Interview with Zhijiang Shan

Zhijiang Shan ("ZS") interviewed on Monday, 5 May.

Could you please tell us about your experience as a designer, artist, architect or creator?

ZS : 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?

ZS : 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?

ZS : 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?

ZS : 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?

ZS : 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?

ZS : 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?

ZS : 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?

ZS : 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?

ZS : 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?

ZS : 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?

ZS : 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?

ZS : 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?

ZS : 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?

ZS : 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?

ZS : 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?

ZS : 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?

ZS : 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?

ZS : 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.

Zhijiang Shan Profile