rather than hiding it as technical infrastructure. In seismic regions, safety systems can actively express how architecture responds to earthquake forces.Another lesson is translating seismic data into spatial logic, where wave behavior, energy dissipation, and structural responses shape form, circulation, and atmosphere, enabling experiential understanding.Equally important is early interdisciplinary collaboration between architects, engineers, and researchers, aligning performance and narrative as a unified system.Ultimately, environmental storytelling in institutional design shifts from isolated disaster events to continuous resilience, allowing users to intuitively experience adaptation, risk, and coexistence through space, materiality, and movement.

The integration of natural light with clear glass partitions significantly reshaped communication dynamics within the workspace. Transparency fosters a subtle sense of connectedness—employees can visually sense team activity without feeling interrupted. The absence of opaque barriers encourages spontaneous exchanges, as individuals are more aware of colleagues’ availability and ongoing discussions. This architectural openness also flattens hierarchy; leaders become more accessible, and teams naturally gravitate toward collaboration rather than isolation. The resulting environment supports a rhythm of interaction that is fluid rather than forced, enabling more frequent micro-collaborations that cumulatively enhance teamwork and organizational agility.

The decision to use organic materials such as linseed-oil flooring was driven by sustainability goals and a desire to create a healthier sensory experience. These materials emit significantly lower VOC levels, reducing long-term exposure to chemicals commonly found in synthetic finishes. Their natural textures and warm tactile qualities create a grounding effect, helping employees feel more relaxed and psychologically secure. The flooring also ages gracefully, developing subtle patinas that reinforce the authenticity of the environment. Beyond environmental responsibility, the material palette contributes to a calmer emotional atmosphere, supporting overall well-being in a way that synthetic products rarely achieve.

The dual-sided movable whiteboard system evolved through multiple design iterations and real-user testing sessions. Initially conceived as a tool for ideation, it quickly grew into a multifunctional architectural element once teams began experimenting with it. Employees used the boards to carve out impromptu meeting zones, create semi-private work pockets, or extend project walls for long-term visual thinking. Their mobility empowers users to reshape the environment instantly, turning static office layouts into kinetic, ever-evolving landscapes. This adaptability not only enhances collaboration but also encourages ownership—teams feel the space belongs to them because they can actively manipulate it according to their workflow.

Receiving the Silver A’ Design Award elevated the project’s visibility and validated our research-driven approach to workplace design. It reinforced our commitment to emotional ergonomics—designing not only for functionality but also for psychological uplift. Following the recognition, more clients sought solutions that emphasized well-being, flexibility, and scientific insights. The award also encouraged us to systematize our methodology, integrating user-behavior mapping and emotional analytics into our standard design workflow. This project became a reference point for how intuitive, happiness-driven environments can outperform conventional offices.

The meditation and contemplation zones were informed by research demonstrating that even brief moments of mindfulness can recalibrate the nervous system, reducing cortisol levels and improving cognitive performance. Studies from organizations like Harvard and Stanford highlight the measurable benefits of rest-based productivity cycles. Drawing from these insights, we created environments that balance sensory reduction with subtle visual cues of openness—soft materials, controlled acoustics, and filtered lighting help employees reset without feeling disconnected from the workplace rhythm. These spaces acknowledge that high performance is cyclical, not constant.

Balancing individual concentration with collaborative engagement required a zoning strategy that respects diverse work states. We designed the floor plan with three gradations of energy: vibrant interaction zones near circulation paths, flexible hybrid spaces for semi-focused teamwork, and deep-focus areas buffered acoustically and visually. This gradient allows employees to self-select environments that match their immediate cognitive needs. The design embraces the idea that productivity is not monolithic; it fluctuates throughout the day, and the workplace must accommodate that natural rhythm.

Working within a compact 251.24 m² footprint required a high level of spatial discipline. We approached the plan as a dynamic system rather than a fixed layout. Modular furniture allows rapid reconfiguration, while multifunctional walls carry storage, writable surfaces, or display capability. We also optimized sightlines to create a perception of spaciousness, using light, color, and proportion to elevate mood. The challenge was to maintain the dopamine-enhancing qualities—novelty, control, interaction—without cluttering the space. The result is an environment that feels open, adaptable, and psychologically energizing despite its modest size.

Since its completion in 2016, the office has demonstrated sustained positive impact. Long-term feedback shows reduced stress levels, stronger team cohesion, and higher satisfaction with the work environment. Employees report feeling more empowered because the space allows them to choose how and where they work. Productivity metrics, such as project turnaround time and interdepartmental collaboration frequency, have shown measurable improvement. The space continues to function as an ecosystem that nurtures creativity and reinforces emotional well-being.

For designers aiming to create emotionally responsive workplaces, my key advice is to integrate scientific inquiry into the design process. Study how people behave, what motivates them, and how environments influence emotion and cognition. Instead of relying solely on aesthetics or trends, build prototypes—small mock-ups or behavioral experiments—to test how users respond. Emotional resonance comes from subtle calibrations: the right balance of openness and privacy, sensory richness without overstimulation, and the freedom for people to adapt their surroundings. The future of workplace design lies in spaces that understand humans as complex neurological beings, not merely users.

We translated the vibrant character of Kaohsiung’s sun-drenched climate and coastal urban charm into a color palette of sunset orange, lake blue, corporate yellow, and concrete gray. These selections not only reflect the local environment and cultural identity, but are also grounded in color psychology, with proven benefits for emotional well-being and mental performance.For instance, warm tones like orange and yellow are known to promote optimism, energy, and creative thinking, while cool tones like lake blue help reduce stress and enhance focus. Neutral tones like concrete gray act as a visual stabilizer, helping to minimize sensory fatigue and maintain long-term psychological comfort.We intentionally limited the use of vibrant accent colors to approximately 20% of the space, ensuring strong visual identity without overwhelming the senses. The remaining areas are grounded in calmer, more neutral tones, creating an environment that feels both energizing and composed.This balanced application of color — both emotionally supportive and visually intentional — helps cultivate a workplace where creativity, productivity, and well-being are equally valued and organically integrated.

Sustainable materials and modern aesthetics are not mutually exclusive—in fact, we believe they can complement and reinforce each other. However, in practice, achieving this balance requires careful planning and material adaptation.Green building materials, especially those certified in Taiwan, tend to emphasize general applicability and environmental performance. As a result, the majority of certified materials come in standard or neutral color palettes. Given this project’s need for a more specific and expressive color language aligned with the brand identity, we did encounter limitations during the material selection process. In cases where local material libraries could not meet our design intent, we sought certified or low-impact alternatives from international sources.In Taiwan’s green material certification system, materials are categorized as base materials, intermediate layers, or finish layers. When working with curved or expressive surfaces—where certified base materials often lack formability—we pivoted toward lighter, more pliable finish materials such as high-performance coatings or architectural films to achieve our design goals without compromising sustainability credentials.Most importantly, our interpretation of "dynamism" did not rely on resource-intensive forms or excessive ornamentation. Instead, we focused on spatial flow, flexible programming, and modular furniture systems. Many elements in the space—such as display units, partition walls, and seating—are mobile or reconfigurable, enabling the space to adapt to different needs over time. This approach supports both environmental responsibility and a modern, kinetic experience for the users.

The concept of lithium battery portability was translated into spatial language through the use of circular and radiating forms, which became a key strategy in both space planning and movement design. The circular geometry symbolizes energy dispersal, flexibility, and continuity—qualities inherent in battery technology.This conceptual foundation guided us to structure the layout around a series of central nodes and dynamic circulation paths. For example, the reception hall and exhibition areas adopt curved walls and radial zoning, subtly guiding visitors into the core of the space while reinforcing a sense of flow and forward movement. Curved volumes—such as phone booths, meeting pods, and acoustic wall elements—not only echo the shape of molecular structures but also create a more fluid and inclusive experience for users.By avoiding rigid partitions and instead utilizing soft boundaries and reconfigurable modules, the entire office encourages adaptability and intuitive navigation. In this way, the "circularity" of lithium battery design evolved into a spatial metaphor—one that supports openness, interaction, and operational efficiency.

Balancing forward-thinking spatial concepts with more conservative user habits was one of the key challenges in this project. While the leadership team had a strong desire for innovation, some of the end users were more accustomed to traditional layouts and work styles.When proposals were initially rejected, we chose not to push back immediately. Instead, we listened carefully to users' underlying concerns to understand their true needs. This allowed us to differentiate between surface-level resistance and deeper functional requirements. Through open dialogue, reference cases, and hands-on mock-ups, we helped users visualize and experience the potential of new spatial approaches in a tangible way.Rather than compromising innovation, this process allowed us to redefine innovation through empathy—meeting functional needs while subtly shifting mindsets. One year after occupancy, we often receive feedback from employees expressing how much they enjoy working in this new environment. For many, it has become a refreshing and inspiring experience that has expanded their expectations of what a workplace can be.

In the open office area of the project, we introduced four large acoustic cones, each measuring 3.6 meters in diameter and 3.5 meters in height. These semi-enclosed discussion pods serve as acoustic zones within the open workspace. Initially, we explored the use of solid cylinders to define the discussion areas. However, the mass and scale of such volumes felt visually heavy and overly dominant in the space. We therefore transitioned to conical forms, which reduce the footprint while creating a more dynamic and visually lightweight presence—aligning with the desired sense of fluidity and openness in the work environment.As the design evolved, we moved from linear frameworks to full surface enclosures in order to maximize acoustic coverage. Perforations were added to the surface panels, not only to reduce the overall weight but also to allow for partial visual transparency—achieving a balance between openness and privacy, while also enhancing acoustic absorption performance.During implementation, several technical challenges arose. Due to material size limitations, the cone surfaces had to be modularized. We turned this constraint into a design feature by developing an interlaced segmentation pattern that added visual rhythm while discreetly concealing the internal structural frame. Compounding the complexity, the inner and outer surfaces of each cone had differing curves and slopes, requiring precise coordination between layers. To address this, we utilized digital modeling and 3D spatial analysis to ensure accurate fabrication and installation.In the end, the cones function not only as high-performance acoustic solutions, but also as sculptural anchors within the space—demonstrating a refined balance between function, form, and technical resolution.

3D modeling technology has empowered us to simulate and analyze the intricate connections and visual relationships among complex geometric elements—such as curved walls, inverted trapezoidal aluminum columns, and conical pods—right from the earliest stages of the design process. By creating detailed virtual representations, we were able to explore innovative forms and spatial compositions without being hindered by traditional construction constraints. This freedom allowed creativity to flourish, enabling us to conceive bold, unconventional ideas that might have been dismissed otherwise.Furthermore, the highly accurate digital models served as a critical tool during the construction phase, facilitating precise prefabrication of components off-site and streamlining their assembly on-site. This digital-to-physical workflow not only minimized errors and rework but also significantly enhanced overall construction quality and efficiency.As a result, the integration of advanced 3D modeling technologies bridged the gap between visionary design and practical realization, ensuring that complex architectural visions could be confidently executed with reliability and precision.

We strategically positioned the auditorium, training rooms, and meeting spaces at the very core of the floor plan, deliberately emphasizing their symbolic and functional importance as the heart of knowledge exchange and communication within the organization. This central placement not only highlights their pivotal role in fostering collaboration and information sharing but also actively encourages interaction among employees, thereby strengthening corporate cohesion and a sense of community.Encircling this vibrant core are carefully planned open office areas, phone rooms, and quiet zones designed to accommodate a wide range of work styles and individual preferences. These surrounding spaces offer flexible options that support both collaborative teamwork and focused, independent work.By organizing the layout into this clear tripartite structure—centralized collaborative hubs enveloped by diverse, adaptable work zones—we establish a deliberate spatial rhythm that intuitively guides movement and activity throughout the floor. This thoughtful arrangement contributes to creating a more human-centered work environment, enhancing employee well-being, productivity, and overall operational efficiency.Ultimately, this design strategy balances openness and privacy, interaction and concentration, enabling the workspace to meet the evolving needs of a dynamic workforce while reinforcing the organization’s core values of knowledge sharing and connectedness.

This project places a strong emphasis on the seamless integration of local culture, ambitious sustainability goals, and innovative spatial experiences, collectively setting a new benchmark for industrial office environments. By thoughtfully incorporating elements that reflect the unique cultural identity of the region, the design fosters a deep sense of place and belonging for employees and visitors alike.Sustainability is woven throughout every aspect of the project, from the selection of environmentally responsible materials to energy-efficient systems and biophilic design principles that promote well-being. These efforts not only minimize the ecological footprint but also create healthier, more comfortable workspaces.In the post-pandemic era, where health and safety have become paramount concerns, this holistic approach that balances wellness, operational efficiency, and human-centric values is particularly relevant and impactful. The project demonstrates how industrial office spaces can evolve beyond purely functional settings into dynamic environments that support collaboration, creativity, and sustainability.Its success has the potential to inspire a broader reimagining of workplace design—not only across Taiwan but throughout other regions in Asia—encouraging the development of flexible, resilient, and environmentally conscious workspaces that respond to the changing needs of modern organizations and their people.

We translated the concepts of energy and passion into a distinctive spatial language that breathes life into the environment. This was achieved through boldly scaled color walls that command attention and evoke vitality, flowing curved forms that guide movement and soften the spatial experience, flexible training areas designed to accommodate diverse learning styles, and acoustically refined discussion pods that seamlessly blend functionality with refined design aesthetics.Each of these elements was thoughtfully crafted to represent a harmonious fusion of purposeful intent and creative expression, ensuring that the space is not only visually striking but also highly functional and responsive to user needs.Complementing this dynamic spatial composition is a strong and unwavering commitment to architectural and material sustainability. From the careful selection of environmentally responsible materials to the integration of energy-efficient systems and design strategies that minimize waste, the project demonstrates an holistic approach to sustainable design.This balance between conceptual clarity and executional excellence has resulted in a workspace that inspires its occupants while respecting ecological imperatives. The accolades and recognition the project has garnered are a testament to this successful synthesis of innovation, aesthetics, and responsibility, making such honors genuinely well-deserved.

Balancing the historical grandeur of the Forbidden City's ancient lecture halls with contemporary sustainability required a synthesis of form and ideology. We embraced traditional Eastern aesthetics—such as timber textures, bronze panels, and whitewashed walls—while ensuring that every design element met modern green building standards. For instance, the wood-like patterns on the ceiling evoke classical architecture yet integrate seamlessly with advanced acoustic panels and intelligent lighting systems. The furniture and spatial layout were designed to be modular and flexible, supporting contemporary functions without compromising cultural ambiance. By grounding every design decision in both historical reverence and ecological mindfulness, we preserved authenticity while creating a space that is future-ready.

The central courtyard was conceived as the “breathing heart” of the venue—a shared, contemplative core where paths of research and general visitation diverge. This spatial distinction emerged from our desire to respect the differing rhythms of study and leisure. Scholars require quietude and focus, while general visitors benefit from more fluid and exploratory circulation. The courtyard's open layout, framed by corridors and transparent walls, visually and physically delineates these flows while remaining inclusive. Inspired by Chinese garden philosophy, it also becomes a symbolic axis that harmonizes activity and stillness, academic pursuit and public interaction.

The use of Carrara marble and stacked stone was driven by a desire to root the space in enduring material narratives. Carrara marble, with its natural veining, offers both elegance and a sense of movement—echoing the flowing forms of calligraphy. It is prominently used in entrance walls to create a serene yet powerful first impression. The stacked stones, on the other hand, evoke layers of time and memory, suggesting a sedimentation of culture and thought. By combining these materials, we sought to create a multisensory experience—one where the textures speak to both the permanence of heritage and the continuous unfolding of history.

As Taiwan's first Presidential Library, this serene and multifunctional cultural venue bears a significant historical responsibility—not only to preserve the nation's memory, but also to respond to contemporary demands for public knowledge and interdisciplinary dialogue. This mission deeply influences our spatial design strategies and methods.The library’s public areas are divided into two distinct zones: the exhibition hall and the members-only library. The exhibition space is dedicated to presenting presidential archives and collections. Precious artifacts are displayed in secure showcases, while historical documents and imagery are projected through films and visual installations to evoke a strong sense of realism and historical presence. The library section operates on a membership system, primarily serving scholars and academics. It regularly hosts academic symposia and also offers venue rentals, encouraging dynamic, cross-disciplinary events—such as a recent Louis Vuitton runway show.In terms of spatial planning, we have carefully balanced the solemnity required for heritage preservation with the flexibility needed for modern usage. For example, the exhibition zone employs warm materials and controlled lighting to create a contemplative atmosphere. In contrast, the academic and event spaces feature movable partitions, modular furnishings, and advanced acoustic treatments, allowing them to easily transform into conference rooms, discussion lounges, or lecture venues.More importantly, the library actively welcomes creative and cross-sector collaborations. By doing so, it redefines what a presidential library can be—not just a repository of the past, but a living platform for thought, culture, and exchange. Through deliberate spatial design and operational flexibility, the library allows history and the present, scholarship and creativity, public service and cultural innovation to coexist seamlessly, fulfilling its role as a space where cultural memory and forward-looking imagination converge.

Achieving Taiwan’s Diamond level green building certification required an integrated design strategy that married sustainability with cultural authenticity. From material selection to mechanical systems, every choice served dual purposes. We prioritized locally sourced, low-emission materials such as water-based paints and natural stone. Intelligent lighting, energy-efficient HVAC, and daylight optimization were seamlessly embedded into the design. At the same time, we ensured these systems did not disrupt the visual purity or spatial rhythm inspired by traditional calligraphy and architecture. The result is a holistic environment where sustainability is not an add-on, but a deeply embedded design ethos that supports both human well-being and cultural continuity.

The use of wood-textured ceilings and lattice structures in this serene, multifunctional cultural venue is deeply rooted in Eastern aesthetics, embodying both continuity and introspection. These design elements are not merely decorative—they are conceptually inspired by traditional philosophies and natural landscapes that emphasize the interplay between presence and absence.The lattice motif, in particular, draws inspiration from Chinese bamboo groves, where vertical bamboo poles intersect with layers of foliage and shifting light to create a visual rhythm of opacity and transparency. This natural layering of views—where scenery is partially revealed and partially concealed—serves as a metaphor for contemplation and subtle perception. Translating this into architecture, the lattice becomes a permeable boundary: it allows light, air, and sightlines to flow through, while gently defining space. It offers enclosure without confinement, inviting visitors to slow down and engage with the space mindfully.The wood-grain ceiling further reinforces this calm atmosphere, emphasizing natural materials and the passage of time. It reflects the Eastern principle of Dao fa zi ran (道法自然)—"the Way follows nature"—and adds warmth and softness to the overall spatial experience. Meanwhile, the repetitive grid of the lattice structure visually evokes a sense of order and continuity, symbolizing the flow of history, thought, and time.Together, these elements create an atmosphere of quiet depth and layered meaning—a spatial rhythm that supports reflection, scholarly inquiry, and cultural dialogue. In this way, the space itself becomes a medium for communication: a place where tradition and modernity, structure and emotion, converge to foster introspection and intellectual exchange.

The abstract interpretation of calligraphy evolved through a deep engagement with its philosophical essence rather than its literal form. In early conceptual sketches, we analyzed the kinetic qualities of brushstrokes—their rhythm, pauses, and transitions—and mapped these into spatial sequences. For example, an ink stroke's bold beginning inspired the anchoring mass of the central exhibition wall, while its fading tail informed the soft fade-out of a curved corridor lit by diffuse lighting. Over time, this metaphor expanded from walls and surfaces to circulation, acoustics, and even scent. Architecture, in this sense, became a multi-sensory calligraphic poem—experienced in motion, light, and silence.

We envisioned Serenity as a hybrid knowledge environment where analog and digital wisdom coexist. The integration of a digital Sinology library within a traditional museum setting reflects our belief that scholarly inquiry is both rooted and evolving. Digital infrastructure—such as interactive databases, remote access terminals, and audiovisual archives—is embedded discreetly, preserving the architectural purity while enabling modern research methods. At the same time, physical archives, rare manuscripts, and tactile reading spaces cultivate the sensory and contemplative aspects of learning. This coexistence allows researchers and visitors to navigate between eras and formats seamlessly, enriching both personal insight and collective memory.

What sets Serenity apart in contemporary architectural discourse is its ability to merge intangible cultural values with high-performance spatial design. Rather than imposing stylistic tropes, we translated metaphysical concepts—such as clarity of mind, resilience, and humility—into spatial expressions. The project innovates through restraint: it elevates silence over spectacle, meaning over decoration. It also redefines what a cultural venue can be—not merely a place of display, but a living, breathing ecosystem for learning, dialogue, and introspection. This quiet radicalism, grounded in both tradition and innovation, represents the type of design thinking we believe the future needs most.