Interviews met Paul Bo Peng

I have over 30 years of experience in architecture design, urban planning, construction management and property development. I received my Master of Architecture from the University of New South Wales in 1995. During my studies at UNSW, I won the first prize out of a total of 100 international entries in the VR Une Architecture ArchiCAD/Quick Time ideas competition. I also won second Prize in ANTAC/PLEA with my work "Home Stay for Homeless". After graduating from the UNSW, I have worked in both smaller architecture firms in Australia as well as large and renowned firms like HBO+EMTB & CRONE PARTNERS. I founded IAPA in 1998, and a few years later, in 2002, I established IAPA Guangzhou office in China. Over the years, my team and I have completed quite a number of large scale projects for both private and public sector clients. My cultural background advanced my ability of reinterpret oriental traditional culture into the modern design context.

After completing my Bachelor’s degree in Engineering, I soon realized that architecture and design is my true passion. I was always the creative type and I always loved music, drawing and playing the cello. I guess arts and design was always my thing.

I like to reinterpret oriental traditional culture into the modern and contemporary design context. I believe this combination is one of the central themes in our design. I also integrate and rely on Physical working models, computer 3D models, and VR tools.

I love to see a project go from conception to completion. For example, visiting beautiful site of a project to be, I feel the creativity within and I imagine how the finished projects will look like. I truly enjoy the whole design process and see my concept design turn in to something real that the client is happy with and can enjoy for many years to come.

Migrating from China to Australia in the early 1990s and then returning to China to open an office in Guangzhou ten years later, in the middle of the big construction boom made me eager and brought me perspective and a sense of urgency of endless opportunity. Being a naturally creative and curious person definitely helped overcome many of the challenges of completing complex design projects in China. I believe growing up in China when it was still a closed country to the western world, and seeing China’s rapid economic change and progress, is one of the major reasons I have the ability of reinterpret oriental traditional culture into the modern design context.

I hope I will be remembered as an architect who dared to take on projects that seemed impossible to complete. My design portfolio is also very varied in terms of types of buildings and surroundings and I hope I will be remembered as a versatile designer. Over the years, My team and I have completed quite numbers of public culture buildings, and it is my dream and ambition to design a church before I retire.

It may sound very cliché but in order to become a successful designer you truly have to be passionate about your work and really enjoy what you do. Design is a hard work with many challenges, ever changing client needs and projects are often run with a very tight deadline. I recommend young designers to work in different firms with different strengths and disciplines early in their career in order to get a broad training and really find out what type of design and projects they enjoy.

Do not be afraid to make mistakes or to challenge traditional mindsets. Keep up with personal development and constantly learn and evolve. I have been in the design field for over 30 years and I am still learning new things. Keep up with the design trend, and be in the front line of the development of where design is going.

I normally start my day by meeting with my different design teams making sure we are on track on the different projects. I also try to have brain storming sessions with my designers to get different views and ideas how we can make the project even better. I love to get great feedback from clients and colleagues when we have achieved different milestones of challenging projects.

Even though I have developed my won design style during my career, I regularly read architecture magazines and I travel regularly to different sites to seek inspiration from designers all over the world. I also try to attend design exhibitions when time allows.

From the moment I see the project I know immediately if it is well designed. It is hard to describe the feeling but it has become intuition over many years in the design field

You try to make your design as perfect as you can but ultimately you are working for a client and against a deadline so you do everything in your power to make your work as good as you can within the given parameters.

My biggest design work and the one I am the most proud of is the National Relics Park of Tang DaMing Gong.In 2008, IAPA won first prize in an international competition for the design of a cultural heritage park in Xi’an, China. The park’s design represents the remembrance and celebration of Chinese history through the dynasties of ancient China. Our captivating design, incorporating a modern interpretation of Chinese history, awarded IAPA first prize in the international design competition for this project. IAPA won against 29 other entries from countries all over the world, including America, Italy, Japan and Norway. The park, named ‘National Relics Park of Tang DaMing Gong was completed and open to the public in 2010. Furthermore, the architectural model of his winning design were selected for permanent display in the prominent Guan Shanyue Art Museum in Shenzhen, China. This project has a total value of 20 billion RMB.

The designer I admire the most is Thom Mayne who inspired me and changed my design direction when I was a student at the University of New South Wales. Another architect I am impressed with is Renzo Piano. I flew to Shanghai just to attend his design exhibition recently.

Design is my lifestyle. I enjoy my job and it is all I want to do with my life. My designs are strongly influenced by my cultural background.

I have a strong vision of what I want the project to look like from the start. I support my team to move towards that vision whilst listening to their feedback. My business philosophy is do good work, chase opportunities and be patient. Work will come to you.

I teach at Guangzhou Academy of Fine Arts during my spare time, and IAPA has an internship program for outstanding design students.

A design Award provided a platform for us to share our work with the peer architect from all over the world. A design Award provided an opportunity for us to learn from the best of the industry. A design Award set up the professional bars for young architect to pursuit and to perfect their design.I feel extremely honoured to be the Designer of the Day.

I’ve been working in architecture and urban planning for nearly 40 years—designing countless projects. Some have been built and won international awards; others are still on the drawing board, waiting for the right moment. I graduated with a Master’s in Architecture from the University of New South Wales in 1994, and later studied at Harvard’s Graduate School of Design.

Design is always a challenge—and I love challenges. I’m especially drawn to project types I’ve never done before. That curiosity is probably what led me to become a designer in the first place.

Ever since I was a kid, I admired those designers in hard hats, holding rolled-up drawings and directing things on construction sites. I feel lucky I eventually got to join their ranks.

My work spans architecture, urban planning, landscape, and interiors. But if I had to pick a favorite? I’d say resort hotels—I really enjoy designing those.

Young designers should study the work of the masters they admire. And nothing beats traveling—to see, feel, and experience great built works firsthand. It really sharpens your spatial intuition and eye for detail.

The difference between a good designer and a great one lies in how deeply they understand the environment, architecture, history—and people.

There are many ways to judge great design, but here’s a simple test: if you visit a building and find yourself wanting to go back—that’s probably a truly great design.

If I had the time, I’d love to design spiritual spaces—like a chapel—for a client who shares my values and vision.

My dream project that’s still unrealized? Designing my own private art estate—something like Geoffrey Bawa’s Lunuganga or Hiroshi Sugimoto and Tomoyuki Sakakida’s Enoura Observatory.

I get inspired in lots of ways—books, media, sure—but most powerfully when I’m standing in a space myself, experiencing it firsthand.

I really admire Louis Kahn, Peter Zumthor, David Chipperfield, and Thom Mayne. The way they interpret architectural space moves me deeply.

To become a better designer? Read more, travel more, and go see great buildings in person. That’s what I’ve always done—and it never fails.

If I hadn’t become an architect, I’d probably be playing the cello professionally.

For me, architecture is about intentionally creating spatial order—it’s not random stacking, but finding the best solution within constraints:

– Balancing function and beauty (like Bawa’s Lunuganga, turning jungle into livable poetry)

– Creating dialogue between time and space (like Sugimoto’s Enoura, trapping millennia of light in a 100-meter tunnel)

Design = empathy × constraints × iteration. It could be an estate, a corridor of light—or even the rhythm of this sentence.

I owe a lot to the times I lived in. China’s construction boom over the past two decades gave me the chance to contribute—and I tried to make the most of it.

My next project is the Guangzhou Pearl River Brewery redevelopment. We’re turning it into an urban complex in Guangzhou’s core that coexists with its industrial heritage—think of it as Guangzhou’s Pompidou Center.

I don’t have a grand “final goal.” I just hope each next project is better than the last.

Design isn’t just about making things “look good”—it’s a systemic way of solving problems. By putting people at the center and weaving together function, beauty, technology, and social impact, design can reshape spaces, services, systems—even cities and policies—to improve lives, promote equity, cut waste, and spark innovation. Design isn’t decoration; it’s a lever for social change. When we expand “user” to mean the entire ecosystem, every sketch and prototype becomes a vote for a more inclusive, sustainable, and empathetic future.

Right now, we’re working on the master plan competition for Khunnu City in Mongolia. Our vision is to turn this airport city into a sustainable, smart, and culturally rooted hub that connects Asia and Europe.

No project is perfect—but if I had to pick one I’m most satisfied with, it’s the Heyuan Library in the Hakka Cultural Park. It’s modern and minimal, yet draws deeply from the traditional “Wufeng Lou” courtyard layout of Hakka architecture. It’s a clear example of our core belief: using contemporary design to reinterpret Eastern tradition.

It really depends. Some projects wrap up in weeks; others take years.

It’s not an either/or situation. Design and trends feed each other—design shapes trends, and trends reshape design.

Technology plays a huge role—from drafting software and 3D modeling to rendering and now AI. It makes the design process faster, more precise, and higher quality. But at the end of the day, it’s the designer’s mind that steers everything—and that’s something no tool can replace.

Color, material, and environment are the three pillars of design. They don’t just determine whether something “looks good”—they shape how people perceive, move, remember, and belong.

– Color is a neural signal.

– Material is muscle memory.

– Environment is the skeleton and breath.

Together, they create a closed loop of perception, decision, and emotion.

I’ve been most influenced by fellow designers who share my values and design philosophy.

Thom Mayne’s monograph had the biggest impact on me.

If I could meet anyone across time and space, it’d be Louis Kahn—I’d love to talk with him about architecture and light.

Fame isn’t hard to get—but staying consistently excellent after you’re famous? That’s the real challenge.

My favorite colors? Black, white, and gray. Favorite place? Sydney. Favorite food? Dumplings. Favorite season? Autumn. And I’m obsessed with sleek, high-end Danish audio gear.

My day is made when I see people enjoying—relaxing, even moved—by the spaces I’ve designed.

You can glimpse the future by studying the past thousand years of architecture. Our “Dubai 2100” concept last year was our take on how cities might evolve over the next millennium.

I hope people pay as much attention to the projects I’m designing now—the ones not yet built—as they do to what’s already finished. That’s where my future lies.

I graduated from a Bachelor of Engineering in 1984 in China. Soon after, I realized that architecture is more my passion. After graduation, I worked for a few years in an architecture office, then I went on to study English and a Masters of Architecture at the University of New South Wales in Sydney Australia, 1996. I always loved music, drawing and playing the cello. I guess arts and design was always my thing.

I founded IAPA in 1998 in Sydney, Australia. A few years later in 2002, I established IAPA Guangzhou office in China. Now IAPA, is one of the leading Australian practitioners of the urban planning, architectural design, heritage conservation, landscape design and interior design. We provide international design services to leading developers all over the world.IAPA has a truly multicultural working environment. the architects not only come from Australia and China but also come from countries in Europe, North and South America, and other parts of Asia. Whilst working at IAPA, each architect is expected to give a presentation describing their homeland culture, customs, food, music and sports to share with the other architects at IAPA.No matter where you come from, your cultural, religious or educational background, as long as you possess talent in design, IAPA has an open and international design platform that will allow you to display your talents to the world.

For me, design is not blindly worshipping the vague words “form” and “ism”. Design is about providing a place for human life, establishing a balanced and vibrant relationship between people, nature and society. Most importantly, its purpose is to provide a social space that can accommodate the diversity of modern city life.

I like to challenge myself, so I like working on challenging design projects. I like the challenge of solving the design problem whilst maintaining a cutting edge design aesthetic. It’s rewarding to design a work that will be remembered as a masterpiece

Using local materials, tailored to local site conditions is always my top priority in the design process.

When I visit the beautiful site, that is the moment I feel the most creative.

I tend to focus on the progression from the design concept to design schematic, then from the schematic to the design development.

A sense of reward and satisfaction in being a part of its creation

Cultural perspective, strong sensitivity, creativity and a clearly identifiable aesthetic principle

A good design should be natural and fit into the surroundings with harmony.

Transcendent thinking. Designers need to transcend established social attributes, ideological attributes, cultural attributes and aesthetic attributes, and all practical utilitarian values and think beyond the status quo to shape the future and our environment.

The design field is constantly evolving; the future development of design is unpredictable.

Our last exhibition was “Architectural Ideas of IAPA” at the Museum of Contemporary Art in Sydney. Our next exhibition will be held later this year at the Guangzhou Grand Theatre during the Guangzhou Design Week.

The main source of my inspiration often comes from the observation of unfamiliar places or seeing an object inadvertently while I’m traveling, I found myself becoming very alert, aware and easily inspired in that environment.

It's hard to define a specific design style, more often the design depends on the individual aspects of the project. If this is a style, it can be called a natural contemporary design style.

I am Australian Chinese, born in China, studied in Sydney, currently working in Guangzhou, China. My cultural background advanced my ability of reinterpret oriental traditional culture into the modern design context.

Select designers that are skilled and be passionate

Shape, function, Space, lights, visual impact.

Design is a hard work, if you choose to be a designer, you need to absolutely love it

I think the positive side of being a designer is trained to be perceptive and able to enjoy the beauty of arts. Be prepared because designing is a hard work

Be completely immersed in the design work

Creativity and perceptiveness

Physical working models, computer 3D models, and VR

Set a working program, and stick to it!.

It depends on the scale and size of the project, one of my urban park and city library projects took us 8 years from beginning to end.

Local governments and developers.

Public and cultural projects.The design can reflect and rebuild relationships of interpersonal and communities.

We work as a team

Via company website, www.iapa.net.au/www.iapa.com.cn

In the Heyuan Public Library, we took the Hakka “Wufeng Building” as our prototype and distilled its signature traits—thick walls, small window openings, and a prominent roof—then reimagined them through a modern architectural lens.The large main entrance: We translated the Wufeng Building’s axial symmetry and the spatial spirit of the “central hall” into the library’s main entrance plaza and atrium. This creates a ceremonial, yet welcoming sequence—enhanced by the grand staircase in the lobby—that honors the traditional sense of order while meeting the openness expected of a modern public building.Small windows and thick walls: In traditional Hakka architecture, these served defensive and thermal purposes. In our design, we reinterpreted them as 400mm-thick textured white concrete panels. By carefully crafting the proportions and patterns of the facade, we preserved the “heaviness” and inward focus of Hakka dwellings while meeting modern standards for daylighting, energy efficiency, and thermal insulation.

Bamboo is abundant in Hakka regions and symbolizes humility, resilience, and ecological wisdom in local culture. We used it not just as a material, but as a cultural medium—abstracting everyday Hakka bamboo artifacts like woven screens and fences into contemporary architectural sunshading elements.Bamboo is lightweight, renewable, and highly effective at blocking low-angle sunlight from the east and west, significantly improving indoor comfort. The semi-translucent bamboo screens also cast soft, dynamic shadows, enriching the interior light quality while reinforcing the building’s regional identity.

The site clearly embodies the feng shui ideal of “backed by mountains, facing water” (bei shan mian shui)—with solid hills to the north and an open lake to the south. This “high at the back, open in front” configuration represents the classic feng shui ideal of gathering vital energy (qi) and balancing yin and yang.We respected this natural order in our design: the building aligns with the park’s central axis, oriented southward, and steps up the slope in a cascading sequence that echoes the idea of a “dragon vein.” The main entrance faces the lake—symbolizing the welcoming of prosperity and energy—while separate hiking trails on the east and west sides keep casual park visitors from cutting through the library, preserving a quiet, focused interior atmosphere. The stepped massing also minimizes excavation and helps the building feel as if it’s “growing out of the hillside,” reflecting the deeper feng shui philosophy of harmony between humans and nature.

Instead of flattening the hill (a common approach), we embraced the natural slope—north high, south low—and developed a “terraced village” strategy:Function meets topography: The lower, lakeside level houses the main entrance plaza, waterside platforms, and children’s reading area—highly public and easily accessible. Mid-level terraces contain the central atrium garden and main reading zones, acting as the building’s “heart” and circulation hub. The upper, hillside zone holds administrative offices, dense book stacks, and equipment rooms, shielded by the slope from western sun and noise.Circulation: Visitors enter from the south plaza and move upward via grand stairs or elevators, experiencing changing views at each level (“step by step, scene by scene”). Separate hiking paths on the east and west serve park-goers without interfering with library users—achieving a clear separation between “park” and “library.”

Our study went beyond surface-level imitation. We dug into the spatial logic and social values behind the Wufeng form:The Wufeng Building’s axial symmetry, front-low/back-high layout, and clear hierarchy became the basis for an inward-focused courtyard plan that fosters a sense of belonging.The “ancestral hall” was reimagined as a shared atrium—a multi-functional public living room for reading, exhibitions, and community interaction.Materially, we used textured concrete panels cast with custom formwork to mimic the roughness of traditional rammed earth—offering a subtle, non-literal cultural reference.Most importantly, while traditional Hakka homes were introverted and defensive, a public library must be open and inviting. So we opened up the interior with large glass walls and permeable boundaries, transforming cultural heritage into something both meaningful and accessible today.

This “closed outside, open inside” approach came from two key considerations:Cultural metaphor: Like Hakka tulou (enclosed dwellings), the library’s thick walls and small windows convey a sense of cultural dignity and quiet strength. But once inside, the bright, green-filled courtyard invites connection—with nature, with others, and with knowledge. This dramatic shift enhances the sense of “entering a sanctuary of learning.”Performance: The solid walls reduce heat gain and glare, while the internal courtyard and roof garden promote natural ventilation and daylighting—lowering energy use. So this duality isn’t just poetic; it’s a smart, sustainable strategy.

The biggest shift was functional: libraries were transforming from quiet book repositories into “cultural hubs” with digital zones, maker spaces, 24/7 study areas, and exhibition galleries. To stay flexible, we used a uniform grid, consistent floor loading, generous ceiling heights, and large open spans—plus smart building systems—so spaces could be easily reconfigured over time.We also faced construction and budget challenges. Features like textured concrete panels, green roofs, and solar integration weren’t standard back then. We worked closely with contractors to develop custom formwork and detailing solutions that delivered high-quality results without blowing the budget.

The 400mm-thick concrete walls provide excellent thermal mass, reducing the need for extra insulation and cutting both construction costs and embodied carbon. They’re also highly durable, minimizing long-term maintenance.The patterned bricks echo the texture of Hakka rammed earth walls, reducing the need for decorative finishes. Combined with the naturally ventilated atrium and extensive green roof—which acts as a thermal buffer against summer heat—the design significantly lowers cooling and lighting loads, making the whole building more energy-efficient and resilient.

As the “soul” of the Hakka Cultural Park, the library can grow in several directions:Create dedicated spaces like a “Hakka Culture Library,” “Local Archives Room,” or “Xiao Yin Literature Pavilion” to systematically preserve and showcase regional heritage.Thanks to its flexible, large-span structure, the building can easily adapt to future needs—whether that’s AI learning labs, digital media studios, or community co-creation zones.We can also use digital archives, immersive exhibitions, and outdoor amphitheaters to keep Hakka culture alive and engaging for new generations.

Don’t just copy traditional forms—dig deeper to understand their essence. Use contemporary materials, technologies, and spatial strategies to reinterpret cultural elements in ways that feel both authentic and relevant today.And always respect the site and ecology. Let the building grow from its environment, not be imposed onto it. That’s how you create architecture that’s rooted in place, yet timeless.