Interviewe mat Zehua Zhang

I am a licensed architect in the state of New York, a member of the American Institute of Architects, and a LEED Accredited Professional. I graduated from the Weitzman School of Design at the University of Pennsylvania, where I was awarded the Master of Science in Design: Advanced Architectural Design Prize in Design Excellence upon graduation. I have received several international competition recognitions, including an Honorable Mention in the eVolo Skyscraper Competition, finalist recognition in the CTBUH International Tall Building Design Competition, and Second Prize in the UIA International Creative Competition organized by the International Union of Architects.

I became a designer because I have always been deeply interested in the relationship between people, space, and the environment. From an early stage, I was fascinated by how architecture and design can influence emotions, behaviors, and everyday experiences. This curiosity led me to pursue architecture as a field where creativity and logic can work together to solve real problems and improve the quality of life.

Through academic study, professional practice, and participation in international competitions, I gradually developed my own design approach that values human experience, contextual thinking, and sustainability. I enjoy the process of transforming ideas into meaningful spatial experiences, while also considering environmental responsibility and long-term impact. For me, becoming a designer was a natural progression of my passion for creating thoughtful, functional, and future-oriented spaces.

My priorities in design are human experience, contextual response, and sustainability. I focus on creating spaces that are functional, meaningful, and environmentally responsible, while carefully considering how people interact with the space and its surroundings.

In terms of technique, I combine site research, sketches, digital modeling, and real-time visualization to develop and refine ideas. I pay close attention to light, material, spatial sequence, and landscape integration, as these elements strongly influence the atmosphere and experience of architecture.

My design style is contextual, human-centered, and sustainability-driven. I am interested in clean spatial compositions, natural materials, and the integration of architecture with landscape and natural light to create spaces that feel calm, intuitive, and connected to their environment.

When I design, I often feel a sense of curiosity and responsibility. I try to imagine myself as a future user of the space—how I would move through it, how light and materials would shape my emotions, and how the environment would influence daily experiences. At the same time, I feel a strong sense of care, thinking about how the design can improve comfort, interaction, and well-being for others. For me, design is an emotional process that connects empathy with intention, always aiming to create spaces that feel meaningful and human-centered.

One aspect of my background that strongly shaped me as a designer is my interest in physical model making and 3D printing. I enjoy translating ideas into tangible forms because it allows me to better understand spatial relationships, scale, structure, and material qualities. Working with physical models has helped me develop a more intuitive understanding of space and detail, while 3D printing has expanded my ability to quickly test and visualize complex design ideas. These experiences have strengthened both my creativity and my technical approach to design.

My growth path has been shaped through architectural education, professional practice, and international design competitions, which helped me develop a design approach that combines creativity, technical thinking, and sustainability. Working on different project types has also strengthened my understanding of human experience, context, and environmental responsibility in architecture. In the future, I hope to continue exploring sustainable design, adaptive reuse, and the integration of technology with spatial experience. My dream project would be a large-scale cultural or public space that combines architecture, landscape, and community interaction in a meaningful and environmentally responsible way.

My advice to young designers is to stay curious, observe real spaces carefully, and continuously learn from both everyday life and professional experience. It is important to build a strong foundation in design thinking, communication, and technical skills, while also remaining open to new technologies and ideas.

I also believe patience and persistence are very important in the early stages of a career. Design is a process of constant learning and iteration, so young designers should focus on developing their own way of thinking and creating meaningful, human-centered, and responsible work over time.

I would not define success as a fixed point, but I would suggest fellow designers, artists, and architects to always stay grounded in human experience and context. Good work comes from understanding people, space, and environment, and translating that understanding into clear and meaningful design ideas. I also think it is important to balance creativity with responsibility. Designers should embrace new technologies and methods, but not lose the core intention of creating thoughtful, sustainable, and impactful work. Collaboration, openness, and continuous learning are also essential in today’s evolving design field.

My daily routine usually revolves around design development, research, and continuous observation of my surroundings. I spend a large portion of the day working on projects—developing concepts, refining spatial ideas, and using digital tools to test and visualize design directions.

Alongside studio work, I often review references, study materials, and explore architectural cases to broaden my thinking. I also try to stay attentive to everyday environments, as light, movement, and spatial atmosphere in daily life often inspire new ideas. Overall, my routine combines focused design work with ongoing learning and reflection.

I keep up with design trends by regularly following architectural publications, exhibitions, and contemporary projects, as well as observing how new technologies and materials are being applied in practice. I also learn a lot through professional networks, competitions, and discussions within the design community.

However, I think trends should be approached with caution. They can be useful for understanding the current direction of the field and discovering new tools or ideas, but they should not dominate the design process. For me, the most important aspect is always context, human experience, and long-term value. A good design should remain meaningful beyond trends, responding to its site, users, and environment in a thoughtful and lasting way.

I define good design primarily by how well it serves people and improves their experience. A well-designed project or product should feel intuitive, comfortable, and easy to use, while clearly responding to human needs and behavior.

I also consider how it relates to its context—whether it respects its environment, uses materials thoughtfully, and demonstrates a sense of responsibility toward sustainability. Beyond function and aesthetics, good design should have clarity, coherence, and long-term value. Ultimately, if a design successfully connects people, space, and environment in a meaningful way, I consider it well designed.

I consider a design ready when it feels consistent and resolved across both concept and experience. The idea should be clear and fully expressed in the spatial organization, circulation, and material choices, without unnecessary contradictions or unfinished elements.

At the same time, I test whether it works in reality—how people would use the space, how it responds to light, context, and environmental conditions, and whether it is technically and practically feasible. Visualization and modeling also help me check if the atmosphere and experience feel complete.

In the end, a design is ready when it feels balanced, intentional, and capable of standing on its own as a clear response to both human needs and its environment.

My biggest design work to date is a landmark cultural plaza project. It focuses on creating a public space that integrates cultural programs, open gathering areas, and landscape elements to encourage community interaction and engagement.

The project is significant for me because it combines architecture, landscape, and public space design at a larger scale, requiring a strong balance between spatial experience, functionality, and contextual response. It also reflects my interest in designing spaces that are socially meaningful, accessible, and connected to everyday urban life.

My favorite designers are Zaha Hadid and Santiago Calatrava. I admire Zaha Hadid for her bold and visionary approach to architecture, pushing spatial boundaries through fluid forms and innovative concepts that redefine how space can be experienced. Her work inspires me to think beyond conventional structures and explore more expressive possibilities in design. I also respect Santiago Calatrava for his integration of architecture, engineering, and sculpture. His designs demonstrate a strong understanding of structure and movement, often inspired by nature and human anatomy. Together, their work influences me to think more creatively and structurally, while still aiming for meaningful spatial experiences.

I grew up in China and am currently based in New York, which has shaped my lifestyle and way of thinking in a broad and diverse environment. This background has helped me develop an open and adaptable perspective, especially in how I approach design and creativity.

In my daily life, I like to stay observant and connected to my surroundings. I often draw inspiration from everyday urban experiences, cultural contexts, and small details in the environment. For me, lifestyle and design are closely linked—what I experience in daily life often becomes the starting point for my creative thinking and design process.

My work culture is collaborative, detail-oriented, and research-driven. I value clear communication, shared understanding of goals, and an iterative design process that allows ideas to evolve through constant testing and refinement. I also place strong importance on combining creativity with technical precision to ensure designs are both meaningful and feasible.

My business philosophy is based on responsibility, quality, and long-term value. I believe good design should respond to human needs, respect its context, and contribute positively to the environment and society. I also see collaboration with clients and consultants as an essential part of the process, where open dialogue helps achieve more thoughtful and well-resolved outcomes.

As a designer and architect, my contributions to society are mainly reflected through my focus on creating responsible, sustainable, and human-centered spaces. I aim to design projects that improve people’s daily lives, strengthen community interaction, and respond thoughtfully to environmental challenges.

I am also committed to promoting sustainability in architecture, especially through material choices, energy awareness, and long-term environmental thinking. In addition, participating in competitions, exhibitions, and collaborative projects allows me to share ideas and contribute to broader design discussions. For me, these efforts together represent a way of giving back to society through design.

Attending the A’ Design Award was a very positive experience for me, especially in terms of exposure to diverse international design work and creative perspectives. It provided an opportunity to see how designers from different backgrounds approach similar challenges in very different and inspiring ways.

It was also valuable in terms of networking and communication, allowing me to connect with other designers and professionals in the field. Overall, the experience helped me broaden my understanding of global design standards and reinforced my motivation to continue developing work that is thoughtful, innovative, and impactful.

The main principle behind the design is resilience through renewal, using architecture as a symbolic and functional response to collective recovery after the wildfire. Inspired by the mountainous landscape of the site, the church translates natural ridge like forms into a vertical architectural expression that embodies spiritual ascent and community strength. It reinterprets the idea of a church not only as a sacred space but also as a cultural and social anchor, where rebuilding becomes both a physical act and a symbolic gesture of hope, unity, and regeneration.

The main focus of the design is to create a space that supports both spiritual healing and community reconstruction after loss. The intention is to achieve an architecture that functions simultaneously as a place of worship, cultural gathering, and emotional refuge, where different layers of community life can coexist without conflict. By shaping the building through light, landscape, and material solidity, the design seeks to restore a sense of stability and dignity while encouraging openness, connection, and collective recovery.

The future plan for this design is to further refine it into a buildable and context-sensitive proposal that can realistically serve the community after the wildfire recovery process. It may be developed into a detailed architectural project with structural, environmental, and material studies, exploring how the symbolic concept of a mountain-like church can be translated into practical construction. Ultimately, the goal is to position RESURGENCE as a catalyst for real-world dialogue on post-disaster architecture, with the potential to be realized as a meaningful community landmark that supports long-term healing, cultural revival, and social cohesion.

The development of this concept took place over an intensive iterative design process, spanning several weeks of research, exploration, and refinement. It began with the study of post-disaster community needs and site-driven inspiration, followed by a gradual evolution of the architectural language through sketching, massing studies, and spatial testing. Over time, the idea matured from a conceptual response into a more defined architectural proposal, where form, structure, light, and program were carefully integrated into a cohesive expression of resilience and renewal.

This concept was developed as an independent, self-initiated exploration. The design emerged from an interest in how architecture can act as a symbolic and functional force for healing after disaster, especially through spaces that combine spiritual, cultural, and communal roles. By translating the language of mountainous forms into architecture, the project seeks to express stability and uplift, while also exploring how a church can evolve into a more inclusive civic landmark that supports both faith and everyday community life.

The project is an independent design exploration, and there are no external companies involved in its production or use. The intention is to continue developing it personally, refining the concept and technical aspects while maintaining full creative control. At this stage, there are no plans to sell or lease production rights; instead, the focus is on evolving the work as a self-driven architectural proposal, with the possibility of guiding it toward future realization through direct involvement in its development.

This work was driven by an interest in how architecture can respond meaningfully to collective trauma and rebuilding, transforming loss into an opportunity for renewal. The choice to design a church and community hub was intentional, as it allows sacred and social functions to merge within one inclusive framework, supporting both spiritual reflection and everyday gathering. The mountain-inspired form was developed to express stability, endurance, and aspiration, using familiar natural imagery to create an emotional connection between people, place, and memory while reinforcing the idea of rising and rebuilding together.

The design is primarily self-driven and conceptually original, without direct influence from specific architects or precedents. It emerged from personal exploration of themes such as resilience, spirituality, and post-disaster renewal, as well as an abstract reading of natural landscapes and mountainous forms. Rather than referencing particular designers, the project develops its own architectural language by translating emotional and environmental ideas into spatial form, focusing on creating a unique response to collective healing and community reconstruction.

The target users of this design are local residents and the wider community, with an emphasis on creating an inclusive space that supports people of all ages, backgrounds, and beliefs. It is intended to serve both as a place of worship and a civic gathering hub, responding to everyday needs as well as moments of reflection and healing. By combining spiritual, cultural, and social functions, the design aims to strengthen community bonds and provide a shared environment for connection, recovery, and collective growth.

What sets this design apart is its integration of spiritual, cultural, and community functions into a single unified architectural narrative that is deeply rooted in the idea of collective renewal. Rather than treating the church as an isolated sacred object, it redefines it as an active civic landscape shaped by the metaphor of a mountain, where form, light, and spatial flow embody resilience and ascent. The strong dialogue between sculptural massing, natural light, and landscape-inspired abstraction creates a distinctive emotional atmosphere, making the building not only a place of worship but also a symbol of recovery and shared identity.

The name Resurgence was chosen to directly express the central idea of the project: renewal after loss and the collective rising of a community through adversity. It reflects both a physical and emotional rebuilding process, where architecture becomes a catalyst for healing, reconnection, and hope. The word also suggests movement and energy—something that emerges again with strength—aligning with the design’s mountain-inspired form that rises upward, symbolizing faith, resilience, and the continuous rebirth of communal spirit.

The design was developed using a combination of digital tools that supported both conceptual exploration and detailed visualization. Rhinoceros (Rhino) was used for 3D modeling and form development, allowing the mountain-inspired massing and spatial relationships to be tested and refined. CAD tools were applied for technical drawings and layout precision, while Photoshop was used for post-production, diagramming, and presentation refinement. Rendering tools were employed to study light, materiality, and atmosphere, helping to communicate the emotional and spatial qualities of the architecture in a realistic and immersive way.

The most unique aspect of the design is its transformation of a natural mountain landscape into an architectural language that embodies both spiritual ascent and collective resilience. Rather than treating form, landscape, and function as separate elements, the project fuses them into a continuous spatial experience where massing, light, and circulation all express the idea of renewal. This integration allows the building to function simultaneously as a sacred space, a community hub, and a symbolic landmark of recovery, making the architecture itself a narrative of rising, healing, and unity.

This project was developed independently as a personal design exploration, without formal collaboration with other designers or technical specialists. The work was driven by self-directed research and iterative design development, where technical aspects such as form-making, spatial organization, and visualization were explored through individual study and digital tools. While it did not involve external consultants or collaborators, the process still engaged multiple architectural disciplines—including structure, material thinking, and environmental response—through personal investigation and design experimentation.

Technology plays a key role as both a design development tool and a means of communicating atmosphere and spatial intent in this project. Digital modeling software enables the exploration of complex, mountain-inspired forms and supports the iterative refinement of spatial relationships, structure, and circulation. Visualization and rendering technologies are equally important in translating abstract concepts into tangible experiences, particularly in expressing light, materiality, and emotional depth within the space. Overall, technology acts as a bridge between concept and reality, allowing the architectural vision of resilience and renewal to be precisely developed and clearly conveyed.

Yes, the design is informed by analytical research, particularly environmental performance studies that help shape both form and spatial experience. During the design process, sunlight and daylight analysis were used to understand how natural light enters and moves through the vertical spaces, guiding the placement of skylights and the central atrium to enhance the symbolic effect of light as a spiritual element. In addition, wind environment simulations were conducted to evaluate airflow around and within the building, helping to refine the massing and ensure comfortable, sheltered outdoor and transitional spaces. These analyses support the concept by grounding its expressive form in environmental logic, ensuring that the architecture is both poetic and responsive to real climatic conditions.

One of the main challenges was balancing the strong sculptural, mountain-like form with functional clarity and spatial efficiency, ensuring the expressive massing did not compromise usability or circulation. Another difficulty was integrating multiple programs—sacred, community, and cultural—within a unified architectural language while still maintaining clear separation and harmony between them. Additionally, translating the conceptual ideas of light, resilience, and emotional healing into precise spatial and environmental strategies required continuous iteration, especially when aligning the design with structural feasibility and daylighting performance.

The decision to submit this design to an international competition came from a desire to test the concept within a broader architectural dialogue and to see how it resonates beyond a local or academic context. The project deals with universal themes such as loss, resilience, and community rebuilding, so entering an international platform felt appropriate for sharing these ideas with a wider audience. It also provided an opportunity to receive critical feedback, challenge the design at a higher level of evaluation, and explore its potential for further development and real-world relevance.

During the development of this work, I strengthened my ability to translate abstract emotional and conceptual ideas into coherent architectural form. I improved my understanding of how spatial organization, light, and material choices can work together to express meaning, especially in emotionally sensitive contexts such as post-disaster recovery. The process also enhanced my technical skills in digital modeling, environmental analysis, and visualization, while deepening my awareness of how architecture can balance symbolism with functionality. Overall, the project helped me grow in both conceptual thinking and design execution, particularly in creating architecture that is both expressive and grounded in real-world conditions.

One important aspect not yet emphasized is the human-centered design philosophy that underpins the entire project. Beyond its symbolic form and environmental strategy, Resurgence is fundamentally designed around people—their emotions, behaviors, and everyday needs during processes of recovery and reconnection. Every spatial decision prioritizes human experience, from the gentle transition between sacred and communal spaces, to the use of natural light as a calming and grounding presence. The design seeks to create dignity, comfort, and inclusiveness, ensuring that individuals not only find a place for spiritual reflection, but also a welcoming environment for interaction, support, and collective healing.

The main principle of the design is the transformation of heritage into a living cultural catalyst, where memory and contemporary life coexist within a single evolving framework. Inspired by the historic winery and the spirit of Valencia’s Fallas festival, the project reinterprets the site as a bridge between past and future, preserving its structural and material identity while introducing new spatial vitality. Through permeability, adaptive reuse, and a central open courtyard that reconnects the building with nature and sky, the design seeks to activate history rather than freeze it, allowing culture, creativity, and community life to continuously regenerate within the existing architectural fabric.

The main focus of the design is to preserve the historical integrity of the old winery while reactivating it as a dynamic cultural and creative hub for the community. The goal is to achieve a delicate balance between conservation and transformation—retaining the original brick structure and spatial memory while introducing new flexible programs and spatial interventions that bring continuous activity into the building. Ultimately, the design aims to create a living heritage where architecture is not only experienced as a historical artifact, but as an adaptable environment that supports artistic production, cultural exchange, and everyday social engagement.

The project currently remains a conceptual exploration and an innovative design study focused on the adaptive reuse of historic architecture, and there are no concrete next-step development plans at this stage. Time Catalyst is intended as an architectural research and design experiment that investigates how heritage buildings—such as the old winery in Valencia—can be reinterpreted for contemporary cultural and community use. While it has received recognition as a design proposal, its primary value at present lies in its conceptual contribution to discussions on historic preservation, sustainability, and human-centered urban regeneration, rather than in an immediate path toward realization.

The development of this concept took approximately several months of iterative exploration, moving from initial site analysis and historical research of the old winery to the gradual formation of its adaptive reuse strategy. Early stages focused on understanding the structural and cultural memory of the building, while later phases refined the spatial interventions, particularly the central courtyard “catalyst” space and the flexible interior systems. The design evolved continuously through testing the relationship between preservation and transformation, ultimately arriving at a cohesive vision where heritage, community, and contemporary cultural functions are seamlessly integrated within Time Catalyst.

This concept was developed as an independent exploration driven by a strong interest in adaptive reuse of historic architecture rather than a direct commission. The motivation came from the desire to give new life to existing structures—especially industrial heritage like the old winery—by transforming them into meaningful, people-centered cultural spaces instead of replacing them. The design is rooted in a sustainable approach that values conservation, reduction of demolition waste, and the reuse of embodied energy within the original building fabric. At the same time, it prioritizes a human-centered vision, where architecture becomes a flexible framework for community interaction, creativity, and everyday cultural life. Time Catalyst therefore emerges as a response to both environmental responsibility and social sustainability, turning history into an active resource for contemporary living.

Time Catalyst is currently an independent conceptual study focused on the adaptive reuse of historic architecture, and it is not being produced or used by any company. There are also no plans at this stage to sell, lease, or transfer production rights, nor is there a defined intention to directly realize the project by the author. Instead, it remains a design exploration aimed at investigating innovative approaches to preserving and revitalizing heritage buildings, particularly in the context of sustainable and human-centered cultural regeneration.

This work was driven by a desire to explore how historic industrial architecture can be reactivated as a meaningful part of contemporary urban and cultural life rather than being preserved as a static relic. The old winery provided a strong spatial and material foundation, but also raised questions about abandonment, continuity, and transformation. This led to a design approach that focuses on adaptive reuse, where the existing structure becomes a framework for new social and cultural programs. At the same time, the concept was shaped by an interest in creating human-centered, sustainable environments that support community interaction, creativity, and cultural expression, turning architecture into a living system that connects memory with present-day life.

The design is the result of a fully independent personal exploration, without direct reference or reliance on specific existing designers or precedent projects. It was developed through a site-driven and concept-driven process focused on the unique conditions of the historic winery in Valencia, its material memory, and its potential for adaptive reuse. The approach is rooted in personal investigation of how architecture can transform heritage spaces into human-centered, sustainable cultural environments, allowing the concept of Time Catalyst to emerge organically from the relationship between history, place, and contemporary community needs.

The primary target users of this design are local residents of Valencia, as the project is conceived as a community-oriented cultural hub rooted in everyday urban life. It is designed to serve artisans, artists, students, and neighborhood communities by providing accessible spaces for creation, learning, and social interaction. At the same time, it also welcomes visitors and cultural audiences, but its core identity remains focused on supporting local people, strengthening community participation, and reinforcing the cultural continuity of the site through inclusive, human-centered public use.

What sets Time Catalyst apart is its deep integration of heritage preservation with active cultural regeneration, rather than treating the historic winery as a preserved object or a purely renovated shell. The design maintains the original structural and material identity while introducing precise spatial interventions—such as the permeable façade rhythm and the open central courtyard—that transform the building into a living system of interaction between past and present. Unlike many adaptive reuse projects that prioritize either conservation or modernization, this concept deliberately fuses both through a human-centered and flexible spatial strategy, where movable and modular environments allow continuous transformation. It is not just a cultural building inserted into history, but a continuous catalyst that activates memory, community, and creativity within the existing architectural fabric.

The name Time Catalyst comes from the core idea of the project: architecture as an active agent that transforms and accelerates the relationship between history and contemporary life. Time refers to the layered memory of the historic winery and the cultural continuity of Valencia, while Catalyst expresses the building’s role in triggering new social, cultural, and creative interactions without erasing its past. Together, the name reflects a design intention where the existing structure is not frozen in time, but continuously reactivated—allowing heritage, people, and future possibilities to interact, evolve, and generate new meaning within a single living environment.

The project was developed using a combination of digital design tools to support different stages of the process. Rhino and CAD were used for precise spatial modeling, structural analysis, and plan development, allowing accurate integration of the new interventions within the existing winery framework. Photoshop was used for diagramming, conceptual storytelling, and post-production visualization, helping communicate the atmosphere and narrative of the project. In addition, rendering tools were applied to explore materiality, lighting, and spatial experience, enabling a more immersive representation of how Time Catalyst functions as a dynamic cultural and community space.

The most unique aspect of Time Catalyst is its central activated void strategy, where part of the original roof is removed to create an open courtyard that reconnects the historic winery directly with sky, light, and nature. This intervention transforms a once closed and heavy industrial structure into a breathing cultural landscape at its core. Around this void, the building reorganizes itself as a flexible system of studios, galleries, and community spaces, allowing constant interaction between history and contemporary use. Rather than adding a single iconic gesture, the design’s uniqueness lies in this continuous spatial dialogue—where preservation, permeability, and transformation work together to make the building itself a catalyst for cultural and social energy.

The project was developed entirely as an individual design exploration, without collaboration with external team members or specialists. All aspects of the process—including research, concept development, spatial design, modeling, and visualization—were completed independently. This solo approach allowed for a consistent and uninterrupted design vision, ensuring that the concept of Time Catalyst evolved cohesively from initial ideas to final representation, guided solely by personal investigation of adaptive reuse, cultural continuity, and human-centered spatial design.

Technology in Time Catalyst plays a supportive and enabling role, primarily serving as a design and representation tool rather than the driving concept of the project. Digital tools such as Rhino, CAD, Photoshop, and rendering software were essential in developing precise spatial configurations, testing the integration of new interventions within the historic structure, and communicating atmosphere and material qualities. Beyond the design process, technology also informs the idea of flexibility within the architecture—such as modular systems, movable partitions, and adaptable spatial layouts—allowing the building to shift between different cultural and community functions. However, the core of the project remains rooted in human experience, cultural memory, and sustainable adaptive reuse, with technology acting as a means to support, not dominate, the architectural narrative.

Yes, the design was informed by environmental and spatial analysis to support both comfort and the adaptive reuse strategy of the historic winery. Key research included daylight analysis, which guided the creation of the central courtyard void and the rhythmic façade openings to ensure deep light penetration into the interior spaces. In addition, wind environment simulations were considered to understand airflow patterns within the enclosed structure after partial roof removal, helping to enhance natural ventilation and improve the microclimate of the central garden. These analyses were integrated with site and cultural research to ensure that the intervention was not only conceptually meaningful, but also environmentally responsive and sustainable in its spatial performance.

One of the main challenges was balancing the preservation of the historic winery’s structural and material integrity with the introduction of new spatial functions and contemporary interventions. Ensuring that the new elements felt integrated rather than imposed required careful calibration between old and new, especially around the façade and central courtyard transformation. Another challenge was developing a flexible spatial system that could support diverse programs—such as exhibitions, workshops, and community events—without compromising the clarity of the original architectural framework. Additionally, translating abstract cultural ideas, such as the spirit of the Fallas festival and the concept of a catalyst, into tangible architectural strategies demanded continuous refinement through iterative design and environmental analysis, including daylight and wind simulations to ensure both experiential quality and sustainability.

The decision to submit Time Catalyst to an international design competition came from the desire to test the concept within a broader professional and cultural context beyond academic or personal exploration. As the project engages with universal themes such as adaptive reuse, cultural heritage, and community-centered sustainable design, an international platform provided an opportunity to evaluate its relevance across different cultural and architectural perspectives. It also offered a chance to share the idea of transforming historic industrial spaces into active social catalysts with a wider audience, and to receive feedback that could support its future development into a more refined and potentially realizable project.

During the development of Time Catalyst, I significantly strengthened my ability to integrate conceptual thinking with practical architectural strategies, especially in the context of adaptive reuse. I learned how to translate abstract ideas such as memory, cultural identity, and “time” into tangible spatial interventions that respond to both the existing structure and contemporary programmatic needs. The process also improved my skills in environmental analysis, particularly daylight and wind simulations, and how these factors can directly shape architectural form and atmosphere. In addition, I developed a more refined understanding of balancing preservation with transformation, and how to design flexible, human-centered spaces that can adapt over time while maintaining a strong and coherent architectural identity.

One important aspect worth highlighting is the broader discourse of historic building preservation and adaptive reuse that underpins Time Catalyst. The project is not only a design proposal for a specific site, but also a reflection on how cities can approach aging industrial heritage in a more sustainable and culturally sensitive way. Instead of treating historic structures as static monuments or replacing them with entirely new developments, the design advocates for a regenerative strategy where existing buildings are reactivated as living infrastructures for contemporary urban life. In this sense, Time Catalyst contributes to an ongoing architectural conversation about how preservation and innovation can coexist—where history is not erased or frozen, but continuously reinterpreted through new uses, community engagement, and evolving spatial experiences.

The main principle behind the design is the creation of a profound sense of in seclusion — a spatial experience where architecture gently dissolves into nature rather than standing apart from it. Inspired by the tranquil landscape of Portugal’s Vez River and the presence of an ancient watermill, the design seeks to reinterpret retreat as a return to inner calm and natural rhythm. Through careful integration with the terrain, the use of transparent boundaries, and natural materials like wood and stone, the SPA becomes a meditative sanctuary where human presence, water, and landscape exist in quiet harmony.

The main focus of the design is to create an immersive, sensory environment where architecture enhances rather than interrupts the surrounding natural landscape. A key intention is to achieve a seamless dialogue between interior and exterior, allowing guests to feel continuously connected to the river, greenery, and changing light conditions. By carefully controlling scale, transparency, and materiality, the design aims to cultivate a deep sense of calm and introspection, where visitors can fully disengage from external noise and reconnect with a slower, more natural rhythm of life.

The future plan for this design is to further refine it into a fully developed architectural proposal that can be realized on a real site, maintaining its core philosophy of in seclusion. Beyond the competition context, the concept is intended to be adapted and tested in different natural settings, exploring how the idea of a nature-immersed SPA can respond to varied landscapes and climates. Ultimately, the goal is to evolve this work into a typology of restorative architecture — one that redefines wellness spaces as deeply integrated, environmentally sensitive sanctuaries that support both physical and emotional well-being.

The development of this concept took place over several months of iterative exploration, beginning with site reading and spatial research around the Vez River landscape and the existing watermill context. The early phase focused on defining the core idea of in seclusion, followed by continuous refinement of spatial relationships, material language, and landscape integration. As the concept evolved, time was dedicated to balancing regulatory requirements with experiential quality, especially in the placement of SPA modules and the design of the glass-bound courtyard. The process was not linear but cyclical, gradually shaping the final proposal through repeated reflection and adjustment.

This concept was not commissioned but developed as a self-initiated exploration driven by a personal interest in the relationship between architecture, nature, and wellbeing. The idea emerged from a desire to reinterpret the SPA not as an isolated facility, but as a deeply integrated landscape experience where architecture becomes a quiet mediator between humans and the natural environment. The Vez River site and its historic watermill context further inspired this approach, offering a setting where stillness, water, and time naturally suggest a retreat-like atmosphere. The design was therefore pursued as an independent conceptual study, aiming to express a more sensitive and immersive way of living in close connection with nature.

The design is not currently being produced or used by any company. It is an independent work developed entirely by myself. At this stage, there is no intention to sell or lease production rights, nor is it tied to any external commercial development. If the opportunity arises in the future, I would prefer to be involved directly in its realization, ensuring that the original concept of in seclusion is preserved throughout any further development or execution.

This work was driven by a desire to rethink how architecture can create meaningful encounters between people and nature, especially in spaces of rest and recovery. Rather than designing a conventional SPA as a contained interior program, the intention was to dissolve boundaries and allow the surrounding landscape of the Vez River to become an active part of the experience. The concept of in seclusion reflects a personal interest in quietness, slowness, and sensory immersion, where architecture does not dominate the site but gently frames and amplifies its natural qualities. This approach was shaped by both the specific atmosphere of the riverside context and a broader exploration of wellness as a deeply environmental and emotional condition.

No, the design was developed independently without direct reference to specific designers or existing works. The concept of in seclusion emerged from my own reflection on the relationship between nature, architecture, and wellbeing, rather than being shaped by external design precedents. While I am aware of contemporary spa and retreat architecture in general, this project was guided primarily by personal interpretation of the Vez River site, its atmosphere, and the idea of creating a quiet, immersive space rooted in its own context and sensibility.

The target users of this design are both local people and visitors. For local residents, the SPA provides a nearby retreat for rest, recovery, and daily reconnection with the natural riverside environment. For visitors, it offers an immersive wellness experience rooted in the unique landscape of the Vez River and its surrounding heritage context. By serving both groups, the design creates a shared place of calm and reflection, where different users can experience the same sense of in seclusion through nature, water, and architecture.

What sets this design apart is its emphasis on true spatial seclusion achieved through deep integration with the natural and historical context of the Vez River site. Rather than treating the SPA as a standalone wellness facility, the design dissolves its boundaries through extensive use of transparency, minimal structural expression, and direct visual continuity with the landscape. The relationship between water, architecture, and courtyard is not decorative but experiential, where the river and garden become active participants in the interior atmosphere. In addition, the careful balance between strict functional SPA requirements and a calm, almost meditative architectural language allows the project to move beyond typical wellness design, creating instead a holistic environment centered on stillness, immersion, and emotional restoration.

The name of the design, IN SECLUSION, comes directly from the core spatial and emotional intention of the project. It reflects the idea of stepping away from external noise and daily routines to enter a state of quiet immersion within nature. Rather than implying isolation in a negative sense, it suggests a positive condition of retreat, where the mind and body can return to calm through close contact with water, landscape, and natural materials. The name was chosen to express this subtle balance between withdrawal and connection, where seclusion becomes a way to rediscover presence, awareness, and inner stillness.

The project was developed using a combination of digital design tools to support different stages of the process. Rhino was used for 3D modeling and spatial exploration, allowing precise development of form and relationship to the site. AutoCAD was applied for technical drawings and layout development, ensuring accuracy in planning and regulatory requirements. Photoshop was used for post-production, diagramming, and presentation layout to communicate the concept clearly. In addition, rendering tools were used to visualize materials, light, and atmosphere, helping to express the immersive quality and sensory experience of the IN SECLUSION concept.

The most unique aspect of the design is its seamless integration of architecture with the riverside landscape, where boundaries between interior and exterior are intentionally softened to create a continuous spatial experience. Instead of presenting the SPA as an enclosed object, the design allows nature, especially the Vez River and surrounding greenery, to actively enter the architecture through transparency, reflection, and spatial alignment. This creates a condition where guests are never fully separated from the environment, but constantly immersed within it. Combined with the emphasis on silence, material warmth, and sensory calmness, the project transforms the idea of a SPA into a deeply atmospheric experience of in seclusion.

The design was developed entirely by myself without collaboration with other individuals or external teams. All aspects of the project, including concept development, spatial design, technical drawings, and visual presentation, were handled independently. This allowed for a consistent and personal design direction throughout the process, ensuring that the idea of in seclusion was maintained without external alteration.

Technology in this design plays a supportive rather than dominant role, acting as a tool to translate the conceptual idea of in seclusion into precise spatial and visual outcomes. Digital modeling and drafting tools are used to control form, proportion, and spatial relationships with accuracy, especially in responding to the site conditions and regulatory requirements. Rendering technology is also important in conveying atmosphere, allowing the subtle qualities of light, water, and materiality to be expressed clearly. However, the core of the design remains rooted in nature, material experience, and spatial emotion, with technology serving only to enhance clarity, precision, and communication of the concept rather than defining it.

Yes, the design was informed by basic analytical research, particularly in relation to daylighting and natural ventilation. Studies of sun orientation and light penetration helped guide the placement of glazed façades and courtyard-facing spaces, ensuring that natural light enhances the calm and immersive atmosphere of the SPA throughout the day. In addition, wind and ventilation considerations influenced the spatial layout and openness between key program areas, supporting natural airflow and comfort within the building. This environmental analysis was used not as a strict formal generator, but as a supportive framework to reinforce the concept of in seclusion through a comfortable, naturally responsive architectural environment.

One of the main challenges was balancing strong transparency with the need for privacy and a sense of seclusion. While large areas of glazing were essential to connect the interior with the Vez River landscape, it was also important to ensure that users still feel protected and comfortable within the space. Another challenge was integrating the required SPA functions, such as sauna, jacuzzi, and Turkish bath, into a coherent spatial sequence without disrupting the calm and continuous atmosphere of the design. In addition, responding to the natural terrain and existing watermill context required careful consideration so that the new intervention would remain subtle and respectful rather than overpowering the site.

The decision to submit this design to an international competition came from a desire to test the concept of in seclusion within a broader architectural context and receive feedback beyond a personal or academic environment. An international platform offers the opportunity to compare the work with diverse design approaches from around the world, helping to evaluate its strengths and limitations more objectively. It was also a way to challenge myself, push the development of the concept further, and explore how a site-specific idea rooted in the Vez River landscape could resonate on a global level as a contemporary approach to wellness and retreat architecture.

During the design process, I learned how to better translate a conceptual idea into a coherent architectural language that integrates site, function, and atmosphere. Working on the idea of in seclusion helped me deepen my understanding of how spatial sequencing, material selection, and environmental response can collectively shape emotional experience. I also improved my ability to balance creative intentions with practical constraints, such as functional SPA requirements and site conditions, without losing the clarity of the original concept. Overall, the project strengthened my skills in developing a consistent design narrative from early research through to detailed spatial articulation and visual communication.

One additional point worth highlighting is the design’s strong commitment to an environmentally responsive approach. Beyond aesthetics and spatial experience, the project is fundamentally guided by a philosophy of being closely attuned to its natural context. The building is positioned and shaped in response to the river landscape, existing vegetation, and terrain conditions, ensuring minimal disruption to the site. Large areas of transparency allow the natural surroundings to become part of the interior experience, while the use of wood and stone reinforces a material connection to the environment. Overall, the design aims to achieve a quiet balance where architecture does not impose itself on nature, but instead coexists with it in a subtle and respectful way, fully aligning with the idea of in seclusion.

I am a licensed architect in the state of New York, a member of the American Institute of Architects, and a LEED Accredited Professional. I graduated from the Stuart Weitzman School of Design at the University of Pennsylvania, where I was awarded the Master of Science in Design: Advanced Architectural Design Prize in Design Excellence upon graduation. I have received several international competition recognitions, including an Honorable Mention in the eVolo Skyscraper Competition, finalist recognition in the CTBUH International Tall Building Design Competition, and Second Prize in the UIA International Creative Competition organized by the International Union of Architects. My work has also been exhibited at the Venice Architecture Biennale.

What motivates me to design is the opportunity to create meaningful spaces that improve how people live, feel, and interact with their environment. I became a designer because I have always been fascinated by the relationship between people, space, and nature, and I enjoy combining creativity with analytical thinking to shape experiences that are both functional and emotionally engaging. At the same time, I believe design carries a responsibility to create more sustainable, human-centered, and future-oriented environments.

I chose to become a designer through my own passion and curiosity for architecture and spatial experience. From an early stage, I was deeply interested in how design shapes human interaction, emotion, and the environment, which naturally led me to actively pursue architecture and design as my professional path. For me, becoming a designer was a personal decision driven by creativity, exploration, and a strong desire to create meaningful and sustainable spaces.

I work across a wide range of architectural and spatial design projects, including large-scale developments, adaptive reuse, historic preservation, residential, commercial, retail, and campus projects. I am especially interested in designing projects that integrate sustainability, natural landscapes, and human-centered spatial experiences. In the future, I hope to work more on culturally meaningful and environmentally responsive projects that explore the relationship between architecture, nature, and community.

I believe young designers should stay curious, patient, and open to continuous learning. It is important to observe real spaces, understand people and context, and develop both creative thinking and technical skills. Rather than focusing only on style, young designers should build a strong design process, remain adaptable to new technologies, and create work that is meaningful, responsible, and connected to human experience. Consistency, dedication, and a genuine passion for design are what truly shape long-term growth.

A good designer can deliver strong, functional, and visually coherent solutions, but a great designer goes further by deeply understanding people, context, and long-term impact. Great designers are not only focused on form and aesthetics, but also on how their work influences human experience, behavior, and well-being over time. They balance creativity with responsibility, and intuition with critical thinking, to create work that is meaningful, sustainable, and enduring.

For me, a really good design is one that successfully balances human experience, functionality, and environmental responsibility. I evaluate design based on how people interact with the space, how clearly it responds to its context, and whether it creates a meaningful atmosphere through light, material, and spatial quality. A strong design is not only visually compelling, but also intuitive, sustainable, and capable of creating lasting value for both people and the environment.

Good design improves the quality of everyday life by creating spaces and experiences that are functional, meaningful, and emotionally engaging. It has the ability to enhance well-being, strengthen human connection, and respond more responsibly to environmental and social challenges. Investing in good design is important because thoughtful design creates long-term value — not only aesthetically, but also through sustainability, efficiency, comfort, and a stronger relationship between people and their surroundings.

If I had the time, I would like to design more public and cultural spaces that bring people, nature, and community together. I am especially interested in projects such as cultural centers, sustainable campuses, and adaptive reuse spaces that create meaningful social experiences while responding responsibly to the environment. I would design for communities and future generations, with the goal of creating spaces that are inclusive, restorative, and lasting.

One dream project I have not yet had the time to realize is an automotive museum that goes beyond displaying cars, but instead creates an immersive spatial experience that connects design, culture, and technology. I envision it as a place where architecture, light, and landscape work together to tell the story of automotive history and innovation, while also emphasizing sustainability and the future of mobility. It would be a project that combines my interest in human-centered experience, material expression, and contextual design into one meaningful cultural landmark.

My secret ingredient in design is a consistent focus on people and context. I always start by understanding how users experience space, and how light, material, and environment shape their emotions and behavior. Combined with curiosity, persistence, and a balance between intuitive thinking and technical analysis, this allows me to develop designs that are both meaningful and responsible.

I am deeply inspired by architects such as Zaha Hadid and Santiago Calatrava. Zaha Hadid’s work pushes the boundaries of form, fluidity, and spatial imagination, showing how architecture can be both dynamic and visionary. Santiago Calatrava’s designs, on the other hand, beautifully integrate engineering and architecture, expressing structure as both function and art. Both of them demonstrate how strong conceptual thinking and technical excellence can create iconic and emotionally powerful architecture, which continues to influence my own design thinking.

I am particularly inspired by the works of Zaha Hadid and Santiago Calatrava. Zaha Hadid’s designs are powerful for their fluid, dynamic forms and her ability to push architectural expression beyond conventional boundaries, creating spaces that feel futuristic and highly experiential. Santiago Calatrava’s works stand out for the way he integrates architecture and structural engineering, where form, movement, and structure come together in a sculptural and expressive way. I admire both of them because their designs combine strong conceptual thinking with technical innovation, resulting in architecture that is both iconic and emotionally impactful.

One of my most meaningful design projects was a community cultural center. I consider it a strong work because it successfully integrated spatial clarity, public interaction, and cultural expression within a cohesive architectural concept. What makes it great, in my view, is the way it balances openness and functionality—creating flexible spaces that support exhibitions, gatherings, and everyday community life while encouraging social interaction. At the same time, the design emphasizes human experience through light, circulation, and spatial sequence, making the environment intuitive and engaging. It also reflects my focus on contextual and socially responsible design, where architecture becomes a platform for community identity and connection rather than just a physical structure.

To become a better designer, I believe people should continuously train their observation, strengthen their understanding of context and human behavior, and keep building both creative and technical skills. It is important to learn from real spaces, study how people interact with the built environment, and remain open to feedback and iteration. In my own experience, I improved by combining site-based research with design practice, constantly testing ideas through sketches and digital tools, and staying curious about materials, light, and spatial experience. Over time, this process helped me develop a more balanced approach that is both intuitive and analytical, with a strong focus on human-centered and sustainable design.

If I hadn’t become an architect, I would still choose to work in a design-related field. I have always been passionate about how form, function, and experience come together, so I could see myself moving into industrial design or automotive design. These fields also combine creativity, technology, and user experience in a very direct way, which aligns with my interests in spatial thinking, material expression, and innovation. Ultimately, regardless of the specific discipline, I would always choose a path within design, where I can continue exploring how ideas become meaningful and functional experiences.

For me, design is the balance between creativity, purpose, and responsibility. It is not only about aesthetics, but also about shaping how people experience and interact with the world around them. Good design combines function, emotion, and meaning while embracing sustainable and environmentally responsible principles to create spaces and experiences that are thoughtful, impactful, and future-oriented.

My biggest supporters have always been my parents. Their encouragement, trust, and consistent support gave me the confidence to pursue my own path in design. They respected my interests from an early stage and allowed me the freedom to explore creativity while also reminding me of the importance of dedication and responsibility. Their support has been a foundational part of my journey and continues to motivate me to grow as a designer.

What helped me most was a combination of curiosity, discipline, and continuous learning through real projects and observation. Spending time on-site, studying how people interact with space, and testing ideas through sketches and digital tools gradually shaped my design thinking. My academic and professional experiences, along with exposure to different cultural and architectural contexts, also played an important role. Over time, I learned to balance creativity with technical understanding, while always keeping human experience and sustainability at the center of my work.

Before becoming more established in my design path, one of the main challenges I faced was learning how to balance creativity with technical and real-world constraints such as time, budget, and feasibility. In the beginning, it also took time to develop a clear design voice and to translate abstract ideas into practical, buildable solutions. Working through these challenges through continuous practice, feedback, and real project experience helped me grow more confident and mature as a designer, and taught me the importance of patience, iteration, and responsibility in the design process.

I believe designers should present their work as a clear and coherent narrative that explains not only the final outcome, but also the thinking process behind it. A strong presentation should communicate the relationship between concept, context, and user experience, supported by diagrams, visuals, and spatial storytelling. It is important that the work is both visually engaging and intellectually clear, so that others can understand the intention, evolution, and impact of the design. Ultimately, good presentation is about making the design accessible, meaningful, and convincing without losing its depth.

My next design direction is focused on developing more culturally meaningful and environmentally responsive projects that integrate architecture, landscape, and technology. I am especially interested in exploring spaces such as public cultural facilities and mobility-related architecture, including projects like an automotive museum, where design can connect storytelling, innovation, and user experience. In the future, people can expect me to continue refining a human-centered and sustainable approach, while pushing the integration of spatial experience, material expression, and emerging technologies to create more immersive and impactful environments.

My ultimate goal as a designer is to create architecture and spaces that meaningfully improve how people live, feel, and connect with their environment. I hope to develop work that balances human experience, cultural value, and environmental responsibility, while contributing positively to the future of cities and communities. Ultimately, I aim to design spaces that are not only functional and aesthetically strong, but also enduring, sustainable, and emotionally resonant.

People usually expect an esteemed designer to bring clarity of vision, strong design thinking, and the ability to translate complex ideas into meaningful, executable solutions. They also expect consistency in quality, responsibility toward users and the environment, and a clear understanding of context and purpose. For me, it also means being able to balance creativity with practicality, while continuously pushing ideas forward in a way that is both innovative and grounded in real human needs.

Design helps create a better society by shaping environments that improve how people live, interact, and experience everyday life. Good design enhances accessibility, comfort, and well-being, while also strengthening community connection and cultural identity. At the same time, it plays an important role in addressing environmental challenges through sustainable thinking and responsible material and energy use. Ultimately, design contributes to a better society by making spaces more human-centered, inclusive, and mindful of both present needs and future impact.

At the moment, I am especially excited about continuing to develop design work that explores the intersection of architecture, culture, and mobility, with a strong interest in future-oriented public spaces such as an automotive museum concept. I am also focused on refining my approach to sustainable and context-driven design, while integrating new visualization and digital tools to better understand spatial experience. What motivates me most is the opportunity to translate these ideas into meaningful, human-centered environments that connect people, technology, and nature.

The projects that gave me the most satisfaction are those where I could clearly see the connection between concept, user experience, and real spatial impact—especially the community cultural center I worked on. It was meaningful because it combined spatial organization, public interaction, and cultural expression in a way that directly supported community life. I also find great satisfaction in projects that focus on adaptive reuse and sustainable strategies, where design can transform existing environments into more vibrant and meaningful spaces. These experiences are rewarding because they show how thoughtful design can improve both people’s daily experiences and the long-term value of a place.

In the coming years, I would like to see the design industry place even greater emphasis on sustainability, long-term thinking, and human-centered impact. Design should move beyond purely visual outcomes and focus more on how spaces perform over time—environmentally, socially, and culturally. I also hope for more interdisciplinary collaboration, where architecture, technology, and data work more closely together to create better-informed and more adaptive design solutions. Ultimately, I believe the industry should continue shifting toward more responsible, context-driven, and inclusive practices that prioritize real human needs and environmental balance.

I believe the design field is moving toward a more integrated and intelligent practice, where architecture, technology, sustainability, and user experience are deeply connected. With the development of digital tools and AI, design will become more iterative and data-informed, allowing designers to test, simulate, and refine ideas more efficiently. At the same time, I think the human aspect will remain central—design will increasingly focus on emotional experience, environmental responsibility, and contextual sensitivity. Overall, the future of design will be more adaptive, collaborative, and driven by both technology and human-centered values.

The timeline to finalize a design project varies greatly depending on its scale, complexity, and program requirements. Smaller interior or renovation projects may take a few weeks to a few months, while larger architectural or public projects can take several months to over a year through different design phases. In my process, I focus on iterative development—starting from concept and gradually refining through research, modeling, and visualization—so the timeline is always balanced between exploration, feedback, and technical resolution to ensure a thoughtful and well-resolved design outcome.

When I start a new design project, I begin with understanding the site and context through observation, research, and analysis. I focus on how people use the space, how light, climate, and movement patterns shape the environment, and what the project truly needs to respond to. From there, I develop early conceptual ideas through sketches and diagrams, which help me translate initial insights into spatial strategies before moving into more detailed design development and visualization.

My life motto as a designer is to stay curious, design with intention, and always prioritize people and context. I believe meaningful design comes from continuously observing, questioning, and refining ideas, while balancing creativity with responsibility.

I believe design sets the trends. While trends can influence the direction of aesthetics and ideas, it is design thinking that truly drives innovation and defines what comes next. Strong design is rooted in deep understanding of people, context, and technology, and it has the power to shape new ways of living, working, and experiencing space. In that sense, design is not just a response to trends, but a force that creates them.

Technology plays a supportive and enabling role in my design process. It allows me to explore ideas more efficiently through tools such as modeling, real-time visualization, and simulation, helping me better understand space, light, and material early in the process. At the same time, technology enhances precision and communication, making it easier to test, refine, and present design concepts. However, I always see technology as a tool to support creativity and human-centered thinking, not as a replacement for design intuition or conceptual exploration.

My design toolbox includes both digital and physical tools that support different stages of the design process. On the digital side, I use modeling and visualization tools such as Rhino, Revit, and real-time rendering platforms to develop and test spatial ideas, especially in terms of light, material, and atmosphere. I also use graphic and presentation tools to communicate concepts clearly. Physically, sketching is still an essential part of my workflow, along with site observation and material studies. Books, architectural references, and real-life urban and natural environments are important sources of inspiration for me. I also rely on photography and on-site documentation to capture spatial conditions and details that inform my design thinking.

Color, materials, and ambience are essential elements that define the emotional and experiential quality of a space. Color helps establish atmosphere and perception, guiding how people feel and interpret an environment. Materials bring tactility, authenticity, and a sense of connection to context, allowing spaces to feel grounded and real. Ambience—shaped by light, acoustics, and spatial composition—unifies these elements into a coherent experience. Together, they transform architecture from a purely functional structure into a sensory and emotional experience that engages people on multiple levels.

I hope people will ask about the ideas, intentions, and human experiences behind my design, rather than only focusing on its appearance. I would like them to be curious about how a space responds to its context, how it shapes emotions and interactions, and how sustainability and technology are integrated into the process. For me, the most meaningful questions are those that explore why a design exists and how it improves people’s lives and the environment.

When I see a great design or product, my first reaction is curiosity about the thinking behind it—why it was designed that way and what problem it is trying to solve. I pay attention to how it balances form, function, and user experience, as well as how materials, details, and technology are used to create meaning. I also reflect on how it makes people feel and whether it introduces a new perspective or improves an existing experience. For me, a strong design always sparks both emotional response and analytical thinking.

My ideal design partner is someone who is open-minded, detail-oriented, and able to balance creativity with critical thinking. I value collaborators who bring different perspectives—whether in architecture, engineering, or other creative fields—because diverse input often leads to stronger and more meaningful outcomes. I believe in co-design. I see design as a collaborative process rather than an individual effort, where ideas are continuously refined through dialogue, feedback, and shared problem-solving. This approach not only improves the quality of the work, but also ensures that the final design is more inclusive, thoughtful, and responsive to real needs.

The people who have had the most influence on my design thinking are my academic mentors, project collaborators, and colleagues I have worked with in professional practice. My professors helped me develop a strong conceptual foundation and critical thinking approach, while my colleagues in practice exposed me to real-world constraints, teamwork, and the importance of detail and execution. I have also been influenced by clients and end users, whose feedback constantly reminds me to prioritize human experience, practicality, and context in every design decision.

The books that have had the most impact on my design thinking are architectural autobiographies and monographs. They allow me to understand not only the final works of architects, but also their design philosophies, processes, and the evolution of their thinking over time. Through these books, I gain insight into how different designers approach context, material, and spatial experience, which continuously broadens my own perspective and helps me reflect on and refine my design approach.

I developed my skills through continuous practice, real project experience, and constant reflection on both successes and failures. Working across different scales and typologies helped me build a strong foundation in spatial thinking, technical understanding, and design communication. At the same time, I learned a great deal from site visits, material exploration, and testing ideas through sketches and digital tools. Over time, this iterative process helped me refine my ability to balance creativity, context, and technical constraints, while always keeping human experience and sustainability at the core of my work.

Irrelative of time and space, I would like to meet and discuss with architects and designers who have fundamentally shaped how we understand space and experience, such as Tadao Ando, Zaha Hadid, and Santiago Calatrava. I would be very interested in hearing their thoughts on how they balance concept, structure, and emotion in their work, and how they see the future of architecture evolving with technology and sustainability.

The awards and recognitions I’ve received are very meaningful to me because they reflect the effort, learning, and collaboration behind each project. At the same time, I see them more as encouragement than a final achievement—they motivate me to keep improving and exploring new ideas in design.

As for fame, I don’t really focus on it. I believe the most important thing is the quality and impact of the work itself, not the attention it receives. I try to stay grounded, continue learning, and remain focused on creating thoughtful, human-centered, and responsible design.

My favorite color is neutral, natural tones—especially warm whites, earth tones, and soft greys—because they reflect material honesty and calmness in space. My favorite place is anywhere with strong natural light and a clear relationship between architecture and landscape, such as open courtyards or coastal environments. I enjoy simple, well-prepared food that emphasizes freshness and balance rather than complexity. My favorite season is autumn, for its light, atmosphere, and sense of transition. In terms of things, I appreciate well-designed objects that combine function and detail with clarity. As for brands, I tend to admire those that prioritize design integrity, craftsmanship, and innovation rather than just aesthetics.

Once during a site visit, I was deeply focused on studying the light, circulation, and spatial logic of a space and took it very seriously as part of the design. Later, I realized it was just a temporary construction setup, not the actual design. It was a funny moment, but it also reminded me that in design, it’s important to understand not just what you see, but the real context and construction behind it.

A great day for me as a designer is when I make real progress in understanding a project—whether it’s solving a spatial problem, refining a concept, or finding a clearer direction through iteration. I feel most motivated when I can connect ideas with tangible design decisions, especially when I see how a space could meaningfully improve human experience. I stay motivated by staying curious and continuously exposing myself to new references, sites, and ideas. The process of learning, testing, and improving keeps me engaged, and I remind myself that good design takes time, patience, and constant refinement.

As a child, I don’t think I was aware that I would become a designer. But I was always curious about spaces, environments, and how things were built or organized. I liked observing details, light, and places around me, even if I didn’t fully understand why at the time. Looking back, those early curiosities gradually shaped my interest in design, but it was more of a natural development over time rather than something obvious from the beginning.

I believe the way we define cities, architecture, and even design will be very different from today. Spaces may become more adaptive, intelligent, and deeply integrated with technology and nature, where boundaries between built environment and natural systems are much more fluid. At the same time, I hope that regardless of technological progress, the core of design will still focus on human experience—how people feel, connect, and live meaningfully within their environments.

I would like people to know that for me, design is always about people, context, and responsibility rather than just form or style. Every project is an exploration of how space can improve human experience and create a more meaningful connection between people and their environment.

I also see design as a continuous learning process. I am always observing, questioning, and refining my thinking through real-world experiences, collaboration, and new technologies.

Most importantly, I hope my work reflects sincerity and care—for users, for context, and for the future we are collectively shaping.

My name is Zehua Zhang, I am an architect, designer, and creative thinker passionate about creating meaningful spaces and experiences. I have always been interested in how design shapes the way people live, feel, and interact with the world. This passion led me to architecture and design, where I combine creativity with logic to create thoughtful and impactful work. I am also committed to sustainable and environmentally responsible architecture, with a focus on creating greener and more resilient spaces for the future. Through professional projects, competitions, and collaborations, I have developed a design approach that values innovation, sustainability, and social impact.

I am a licensed architect in the state of New York, a member of the American Institute of Architects, and a LEED Accredited Professional. I graduated from the Stuart Weitzman School of Design at the University of Pennsylvania, where I was awarded the Master of Science in Design: Advanced Architectural Design Prize in Design Excellence upon graduation. I have received several international competition recognitions, including an Honorable Mention in the eVolo Skyscraper Competition, finalist recognition in the CTBUH International Tall Building Design Competition, and Second Prize in the UIA International Creative Competition organized by the International Union of Architects. My work has also been exhibited at the Venice Architecture Biennale.

For me, design is the balance between creativity, purpose, and responsibility. It is not only about aesthetics, but also about shaping how people experience and interact with the world around them. Good design combines function, emotion, and meaning while embracing sustainable and environmentally responsible principles to create spaces and experiences that are thoughtful, impactful, and future-oriented.

My practice spans a wide range of scales and project types, from large new developments to historic preservation and adaptive reuse projects. I have worked on the transformation of industrial heritage sites, facade renovations in historic towns, interior renewals, as well as residential, office, retail, commercial, and campus projects.

I am particularly drawn to projects where natural light becomes an active design element—shaping atmosphere, guiding movement, and defining how people perceive and inhabit space throughout the day. I enjoy working with materials that express both honesty and tactility, such as natural stone, wood, and exposed structural systems, while also exploring low-impact and innovative sustainable technologies. For me, material choice is not only aesthetic but also environmental, reflecting a responsibility toward long-term ecological impact. I am also interested in designs that bring nature into architecture—through green landscapes, courtyards, terraces, and biophilic strategies that blur the boundary between built and natural environments. These elements help create spaces that are not only functional, but also calming, restorative, and deeply connected to their context.

The first project I designed was a community cultural center. It was a meaningful experience because it combined spatial planning, public interaction, and cultural expression within a single project. My role focused on developing the overall spatial concept, organizing functional zones, and shaping how different programs—such as exhibition spaces, multipurpose rooms, and informal gathering areas—could work together to support community life. What made the project particularly interesting was the emphasis on openness and inclusivity. I explored how architecture could encourage social interaction while also providing flexibility for different events and activities. It was my first time working on a project with such a strong public and cultural dimension, and it helped me better understand how design can strengthen community identity and engagement.

My favorite area is architectural technology, especially real-time visualization and rendering tools. I am very interested in how real-time engines and high-quality visualization techniques can translate design ideas into immersive spatial experiences. These tools allow me to quickly test proportions, light, materials, and atmosphere in a very intuitive way, helping me better understand how a space will be experienced in reality. For me, visualization is not just presentation, but an essential part of the design process that supports decision-making and strengthens spatial thinking.

I feel the most creative when I am on site and able to directly experience the space and its surroundings. Observing the site in person—its light, scale, materials, movement patterns, and atmosphere—gives me a much deeper understanding than drawings alone. At the same time, studying the surrounding context helps me understand how people interact with the environment and what the place truly needs. This combination of physical presence and contextual understanding often becomes the moment when ideas start to emerge naturally, allowing me to develop design concepts that are grounded, intuitive, and responsive to real conditions.

During the design process, I focus primarily on the relationship between people and space, especially how users experience and interact with their environment. I pay close attention to spatial sequence, scale, light, and atmosphere to ensure that the design feels intuitive, comfortable, and meaningful in daily use.

At the same time, I strongly emphasize sustainable strategies and the integration of green landscapes. I believe architecture should respond to its environment by incorporating ecological thinking, improving energy performance, and bringing nature into everyday spatial experience. For me, good design is where human experience, environmental responsibility, and spatial quality come together as one.

When I design, I often feel a sense of curiosity and responsibility. I try to imagine myself as a future user of the space—how I would move through it, how light and materials would shape my emotions, and how the environment would influence daily experiences. At the same time, I feel a strong sense of care, thinking about how the design can improve comfort, interaction, and well-being for others. For me, design is an emotional process that connects empathy with intention, always aiming to create spaces that feel meaningful and human-centered.

It is rewarding to see ideas that began with empathy for future users become physical spaces that people can actually experience. At the same time, I feel a sense of responsibility, observing how the space is used in real life and how it interacts with people and its environment. It reinforces for me that design is ultimately about creating meaningful human experiences, not just objects or forms.

For me, a successful design is one that meaningfully connects people, space, and environment. It should create a clear and intuitive spatial experience that responds to human needs while enhancing daily life through light, material, and atmosphere. At the same time, it should be grounded in its context and incorporate sustainable thinking—respecting the environment and contributing positively to the future. A truly successful design is not only functional and aesthetically coherent, but also empathetic, responsible, and capable of creating lasting value for its users and surroundings.

When I evaluate whether a design is good or not, I first consider the human experience—how people feel, move, and interact within the space. If the spatial experience is unclear or uncomfortable, the design is difficult to succeed regardless of its form. I also look at how well the design responds to its context, including light, material, and environmental conditions, as well as its level of sustainability. Ultimately, a good design should be both intuitive and responsible—creating a clear spatial experience while respecting people and the environment.

From my point of view, a designer has the responsibility to create spaces that improve human experience while being mindful of their broader social and environmental impact. Design should not only serve functional and aesthetic goals, but also contribute positively to people’s well-being, community connection, and quality of life. At the same time, designers have a responsibility to the environment by making conscious choices in materials, energy use, and long-term sustainability. I believe good design should balance human needs with ecological awareness, creating spaces that are both meaningful today and responsible for the future.

I believe the design field is evolving toward a more integrated and interdisciplinary practice, where architecture, technology, sustainability, and user experience are increasingly connected. Designers are no longer only focused on form and function, but also on data, performance, and environmental responsibility.

With the growing application of AI in architecture, design is becoming more iterative, analytical, and responsive. AI tools can support simulation, optimization, and visualization, allowing designers to explore more possibilities and make more informed decisions. However, I believe AI is not a replacement for creativity, but a tool that enhances it.

In the future, I see design becoming more human-centered, environmentally conscious, and technologically empowered—where designers use both intuition and intelligent systems to create more adaptive, sustainable, and meaningful environments.

During my studies, my work was exhibited at the Venice Architecture Biennale. Looking ahead, I would like to continue developing my practice and participate in future exhibitions when there are meaningful projects that allow me to share my work in a broader professional and public context.

My design inspiration mainly comes from direct observation of sites and their surrounding context. I am very interested in how light, space, material, and human activity interact in real environments, and I often develop ideas through on-site experience. I also draw inspiration from everyday life, nature, and existing urban conditions, especially where there is a dialogue between the built and natural environment. To sustain my creativity, I combine field research, sketching, and digital visualization tools, which help me continuously test and refine spatial ideas.

I would describe my design approach as contextual, human-centered, and sustainability-driven. I am interested in creating architecture that responds directly to its site, climate, and cultural context, while focusing on how people experience and interact with space.

My exploration of this approach comes from my belief that good design should be both intuitive and responsible—balancing spatial experience, material expression, and environmental performance. I often integrate light, material, and landscape to create spaces that feel natural, clear, and connected to their surroundings.

Overall, my approach is both analytical and intuitive: I use context research and technical tools to inform decisions, while always prioritizing human experience and environmental impact.

I grew up in China and am currently based in New York. This cross-cultural background has a strong influence on my design thinking. Growing up in China gave me a deep appreciation for context, history, and the relationship between people and space, while living and working in New York has exposed me to a more diverse, fast-paced, and global design environment. I believe this combination is an advantage in my design process, as it allows me to balance different perspectives—tradition and innovation, detail and efficiency, intuition and analysis. It also encourages me to approach design with greater openness, adaptability, and cultural sensitivity.

I work with companies in a collaborative and research-driven way, focusing on clear communication and shared goals. I am comfortable engaging from early concept development through design refinement and execution, contributing both creative ideas and technical understanding. My approach emphasizes understanding project context, user needs, and sustainability goals, while using tools such as visualization and analysis to support decision-making. I value open dialogue and iterative feedback, which help ensure the design is both meaningful and feasible within real-world constraints.

I think companies should work with designers through open communication, trust, and a shared understanding of project goals. It is important to involve designers early in the process, allowing space for research, exploration, and iterative development rather than focusing only on fixed outcomes. When selecting a designer, companies should look beyond style and consider their design thinking, problem-solving ability, and understanding of context, users, and sustainability. A good designer is not only someone who creates strong visuals, but someone who can translate ideas into meaningful, functional, and responsible spatial solutions.

My design process usually begins with site observation and contextual research. I focus on understanding the physical environment, spatial conditions, and how people interact with the place, which helps me identify key design opportunities and constraints. From there, I develop initial concepts through sketches and diagrams, gradually refining ideas using both analytical thinking and visual tools such as modeling and real-time visualization. I often test light, material, and spatial relationships early in the process to better understand the user experience.

At home, I am particularly attentive to furniture selection, lighting design, interior landscaping and display, overall color tone, and spatial zoning.

A typical day in my life is a balance between observation, design work, and reflection. I usually start by reviewing ideas or sketches, followed by focused design work that may include concept development, modeling, or visualization. Throughout the day, I often study references, explore materials, or refine spatial ideas through digital tools and drawings. I also try to stay aware of my surroundings—light, space, and everyday urban experiences often become subtle sources of inspiration.

My advice to young designers is to stay curious, observe closely, and learn from real spaces and everyday life. Good design comes from balancing creativity with technical thinking, and using tools and technology as support rather than replacement for ideas. Most importantly, be patient, keep iterating, and focus on creating work that is meaningful, human-centered, and connected to context and experience.

From my perspective, one of the greatest positives of being a designer is the ability to shape meaningful experiences and create spaces that improve how people live, feel, and interact with their environment. It is a creative process that constantly engages with culture, context, and innovation.

At the same time, it can be challenging because it requires balancing creativity with practical constraints such as time, budget, and technical limitations. It also involves continuous iteration and responsibility, since design decisions have long-term impacts on people and the environment.

My golden rule in design is to always start from the human experience. No matter how complex a project is, I believe good design should first be understandable, comfortable, and meaningful for the people who use it. At the same time, it should respect its context and environment, balancing functionality, sustainability, and clarity. If a design cannot connect with people or respond to its surroundings, then it is not truly successful.

I believe the most important skills for a designer are observation, critical thinking. A designer needs to carefully understand people, space, and context, and translate that understanding into clear spatial ideas. At the same time, strong technical and visual communication skills are essential, including drawing, modeling, and using digital tools to develop and test ideas. Finally, adaptability and curiosity are important, especially today, as design continues to evolve with new technologies and sustainability demands.

My design toolbox includes both digital and physical tools that support different stages of the design process. On the digital side, I use modeling and visualization tools such as Rhino, Revit, and real-time rendering platforms to develop and test spatial ideas, especially in terms of light, material, and atmosphere. I also use graphic and presentation tools to communicate concepts clearly. Physically, sketching is still an essential part of my workflow, along with site observation and material studies. Books, architectural references, and real-life urban and natural environments are important sources of inspiration for me. I also rely on photography and on-site documentation to capture spatial conditions and details that inform my design thinking.

I manage my time by breaking the design process into clear stages, from research and concept development to refinement and visualization. This helps me stay organized while allowing enough flexibility for iteration and exploration.

I also prioritize tasks based on clarity and impact, focusing first on understanding the site, context, and key design direction before moving into detailed development. For me, good time management in design is about maintaining both structure and creative space, so ideas can evolve without losing focus.

The timeline of a design project varies depending on its scale and complexity. For me, it is less about a fixed duration and more about the process of development—from research and concept design to refinement and visualization. Some smaller design explorations can take days or weeks, while more complex architectural projects may take months or even longer. What is most important is allowing enough time for iteration, testing ideas, and ensuring the final design is both thoughtful and well-resolved in terms of spatial experience, context, and sustainability.

The most frequently asked question I receive as a designer is about where my ideas come from and how a concept is developed into a final design. I usually explain that my inspiration comes from observing real spaces, understanding context, and studying how people interact with their environment. The design process then evolves through research, iteration, and visualization, where ideas are continuously tested and refined until they become a clear and meaningful spatial experience.

One of the most important experiences in my career has been gaining a deeper understanding of how architecture is developed through real-world practice. This includes learning how material selection, structural logic, and MEP systems all influence design decisions, as well as how technical data and constraints shape the built outcome.

Equally important has been understanding how architects collaborate with engineers and other consultants. Through coordination and communication, design ideas are continuously tested, refined, and resolved within practical limitations. These experiences have been essential in strengthening my ability to balance creativity with technical precision and to develop feasible, well-integrated architectural solutions.

My clients have included a range of public and private sector organizations across different project types, including cultural, residential, commercial, and institutional developments.

I enjoy design work that combines spatial experience, material exploration, and environmental thinking. In particular, I am drawn to projects that involve adaptive reuse and contextual design, where existing conditions, history, and new interventions come together. I find these projects most meaningful because they require both creativity and problem-solving, balancing preservation and innovation. They also allow me to engage with sustainability and user experience in a more direct way, creating architecture that is thoughtful, responsible, and connected to its surroundings.

My next step is to continue growing as an architect and designer by engaging in more diverse and challenging projects. I am particularly interested in further exploring sustainable design, adaptive reuse, and the integration of technology with spatial experience. I also hope to keep expanding my professional experience through collaboration with multidisciplinary teams, while refining my design approach through practice. Ultimately, my goal is to contribute to architecture that is thoughtful, context-driven, and responsive to both people and the environment.

It depends on the project. Some projects I develop independently from concept to design direction, while others are fully team-based from the beginning. In both cases, I value a clear design authorship and consistent thinking throughout the process. Whether working alone or within a team, I focus on maintaining a strong spatial idea, and I collaborate closely with others when needed to refine and realize the design.

I am currently working on a landmark cultural plaza design. The project focuses on creating a public space that integrates cultural functions, open gathering areas, and landscape elements to encourage interaction and community engagement.

People can contact me through my LinkedIn profile by searching my name.

That’s all from my side. Thank you!

The decisive moment came during the early site-reading phase, when I was studying how the Vez River moves around the watermill and shapes the surrounding terrain. I initially explored more rigid, geometric compositions, but they consistently felt disconnected from the softness and unpredictability of the landscape. The river does not operate through fixed lines or clear edges—it shifts, erodes, and flows in continuous variation.At a certain point in the design process, I overlaid more fluid spatial studies onto the site, and the relationship immediately changed. Instead of resisting the landscape, the architecture began to mirror its logic of movement and calm continuity. That was when I understood that In Seclusion could not be expressed through static, object-like forms. Fluid volumes became the natural language to translate the river’s presence into space, allowing the architecture to feel less like a constructed object and more like an extension of the landscape itself.

The sequencing of the sauna, jacuzzi, and Turkish bath was guided less by functional listing and more by a gradual physiological and psychological transition. I began by considering how the body and mind typically release tension—from dryness and heat, into immersion, and finally into a humid, enveloping softness. This naturally suggested a progression from sauna to jacuzzi and then to the Turkish bath as the final, most sensorially diffuse condition.Beyond the physical logic, the spatial choreography was designed to mirror a process of detachment from external stimuli. Movement through In Seclusion Riverside Spa is intentionally unhurried and slightly dissolving, with each threshold softening the perception of time and orientation. As guests move deeper into the sequence, visual connection to the exterior landscape is intermittently reintroduced and then gently withdrawn, reinforcing a rhythm of awareness and release.This layered progression allows the experience to operate like a quiet narrative: the body first empties, then floats, then becomes enveloped. By the time guests reach the final spaces, their perception is no longer anchored to external reference points but to internal calm. The sequence therefore becomes a tool for psychological reset, aligning physical transitions with a deeper state of mental suspension and recovery.

The choice of low-iron, high-transparency glass came directly from the core ambition of In Seclusion: to dissolve the architectural boundary without physically removing it. Standard glazing, with its subtle green tint, would have introduced a perceptual filter between guests and the Vez River landscape, which would contradict the idea of direct, unmediated immersion. I wanted the enclosure to feel almost absent—present in structure, but visually withdrawn.This specification was therefore driven by the need for optical neutrality. Low-iron glass allowed the architecture to act less as a frame and more as a quiet threshold, where the landscape is not viewed through a surface, but almost seems to continue uninterrupted into the interior space.The impact on light and atmosphere is significant. Throughout the day, natural light enters without distortion, preserving the true color temperature of the river, sky, and vegetation. Morning light feels soft and diffused, while midday light intensifies the clarity of reflections on water and stone surfaces. In the evening, the glass no longer reads as a barrier but as a thin membrane where interior warmth and exterior dusk begin to overlap.River reflections and woodland movement become part of the interior perception itself, constantly shifting across floors, timber surfaces, and steam-filled air. This creates a subtle instability in spatial boundaries, where guests are never fully certain where inside ends and outside begins—reinforcing the intended condition of immersive seclusion rather than separation.

The watermill was never treated as a backdrop but as the origin of the site’s narrative. Its presence informed a decision to keep the new intervention deliberately low, horizontal, and embedded rather than assertive. By respecting the scale and grounded character of the mill’s stone construction, the spa avoids competing vertically or visually, instead extending the logic of settlement along the river edge.Material continuity was another key decision. The use of stone flooring and timber interiors echoes the tactile logic of the mill—heavy, grounded elements balanced with warmer, crafted surfaces. This creates a quiet material dialogue between past and present without resorting to imitation or literal reconstruction.Spatially, the most direct homage lies in the relationship with water itself. Just as the mill once relied on the river’s flow as an active force, In Seclusion repositions water as an experiential core rather than a functional resource. The pool and glazed courtyard reframe this relationship, allowing guests to read the river’s movement as both memory and presence.At the same time, modern spa performance is achieved through clarity of zoning, integrated wellness modules, and precise environmental control. The result is a dual condition: the historical memory of labor, mechanism, and flow is preserved in spirit, while the contemporary architecture translates that legacy into a calm, immersive wellness landscape of stillness and reflection.

One of the most challenging negotiations was balancing the desire for extreme transparency with the structural requirements of a riverside site. The extensive use of floor-to-ceiling low-iron glass had to be carefully calibrated against wind loads, moisture exposure, and the need for slim mullions. Achieving that “near-invisible” boundary required close coordination between structural logic and façade detailing, where even small adjustments in span or support spacing had a visible impact on the spatial purity.Another key constraint was the relationship to the river’s edge and flood-sensitive terrain. The building footprint and levels had to be carefully adjusted to avoid disrupting natural water flow and to comply with environmental regulations. This led to a more grounded, linear massing strategy, which actually reinforced the concept of seclusion by keeping the architecture low, stable, and closely embedded in the landscape rather than elevated or fragmented.Materially, the use of timber and beige stone also had to meet durability and humidity performance standards typical of spa environments. Rather than limiting the design, these constraints sharpened it: they pushed the selection toward materials that could naturally age, resist moisture, and maintain tactile warmth over time. Ultimately, what began as regulatory and structural limitations became a design filter, refining In Seclusion into a more precise, restrained, and environmentally coherent architectural language.

The environmental readings played a grounding role in translating intuition into spatial precision. Light studies, for example, revealed how rapidly the riverside canopy shifts from dense shadow to high reflectivity throughout the day. This directly influenced the decision to use highly transparent, low-iron glazing and to carefully orient the main courtyard so that it could capture both filtered morning light and the stronger reflections of midday without glare overpowering the interior calm.Sound and water interaction data were equally influential. Measurements of river acoustics—especially seasonal variation in flow intensity—showed that the river is not uniformly quiet, but oscillates between near-silence and pronounced movement. This led to a spatial strategy of acoustic layering: thicker material zones around sauna and Turkish bath areas, and more open, reflective volumes near the pool, where the sound of water could be partially absorbed or reinterpreted rather than blocked.There were moments of contradiction. My initial instinct was to maximize full openness toward the river at all points, but data showed that certain orientations would introduce excessive sound and glare during peak flow and summer brightness. Rather than weakening the concept, this pushed the design toward selective permeability—moments of full exposure balanced with carefully calibrated enclosure.In that sense, the data did not replace intuition but refined it. It transformed the idea of “seclusion” from a purely poetic condition into a measurable spatial gradient, where sensory intensity is continuously adjusted rather than uniformly maximized.

The glazing strategy was calibrated as a gradual threshold rather than a continuous condition. Full-height transparency was concentrated along the courtyard and river-facing edges where the landscape is most legible and slow-moving, allowing guests to feel fully immersed without visual chaos. These moments of openness are placed where the body is likely to pause—along circulation breaks, resting points, and the pool edge—so the view becomes something to inhabit rather than pass through.In contrast, more intimate or thermally intense zones like the sauna and Turkish bath were given a more restrained glazing ratio, sometimes offset or partially framed, to preserve inward focus and protect the sensory concentration of heat, steam, and body awareness. This avoids overexposure and maintains psychological containment.Between these extremes, the architecture creates a rhythm of expansion and compression—alternating between openness to the river and subtle enclosure. This controlled oscillation ensures the landscape is always present but never overwhelming, achieving the intended condition of quietude without isolation.

The most convincing dimension is the project’s treatment of the landscape interface as an active spatial system rather than a boundary condition. In In Seclusion Riverside Spa, integration with surroundings is not achieved by blending visually alone, but by structuring the entire spatial sequence around the river, terrain, and existing watermill context. The architecture is kept low, linear, and embedded, allowing the natural topography to remain the dominant force while the building behaves almost like an extension of it.This directly links environmental responsibility with spatial quality. By minimizing disruption to the land and carefully positioning volumes along existing gradients, the design reduces impact while simultaneously strengthening the clarity of circulation, light, and view relationships. The result is that ecological sensitivity is not a limitation imposed on the architecture, but the very generator of its spatial logic.In this sense, integration, light, and spatial harmony are not separate criteria but overlapping outcomes of the same decision-making process. The project demonstrates that when architecture fully accepts site conditions as primary drivers, environmental responsibility and architectural intensity reinforce each other rather than compete.

My approach was shaped by working directly with the site section as the main design driver. For the 20-meter-wide, single-story volume, I didn’t start from a fixed massing idea, but from how the riverbank naturally rises and falls, using those shifts to organize structure and space. The building is kept low and stretched along the contour, so it follows the land instead of cutting across it. This allowed the spa to sit quietly within the landscape while still maintaining clear, continuous interior spaces. In the end, the design comes from aligning structure with terrain logic, so the volume feels integrated into the riverbank rather than placed on top of it.

The most important lesson was that experiential intensity does not come from adding more architecture, but from carefully reducing what stands between the user and the site. In In Seclusion Riverside Spa, restraint in form, material, and siting did not weaken the experience—it sharpened it. By keeping the building low, quiet, and highly controlled in its openings, the presence of the river, light, and vegetation became the dominant spatial content.This showed me that architectural modesty can actually amplify perception: the less the building asserts itself, the more sensitive the user becomes to subtle changes in light, sound, and atmosphere.I now carry this forward by prioritizing calibration over expression in my design process—focusing on thresholds, transitions, and sensory sequencing rather than formal gestures. The goal is to let architecture act as a precise frame for experience, where intensity emerges from relationship, not from form itself.

The decision came during the initial study of the former winery, when I realized the brick masonry was more than a building envelope—it was the physical memory of the site. Replacing it would have erased much of the building’s identity and cultural value. Preserving it therefore became the starting point for the entire project. Every new intervention was designed to complement rather than compete with the historic fabric. The curved glass introduces transparency and community engagement, while the slender concrete elements provide contemporary functionality with minimal visual weight. This approach established the central idea of Time Catalyst: allowing history and contemporary cultural life to coexist within a single evolving architectural framework.

Time Catalyst proposes that a cultural institution does not need to be created through a completely new building. Instead, it can emerge from the existing social memory embedded within a historic structure. By preserving the former winery and adapting it for contemporary cultural use, the project treats heritage as an active resource rather than a static artifact. The building becomes a platform where history, creativity, and community life continuously interact. In this sense, the project reframes adaptive reuse not simply as preservation, but as cultural regeneration—transforming a place of memory into a living environment that supports new forms of participation, learning, and creative exchange.

Three-dimensional modeling played an important role in evaluating how new interventions could be integrated within the existing winery while preserving its historic character. It helped test the scale and position of facade openings, the relationship between the central courtyard and surrounding spaces, and the distribution of natural light throughout the building. These digital studies revealed how relatively small modifications could significantly improve spatial openness, visual connectivity, and environmental quality. Rather than relying solely on intuition, the modeling process allowed design decisions to be assessed within the context of the entire building, ensuring that new interventions enhanced both user experience and respect for the existing architectural fabric.

The recognition is meaningful because it highlights a growing understanding that preservation and innovation are not opposing goals. Time Catalyst was developed around the idea that existing buildings can remain culturally relevant when they are thoughtfully adapted to contemporary needs. The project uses natural light, spatial openness, and flexible programming to revitalize the historic winery while preserving its identity and memory. For me, the award reflects a broader architectural message: that preservation-led design is not simply about protecting the past, but about creating sustainable, community-oriented environments where heritage can continue to evolve and contribute to future cultural life.

The most challenging aspect was determining how much intervention was necessary to activate the building without compromising its historical identity. The goal was never to remove elements for visual impact alone, but to create meaningful spatial opportunities while preserving the character of the winery. The decision to open portions of the roof emerged from a desire to bring daylight, nature, and community life into the heart of the structure. This act of subtraction transformed a once enclosed industrial space into a living cultural landscape. Ultimately, the project’s character is defined not by what was added, but by how carefully and selectively the existing architecture was revealed and reactivated.

The influence of the Fallas festival emerged while studying how the event transforms public space and brings people together through creativity, participation, and temporary interventions. What resonated most was not the physical form of the festival itself, but its spirit of openness and collective engagement. This inspired an architectural language based on fluidity, movement, and interaction. The curved interior volumes were designed to create softer transitions between programs and encourage exploration, while the permeable façade and courtyard blur the boundary between inside and outside. In this way, the project translates the social energy of Fallas into a permanent spatial framework that supports community life throughout the year.

This line of inquiry naturally extends from Time Catalyst as a continued exploration of adaptive reuse as a cultural and environmental strategy. The methodology developed in this project—preserving structural memory, introducing lightweight contemporary insertions, and using spatial permeability to connect interior and exterior conditions—will remain central to my practice. I intend to further deepen the relationship between heritage and user experience, particularly through more precise environmental responsiveness and programmatic flexibility. At the same time, I also see a need to challenge the balance between preservation and transformation more radically in future work, questioning how far intervention can go before the original identity begins to shift. Time Catalyst becomes not a conclusion, but a starting point for continuously redefining how architecture can sustain cultural continuity while adapting to change.

I hope Time Catalyst contributes to a broader shift in how preservation is understood in contemporary architecture—not as a static act of protection, but as an active framework for cultural and spatial regeneration. Rather than treating heritage buildings as fixed objects, the project suggests they can operate as living systems that evolve with new programs, users, and social needs. What I aim to emphasize is that material continuity and contemporary intervention are not opposites, but mutually reinforcing forces when handled with sensitivity and restraint. In this sense, preservation in the twenty-first century can be understood as a design process that maintains memory while enabling transformation, allowing architecture to remain both historically grounded and socially alive.

The spatial strategy was guided by the intention to let the historic winery remain legible while allowing new programs to coexist without hierarchy or fragmentation. Instead of separating functions into rigid zones, I organized circulation around the central courtyard as the primary orienting device. This void acts as both visual and environmental core, allowing light, air, and movement to structure the experience. Programmatic elements such as studios, exhibition areas, and classrooms are arranged as loosely connected layers around this space, with transitions softened through permeability, visual continuity, and framed views rather than hard boundaries.From a visitor’s perspective, the journey begins with a sense of entering a solid, historically grounded structure, but gradually unfolds into a sequence of shifting atmospheres—compressed passages opening into double-height spaces, framed glimpses of activity through curved insertions, and ultimately the release into the open courtyard. The experience is intentionally non-linear, allowing discovery and pause, where the building feels less like a sequence of rooms and more like a continuous dialogue between past and present

The material dialogue in Time Catalyst was grounded in contrast without confrontation. The original brick facade was preserved as a continuous, tactile surface that carries the weight of time, texture, and craftsmanship. Against this, the new interior elements—curved glass and slender concrete planes—were deliberately kept light, smooth, and reversible in expression. The intention was not to imitate the historic fabric, but to allow it to remain the dominant voice, while the new materials act as a secondary layer that enhances perception of depth, light, and movement within the space.The threshold of intervention was defined less by a fixed rule and more by a continuous reading of balance. Each insertion was tested against a simple question: does it clarify or obscure the presence of the original structure? When an addition began to compete with or visually dominate the brickwork, it was reduced, refined, or removed. This iterative process ensured that transformation never became replacement. In this way, Time Catalyst maintains a clear hierarchy where the winery’s material memory remains intact, while contemporary elements quietly extend its spatial and experiential potential.