Interview with Hang Chen

In the beginning, I only studied the subject of design because I did. In the process of practice afterwards, I gradually realized that I could make a great contribution to the development of society and the improvement of people's quality of life through design. So, with continuous persistence and efforts, I became a professional designer.

I’m dedicated to the fields of urban and rural planning, architecture, landscape and interior design, applying core strategies of project planning, landscape optimization, architectural shaping and operational support, aiming to create an ideal living environment. At the same time, based on the value of “smart construction”, my designs follow the laws of regional development and aim at maximizing comprehensive value. Based on specific commissions and local conditions, I explore how to fully develop and utilize each piece of land to maximize the value of the project under the trend of urban and rural development, using various design techniques such as ecological design, cultural design and innovative design.

I think my emotions are excitement and happiness, especially when a good idea arises.

I think outstanding imagination, decision-making ability and execution ability are the outstanding qualities of a successful designer. Imagination determines whether creative ideas can be generated to solve problems, decision-making ability determines whether correct judgment can be made, and execution ability determines whether things can produce results. Then, you may also need some supporting partners, and the client is one of the partners.

Next, I want to design various types of urban design such as waterfront cities, mountainous cities, and plain cities. From the perspective of overall urban planning, I will comprehensively design the city-architecture-landscape to create an ideal living environment.

Enthusiasm, Persistence and Learning.

Combine your own work with your ideals, and truly use your own design skills to solve the comprehensive problems you face, instead of dealing with design with templated thinking and copy-and-paste working methods.

Reading design news in the morning and then start works to keep myself abreast of current events. During the working day, if I have time, I like to admire and analyze good designs.

I keep up with latest design trends from Design News. I think good design is always the next one, so I am always updating my knowledge horizon to deal with diversified works, instead of staying in the past success.

The standard I judge a good design is that it creatively solves the corresponding problems, such as being suitable for users, creating social value, having an impact on promoting social development, and having a beautiful and fashionable appearance.

When I am moved by my design, I will think that it is ready. A design that can't even impress myself, how can it impress others.

My biggest design work is City Fields Complex Functional Urban Area. I started from the original value of the city, respecting the characteristics of itself, and integrated the elements of mountain, water and fields into the urban design of the high-speed railway station area, creating a charming place where people can intuitively perceive the characteristics of the city as soon as they come out of the high-speed railway station. Some people only see the city in terms of monetary value, but I tried to make them understand the value of the city from multiple perspectives, such as ecology, economy, culture and urban vitality, and finally got the approval. It is a monumental and comprehensive project, and I will continue to improve myself to maximize the comprehensive value of the design practice with "smart construction" as the guide.

There are many predecessors worth learning from, so I won't give examples one by one.

I am currently working in Shenzhen, China. Shenzhen is one of the creative cities in the world, and design has largely influenced the city's construction and people's lives. It can be said that the development of Shenzhen is inseparable from design. At the same time, Shenzhen is a very open city, willing to accept new ideas and try new methods. To a certain extent, this has led me to develop a style of keeping up with design trends and constantly updating myself, so that I can make better designs.

I work with multiple partners. When choosing a business partner, I look for consistency of values, pursuit of design and yearning for a better life. In our working culture, it is most important to take smart construction as the value orientation and carry out the design practice of maximizing comprehensive value.

I conduct unpaid design research on some interesting urban or social topics, so as to make the city better and better.

I think participating in the A’ Design Award has the benefits of enhancing vision, highlighting design viewpoints and increasing influence. This will have a positive impact on future design careers. For example, " Designer of the Day " is a platform to express yourself.

I became a designer because I believe that well-crafted spaces can transform how people live and interact with the world around them, marrying creativity with purpose.

I chose this path out of a genuine passion for shaping environments that resonate with people and nature, rather than out of any external compulsion.

Urban & Rural Planning, Architecture and Landscape Design.

Young designers should immerse themselves in diverse fields, practice relentlessly, and strive to innovate instead of simply replicating existing solutions.

A good designer fulfills client requirements competently, whereas a great designer anticipates emerging needs and creates experiences that transcend expectations.

The standard I judge a good design is that it creatively solves the corresponding problems, such as being suitable for users, creating social value, having an impact on promoting social development, and having a beautiful and fashionable appearance.

I believe that good design is important for creating an ideal living environment, which can make people's lives better.

If time permitted, I would design inclusive cultural centers that serve underrepresented communities, focusing on sustainability and social impact.

My dream project is a zero-carbon, self-sufficient floating city prototype that addresses climate refugees and rising sea levels.

My secret ingredient is empathetic observation—truly understanding human behavior and environmental context before sketching a single line.

I draw inspiration from figures such as Thomas Heatherwick, Zaha Hadid, and Christopher Alexander for their innovative approaches to materiality, form, and human-centered patterns.

I admire Vincent Callebaut’s “Lilypad” floating city concept for its ecological vision and Oceanix City by Bjarke Ingels Group for its scalable resilience to climate change.

My biggest design work is City Fields Complex Functional Urban Area. I started from the original value of the city, respecting the characteristics of itself, and integrated the elements of mountain, water and fields into the urban design of the high-speed railway station area, creating a charming place where people can intuitively perceive the characteristics of the city as soon as they come out of the high-speed railway station. Some people only see the city in terms of monetary value, but I tried to make them understand the value of the city from multiple perspectives, such as ecology, economy, culture and urban vitality, and finally got the approval. It is a monumental and comprehensive project, and I will continue to improve myself to maximize the comprehensive value of the design practice with "smart construction" as the guide.

To improve, one should study broadly, seek hands-on experience in different cultures, and constantly refine both conceptual thinking and technical skills.

If not a designer, I likely would have pursued environmental research or industrial design to continue problem-solving on a broad scale.

Design is the art of balancing functional necessity, aesthetic expression, and social responsibility to create meaningful experiences .

I think my biggest supporters are my clients. I see them as partners.

Exposure to diverse cultural contexts and mentorship from established architects helped me refine my vision and sharpen my problem-solving abilities.

Major obstacles included limited access to advanced tools early on and the challenge of convincing stakeholders to embrace unconventional solutions.

Designers should present their work through clear storytelling—combining concise narratives, immersive visualizations, and user-centered reasoning.

Next, I am developing a modular housing prototype aimed at rapid deployment in disaster-prone coastal regions, emphasizing both resilience and community engagement.

My ultimate goal as a designer is to create an ideal living environment, to promote the benign development of cities and to pay attention to the fairness of existence beyond human beings.

People expect a visionary approach, thoughtful innovation, and solutions that balance aesthetic quality with real-world impact.

Design fosters well-being and equity by addressing human needs, environmental sustainability, and social cohesion through thoughtful spatial interventions.

I am particularly excited about a pilot project for a floating ecopolis that integrates renewable energy, aquaculture, and communal spaces to address future climate migrations.

Projects that deeply engaged local communities—transforming underutilized urban areas into vibrant cultural hubs—have given me the greatest satisfaction because they created lasting social value.

I would like to see a shift toward full-spectrum sustainability—where social equity, circular economies, and resilient technologies become standard practice rather than optional add-ons.

Design is evolving towards the field of maximizing integrated value. The future of design must consider not one-sided value, but a better life and a more livable environment through integrated means.

The typical timeline from concept to finalization spans 18 to 24 months, depending on project complexity and regulatory processes.

I begin with comprehensive research—site analysis, stakeholder interviews, and precedent studies—before sketching any conceptual ideas.

The best design work is always the next one.

I believe it’s reciprocal: innovative design often sparks new trends, while existing cultural and technological trends also inform emerging design solutions.

It is a tool to achieve a purpose.

I rely on industry-standard BIM and parametric modeling platforms, but always emphasize conceptual sketching and physical model-making over any single software.

By skillfully integrating color, materials, and ambient factors, designers can create harmonious and immersive experiences that align with the intended purpose and evoke desired emotions. The interplay between these elements enables the design to communicate effectively, enhance functionality, and create a unique identity.

I wish people would ask how the design enhances daily life and fosters community resilience, rather than simply focusing on its aesthetic qualities.

I immediately consider its impact on user behavior, environmental footprint, and potential for adaptation in different cultural contexts.

My ideal partner is someone equally versed in technical rigor and creative exploration—yes, co-design accelerates innovation by blending diverse perspectives.

Mentors who emphasized human-centric principles—such as Christopher Alexander’s pattern-based approach—have profoundly influenced my work.

“A Pattern Language” by Christopher Alexander and “Design Thinking” by Tim Brown have fundamentally shaped my understanding of user-centered and iterative processes.

Through continuous practice, cross-disciplinary collaboration, and ongoing reflection on built precedents, I honed my design intuition over decades.

I would choose Vitruvius to discuss timeless principles of spatial harmony and material honesty that remain relevant today.

Awards are gratifying acknowledgments of collaborative effort, but maintaining focus on genuine impact is more challenging than securing accolades.

I favor earth-tone palettes, coastal settings, simple grain-based meals, autumn’s gentle light, tactile materials like raw timber, and brands that champion sustainable innovation.

During a community meeting to discuss a new urban development project, I found myself in a comical situation. As the lead architect, I was presenting the proposed design to a room full of passionate residents. They had diverse opinions and were eager to share their thoughts.
As I began explaining the design, one particularly enthusiastic individual raised their hand with great enthusiasm. Assuming they had a question, I called on them, only to be met with a sudden burst of enthusiasm. They leaped out of their chair, shouting, "I love it! This is going to be amazing!" and started clapping vigorously. The room fell into an awkward silence as everyone turned to look at this unexpected outburst.
Trying to maintain composure, I thanked the individual for their enthusiasm, but asked if they had any specific questions or concerns. To my surprise, they simply replied, "Nope, just wanted to let you know how excited I am!" and continued clapping. The room erupted in laughter, breaking the tension, and soon everyone was joining in on the applause.
Though it was an unusual moment, it brought a lighthearted atmosphere to the meeting. It also served as a reminder of the impact that design can have on people's emotions and the importance of engaging with the community in a meaningful way.

A day is great when collaborative sketches spark fresh ideas, and I stay motivated by continually exploring new cultures and design philosophies.

As a child, I was always fascinated by how spaces made me feel, but the path to becoming a “great” designer unfolded over years of dedicated study and practice.

In the distant future, a thousand years from now, the world will be a wondrous place of awe and marvels! Picture a world where technology has advanced beyond our wildest dreams, where flying cars zoom through the skies like colorful birds, and buildings soar into the clouds, defying gravity with their magnificent designs.
In this future, environmental consciousness will be at the heart of everything we do. Cities will be adorned with breathtaking green spaces, where towering trees intertwine with skyscrapers, creating an urban jungle like no other. We'll have found ingenious ways to harness renewable energy, with buildings covered in shimmering solar panels and sleek wind turbines gracefully spinning in the breeze.

My design ethos centers on empathy—every project is an opportunity to connect people, culture, and environment in meaningful ways.

Our team is dedicated to the fields of urban and rural planning, architecture, landscape and interior design, applying core strategies of project planning, landscape optimization, architectural shaping and operational support, aiming to create an ideal living environment. At the same time, based on the value of “smart construction”, our designs follow the laws of regional development and aim at maximizing comprehensive value. Based on specific commissions and local conditions, we explore how to fully develop and utilize each piece of land to maximize the value of the project under the trend of urban and rural development, using various design techniques such as ecological design, cultural design and innovative design.

I believe that design is an important means of creating an ideal living environment, which can make people's lives better.

Urban & Rural Planning, Architecture and Landscape Design.

My biggest design work is City Fields Complex Functional Urban Area. I started from the original value of the city, respecting the characteristics of itself, and integrated the elements of mountain, water and fields into the urban design of the high-speed railway station area, creating a charming place where people can intuitively perceive the characteristics of the city as soon as they come out of the high-speed railway station. Some people only see the city in terms of monetary value, but I tried to make them understand the value of the city from multiple perspectives, such as ecology, economy, culture and urban vitality, and finally got the approval. It is a monumental and comprehensive project, and I will continue to improve myself to maximize the comprehensive value of the design practice with "smart construction" as the guide.

A residential area known as a benchmark residence in Chengdu, but that was many years ago.

It depends on the actual needs of the project, I don't have too obvious preferences, everything is adapted to local conditions.

Maybe morning? Maybe night? Maybe when walking and taking a bath?

My main concern is how to maximize the comprehensive value of the design according to local conditions.

I think my emotions are excitement and happiness, especially when a good idea arises.

I would feel indescribably happy.

Unusual focus, love for the world and exceptional talent will make a design successful.

The standard I judge a good design is that it creatively solves the corresponding problems, such as being suitable for users, creating social value, having an impact on promoting social development, and having a beautiful and fashionable appearance.

It is the most prominent responsibility of designers to build an ideal living environment, to promote the benign development of cities and to pay attention to the fairness of existence beyond human beings.

Design is evolving towards the field of maximizing integrated value. The future of design must consider not one-sided value, but a better life and a more livable environment through integrated means.

My last exhibition was at the Jinshi Art Museum in Shenzhen, China, in 2018. My next exhibition is not yet scheduled.

This is less certain and may happen in many places or may be uninterruptedly inspired at different times.

I’m dedicated to the fields of urban and rural planning, architecture, landscape and interior design, applying core strategies of project planning, landscape optimization, architectural shaping and operational support, aiming to create an ideal living environment. At the same time, based on the value of “smart construction”, my designs follow the laws of regional development and aim at maximizing comprehensive value. Based on specific commissions and local conditions, I explore how to fully develop and utilize each piece of land to maximize the value of the project under the trend of urban and rural development, using various design techniques such as ecological design, cultural design and innovative design.

I am currently working in Shenzhen, China. Shenzhen is one of the creative cities in the world, and design has largely influenced the city's construction and people's lives. It can be said that the development of Shenzhen is inseparable from design. At the same time, Shenzhen is a very open city, willing to accept new ideas and try new methods. To a certain extent, this has led me to develop a style of keeping up with design trends and constantly updating myself, so that I can make better designs.

As a partner.

I think the company needs to give the designer enough respect and honor for the work he is doing. At the same time, the company can choose to work with the designer based on his demonstrated design ability.

My design procedure is to fully communicate the needs with the client first, then conduct field research based on the characteristics of the project, and formulate a comprehensive value-maximizing solution through the analysis of various data, so that the client can have added value while doing this.

Models of Urban Pastoral Affordable Rental Houses, Artisan Echoes Culture Street, City Fields Complex Functional Urban Area, Ninghui Yuefu Cultural Building and N-Park Waste-Free Theme Park.

I rise at 6:30 AM and engage in a brief exercise routine—often meditation or light cardio—to sharpen my mind and prepare for a day of creative work.Afterward, I spend an hour reviewing international design publications and curated digital platforms to remain abreast of emerging trends and industry discourse.Mid-morning is dedicated to solitary creative exploration, where I refine conceptual sketches and consider how site contexts, materials, and light will inform the evolving design.Late in the morning, I meet with clients—either in person or remotely—to understand their aspirations, programmatic needs, and project constraints, ensuring the design vision aligns with their goals.Afternoons are reserved for collaborative workshops with my core team, during which ideas coalesce through discussion, diagramming, and iterative critique to shape more refined design solutions.Early evening often involves a site visit or a virtual walkthrough, allowing me to verify that the design intent resonates with actual conditions and to address any emerging challenges before the next phase begins.After returning to my studio, I dedicate time to personal study—immersing myself in architectural theory, reviewing recent competition outcomes, or drafting essays that articulate my evolving design philosophy.When I am not working, I travel extensively—experiencing different cultures, studying vernacular traditions firsthand, and drawing inspiration from the built environments I encounter around the globe.

Combine your own work with your ideals, and truly use your own design skills to solve the comprehensive problems you face, instead of dealing with design with templated thinking and copy-and-paste working methods.

Positives:
1.Creative Fulfillment:
Designing environments that touch people’s lives—whether cultural centers or residential communities—provides immense satisfaction and continuous inspiration.
2.Intellectual Challenge:
Each new brief offers unique constraints—such as site context, budget limits, or sustainability targets—forcing inventive solutions and personal growth.
3.Collaborative Synergy:
Working alongside engineers, landscape architects, artisans, and clients fosters a diverse exchange of ideas that elevates design quality beyond what any individual could achieve alone.
4.Professional Recognition:
Delivering award-winning projects validates the team’s collective effort and opens new opportunities—both domestically and internationally.
Negatives:
1.Unpredictable Hours:
Project deadlines, especially in competition cycles or construction phases, often require late nights and weekend work, which can challenge work-life balance.
2.Emotional Investment:
When design proposals are rejected or delayed due to funding or permitting issues, the emotional toll can feel disproportionate given the months of intensive work invested.
3.Budget Constraints:
Balancing design ambition with tight financial limits can necessitate difficult decisions—such as substituting premium materials for more cost-effective alternatives—impacting the initial vision.
4.Client and Stakeholder Negotiations:
Explaining the nuanced value of context-sensitive design or experimental materials sometimes requires extensive persuasion, which can divert time from creative work.

With a value orientation of "smart construction", I conduct planning and design projects tailored to specific commissions and local conditions in the fields of urban and rural planning, cultural and tourism development, architecture and landscape. My practice strives to comply with regional development laws and maximize comprehensive value.

I think outstanding imagination, decision-making ability and execution ability are the outstanding qualities of a successful designer. Imagination determines whether creative ideas can be generated to solve problems, decision-making ability determines whether correct judgment can be made, and execution ability determines whether things can produce results. Then, you may also need some supporting partners, and the client is one of the partners.

When I design, I usually use basic tools such as sketch pens, sketchbooks, markers, and software such as Revit, AutoCAD, GIS, and Rhino. The above constitutes my toolkit.

When I feel tired of my work, I relax through exercise and outdoor excursions to refresh my mind and to be able to design creatively.

The time taken is not always the same and varies from project to project. If I were to give an estimate of how long it usually takes, I could give a provisional estimate of a month.

The question I hear most often is: "What is your design philosophy?"My concise reply is: "With a value orientation of "smart construction", I conduct planning and design projects tailored to specific commissions and local conditions in the fields of urban and rural planning, cultural and tourism development, architecture and landscape. My practice strives to comply with regional development laws and maximize comprehensive value".

Early in my career, I led a complex adaptive-reuse project for a historic industrial building, which taught me the power of negotiation between heritage preservation requirements and contemporary functional needs. This experience honed my ability to engage stakeholders—heritage authorities, community groups, consultants—in dialogue that balanced respect for original fabric with the introduction of new structural systems and sustainable retrofitting. Navigating those regulatory and community dynamics reinforced the importance of empathy in design and set the foundation for my commitment to context-driven architecture.

My clients include Authority of Qianhai Shenzhen-Hong Kong Modern Service Industry Cooperation Zone of Shenzhen, Poly Development Holding Group Co., Ltd., Handan Fuxing City and Transportation Construction Investment Co., and Qiubei County Xingyu Urbanisation Investment and Development Co., etc.

I’m dedicated to the fields of urban and rural planning, architecture, landscape and interior design. I think they’re interesting and intuitively make living environments better.

In the short term, I plan to expand my research into net-zero energy buildings by collaborating with environmental engineers and renewable energy specialists to prototype a fully off-grid cultural center. Over the next few years, I aim to open a satellite design studio focused on socially engaged architecture—partnering with non-profits to deliver community-driven public spaces in underserved regions. Long-term, I envision establishing an educational program or fellowship that mentors emerging designers—emphasizing context sensitivity, sustainable practice, and cultural literacy.

In large-scale, multi-disciplinary projects, I adopt a teamwork approach. In projects that I am particularly interested in and the owner does not have strict requirements for completion time, I usually complete the entire design by myself.

Currently, I am developing a conceptual scheme for a mid-rise, mixed-use cultural hub slated by integrating mass timber construction, green roofs, and rooftop photovoltaic systems. The design emphasizes flexible floor plates that can adapt to evolving community programming—gallery space, co-working areas, and performance stages—while maintaining an open-plan core that encourages social interaction. Simultaneously, I am prototyping a modular, prefabricated housing unit aimed at low-income neighborhoods, testing advanced cross-laminated timber panels for rapid assembly and cost efficiency.

People can contact me via ch19911027@gmail.com. I'm looking forward to everyone getting in touch with me.

I would emphasize my commitment to lifelong learning—beyond formal education, I maintain active memberships in professional organizations and routinely present research at international conferences on topics like biophilic design and circular economy strategies. Additionally, I invest time in community outreach—leading annual design workshops for youth to foster early awareness of spatial literacy and sustainable practices.Finally, I am exploring the integration of immersive media (AR/VR installations) within architectural exhibitions, aiming to blend digital storytelling with physical form to engage users in multisensory experiences. Finally, I am exploring the integration of immersive media (AR/VR installations) within architectural exhibitions, aiming to blend digital storytelling with physical form to engage users in multisensory experiences. Finally, I am exploring the integration of immersive media (AR/VR installations) within architectural exhibitions, aiming to blend digital storytelling with physical form to engage users in multisensory experiences.