Zhijiang Shan

Specialized in Interior Design.

Zhijiang Shan

About Zhijiang Shan

Zhi-Jiang Shan is an interior designer known for his cross-cultural design sensibility and poetic spatial expression. With over two decades of experience in residential, commercial, and hospitality projects, his portfolio bridges Eastern philosophies with contemporary aesthetics. From understated minimalism to ornate luxury, Shan’s work defies stylistic boundaries, instead embracing a sensitivity to material, place, and cultural memory. He often draws inspiration from classical Chinese landscapes, local craftsmanship, and symbolic spatial rituals, transforming them into immersive environments that resonate with modern life. His projects are not only functional but emotionally engaging, inviting users to experience beauty, stillness, and story through design. Recent works span a wide range of project types across residential, commercial, hospitality, and cultural sectors. Highlights include the Luoyang “Da Zhai Di” Restaurant, boutique hotels, high-end private residences, and a number of large-scale community and urban living developments. Shan has led the design for model homes, clubhouses, and marketing suites for prominent real estate developers, such as Central China, Country Garden, and Evergrande projects. He has also overseen the interior concepts for landmark commercial projects like the Hongguang Crystal Star Tower in Zhengzhou, as well as international residential commissions in North Ameirca such as Canada and the U.S. Whether crafting tranquil mountain-view villas or immersive retail environments, Shan’s portfolio reflects both design versatility and a consistent dedication to quality and meaning in built space.

  • Winner of the A' Design Award.
  • Specialized in Interior Design.
  • Original Design.
  • Creative, Diligent and Innovative.
  • All Designs
  • Interior
Zun Fu Sales Center

Zun Fu Sales Center

Interior Design


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Interview with Zhijiang Shan

Could you please tell us more about your art and design background? What made you become an artist/designer? Have you always wanted to be a designer?
I’ve been in the design industry since 1998 and founded my studio in 2005. My professional background is rooted in fine arts education, but my practice has always spanned across multiple disciplines—environmental art, spatial storytelling, research-based design, and cultural programming. I became a designer not only out of a pursuit of beauty, but also from a desire to create meaningful spaces that resonate.
Can you tell us more about your company / design studio?
R&J Studio was founded on the belief that design should go beyond aesthetics to actively engage with place, function, culture, and nature. Our portfolio spans commercial interiors (hospitality and restaurent), exhibitions, cultural venues, retail, and residential. We view each project as an opportunity to explore form, ritual, and behavior. Our team consists of designers, researchers, and visual artists working collaboratively to create works that are both rigorous and poetic—grounded in cultural sensitivity and narrative clarity.
What is "design" for you?
Design is the discipline of intention - it is the deliberate shaping of experience. It transforms context, emotion, and function into form and atmosphere. Design, for me, is not simply about visual impact but about invisible relationships - how people inhabit space, how light changes the mood, how texture invites touch. A successful design doesn’t need explanation; it just feels right.
What kinds of works do you like designing most?
I’m drawn to projects with layered challenges—spatial, cultural, or conceptual. Whether it's a storytelling sales center, a exhibition, restaurant or hospitality, I feel most energized when the work allows us to transcend typological boundaries. I appreciate briefs that encourage critical thinking and emotional nuance—where architecture, narrative, and materials can intersect in unexpected ways.
What is your most favorite design, could you please tell more about it?
One of my favorite works is the "Zun Fu" Sales Center, which integrates Chinese ceremonial spatial logic into a modern narrative. It was a deeply layered project that challenged us to translate traditional rituals into contemporary forms without losing symbolic weight. I also cherish a small art residency project we designed in a rural town, where every spatial gesture—from the doorway to the reading nook—was treated as a quiet invitation to reflect, pause, and connect.
What was the first thing you designed for a company?
A reception area for a real estate firm. Though modest in size, it taught me that even transitional spaces can hold symbolic significance. It was there I began to understand the power of small-scale interventions—how lighting, proportion, and detail can influence perception and mood. That experience laid the foundation for my belief that every square meter deserves intention.
What is your favorite material / platform / technology?
I gravitate toward honest and natural materials—stone, wood, metal, fabric, leather, terrazzo, and exposed concrete. These materials carry a certain humility and warmth that digital materials often lack. I also enjoy reinterpreting traditional crafts in contemporary ways, bridging the past with the present. Currently, I’m exploring parametric design and digital fabrication tools that allow for modular and adaptive structures, particularly in public and cultural space contexts.
When do you feel the most creative?
When I step away from my desk—wandering through unfamiliar cities, reading literature unrelated to design, or cooking. Creativity often arrives when the mind is unburdened. I find that insights often emerge in moments of idleness or when immersed in a completely different rhythm. Being in nature or listening to music also helps me reset and reimagine.
Which aspects of a design do you focus more during designing?
I pay close attention to rhythm and transitions—how people move, pause, perceive, and engage. I think of spatial sequencing almost musically. I’m also deeply attuned to material textures, the quality of natural and artificial light, and the kind of emotional memory a space can evoke. Above all, I aim to design atmospheres, not just objects or surfaces.
What kind of emotions do you feel when you design?
Designing is a meditative process. It carries a calm urgency, much like composing music—sometimes playful, sometimes deeply introspective. It demands presence, patience, and empathy. There’s also a quiet thrill in problem-solving, in discovering poetic possibilities within practical constraints. Some days feel like sculpture, others like choreography.
What kind of emotions do you feel when your designs are realized?
A quiet and profound joy. The most rewarding moments come when I witness people engaging with the space in unexpected and delightful ways. There’s something deeply moving about seeing a child lie down beneath a skylight or someone instinctively pausing where you intended a visual breath. Realization, for me, is not about ego but about resonance.
What makes a design successful?
It must resonate—functionally, emotionally, and contextually. A successful design aligns with its users, setting, and purpose while offering something intangible yet powerful. When a space feels inevitable, as if it couldn’t have been otherwise, you know it’s right. It also allows room for interpretation, for the user to bring their own narrative into the space.
When judging a design as good or bad, which aspects do you consider first?
Purpose and clarity. Does it solve a problem with elegance? Does it elevate the user’s experience, not just physically but emotionally? I also look for thoughtfulness—whether the design considers the lifecycle of materials, inclusivity, and environmental impact. Good design is generous; it thinks beyond itself.
From your point of view, what are the responsibilities of a designer for society and environment?
Designers shape behaviors and values. We must take responsibility for cultural stewardship and sustainability. This includes sourcing responsibly, designing for longevity, and creating spaces that nurture rather than extract. Sometimes, choosing not to design—embracing restraint or subtraction—is the most powerful act of care.
How do you think the "design field" is evolving? What is the future of design?
Design is becoming more collaborative, data-informed, and socially engaged. It’s no longer about isolated authorship but collective intelligence. The future lies in interdisciplinary practice—where technology, culture, and ethics converge. Designers will increasingly act as facilitators, bridging different worlds and addressing complex systems, from urban resilience to emotional wellbeing.
When was your last exhibition and where was it? And when do you want to hold your next exhibition?
Our last exhibition was held at the 2019 CIID Annual Works Exhibition in Shanghai, where we presented an experimental space installation. We are planning a cross-disciplinary showcase next year that will blend spatial design, installation art, and interactive storytelling. It will invite the audience to become co-authors in the experience.
Where does the design inspiration for your works come from? How do you feed your creativity? What are your sources of inspirations?
From everyday rituals, urban textures, natural rhythms, literature, and human dialogue. I also collect photographs of light and materials as a source of inspiration. I believe inspiration is not something you chase, but something you train yourself to notice—to see the poetic in the mundane.
How would you describe your design style? What made you explore more this style and what are the main characteristics of your style? What's your approach to design?
My style is poetic yet grounded, restrained but warm, technically driven but not rigid. I approach each project with curiosity and humility, using methods that vary—from research-led to material-oriented to experiential design. I prioritize atmosphere over appearance, and intention over trend.
Where do you live? Do you feel the cultural heritage of your country affects your designs? What are the pros and cons during designing as a result of living in your country?
I live in China and have worked across Asia and North America. Chinese culture informs my understanding of rhythm, symbolism, and the beauty of restraint—values that shape all of my work. My upbringing taught me that space is not only about function, but also about meaning, ritual, and memory.
How do you work with companies?
We begin by deeply understanding their mission, values, and culture, then translate it into spatial and sensory experiences that are both functional and expressive. We also help companies articulate their design language through strategic workshops, brand spatial audits, and visual storytelling sessions. Collaboration is at the heart of everything we do.
What are your suggestions to companies for working with a designer? How can companies select a good designer?
Treat your designer as a creative partner, not just a service provider. Be transparent about your constraints, but also generous with your aspirations. The best outcomes are co-authored—when designers and clients think together, challenge each other respectfully, and remain open throughout the process. Trust and dialogue are essential.
Can you talk a little about your design process?
Our process is iterative and non-linear. It often begins with immersive research—understanding site, users, and context—then moves to concept sketching, modeling, and spatial prototyping. We oscillate between hand-drawing and digital tools, and often involve collaborators from other fields such as installation, sculpture, and sound design. Each project becomes its own ecosystem.
What are 5 of your favorite design items at home?
A hand-woven bamboo pendant light that casts soft shadows; a reclaimed wood bookcase filled with design and poetry books; a ceramic tea set from Jingdezhen that I use every morning; a Bauhaus-era armchair passed down from a mentor; and a kinetic wall sculpture that shifts with the wind, reminding me of impermanence.
Can you describe a day in your life?
My day often begins slowly—with tea, journaling, and sketching by hand. Mornings are reserved for deep focus work, afternoons for meetings, site visits, or team critiques. Evenings are quieter, spent walking, reading fiction, or listening to music. I try to protect spaces of idleness in the day, as they often become fertile ground for new ideas.
Could you please share some pearls of wisdom for young designers? What are your suggestions to young, up and coming designers?
Be patient with your journey. Master the tools, but don’t let them define you. Focus on how to think, not just how to render. Cultivate curiosity across disciplines—philosophy, ecology, anthropology—because design does not happen in a vacuum. And most importantly, stay honest with yourself.
From your perspective, what would you say are some positives and negatives of being a designer?
The joy is immense—you get to shape how people feel, behave, and connect through space. But the boundaries between work and life can blur, especially when your work is deeply personal. There are also moments of doubt and tension. Still, for many of us, design isn’t just a job—it’s a way of living.
What is your "golden rule" in design?
Design with care. It’s about more than just solving a problem—it’s about elevating the human experience with empathy, restraint, and integrity. When in doubt, I always ask: Does this move serve the people and the place honestly?
What skills are most important for a designer?
Beyond technical skills, a designer must be a good listener, a systems thinker, a storyteller, and a synthesizer. Design is about framing possibilities, making decisions, and communicating ideas in ways that others can feel and understand.
Which tools do you use during design? What is inside your toolbox? Such as software, application, hardware, books, sources of inspiration etc.?
We use Rhino, AutoCAD, Adobe Creative Suite, and various rendering platforms. I still value hand-drawing in early phases. We also use AI visual tools for concept moodboards, and Notion for internal knowledge and process management. The tool is less important than what you do with it.
Designing can sometimes be a really time consuming task, how do you manage your time?
I use a theme-based structure: mornings for deep, uninterrupted work; afternoons for team and client collaboration; evenings for reflection or analog activities. I intentionally leave pockets of open time for reading, thinking, or responding to spontaneous ideas.
How long does it take to design an object from beginning to end?
Anywhere from a few weeks to over two years, depending on the project's scale, complexity, and regulatory process. Some research-led or conceptual projects are never really finished—they evolve as long-term dialogues.
What is the most frequently asked question to you, as a designer?
"Why do your spaces feel so peaceful and elegant?" My answer is often: Because we remove what doesn’t belong. We try not to over-design, and let light, proportion, and rhythm speak for themselves.
What was your most important job experience?
We’ve worked with real estate developers, boutique hotels, cultural institutions, independent retail brands, galleries, F&B entrepreneurs, and individual house owners in China and North America. Each client brings a different rhythm, which makes the work constantly fresh.
Who are some of your clients?
I enjoy projects that involve narrative and interaction—where the space becomes a protagonist in the story, and the user becomes a co-author. These types of projects invite imagination and engagement on multiple levels.
What type of design work do you enjoy the most and why?
I enjoy projects that involve narrative and interaction—where the space becomes a protagonist in the story, and the user becomes a co-author. These types of projects invite imagination and engagement on multiple levels.
What are your future plans? What is next for you?
We are launching a research initiative on emotional wellness in public spaces and exploring AI-enhanced participatory design tools. I’m also mentoring emerging designers and planning an international design residency to foster slower, deeper conversations around practice.
Do you work as a team, or do you develop your designs yourself?
I lead the concept and creative direction, but all of our projects are team efforts. I believe in collaborative intelligence—our team includes architects, strategists, visual thinkers, and craft specialists. We design together, debate together, and grow together.
Do you have any works-in-progress being designed that you would like to talk about?
We’re currently prototyping a restaurant in Beijing focused on modern oriental design; developing a modular museum exhibition exploring language and space; and designing a cross-cultural food concept that blends spatial storytelling with branding.
How can people contact you?
follow our social media instagram: rongjie_studio; Red Note: 空间设计师单志江 our website: https://www.rongjie.org/ email: contact@rongjie.org phone: (86) 138 388 68961 (China) / (1) 332 262 0770 (USA)
Any other things you would like to cover that have not been covered in these questions?
Design is not just about making things—it’s about framing how we see, feel, and connect with the world. It is both mirror and compass. As designers, we have the responsibility—and privilege—to make that lens as generous, inclusive, and meaningful as possible.

Designer of the Day Interview with Zhijiang Shan

Could you please tell us about your experience as a designer, artist, architect or creator?
I have been working in the design field since the late 1990s. My background spans fine arts, environmental design, and interior architecture. Early in my career, I engaged with painting and sculpture, then naturally transitioned into spatial design, which I found to be a more powerful medium for emotional and cultural expression. Over the past two decades, I have worked with clients ranging from real estate developers to cultural institutions, focusing primarily on high-end commercial, hospitality, and cultural spaces.
How did you become a designer?
In a sense, I chose design, but design also chose me. From a young age, I was fascinated by light, texture, and proportion—constantly rearranging furniture, sketching spaces, building things from wood or clay. My father was a craftsman, and our home was always in a state of gentle construction. I later pursued formal training in fine arts and environmental design, but the essence was already planted in my childhood: the desire to shape space into something meaningful and poetic.
What are your priorities, technique and style when designing?
I prioritize three things in every project: narrative rhythm, material tactility, and emotional resonance. My approach blends hand-drawing with digital modeling, and I often begin with sketchbooks before shifting to software. I believe a space should not just solve a problem but also provoke a feeling. In terms of style, I lean toward restrained elegance—designs that are quiet yet layered, timeless yet site-specific.
Which emotions do you feel when designing?
Designing brings a mix of stillness and anticipation. At the beginning of a project, I often feel a quiet curiosity—like stepping into an unfamiliar garden. As the concept unfolds, that evolves into a kind of emotional momentum. My favorite moment is when a sketch or material combination suddenly “clicks”—when logic and emotion align. That spark is rare but deeply rewarding.
What particular aspects of your background shaped you as a designer?
My early training in fine arts—especially painting and sculpture—shaped my sensitivity to form, texture, and light. But equally important were the non-design experiences: spending time in nature, observing markets, listening to local craftspeople. These taught me to design with empathy, not just technique. Also, my family’s cultural values emphasized restraint, respect for materials, and the importance of daily rituals—all of which shaped my spatial philosophy.
What is your growth path? What are your future plans? What is your dream design project?
My growth path has been more like a spiral than a straight line—returning to the same questions at deeper levels. In the future, I hope to focus more on public and cultural architecture: libraries, learning centers, and retreat spaces that support reflection and community. One dream project is a cross-cultural design school in a rural setting—where architecture, storytelling, and nature form one continuous learning experience. That would be my way of giving back.
What are your advices to designers who are at the beginning of their career?
Don’t rush to build a portfolio—first build your way of seeing. Learn to observe before you design. Get out of the design world from time to time: study anthropology, read poetry, talk to people outside your field. The best designs come from a deep understanding of people, not just form. Also, embrace critique. Design is not about defending your work—it’s about learning from it.
You are truly successful as a designer, what do you suggest to fellow designers, artists and architects?
Success in design is not accumulation—it’s subtraction. Strip away what’s unnecessary until only essence remains. Focus on clarity of purpose, not trend. Also, remember: every project is a conversation, not a monologue. Let the site, the users, the culture speak. Your role is to listen, interpret, and compose.
What is your day to day look like?
My days begin early with silence—no phone, no emails. I usually read something unrelated to design in the morning, then review sketches or material samples. Afternoons are for team meetings, site visits, or deep thinking with models and mock-ups. Evenings, I prefer solitude again—walking, journaling, or listening to traditional music. The best moments are not always grand; sometimes it’s a quiet line drawn well, or a team member sharing a poetic observation.
How do you keep up with latest design trends? To what extent do design trends matter?
I observe trends as signals, not destinations. They can reflect collective moods or social shifts, but I don’t chase them. If a design becomes timeless, it’s rarely because it followed a trend—it’s because it touched something enduring. I do read journals, attend biennales, and engage in cross-disciplinary conversations, but more to sharpen perspective than to follow fashion. My compass is always emotional clarity and contextual relevance.
How do you know if a product or project is well designed? How do you define good design?
Good design feels inevitable yet invisible. It doesn’t shout—it whispers in clarity. When a space or object makes people pause, breathe slower, or feel seen, that’s good design. It must serve both function and emotion. I often ask: does this design make someone feel more human, more grounded? If the answer is yes, it has done its job. Aesthetics are important, but empathy is essential.
How do you decide if your design is ready?
A design is never fully “done.” But there comes a moment when the project stops asking new questions—that’s when I know it’s time to let go. I believe in the discipline of finishing, but also the humility to know that every design is part of a longer conversation. Often, it’s a quiet internal feeling—like hearing the last note of a piece of music and knowing it’s complete, even if imperfect.
What is your biggest design work?
While I am honored that Zun Fu received international recognition, the project I am most engaged with now—and perhaps most proud of—is a new high-end restaurant space currently under construction. This project represents a deeper maturity in both my aesthetic language and operational understanding. It’s not just about cultural symbolism; it’s about spatial efficiency, mood control, and experience choreography tailored for discerning clientele. In fact, restaurants and hospitality projects have become a specialty of mine. I enjoy the challenge of integrating storytelling, circulation, and brand identity into spaces where people connect, celebrate, and return. Designing for the hospitality industry has allowed me to merge commercial function with cultural meaning, which I believe is the true frontier of spatial design.
Who is your favourite designer?
I admire many for different reasons. I am drawn to Carlo Scarpa for his precision and poetic detailing, to Isamu Noguchi for the sensuality of his minimalism, and to Geoffrey Bawa for how he wove nature and structure into one. But I’m also inspired by nameless craftsmen in Chinese villages—the ones who carve stone without ego, who understand rhythm without education. They remind me that good design is not always signed.
Would you tell us a bit about your lifestyle and culture?
I live quietly, with intentional slowness. My studio is based in China, but my mind often drifts between Kyoto gardens, Sichuan courtyards, and Scandinavian silence. I believe culture is not a theme—it’s a rhythm. Music accompanies most of my sketching. Poetry shapes how I sequence spaces. And my daily rituals—like brewing tea before drawing—help me stay grounded. Design, for me, is not a job; it’s a way of living with more clarity and grace.
Would you tell us more about your work culture and business philosophy?
Our studio operates with a dual focus: we are design-driven but execution-conscious. We serve clients in sectors such as hospitality, high-end dining, cultural real estate, and luxury residences—industries where experience, brand, and ROI must align. Internally, we emphasize professionalism, agility, and long-term collaboration. I often say: creativity is only half the equation—the other half is delivery. We maintain a team that understands not just concept design, but detailing, budget control, and communication across stakeholders. A successful project, in my view, is one that earns both market respect and user resonance. We want to be close to culture, but not far from capital.
What are your philanthropic contributions to society as a designer, artist and architect?
As a designer rooted in both tradition and contemporary practice, I believe in giving back by creating spaces that serve not only clients but also communities. While I don’t use the word “philanthropy” lightly, many of my projects—especially those in rural or semi-urban areas—aim to reconnect people with local culture and dignity. We’ve worked on public spaces that double as cultural education centers, created job opportunities by collaborating with local artisans, and participated in design mentorships for young creatives. I also remain open to pro bono work when a project carries long-term social or ecological value. For me, good design is not about grand gestures—it’s about small, sustained actions that improve life meaningfully.
What positive experiences you had when you attend the A’ Design Award?
Winning the A’ Design Award has been both an honor and a valuable opportunity to engage with the global design community. One of the most meaningful aspects was how the platform created a clear and thoughtful space for sharing personal narratives—not just polished portfolios. This interview, for example, allows me to articulate the values behind my work. The three key benefits I’ve experienced are: 1.Visibility – Being selected as “Designer of the Day” significantly expanded the reach of my work and led to inquiries from unexpected places. 2.Credibility – The award acts as a trust signal when approaching high-caliber clients or collaborators. 3.Legacy – The permanent archive of this interview and project creates a digital legacy that helps tell a cohesive, long-term story of who I am and what I stand for. Design awards like A’ Design help bridge regional and global perspectives. For designers like me, rooted in East Asian traditions but working across contemporary narratives, such visibility and thought leadership are invaluable.

Extended Interview with Zhijiang Shan

Could you please tell us about your experience as a designer, artist, architect or creator?
I began my design career in the 1990s, building on a foundation in fine arts and environmental design. This training developed my sensitivity to materiality, composition, and spatial rhythm. Over the years, I transitioned from painting and sculptural installations to interior architecture, drawn by space's profound capacity to express culture, emotion, and daily life.
How did you become a designer?
Design, to me, is not merely a profession—it is a way to explore the relationship between people, nature, and space. I became a designer because I hoped to create environments with warmth, emotional resonance, and a sense of cultural dialogue. I don’t design for beauty alone, but for meaning—beauty as an expression of empathy and experience.
What are your priorities, technique and style when designing?
In a way, design chose me. From childhood, I was fascinated by form and space—playing with clay, building model furniture with my father, rearranging rooms, sketching facades. It wasn’t a career I stumbled into, but a natural extension of how I saw and interacted with the world.
Which emotions do you feel when designing?
I currently work on commercial, hospitality, and cultural spaces—each with a focus on storytelling, materiality, and emotional rhythm. In the future, I hope to contribute more to public cultural infrastructure—museums, libraries, and learning spaces that invite reflection, community, and slowness.
What particular aspects of your background shaped you as a designer?
Rather than aspiring to be a legend, young designers should begin by becoming keen observers. Ask better questions. Understand that design is not just about giving answers, but about framing the right problems. Go beyond design itself—read literature, listen to people, walk through cities, and engage with everyday life. Depth in design comes from depth in living.
What is your growth path? What are your future plans? What is your dream design project?
A good designer responds to problems thoughtfully. A great designer redefines the questions altogether. Good designers create solutions, while great designers create shifts—in perception, in feeling, in cultural narrative. What separates them is not only talent, but also a sustained curiosity and moral clarity.
What are your advices to designers who are at the beginning of their career?
When every detail feels intentional—nothing excessive, nothing missing—and when the design evokes both clarity and surprise, it is truly good. Great design must function intuitively, resonate emotionally, and remain memorable long after the experience ends.
You are truly successful as a designer, what do you suggest to fellow designers, artists and architects?
Good design enhances human dignity. It transforms everyday routines into meaningful rituals. By investing in good design, we invest in care, attention, and the long-term well-being of people and communities. It pays dividends in emotion, memory, and trust.
What is your day to day look like?
I would design a sanctuary for artists, educators, and caregivers—a place where silence, imagination, and healing coexist. In today’s overstimulated world, creating space for inner restoration feels more urgent than ever.
How do you keep up with latest design trends? To what extent do design trends matter?
A cross-cultural rural design school, rooted in craftsmanship, storytelling, and food. It would be a space where people from different backgrounds come together to learn not only techniques, but values—a return to the essence of community and making.
How do you know if a product or project is well designed? How do you define good design?
Empathy and subtraction. I design with care—each decision must serve the user, the space, and the story, rather than my personal preferences. I also believe in restraint. Knowing when not to design is as important as knowing when to act. Great design often emerges not from adding more, but from removing the unnecessary.
How do you decide if your design is ready?
I draw inspiration from a range of figures—Carlo Scarpa for his poetic attention to detail, Tadao Ando for his clarity and spirituality, and Kazuyo Sejima for her ethereal lightness. I’m equally moved by unnamed Chinese artisans whose anonymous creations have shaped generations of aesthetic values.
What is your biggest design work?
Peter Zumthor’s Therme Vals is a masterpiece that deeply resonates with me. It speaks in whispers—through material, silence, and spatial rhythm. I’m also deeply fascinated by the classical Chinese gardens in Suzhou. Their asymmetry, layered pathways, and intimate scale feel like spatial poetry.
Who is your favourite designer?
One that I deeply cherish is “Zun Fu.” It allowed me to distill centuries of ritual-based aesthetics into a contemporary spatial narrative. What makes it meaningful is not its size or form, but its restraint and emotional depth—it respects the past without replicating it.
Would you tell us a bit about your lifestyle and culture?
Cultivate your inner world. Observe slowly. Read beyond design—philosophy, poetry, anthropology. I keep sketchbooks, revisit old works, and question my assumptions. Good design is not about knowing more, but about sensing deeper.
Would you tell us more about your work culture and business philosophy?
Perhaps a teacher, or a bookstore owner by a quiet lake. I’ve always loved helping others interpret meaning, and creating spaces—physical or intellectual—where people feel safe and curious.
What are your philanthropic contributions to society as a designer, artist and architect?
Design is intention made visible. It’s the shaping of experience through form, rhythm, and emotion. It’s not just about solving problems—it’s about asking the right questions and building meaning.
What positive experiences you had when you attend the A’ Design Award?
My family offered me freedom and trust. My mentors gave me tools and confidence. My collaborators taught me humility and patience. Without them, my vision would not have taken form.

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