បទសម្ភាសន៍ជាមួយ Qian Zhen

I am a university graduate, and this is my graduation work from 2021. I have been working in this industry for four years, and I have always been very passionate about art.

I started learning art from a young age, including Chinese traditional painting. The beautiful brushstrokes sparked my interest in the sense of order and beauty in modern architectural design.

Practicality, aesthetics, and hand-drawn sketches to express my intuition, while digital tools help me realize my ideas better. Computer-aided rendering allows me to see how details impact the overall effect. When a new project starts, I prefer to begin with hand-drawn drafts.

Excitement and thrill—seeing the initial form take shape is what brings me the most joy. I love flipping through books, and I have many ideas. When I settle on one and gradually transform it into the vision I love in m

My hand-drawing skills—influenced by Eastern painting in my early years and Western techniques during my education. These have greatly helped me grasp beauty, and I’ve effectively combined them in my design studies.

A significant influence on my design was my preparation for graduate studies in China, which gave me a deeper understanding of design principles. My future plan is to leverage my drawing strengths. Currently, my designs are being referenced in a national library project, which I consider a great honor.

To understand what design is and how it comes into being.

During the design process, I often get lost in the details and forget that the overall effect and the feelings it evokes are the most important.

I live each day very happily. On boring workdays, I often do things unrelated to my job.

Design trends allow me to see the latest ideas and creativity from designers. Trends and individuality go hand in hand. If I want to keep up with design trends, I first focus on understanding the most significant changes in that trend.

Good design should be something most people need or represent a creative breakthrough, with a human-centered approach.

When a design is 80% complete,

My biggest design project is my award-winning work, which I invested a lot of time in. I started preparing for it during coursework before graduation. My initial goal was to turn a philosophical story I understood into a spatial or architectural design, and I ultimately achieved it. Currently, I’m working on some cultural projects for social media.

Gaudí is an amazing designer. He must have had a vibrant, colorful world in his mind, and his designs are highly representative.

My lifestyle now is more peaceful. I used to love the city and music a lot. Culture influences my design and determines who will use it. Good design must be highly beneficial to society.

My work culture is sometimes relaxed but demands high standards, so working with me requires enthusiasm like being in a battle. It’s more goal-oriented, but often I care more about the process of achieving the goal. That’s why completing these interviews isn’t easy for me.

I haven’t made any charitable contributions yet, but I’m very interested in social design. If I get the chance in the future, I will make some efforts.

Actually, this was a project from four years ago, my graduation design. I’ve never given it a proper showcase until now. Participating in the A Design Award is very meaningful to me; it recognizes my design abilities from my student days.

Openness and fluidity, inspired by a dialogue from Zhuangzi by the pond, expressing a philosophical idea of transcending worldly concerns.

How to express a philosophical idea through space? First, I need to understand what that philosophy conveys—is it about the relationship between self and the world, or a different way of perceiving it? What I aim to achieve is the process of reflection itself.

I want to turn it into a physical model and place it at my workplace; I don’t have grander ambitions beyond that.

About a year or so.

This specific concept stems from my interest in Eastern philosophical ideas and their guidance in my life. This design wasn’t commissioned; every step from inspiration to realization, including the details, was under my control.

Currently, I have no intention of selling, leasing, or producing it.

Graduation.

Junya Ishigami, Antoni Gaudí, and Mies van der Rohe.

Commercial.

Contemplation and deep thinking guide my design process.

It originates from the core concept of the design itself.

I use rendering software on a computer to bring my ideas to life.

Curves and materials are essential elements that define the aesthetic and structure.

Myself—I rely on my own intuition and skills.

To better represent the actual effect and enhance the final outcome.

Researching the concept and studying how other designers have brought their ideas to life.

Technology plays a crucial role in advancing my designs.

To understand my true position and place in the design world.

I learned how to realize a design step by step, breaking it down into manageable phases.

Not at the moment.

I graduated with a very high score, which allowed me to choose any design major, and I selected the field I’m currently studying.

My love for art and my admiration for beautiful, structurally appealing things drove me to become a designer.

It was a natural outcome of the major I studied.

I design spatial layouts, and I’m interested in exploring more spatial exhibition designs.

They should develop their own sense of aesthetics.

A good designer focuses on the work, while a great designer constructs ideas and concepts.

A good design is one that brings pleasure, and I evaluate it based on how enjoyable and impactful it is.

Good design serves society. Investing in good design drives social progress, development, and change, reflecting a personal sense of responsibility and accountability for one’s own life.

I would design home goods to address flaws I notice in daily life and create better solutions for future needs.

I have many dream projects; I’d love to expand my designs into a larger-scale endeavor.

My success comes from my pursuit of art and my relentless dedication to beautiful things.

During my university years, I was greatly inspired by Mies van der Rohe’s works.

I love Junya Ishigami’s conceptual designs because of their innovative and thought-provoking nature.

My greatest design is the award-winning piece from this competition. Its depth comes from the research into philosophical questions and thoughtful design process.

By focusing with precision and attention to detail, which is what I’ve practiced in my own work.

I might have become an artist, which I’m working toward now, or a curator.

To me, design is a subjective act of creation and transformation, encompassing both functionality and form.

During my high school years, my specialty teacher supported me, and my university mentor, along with my family, provided a strong backbone that allowed me to pursue what I love.

Every aspect of my life has become the foundation of my design.

Mental chaos—often I have diverse ideas for a design but struggle to express them all.

Showcasing it among people, especially the audience who inspires my current design, and listening to their thoughts.

I would gradually shift toward art to reconnect with my original intuition.

I’m still a young designer, and my current goal is to surpass myself.

I’m still a young designer, and my current goal is to surpass myself.

This is a very broad question that requires deep consideration.

I’m currently working on projects that support me on social media.

I’m very satisfied with my current design projects because they reflect my growth and vision.

I value originality more, ensuring my designs stand out with unique perspectives.

The emergence of AI has enabled more ideas to come to fruition.

About a year or so.

Inspiration strikes, and I gain more ideas through hand-drawing.

Not at the moment.

Good design leads trends, and Steve Jobs is a product and interface designer I greatly admire.

Seeing more details helps me refine and perfect my designs.

I use SketchUp as a rendering software to bring my designs to life.

Color, materials, and the environment are all indispensable, playing a key role in visual impact and creating atmosphere.

I hope to express the feelings I encounter in everyday life through my designs.

I would be very excited and delighted to see such outstanding work from my peers.

My ideal design partner shouldn’t be like me; I need someone complementary. Many projects are collaborative, but what matters most is alignment in our thinking.

no,i didnt remind it

I saw a design in the school library that was 150 years old, or maybe 50, I can’t quite remember, as I haven’t encountered it again since.

Persistence is key to overcoming challenges in design.

I’d like to connect with the post-World War II period or a specific economic era, as I believe the designs from that time greatly contributed to rebuilding life.

I used to think I only enjoyed creative work, but I’ve discovered that explaining my designs to others also brings me insights and prompts me to rethink, even leading to recognition.

. Green, nature, spring, and rainy days inspire my work.

The difficulty of this design led me to question my abilities entirely.

Discovering fresh and interesting ideas, making decisions I wouldn’t normally make.

When I was a child, I didn’t have a clear sense of what I liked or disliked.

Whether the future will involve immortals or different dimensions.

This design is merely my university graduation project.

My major in college was art and design, and I discovered my strong interest and talent for drawing from a young age. Design allows me to express myself and serves the needs of others. I have always aspired to be an artist, using design to influence and serve people.

My studio focuses on art and technology, specifically in space exhibitions. We have significant freedom in choosing topics, allowing us to fully leverage the potential of each member and create contemporary artistic works.

I believe design is the process of solving abstract or specific problems. It requires us to translate complex ideas into forms that are easy to understand and use, all while considering the combination of functionality and aesthetics.

I prefer designs that embody stream of consciousness, abstraction, and are rich in thought. These types of designs provoke deeper thinking and showcase cleverness.

Currently, I don’t have a specific favorite design, but during my college years, I was deeply impressed by the architect Jun'ichirō Tanizaki. His works exhibit harmony between space and structure, which I find very captivating.

The first piece I designed for the company was a preliminary concept for an exhibition, aimed at showcasing the depth and layers of artistic works through spatial design.

I enjoy using breathable materials because they offer unique functionality and help create better interaction between the design and users.

I feel most creative when I focus on a specific project, especially during brainstorming and sketching phases, where inspiration often flows freely.

I particularly focus on balancing beauty and functionality, as achieving this balance is essential for effective design.

During the design process, I often feel picky and conflicted. My pursuit of perfection leads me to scrutinize every detail critically.

Sometimes I question whether it truly represents my vision, which can lead to complex emotions. However, when I see it seamlessly integrate into its environment, I feel a sense of relief and satisfaction.

I believe the success of a design lies in deep contemplation and its ability to function efficiently, meeting specific purposes without wasting resources.

I first consider the design's applicability and functionality—whether it adequately meets the target audience's needs is a critical standard for me.

Designers bear the responsibility of creating better operational methods that promote efficiency and sustainability while being mindful of environmental issues in their designs.

The design field is evolving towards greater efficiency; the future will see more designs focusing on effective functionality to meet rapidly changing market demands.

My most recent exhibition was my graduation exhibition, which showcased all my work over four years of university. I have yet to determine the timing for my next exhibition, but I am currently planning new themes.

My inspiration often comes from Daoist philosophy and my observations of the world around me. I focus on what is happening currently and use daily artistic experiences to nurture my creativity.

I would describe my design style as breathable and stream-of-consciousness, with abstract characteristics. My design method emphasizes the interplay between artistic expression and practical application, constantly exploring new techniques.

I live in China, and the Eastern culture here profoundly influences my design. It provides me a unique perspective, but there are also limitations, such as a reliance on tradition.

Collaboration with companies usually happens naturally. We often start synchronizing ideas early in the project to ensure we share a common vision.

I believe companies should pay attention to whether candidates have a synchronized vision and a deep understanding of the problems they need to solve when selecting designers.

My design process begins with sketching, transitioning from concepts to actual implementation, and often requires continuous revisions and refinements.

My favorite home design items include a drawing table, bookshelves, lighting fixtures, decorative paintings, and seating; each adds a unique beauty to a space.

My day typically revolves around work and contemplation. I spend my mornings brainstorming ideas and my afternoons working on sketches and models.

I would encourage young designers to be brave in contemplating life and to find a design style and direction that suits them best. Being yourself is the most important factor.

Having a strong personal style as a designer can be both an advantage and a disadvantage. While it can help me stand out in design, it may complicate collaboration with others.

My "golden rule" is to maintain acute sensitivity, allowing me to capture shifts in inspiration and needs promptly.

Understanding the needs of the target audience and modeling capabilities are critical, ensuring that the design remains aligned with its intended purpose.

My toolbox includes sketches, design software (like Sketch and the Adobe suite), research books, and inspiration materials I gather from daily life.

I set clear daily goals to effectively organize my time, ensuring that every project progresses according to schedule.

Designing an object usually occurs relatively quickly, while the adjustments and refining phases often require a considerable amount of time to achieve a polished final outcome.

People frequently ask me, "Why do you want to be a designer?" This question leads me to reflect on my original motivations and aspirations.

I believe that dedicating time to my graduation project has been my most significant experience; it taught me the true meaning and value of design.

My client base primarily consists of companies and individuals seeking innovative designs, hoping to express their concepts and visions through my work.

I enjoy creative design work the most because it allows me to break conventions and brings more challenges and enjoyment to my practice.

My future plans are primarily focused on the commercial sector. I hope to establish a team for my design projects to advance more exciting ideas together.

I tend to initially develop designs independently and thereafter collaborate with my team to better articulate my ideas.

Currently, I am planning an exhibition that explores the merging of my design philosophies with practical applications.

People can reach me via email or through my personal website. I welcome discussions about collaboration or design-related ideas anytime.

At the moment, I have no other questions. I look forward to more opportunities to share my design philosophies and experiences in the future.

The core of the story, and my interpretation of the Pond Dialogue, involves a collision of emotional and rational thinking. This translates into different entry approaches to the space, creating varied experiences within the same environment.

I incorporated extensive curved partitions and irregular lines to mimic the trajectories of fish in water. Paired with translucent dividers, the overlapping effect simulates the projected interplay of fish swimming freely.

This space is larger than my previous works, especially in terms of height. I divided the space into two levels, leaving a significant open atrium in the middle, as fish can swim at any depth and move up or down freely. I also incorporated many fluid elements to create an airy atmosphere. The rectangular glass exterior is crucial for showcasing the interior, so I opted for gradually widening windows to spark curiosity from outside.

The exterior glass enables the first mutual observation between inside and out. The staggered layout of upper and lower spaces creates a second observation point. The entry method—whether starting on the second floor or the first—also shapes the perspective, making it a highly engaging space.

I incorporated many details to meet practical needs, such as using wall grooves as supports, concealing storage platforms within flowing walls, and hiding hanging fixtures behind translucent partitions, combining space division, functionality, and an element of discovery.

My personal style leans toward a light, airy feel. Initially, I had only an intuitive spatial image, but after delving into the philosophical elements of the "Pond Dialogue," I began exploring how abstract spaces could embody philosophical thought and guide visitors to awaken their spatial awareness of self and the world.

This relates to material choices. Water is represented by transparent glass, with abundant red koi colors as the dominant tone, paired with flowing forms to mimic natural scenes. Interestingly, while designing this space, I couldn’t help but think of the fish tank at home.

I believe the states of observing and being observed are interchangeable. We consider ourselves observers, but while we observe the external or internal, we are also being observed. No one is the sole subject—this applies to nature too, where everything is part of a harmonious unity.

This cultural approach will become a methodology. In the context of homogenized spaces, culture and context will distinguish architectural or exhibition spaces, opening up more imaginative possibilities.

Glass is a man-made product used to mimic natural scenes, which are inherently more fluid and organic than industrial creations. This creates an intangible contrast between the random vitality of nature and the precision of standardized production, rather than relying on a uniform industrial attitude for the architectural surface.