Interviews with Sha Lu

It has been my dream since I was a child to turn my ideas into reality. I grew up loving beautiful things, and art and making beautiful things, and all of that led me to design, but I didn't start out learning about it, to tell the truth, even now, I have not carried out the special formal education on design in school and college. My major is journalism and communication. During my graduation, I went to some big companies to do internships on design, yes, yes, yes, I like designing very much. I gradually came into contact with many things that I liked as a child. For example, I saw the production process of animation, how to make an animated character and carry on the peripheral design, it should be said that all these are because of my own hobby, there is no external reason, even if there is no systematic study, i feel that I have been walking this road in silence, if I can carry out relevant learning, maybe everything will be better.

I pay more attention to a few aspects of the design process, first of all, the overall plan for his early stage, then the details in the implementation process, as well as the final presentation effect, all of the projects will have their own, theme library. They all have their own, a different, method or idea. There is no fixed template for doing repetitive things. When designing, they use some digital tools, uh, to do it themselves, because I don't think we can rely on any of these tools alone, we will use some design drawings or renderings for solid models, or scale-down, or scale-up models, looking for the right manufacturers or companies to help us achieve.

Usually, when I design a product or a project, I take it very seriously, and I'm very happy to start a design job, because I think to myself, maybe I can achieve something beautiful again, and in the process, we're going to have a lot of brainstorming, and we're going to be dealing with a lot of materials and colors, and I love doing these things, whether it's the initial idea or the process or the final presentation, which is really important to me, i keep a record of it.

I didn't study design. I loved art since I was a kid. I loved painting, Calligraphy and crafts. I seem to be doing these things all the time. These are my personal interests. I was very impressed, growing up, my life was filled with all kinds of brushes, all kinds of materials and all kinds of doodles. My home was always a mess. I eventually studied journalism and communication, it has nothing to do with design, but after I graduated, my work has always been around design, which is the fate of it, although I look like a strange person to others, there is no systematic study of design, but we have been doing relevant work for more than ten years, and our work not only includes visual design, graphic design, brand design, packaging design, we also give many companies training courses in art direction and design aesthetic design thinking. To others, this is a wonderful thing, but we are really trying to do it, this is because the original hobby, he did not disappear, but become more and more bright.

In fact, I did not think, will eventually become a kind of person, what good design, I am not a person who will dream of the final result, I seem to be willing to go along with life slowly and naturally, but I like innovation and creativity, I like beautiful things, I don't like to do the same things that most people do, not particularly fashionable people, I like those gentle beauty, as long as it can warm others and heal people's hearts, usually I like it, I wish I was a designer, not very famous, but I can do my own design with peace of mind, of course I would be happy, I would not force others to agree with my design.

Young designers, in fact, have more energy, more wisdom, can find a better design, this time must go to the good use of their brains, do not be some inherent ideas, all lessons, like any knowledge, need to absorb good content, and throw away some bad content. Any advice is worth saving, but don't copy it, because once you start down this path in your brain, you lose your fresh energy, and it's hard to develop your own, unique, shiny design.

The secret of design success is to be yourself, to be yourself to the fullest, but to be yourself with humility and heart.

A lot of people might like some low-priced designs, because they already look normal, even though they don't look that impressive, or they look that bright, and they don't have a moving feeling, but now that a basic task has been completed, it seems that even a very low design cost for them can be accepted by most people. I have always had this feeling, it is very reasonable to pay a person for his or her service if he or she has devoted himself or herself to it, and to have the right values.
We have to learn new things and new knowledge every day, and we have to stand up for our inner banner. It's not that what you absorb is necessarily right, you have to make choices. I do this every day, we have seen many articles, if you use reasonable methods, you will see whether his views are completely correct or will produce some bias, these need you to feel for yourself, the same is true of the lessons you learn as a designer, but don't be influenced by some bad social trends. I think that no matter which profession, my heart is the most important. If I can keep my original intention unchanged, then you can be different in the end.

I'll make a list of things I want to do every day. Starting in the morning, I'll go over the list and rank them in order of importance. We'd better make a time plan, otherwise, you may often be interrupted by little things. If I have time, I will arrange some time in the day to recharge myself, to listen to some design radio, or read some related articles. I think this moment is very happy, because recharging is such a fun thing, I even think I'm a little obsessed with it.

Design and trend itself is a kind of fusion product, there is no sequence, if you have to give them a decision, is the decisive factor, it seems a bit unfair, trend is the embodiment of some design, and design should not go around the trend, design and trend are interrelated and different from each other.

Good design can give people a lot of spiritual energy, can let people actually feel its use value, design sometimes, will be some imitation or copy, or even change a color, if you want to feel the whole process of it, then you have to invest in good design, but if you don't care about design at all, totally only value in some price above some plagiarize the moral low price, then? I think this is something that a lot of people who really love life don't do. Of course, it doesn't mean that design is necessarily expensive, the main thing is to look at one of his materials, one of his construction difficulties and the designer of his hard work, we should give a valuable design, with a better investment to motivate him or return him.

I think when you do a design, you have to break it down into stages, and each stage has a lot of little dots and a specific node, and you have to figure all of these things out before you start designing, then take some time to remind yourself or write them down, and check periodically to see if they are finished, usually when we do a design, we put them on the schedule to make a rough time, so it doesn't interfere with other things, and it doesn't put everything together, we also start to do most of our design work according to this plan, when a job or project is completed, we will also be in time with all aspects of the staff to carry out a communication or summary as far as possible without delay, as far as possible so that he can be completed ahead of time or on time, does not affect the whole process of work.

I don't have any great design work, we treat every design project the same. We spend a lot of time working on our designs, sometimes we design by ourselves, sometimes we work with other teams, we often work with brands, in the cooperation of these brands, we will also be exposed to a lot of new things. I think this in itself is an expansion of our own new field. We have done it for movies, we have done it for posters, we have done it for animation, the drawing of the original painting, as well as the hotel theme room for some brand space, and many, many, many, many, many, many, environmental design, stage design, packaging design, brand design, and so on, any one project, I will record them, regardless of the size, i think they're like collectibles, and I'm going to remember them.

I like so many artists and designers, in fact, I think it might be hard to list them all, but I think my favorite design style is healing, or forest, this is my personal favorite design style, I used to like our domestic publication of a magazine called "little thing" , in fact, this publication will have a lot of interviews with the illustrator craft, designers I think I like everything they do, and I like every single one of their work.

My favorite cities are Hangzhou, Milan, Finland, Paris and so on. They appeal to me because of their quality, I like music, they can let me focus more in my creative process, let me calm down and relax, to better design, sometimes they also inspire me, and culture influences some design projects, especially in different countries, which becomes more obvious.Good design can give people a lot of spiritual energy, can let people actually feel its use value, design sometimes, will be some imitation or copy, or even change a color, if you want to feel the whole process of it, then you have to invest in good design, but if you don't care about design at all, totally only value in some price above some plagiarize the moral low price, then? I think this is something that a lot of people who really love life don't do. Of course, it doesn't mean that design is necessarily expensive, the main thing is to look at one of his materials, one of his construction difficulties and the designer of his hard work, we should give a valuable design, with a better investment to motivate him or return him.

I hope that my design partners will have some relevant matches, such as their views on things or their feelings of beauty, not to say that they should be completely consistent, but that they should be consistent in the big direction, in this way, we can move forward in a coordinated way. I very much welcome young people like this to interact with me. I can also learn a lot from him. I feel that the strength of a team must be greater than one person, one person may be able to complete a great design, but they will spend more time and energy working as a team, so if they can build a good design team, so it's very important for a design company to have a good design team, you don't need an independent designer, you need an integrated design team to do the work of the company.
In my design, some of them are collaborations, and some of them are done by themselves. Depending on the project and various other factors, a person's ability is certainly limited, combining what you're good at and what other people are good at can often lead to more efficient, and sparkly, designs.I once saw a Japanese designer who was trying to evaluate what was really good design. At that time, I was very impressed with the phrase, he said that good design is like giving a rose to a person, that is, when you present a beautiful design to achieve it, and society, it will become better, and you will become better inside yourself, and this is not a kind of narcissism, nor is it a kind of complacency, it's a kind of gentle beauty.

Design can indeed create a better society, because it not only makes the future more beautiful, but also more comfortable, more convenient, all these depend on design, if there is no design, then the pace of social progress will be slower, even he doesn't look that good, just thinks that beauty and function should be unified, that vases can not be changed and become more popular, and that designers can create new trends, he can turn what used to be ordinary into something shiny.

I think a design award is a very good design competition, plus this competition has many benefits, for example, the most basic is that you can test your own design level at what stage, what's good and what's bad can be brought up, and when you're not clear-headed, you might get a lot of feedback from the jury and help you figure out where you need to work harder, at the same time, his judgment is very standard. This is a point that I attach great importance to. If I am honored to win the award, I can also let my work be seen by the world. Good works may have the possibility of being realized, and also can contact many excellent designers and works, to learn their outstanding flash point, I think that many of the issues that the designers raised that day are actually the issues that we need to think about every day, as a designer, you should have some questions in your mind to make a clear response, do not obsess about the life to do design, once your answer is clear, you will do something better.

It's a little bit cold, but the owners prefer the black and white look and a certain elegance that doesn't seem to follow the trend, and we used holographic projection technology to make it look more lively. It seems that there are some big and small fish schools here. At the same time as being as clean as possible, it's a bit of a fantasy. To get back to the beginning, we need to express our sense of harmony with nature. Because we all live together on this planet.

I am very happy to win this award. At the same time, this is a design with many defects. Due to the tight time, there are many things that can be improved and have not been adjusted in time, so the image presentation is still a little rough, the design itself is a simple residential design. He was ordinary, but I wanted to make him more soulful, more accessible to the people who live there, and I wanted to show that in a clean environment, we can make the space more flexible, we can use a variety of methods, as the progress of science and technology, we should be able to more convenient to do with nature and the future.

I didn't spend a lot of time on this concept and the main thing is maybe I didn't record it in detail, because the whole process of work was done in a kind of fragmented time, so that there is no way to complete the statistics but in my impression, he should have gone through many discussions and revisions, and finally decided on the current version.

This concept is by the customer's request and my personal analysis of his needs, should be said to be a comprehensive product.

My designs are usually given to clients or used for Copyright Library or Art Exchange, academic exchange, there are very few ways to sell or rent a design to someone else, and I would like to try to make my own product work for a social service that makes the product work, there are more ways to think about better presentation in the future.

We do many types of design, space design is one of the small categories, in fact, my design has a more personal style in it. It is not so popular, he must belong to a small group of people, right? But I am very grateful to have this group of people to identify with and communicate with you. I think that's why I am going to do the current design.

For my own work, I don't ingest too much from some designers or design work, because for me the community itself is a kind of content that is not good for me personally, or the way to see better designs, or to listen to other designers share, is to capture their inner spirit and essence, which is the only thing that can make you feel fulfilled, let your imagination run wild. If you only learn from the surface, you will only learn a little. You will not be able to understand that there are too many good designs in the world, i think if I can learn to design thinking, then no matter what the change can be successfully spent, and not lost.

My design target customers are mainly some relatively small, love life at the same time, but also like the nature of some people like the healing style, my class is not a too large group, but I'm sure they're all warm and loving people.

Each design is actually different, even if we see some similar design, if they are independent of the original, then there must be some different content. If the same designer designs different works, there may be a lot of his own design styles or preferences, but every work, it must have a central idea, it must have a distinctive point, this point must be clearly presented as a central point, particularly clearly presented there as if we were talking about a theme, each design he has a theme of its own, and can not copy a theme copied to another design, the so-called template I do not exist.

Because what I was trying to convey was a kind of inner meditation, where people think about themselves more in harmony with their environment, and they analyze it with a calm attitude, but we don't take it too seriously, we're still going to find a lot of clever stuff.

We used some necessary design tools, such as drawing software, as well as some software for post-processing visual and so on.

The most unique point in my design should be to be on top of the material, on top of the commercialization, pure and clean to communicate with the most direct object.

This design mainly has my personal post-production above, the photographer also participated in the image collection and the adjustment we have our own one is mainly some creative people are engaged in with the vision related work.

Prior to the design, we had a full discussion and brainstorming with the owner to sort out all the key information and content that the other party wanted to convey, which is very helpful for the future design. And the whole thing went really well. The owner's favorite is our proposed holographic projection setup.

We'll do a data analysis of the design, and that includes a lot of things, from the customer's perspective, and from the design itself, we need to do a detailed data collection. For example, when we do a design, it's more like making a dress for a client. Not only do you need to keep a detailed record of every piece of data on him, but also to his favorite color patterns and mood and other elements of the collection this is actually a basic step, but also an essential step.

In this design, I was mainly responsible for the soft-fitting and layout of the space, because these aspects are the areas where we are good at, so we didn't meet much challenge in general, in terms of holographic projection, we consulted the relevant staff to set up.

I got an invitation in my email, from a design a word, and I was actually kind of surprised, because I've been getting emails since last year, although I know it's probably due to some design site that has a portfolio, so he sent me an E-mail, but I didn't think to attend it before because I think my design is actually quite ordinary, it doesn't seem to be any good design, so I will attend it this year, i don't feel that my work has improved and I can take part in it, but I would like to take this opportunity to give myself a test, because I know a lot about the testing criteria in the competition, in fact, it is a good test for a designer. I want to know where I am lacking at present. I want to make efforts to correct these aspects so that I can keep learning and keep getting better, even if the process is long and slow, I'm willing to do it for the rest of my life.

In the process of designing this work, I learned a lot about science and technology. For Space Design, communication is an important process. We need to have constant communication with customers and also with construction personnel. You learn a lot from them, it's just an exchange of knowledge. I try to write down all the interesting things I hear. They all come into play at a particular time.

I think the reason why I became a designer, this is the main kind of persistence of my own heart, then seriously to do this thing, because love can always make a thing become full of motivation, and then let people put all their feelings into it, I think it will be able to create a different design.

I have a natural desire to be a designer, and I often give advice: Don't be forced to do something, follow your heart.

I design a lot of areas, I think design itself is cross-domain, can be extended indefinitely, we will continue to update their knowledge base and related skills to engage in related design work.

Young designers actually have more energy, more intelligence, and are able to find better designs. This time must go to the good use of their own brain, do not be bound by some inherent thinking. All lessons, like any knowledge, need to absorb the good and discard the bad. Any piece of advice is worth saving. Don't copy it, because if you do, your brain will lose its fresh energy and will never be able to develop its own brilliant design.

A designer can do a lot of design work, but the product he designs is not necessarily good design, and good designers, he can make the product in the realization of the foundation to more shining, I think this is very obvious thing.

I once saw a Japanese designer comment on what is really good design, and I was impressed by a quote. He just said that good design is like giving a rose to someone. When you put a good design into practice, society becomes a better place, and your heart becomes a better place. This beauty is not narcissism or complacency, but a gentle beauty.

Good design can give people a lot of spiritual energy, can let people actually feel its use value, design sometimes will be some imitation or copy, or even change a color, if you want to feel the whole process of it, then you have to invest in good design, but if you don't care about design at all, totally only value in some price above some plagiarize the moral low price, then? I think this is something that a lot of people who really love life don't do. Of course, it's not that design is necessarily expensive, very routine is mainly to look at his a material, a construction of his difficulty and the designer of his hard work, we should have the value of the design, with a better investment to motivate him or return him.

I've always wanted to be good at my own design, I don't want to copy, I don't want to be anyone, I want to be myself, even though I don't have a lot of voice or energy, but I think I just want to do some loving little things, and these little things can be seen everywhere in life, and I want to design the beautiful things in life that can make people see and smile, or these products that let people relax their unfurled eyebrows, people seem to have everything, with the advancement of technology, but the inner perfection of the beautiful, should be elusive perhaps my energy is not so much, but I believe I can do this little thing.

I haven't decided on this yet, because as far as its designers are concerned, of course, they want to present their designs one by one, but I don't seem to have any particularly grand goals. Maybe what I do is some small things in my opinion, every design, if it can be presented, if it can bring a little bit more beauty to our lives, is a wonderful thing. They are not high or low, nor big or small, of course I will try harder to do it well.

The secret to design success is to be yourself. Be Yourself fully but humbly and with all your heart.

I like to see interviews with design Gurus and legends, and some of the advice I've given has really helped a lot of designers and inspired a lot from their own experiences, in addition to design masters and legends, I also like some poets, some writers, they can also give you a lot of inspiration, as if all inspiration is actually spread throughout this space, we meet some worthy people, some of their body of astigmatism will fall on our minds, this time to feel good, I think, you will have something.

Sometimes I meet a lot of designers, their designs may not look so good, but they all look normal, also very suitable for the general public, maybe when designing for the general public, sometimes they may lose their aesthetic and achieve a functional presentation, but I would like to combine beauty and function, although I'm not saying that my work is necessarily better than theirs. I believe that as a designer, there is a responsibility to combine both, a lot of people might like some low-priced designs, because they already look like the norm, even if they don't look that impressive, or they look that bright, and they don't have a moving feeling, but now that a basic task has been completed, so even a design fee that seems cheap can be accepted by most people. I've always had this feeling, it is very reasonable to pay a person for his or her service if he or she has devoted himself or herself to it, and to have the right values.

I am good at the design should be the healing style of some illustration craft or space, there have been many people told me, i think my work is very healing and the dolls I used to sell on the Internet people might go to my website and see my posts when they're in a bad mood, they said that even when I was in a bad mood, I would calm down in an instant. I always remember these words. Some of them even went away for a long time, even for decades, sometimes I even think it's been so long, but I keep these words, and even some of my clients will contact me after so long, I feel very moved, these clients even send me lovely paintbrush paints, or delicious gifts. I think it's really nice to meet people who are so friendly, thanks to the beautiful designs.

We have to learn new things, new knowledge every day, and we have to stand up for our inner banner. It doesn't mean that what you absorb is necessarily right, you have to make choices. I do this every day, we have seen many articles. If you use a reasonable method, you will see whether his views are completely correct or biased. These are all things that you need to feel for yourself, as a designer, you learn the same lesson from others but don't be influenced by some bad social trends. I think no matter what industry, my heart is the most important. If I can keep my original intention, then you can be different in the end.

If I really love this job, I will continue to work hard.

I think design is a kind of work or a way, through your ideas and your practice, to create something that makes the world a better place, that makes people happier, and a lot of things take on a state in their lives, we can make it better, or we can make our public objects more pleasing to the eye, and all that has to do with design should be a good feeling, or be able to make a difference in the world with more progress, to make our lives more convenient.

There are a lot of design portals, and they all praise my work, and they set them as home page recommendations or a selection of website columns, and there are some personal fans who will always support me, in fact, I'm not the kind of person who is particularly good at promoting or paying attention to whether I have fans, because I'm not the kind of person who can talk socially at all, but if you don't talk, people will still pay attention to you, it means that maybe they are supporting you, I think, I will listen to the good voice and the bad voice.

I guess it's just something I love.

In fact, everyone will encounter various difficulties in their work, perhaps your first design work will be attacked by everyone, fortunately, I have not encountered these problems for the time being, but I will also check myself, for example, I may be careless and careless occasionally, but I will definitely write down the reasons for these mistakes after I finish this epilepsy, in this way, I will always pay attention to these aspects next time. If I just change one revision at a time, then maybe someone will make the same mistake next time, i think it is particularly important to be able to learn lessons in a timely manner.

I think designers should display their works on some official design portals, and it's a good idea to have a sense of copyright protection for your own work to participate in meaningful competitions, I mean fair and reasonable, some competitions that can determine the level of your design, rather than some bogus competition, where there are canvases or unfair judgments, or where you can submit your own awards, i think it is not up to me to determine my own design level, but should be seen by everyone. How many people like your design, how many authoritative platforms to recognize your design although we do not design for others to recognize their own, but these can be used as a reference.

The future plans haven't really taken shape yet, but one thing is clear: I will always do what I love to do, and do what is nice and pleasant and may not be earth shattering, but to be able to do one loving little thing, I think they are the most meaningful.

My ultimate goal is to keep doing this little loving thing until I die with a smile on my face. I won't stop for a second. I will always love design and art.

Many of my friends are very supportive, but my family are always worried about my health.

Design can indeed create a better society, because it not only makes the future more beautiful, but also more comfortable, more convenient, all these depend on design, if there is no design, then the pace of social progress will be slower, even he doesn't look that good. They all think that beauty and function are the same, that vases can't be changed, that they're more popular, and that designers can create new trends, he can turn ordinary things into flashes of light.

I am currently working on a renovation of my studio, and I am very happy to be able to make it a new and better place for myself. At the same time, I have been in close contact with many of the materials in my collection, this is the happiest place I've ever been.

Well, I don't have a particularly satisfying design project. I guess I'll just have to keep working on it.

In fact, great changes have taken place in the design industry. For example, in the field of artificial intelligence and artificial design, many basic requirements can already be met. They seem so convenient, they can definitely replace some of the normal designers, and everything will become more intelligent, but I have also looked at some artificial layout or typography, in fact, they all use a certain algorithm, but when they change another picture, their golden ratio may produce some different matches and flaws with the picture, and these are only really good designers, which is why, maybe a good design is copied, and after changing some fonts or colors, it will become very common, so artificial intelligence can really help us, but really good design, really can inherit the design or need human to carry on.

The field of design should be made more explicit about future trends and the impact of technology on us, which must be good for us, even artificial intelligence, he can only make the difference between the average designer and the good designer more obvious. As a good designer, he should improve his skill of a comprehensive vertical and horizontal. It may take 10 years for each skill, and human life is so short, but if you learn each skill by heart and let them accumulate day by day, I think they will play their part.

Generally speaking, the design of the project will be based on the category to determine his time, so I do not have a precise concept of time to tell you, because different design time is definitely different, we make a pre-estimate of the design to see how much time it will take to communicate with the client.

I'll do a variety of collections, and just like we do in brainstorming, you'll need to list a lot of keywords, a lot of different color swatches, a lot of different features and survey data, and then you put them in a series of combinations, and you put them in different arrangements, to get the best presentation, and you do a lot of actual testing to get the right data.

Warm heart only.

I think the two go hand in hand. Design and trends are a hybrid product, not a sequential one, if they have to be decided, it seems a bit unfair that trends are a reflection of some design, and that design shouldn't be around trends, that design and trends are interconnected and distinct from each other.

The purpose of technology is to make design faster, to help in terms of efficiency, or to give people something to look forward to.

Because what we do in our daily work is actually very wide-ranging, and all the fields related to vision will be involved. Therefore, we also use more in designing software. According to different jobs, we will use different software or devices, these are not really special, like everyone according to their own needs to choose.

Color,materials, and other related factors, can better embody a visual effect in the design, can assist various functions, a pleasing design can not be better without these elements of vision and touch, which are auxiliary and vital elements, and which are dependent upon them, but not the determining factor, of course, in certain products, which may have a greater weight.

I want people to look at my designs and ask questions about what they want to know, and I'm happy to solve them, because everyone is different, there are many new sparks that can be created between people to achieve each other.

When I see a great design or product, I analyze the things that move me. It doesn't seem like a serious thing. It's casual, but it can give you a lot of new ideas, that is, these little things can give us a lot of new feelings, we often say that to find some inspiration is actually called inspiration, because they may be a flash of inspiration, or maybe they are feelings that you didn't have before. For designers, inspiration is priceless. We see products that appeal to our hearts, and we will never let them off the hook, good design.

I hope that my design partners will have some relevant matches, such as their views on things or their feelings of beauty, not to say that they should be completely consistent, but should be consistent in the big direction, in order to move forward in a coordinated way, I very much welcome young people like this to interact with me. I can also learn a lot from him. I think the strength of the team must be greater than one person, one person may also be able to complete a great design, but he will definitely spend more time and energy working as a team, so to be able to build a good design team, so it's very important for a design company to have a good design team. You don't need an independent designer, you need an integrated design team to do the work of the company.

I think I can learn a lot from everyone, for design, a lot of people, they will give some good advice or opinion.

In terms of inspiration and books, I really like design books, especially design magazines, which are usually quicker to present some good design than design books, or fashion, some popular trends, if you want to know them quickly, you can look at some magazines, if you need to look at some established, to be able to have a final conclusion of this knowledge over a long period of time to study, you can read some design books, but I do not particularly recommend to see which one, because these books are too many, there is really no way to go one by one ranking, because really maybe I found a good, but there will be better, in this respect we do not have to seriously, as long as you have read, you will absorb these knowledge, that is good.

Know your own path, go on firmly, to master the basic skills skillfully, but also to their own thinking of a continuous training, if only stay at the technical level, then it may stay in one phase and not be able to move forward. It is very important for the whole design to grasp one thing from the whole.

If it had nothing to do with time and space, I would of course like to communicate and discuss with beautiful people who have excellent ideas. It would be a wonderful thing. There are so many such people in the world, they are like celestial beings to me.

Uh, I have won many awards since I started my career. Since College, I have won many large-scale awards all over the country. There are probably quite a few, big and small, that I feel the reason for participating in these competitions, not so that someone would approve of you, but as a way to test yourself. So if I'm going to a contest, I'm not going to ask for votes, I'm not even going to share it with anyone. Maybe I'm not thinking this way, but I just want to test myself, i didn't want this to cause any repercussions. If I can win the prize, it may mean that at this stage my design is of value. Then I will continue to do it better. If I say it has frequent reactions, that means it still has a lot of problems. Well, I believe that some authoritative institutions can give me the score I want. I think it is wrong to hold Chen Ming's idea, although there is an old saying that a soldier who doesn't want to be a general is not a good soldier, I still think it's good to be famous, but don't do anything to be famous, if it's true that the difficulty is related to the effort you put in, if it's true that the ease of doing something doesn't necessarily lead to some satisfactory achievement, then it's not true, if you actually took the time, he would turn into something shiny like a gemstone, even if invisible, and at some point he would amaze the world.

My favorite color should be white, because I think white is a sacred color, and on white it can produce a variety of colors, white is like a foil, can make other colors more beautiful, so white in my life is the most common color, and even my clothing, my shoes are mainly white, i would probably go for lighter colors in my designs, too.
My favorite place, I would like some of the European countries with a national style of design, such as Italy, Milan, Paris, and so on. If it is in China, I also like to go to some places with characteristic style to feel the local humanities, they will give me some new feelings. China has a number of worthwhile to visit some of the characteristics of the landscape, which will actually become your hands of the beautiful colors or design.
My favorite season is autumn. There will be sweet-scented Osmanthus I like, it tastes like a very delicate girl, and this season is very short, he may exist in the four seasons, let me feel the shortest, but he is feeling the air is very fresh, the sky seems very far away, everything is just right.
Because I am a food lover, I have no way to choose the number 1 in my heart, I will eat anything that is delicious, as long as they are not strange looking or strange, I think I will be willing to try. I like the things I like those look very lovely, very simple and very good things, a little thing I feel very moved. I like some of the brands of Japanese design brands, I quite like, especially some of the forest or full of children's brand, or some small, with some folk customs brand, I will like very much.

I think being a designer is really a good job, and he will experience a lot of interesting things, but being a designer is your first choice, not because it's fun or because it pays second, we have to figure out if you really love this job, and then just do it and stick to it.

There is so much design can do, and it can be infinitely divergent, in space and time, he can not be so constrained. As long as you have a good idea, and you're willing to take the time to present it, there are good teams out there that will find you and invest in you. Don't live aimlessly, cherish your time, cherish your inspiration. Inspiration is everywhere, and people tend to care about what they are interested in. In fact, everything will give you feelings, these feelings are precious. Don't focus so much on where to look, but on training yourself to feel.

When I was a kid, I loved to draw, to mix materials, to make things. I think I like nice things.

I'm not a fortune teller, I really can't predict the future, but the future will be better. Perhaps some people are not very confident about this, they feel that the development of society will cause more problems. But I still think there's a way to fix it. It'll all work out in the end. I don't know what will happen after 1000 years, I just hope the world will develop with love and peace, even if one day we may not live on the earth, we will go to another planet, it's not impossible. Of course 1,000 years from now people will think differently from us, there will be all kinds of new jobs, and designers will no longer be called designers, and there will be other names to replace them, if you want to imagine it, you can even write a book about it, which I think is really a very big divergent topic, and there's really an infinite amount of content to come out.

I'm an illustrator, a visual designer, and a craftsman. I'm not much of a talker. I guess I'm more of an inner person. My parents always thought I would have a social disorder, but maybe it was because I was so closed off that sometimes the mental side became more obvious. I tend to focus on something that goes to the heart of the person, not just to explain the concept from the material, or to sell a product, but the pure moving part behind it. Because I think that when you give the world a real feeling, the world will return it with its own love. I have a lot of supportive people, some of them over 10 years, who have been a source of strength and inspiration for me to keep my style.
There are many types of design that we do. For example, we have art direction content, online teaching, design thinking and aesthetic cultivation of some of the content. We do brand design, interactive design, product packaging, photography, cultural publicity, fashion IP, space design. Because the design is a fusion platform, the reason why we do the work is also based on this large fusion to continue to diverge. Some people may feel that doing more is not as good as doing better, but I would say that we want to do the best we can in every field we can. That's our goal.

Mulu culture originated from the pursuit of beautifulthings,recording images,so that the art and beauty of life can be better presented.Is committed to creating a unique creative visual field,to achieve diversified development,is a multi-functional compound Culture Media Co.,Ltd..The company mainly takes brand image packaging,product shooting,stage vision and program visual image packaging as its main production projects and also carries out brand image design,product packaging design,album design,Motion Graphic,art activities,etc.,vision,design,image,music,art,creativity...one session at a time,good and beautiful always.

I think design is a way to make the world a better place,to make people happier,through your ideas and your practice,a way to work,a way to do a lot of things in life,we can make it better,or we can make,the public objects more pleasing to the eye,and everything that has to do with design should be a good feeling,or something that makes a difference in the world,more progress,to make our lives more convenient.

I like illustration,I like some color about the space,or color collocation,also like brand design and packaging design,visual field related content I like very much,because they are beautiful.

I don't have a favorite design yet.Although some of my designs may win prizes in some competitions,there may be a common problem for designers,that is,they will find many,many deficiencies in the works they have produced,almost every piece of work after he finished,I can find many,many bad places,but because I also understand,like these shortcomings or lack of some perfect places,is also a hint to myself,can make themselves clearer in the future,so it is also a necessary work to keep these insufficient works.

The first design I did for the company was actually about the development of animation peripheral,at that time I was a doll designer,my job is to cartoon cartoon characters in the cartoon design a variety of peripheral,these include dolls,and I make them the way most dolls do when I'm around.The tools are needles and thread,all kinds of fabrics,all kinds of hand-made things.4.This is one of my favorite things.I often go to the fabric market with a big pocket during working hours to find all kinds of beautiful materials.I think many people will enjoy this job.

I like all kinds of cloth,all kinds of handcraft materials,all kinds of colors,all kinds of brushes,all kinds of paper,all kinds of materials that can be used to create,I like to present them separately,so in my home there would be a warehouse,a warehouse containing all kinds of fabrics,all kinds of materials,all kinds of pens,all kinds of paper,which would be stored as treasures.

I don't think I'm a particularly creative person,but I like to collect ideas,and I think if there's an idea that's going through your head,then one of the things I'm going to do,is to pick up a piece of paper and write it down,because I'm afraid that the next second I'm going to forget,that a lot of ideas don't necessarily come true,but they can really give you a lot of references.

In the design process,I pay more attention to the details,then all aspects of the level of coordination,the actual role of the product,visual above the various specifications,these are points of concern.

I am usually very happy when I design,although sometimes I may have some difficulties,for example,when my idea conflicts with the client's idea,obviously there is a problem with the customer's thinking,sometimes need to communicate,but I am not very good at communication,so at this time there will be some trouble.

When my design is realized,I will be grateful,well,to be able to turn a design into a finished product is the desire of every designer.

There are many reasons for the success of design,but I think no matter from any aspect,the first thing should be that you like to design this thing,so that you can design with all your heart,so that you can put your ideas,you spend all your time on the design,and you really want it to work,not for some benefit,and of course there are all sorts of things that can be done to make it better,there's also a lot of social research that can be done to help you design better.There's no rush or imitation,even if it's a reference point that can be useful to you,don't imitate it,this is the key to a designer's success.

In judging a design,the people I think about first usually judge it by its first appearance,and second by the details of how it actually works,whether it makes sense,whether there will be some sort of sustainable,and in the future does not affect him in a practical play of such aspects.

The designer's responsibility to society and the environment should be to make the world not only better,but also more comfortable and convenient.Only the design of the face value can not adapt to the development of society,but only the design of the public,without the appearance,may make people's mood produce not so pleasant components,so the face value and the function must be unified,this is a designer,when he design a very important consideration,who do not want to be a vase,who do not want to be said that their design,just looks beautiful.

I think that the development of the design field should be completely integrated from all fields.It can be said that many design fields have been continuously integrated and developed.The future design should be more humane,and draw inferences from the past,you really want to realize a value of their own,not from the one-sided to consider a design,perhaps a graphic designer,he is both a visual expert,also want to be an expert in space architecture,of course experts don't come overnight,but you should at least develop your versatility skills.

I enjoy visiting other exhibitions,the last one was in Milan in 2019.

Well,I usually do a lot of work,because our company's main business is oriented to the design field or the visual field in many ways,so there will be a lot of visual-related work to do,we do online education and training courses,we work with many brands,we do design services for the general public,and we sell our products on some websites,inspiration should be everywhere,in life,in nature.As long as you feel with your heart,see with your eyes and hear with your ears,your heart will naturally produce different things and use them well.

Many people say that my design style is biased towards the healing style,or it has a kind of firework smell,warm power.I myself prefer the healing style,like the design of the Forest Department,so I will keep close to my life when I design,using a lot of real life scenes to present them,the main feature of my style should be that it is more approachable,softer,and relaxing.

I live in China,and Chinese culture is actually very beautiful,especially when it blends in with other cultures,like one of my favorite styles,Chinoiserie,which has a mix of French and Chinese,there are also artistic elements from Japan and other Asian countries,and if I were to present a design style in my own home,I would be happy to use that style.
In our country,there are actually many good designers,but like any other country,many designers may have some confusion about their profession on the way to design,whether you love the job or not,Chinese design has started to make a lot of noise in the world and is more widely known,but the problem is that it is not so representative,in other words,his voice is not particularly loud.I think Chinese culture is actually very beautiful.If we carry on some of them,the modern fusion will be a treasure house of very splendid design,no matter in any country,in any era,the classics and the future are an eternal topic,they are always balanced,they can always take us to a new country.

When we have some cooperation,usually it may be that a brand party comes to us and comes with us to have some communication in the design field.We will sign a design contract,according to the actual effect location of the design,the other party will carry out the design work,before that,we will have detailed communication and meetings to understand each other's needs.So far we have not done any marketing or promotion,because our own positioning is to belong to a relatively small design company,in fact,he really does not seem so popular,we want to do some love small things,this is the original intention.

Companies work with designers.Generally speaking,I think we look for designers according to our own needs.In fact,there are many designers.But maybe we should make a distinction when we choose,for example,some basic work,day-to-day work,quantitative work,then maybe the designers we need are some designers who can do these complicated and repetitive things,but if we need to make this work 10 points bold and compelling for people to talk about,then you need to work with good designers,and when you work with good designers,you can speak out your ideas and requirements,but you should also listen carefully and carefully to what the designer is saying.However,if he is already a good designer,his opinions should have some value,we should go to listen,a lot of designers reflect about the company partners,their ideas will often be rejected by the other side,if the designer's idea is reasonable,then why not listen?After all,it's their job to make things better.

My approach to design is the same as everyone else's,so first of all I'm going to do a variety of collections,and just like the brainstorming we do,you're going to have to list a lot of keywords,a lot of different color blocks,various functions and survey data,and then put them in a series of combinations,put them in different permutations,to get the best presentation,but also do a lot of actual testing,and finally adjust the reasonable data.

I don't have a favorite design project right now,Um,but on a daily basis,my favorite is always the design of the handicraft,and the creation of the illustration,and the space,the planning,and the other presentation,and,yes,we also design the sound,because usually I also participate in a lot of sound of the program recording,we can go to a lot of characters for voice dubbing,or the role of a voice presentation.

My Day is usually at the same time as most people get up in the morning.I don't have the habit of going to bed late.I don't get much sleep.I start work in the morning,i usually work late into the night,but I'm glad I'm in good health,even if I don't really sleep much.

I think young designers will definitely have more sound ideas,their brains will generate bigger storms,make good use of these,although it may be lack of experience for the actual project,but it does not matter,because,like experience,it can accumulate and deepen continuously,I think the most important thing for a young designer is to know whether he really likes designing or not,love or passive to do this kind of study and work,if you really want to design this way better,then you need to keep your mind clear at all times,what I mean is don't let yourself get lost in an endless ocean,let yourself be able to have your own unique flash point,so that you can copy and imitate these methods,which are not advisable,and may even make your mind completely degenerate,whether you want to be a designer or a draftsman depends entirely on your opinion of the design and your determination?

Being a designer is a job I've always enjoyed.It's a great feeling for me to be able to present my ideas.Designers must sacrifice a lot of their free time or spend time with family and friends,or when other people go out to play may also need to work as a designer,so the designer's health should be particularly worthy of attention,other than that there seems to be no negative impact on me.

I'm going to focus on the basic specifications of the design,and whether it's the same,whether it's eye-opening,whether it's going to feel different,and we're going to see a lot of design,and it's really handled very well,all aspects are very,can be said to meet the requirements of high scores,but I do not like them,because they look like the same,they are the product of the model,or they too imitate certain things,this is not what a designer should do.A designer should innovate,should renovate the history,instead of repeating it.He can make the classics more brilliant and the future come earlier.

As a designer,you have to pay the most attention to your eyes,your ears and your brain,and that's the second most important thing,is some software or some other skill,and a lot of people put that in the first place,i think this is not desirable,if a designer does not design thinking,then his software operation is superb,he can not use their own thinking to design,he can only repeat the design of others have done it.

Some of the tools I used during the design process,and the one I used most was actually an A4 sized laptop,this grid book,and I would carry a stationery bag with me,although we would have cell phones now,there will be tablets and other electronic devices that are more convenient to record,but I'm used to writing them down on paper in the first place,although it may take a while,and I have to carry them to my computer,but I think this record is worth the time,in the application of the software is not really special,I use the same software with everyone,in inspiration and books,I really like the design of the book,in particular,some design magazines,usually more quickly than design books,can present some good design,or fashion some popular trends,if you want to know them quickly,you can pay attention to some magazines,if you need to study some of the knowledge that has already taken shape and can have a final conclusion over a long period of time,you can read some design books,but I'm not special,i recommend which one to read,because there are so many of these books,and there's really no way to rank them one by one,because really,maybe I found a good one,but there will be a better one,and we don't have to take it seriously in this regard,once you've seen it,you'll absorb the knowledge,and that's good.

Whether it is designers or other staff,need to learn time management,my current time management is not particularly good,but I will put every day to do their own thing to an analysis of the degree of importance,it's one of the most primitive and easiest ways to do it.There's a lot of time management software,but I'm used to using pen and paper,maybe I think pen and paper are more approachable,but I'll probably put these things on my computer later on,because one of the benefits of a computer is that it can expand your knowledge of ideas,including time management,with pen and paper,there's always a size limit.

Generally speaking,the design of the project will be based on the category to determine his time,so I do not have a precise concept of time to tell you,because different design time is definitely different,we all make a prediction about the design to see how much time it will take to communicate with the client.

The question I ask most often as a designer is,if it's about brand collaboration,I'll try to find out from the brand about their various ideas and requirements that will allow me to implement the design,if it's for me,then I will also ask myself a lot of questions,standing in the consumer's perspective on how to look at this design.

My most important work experience is probably my first job,when I was in an animation company,doing animation peripheral character design this job,to do this job when I was still in school,and I got this job because I took part in a national illustration competition and won an award.At that time,many animation companies contacted me.They said that after they saw the message that I had won the prize,interested in inviting me to go to their company after graduation,I chose one of these companies which I prefer,he is a Singapore Animation Company,at that time he had a branch office in our country,and the teacher he interviewed was a very friendly person,and he would ask questions that were different from those of the regular urbanites,and what impressed me most was asking what my ideal was.I told him my ideal was to maintain the truth,goodness and beauty of the world.When I said this,I was surprised myself,i wonder if people will think I'm strange,but the fact that they can understand me makes me think that I should come here.I spent an unforgettable time there,i have gained a lot of valuable experience and wealth,I have been guided by you,and I have made more refinements and improvements in some of my skills.I will always remember this job and the people I met.

My clients usually have not only brand partners,but also some social government personnel or some government agencies,and some,the general public,personal design customers or online buyers.

My favorite design works,he should look cute,beautiful,but really can give us a better use of the product,because I also like this design style,it's the same feeling that I want to present to others,so I feel a special affinity for this type of product.

The plans for the future haven't really taken shape yet,but one thing is clear:I'll always be doing what I love,doing what's Nice and enjoyable,and it may not be earth shattering,but to be able to do one loving little thing at a time,I think they are the most meaningful.

In my design,some of them are collaborations,and some of them are done by themselves.Depending on the project and various other factors,a person's ability is certainly limited,combining what you're good at and what other people are good at can often lead to more efficient,and sparkly,designs.

My latest designs are supposed to be handmade products,and they're all going to look so cute,and they're going to heal people,and in 20201 we're going to start seeing something as bad as the coronavirus,many people's mood may be hit hard even the economic situation,many social problems are beginning to emerge.Although at this time I have nothing special to do,however,to share some lessons on design,as a charity class,I also make a lot of healing dolls to put them on the Internet for a charity sale,can let these commonweal sale income as the ability some to the disaster area contribution.

People can contact me through my work site or our wechat account,and in many design sites,I write down my contact information for clients who need it.

The choice of 'school of fish' did not stem from an accidental aesthetic preference, but rather from a profound inquiry into the state of the 'soul.' This specific natural element is the most fitting physical expression of 'inner freedom' that I could find.What prompted the selection of the school of fish was the convergence of three levels of contemplation:An attempt to materialize the 'soul': The project is named Soulful Residential House. Initially, 'soul' or 'spirit' was an extremely abstract concept. How could it be transformed into a perceptible spatial experience? What came to mind were 'freedom,' 'unrestrained,' 'agile,' and 'harmony.' It was at that moment that the image of a school of fish swimming leisurely in boundless waters emerged in my mind. They follow no fixed path; each individual moves according to an inner drive and a collective默契, forming a dynamic whole that is both unified and filled with randomness. Isn't this precisely the state of being we deeply yearn for—a life free from the shackles of physical and rule-bound constraints?A response to the modern condition of existence: We live in an era defined by 'boundaries'—the walls of buildings, the grids of cities, the rules of society. While this ubiquitous 'definition' brings us a sense of security, it also无形中 imprisons the fluidity of the spirit. A school of fish, especially as they traverse different waters, disregarding the 'boundaries' we set, represents a possibility for breaking through limitations. I hope this home can become a vessel that shatters internal barriers, and the imagery of the school of fish is the perfect messenger for this vision.The ultimate alignment with the project's context: As I mentioned earlier, the design context is global pollution and overconsumption. Fish, as aquatic creatures, have a survival state intrinsically linked to the quality of the water environment—that is, the natural environment. They are an extremely sensitive environmental indicator. Choosing a school of fish is also a most poetic way to remind us of the fragile yet profound connection we share with our natural mother and to call for a more responsible mode of dwelling.This source of inspiration fundamentally reshaped my architectural decisions:It is far more than a decorative theme; it became the 'generative grammar' shaping the space.Spatial layout and circulation: We completely abandoned the traditional thinking of 'room boxes' defined by walls. The entire spatial layout mimics the fluidity and unpredictability of a school of fish swimming. Moving through it is like a fish exploring the water—the visual and bodily experience is continuous and full of subtle variations, achieving what you referred to as 'spatial flow.'Form and contour: The spatial form of that 'kiss' you mentioned resembles a warm cave, or perhaps a safe 'bubble,' enveloping the inhabitants.Materials and light: To enhance this underwater-like experience, we extensively used materials capable of reflecting and refracting light. Light, processed by these surfaces, is no longer direct but becomes diffused, hazy—like sunlight penetrating the water surface, casting shimmering, rippling patterns on the pool floor. When the holographically projected school of fish swims within this, it merges with this foundational play of light and shadow. The boundary between the virtual and the real is blurred, collectively reinforcing that surreal, meditative atmosphere.Point of technological integration: The design of the holographic projection system also fully adheres to the 'movement patterns' of the school of fish. The projection paths are not random; they are meticulously programmed so that their movement trajectories highly correspond with the streamlined structure of the space, as if they are truly 'exploring' this liquid architecture crafted for them.In summary, for me, the school of fish is not merely a visual symbol. It is a vehicle for a 'spatial philosophy.' It prompted me to make a series of unconventional architectural decisions, ultimately creating not a house to be 'looked at,' but an organic entity to be 'experienced'—a living organism. It invites the inhabitants to set aside mental frameworks and to use their bodies and intuition to feel a life of free-flowing ease, like fish in water.

In the 'silent base' of the 'Soulful Residential House,' dominated by a black, white, and gray cold color palette and holographic lighting, the introduction of deep red and textured metal is far from mere decorative accents. It is a meticulously orchestrated 'awakening of the soul,' rooted in my philosophical contemplation of 'wholeness' and 'vitality.'Philosophical Reflection: A Heartbeat in SilenceMy philosophical reflection can be summarized in two points:The Dialectic of 'Emptiness' and 'Substance': Ultimate simplicity and tranquility ('emptiness') provide a vessel for the soul. However, if there is only 'emptiness,' space can easily slip into nihilism and detachment, lacking human warmth. We need 'substance' to define 'emptiness,' and a touch of 'commotion' to affirm the value of 'serenity.' Deep red is that powerful, distinctly audible 'heartbeat' within the silence. It tells us that this space is alive, pulsating with vitality and emotional flow.The 'Breaking' and 'Establishing' in Eastern Aesthetics: This is deeply influenced by Eastern aesthetics, particularly the concept of 'breaking' in Wabi-sabi philosophy. A flawless, plain base is static, but when a crack appears ('breaking') and is mended with gold dust ('establishing'), the story of life begins. Here, the expansive cool tones are the 'plain base,' and that precise touch of deep red and the glint of metal represent this 'breaking and establishing.' It shatters monotonous perfection, introducing temporal depth and emotional tension, transforming the space from a 'still life painting' into a 'narrative poem.'Element Selection: Why Deep Red and Textured Metal?Venetian Red: I did not choose a bright, aggressive true red, but rather a subdued deep red with an earthy quality and a sense of aged patina, similar to Venetian Red. It embodies the power of blood, the warmth of the earth, and the tempering of kiln fire. It is the most primitive color of life, representing inner passion, energy, and the depth of the soul. Like a warm embrace, it injects an undeniable human warmth into the cold technological feel and absolute tranquility.Textured Metal: We selected textured metal with fine hammer marks, brushed or oxidized traces. They engage in a complex dialogue with light: capturing it, yet scattering it into subtle, shimmering points. This perfectly echoes the 'virtual light' of the holographic fish swarm and the 'physical light' of natural illumination, acting as a visual bridge between the two. Its cool texture creates an interesting tension with the warmth of the deep red, while its own texture speaks of 'craftsmanship' and 'imperfection,' counteracting the potential coldness of digital technology.Impact on the Living Experience:This intentional contrast profoundly shapes the resident's experience:Visual Anchor and Emotional Waypoint: Within the flowing, weightless holographic imagery and open space, that touch of deep red and a metal component become solid, warm visual anchors. They适时 pull wandering thoughts back to reality, providing an emotional 'foothold' and preventing the sense of floatiness that might arise in a purely meditative space.Stimulating Inner Vitality: When the resident's gaze is immersed in cool tones and virtual imagery for extended periods, this sudden surprise of color and texture can instantly awaken perception and stimulate subtle internal emotional fluctuations. It acts like a strong note in a musical piece, enriching the 'emotional curve' of the entire space, making it dynamic and moving.Completing the Spatial Narrative: This home does not tell a story of escaping reality, but one of finding strength within serenity and returning to humanity amidst technology. Deep red and metal are the climax and conclusion of this story: we seek peace of mind, but never forget the fervor of life and the tactile sense of the real world. They ensure that the residence, while possessing 'spirituality,' remains imbued with the warmth and strength of 'the warmth and vibrancy of human life.'In summary, the use of Venetian Red and Textured Metal is the 'human code' we have infused into the 'Soulful Residential House.' It is a profound, longing glance back at the authenticity of life within a digitalized, purified context, ensuring that the space, within its framework of utmost rationality, still beats with a warm and sensitive heart.

In my understanding, sustainability is by no means a technical feature that needs to be ‘added on’ to design, but should be an underlying logic and aesthetic stance that runs through it consistently. Our way of combating global pollution and overconsumption is not through ascetic sacrifice, but through a form of luxury that is ‘smarter, more essential, and therefore more enduring.’ In Soulful Residential House, this philosophy is realized through the following dimensions:The Paradigm Shift from ‘Material Consumption’ to ‘Experience Consumption’This is the core of the project's philosophy. The essence of overconsumption lies in the endless demand for physical objects. Our strategy is to replace the reliance on physical decorative materials with rich, renewable ‘experiences.’Holographic Projection as ‘Dynamic Art’: We use zero-material-consumption holographic imagery—such as the schooling fish—to replace physical decorative paintings or sculptures that require mining, processing, and transportation. It offers an inexhaustible, dynamic art experience. What the homeowner acquires is not an object, but a ‘theater for the soul’ that can change over time, with mood, or even with the seasons. This directly reduces the consumption of material resources while enhancing the aesthetic depth and uniqueness of the space.The Pursuit of a ‘Time-Immune,’ Eternal AestheticA key driver of overconsumption is the rapid turnover of trends. We chose an aesthetic language stripped of temporal labels.Core ‘Purist’ Aesthetic: Through a neutral color palette of black, white, and grey, and extremely concise forms, we created a canvas-like backdrop. It does not follow any fleeting fashion, thus possessing timeless appeal. A space that does not become ‘outdated,’ thereby avoiding reconstruction or major renovation, is in itself the greatest conservation of resources.Emotional Durability: When the aesthetics of a space are built upon a dialogue with nature, light, shadow, and the inner self, it gains emotional durability. The relationship between the occupant and the space is one of continuous nourishment, rather than brief possession followed by weariness. This profound emotional connection is the most powerful barrier against blind consumption.Material Strategy: Essence, Low Consumption, and Long Life CycleWhere physical materials must be used, our selection strategy is equally prudent.Essence Over Ornament: We prefer using materials that reveal their own inherent texture and essence, such as micro-cement, real wood veneer, and textured metal. They do not rely on complex chemical finishes or coatings, reducing pollution during production, and their beauty comes from within, enduring over time.Quality Over Quantity: In key areas, we invest in the highest quality materials and craftsmanship with the longest lifespan. This may seem expensive, but from a whole-life-cycle perspective, it avoids frequent replacements due to damage or aging, achieving true economy.Hidden Green TechnologyWe view sustainable technology as a ‘hidden service layer.’ For instance, high-performance insulation systems, low-energy LED lighting systems, and smart home environmental controls operate silently beneath the minimalist aesthetic surface. They minimize the home's energy consumption without demanding any visual compromise.Guiding a ‘Conscious’ LifestyleUltimately, the goal of the design is to influence behavior.Space Provoking Thought: This pure, nature-infused space itself serves as a constant reminder. It guides occupants to contemplate their relationship with resources and consumption. When one's surroundings are so clear, tranquil, and orderly, one naturally tends towards a more streamlined lifestyle that emphasizes quality over quantity.Repairing the Relationship with Nature: By introducing natural elements (the fish, light and shadow, organic forms) in an abstract yet powerful way into daily life, we seek to mend the disconnect between humans and nature prevalent in modern urban living. An individual who has reconnected with nature at a deep level will more proactively choose an environmentally responsible lifestyle.In summary, our approach treats the environmental crisis as an opportunity to redefine ‘what constitutes an excellent life.’ We demonstrate that aesthetic excellence and environmental responsibility are not a trade-off but two sides of the same coin. True luxury lies not in how much material one possesses, but in how much freedom, tranquility, and harmony one experiences. What Soulful Residential House offers is precisely this kind of sustainable luxury for the future, built upon consciousness, intelligence, and beauty.

My collaboration with the holographic technology team, materials engineers, and other partners completely reshaped my understanding of 'spatial boundaries.' If, as an architect, I construct the 'skeleton' and 'muscles' of space, then this collaboration taught us how to infuse it with a 'nervous system' and a 'soul.' Several groundbreaking insights emerged from this:The Dissolution of 'Hard' and 'Soft' Boundaries: Materials as InterfacesOur most unexpected discovery was realizing that physical materials themselves can become a 'soft,' dynamic, digital interface.Initial Assumption: We thought holographic projections were a 'virtual layer' independent of the physical space, which served as a static 'background layer.'Actual Breakthrough: During the collaboration, materials engineers and we experimented with various textures for walls and floors. We discovered that specific micro-cement formulas and polishing techniques, with their subtle granularity under specific lighting angles, could significantly enhance the depth and realism of the holographic fish school, making them seem as if they were truly swimming within the wall. The wall, this most 'hard' element, was no longer just a surface to be projected upon; it became a 'skin' breathing in sync with light and shadow. This symbiotic relationship between 'hard' material and 'soft' code created a tactile, immersive experience that could not have been foreseen by any single discipline.The Interchange and Fusion of Professional Roles: A Dance of Poets and EngineersInterdisciplinary collaboration fostered a fascinating 'role reversal.'The Tech Team Became 'Poets': When we offered感性 descriptions like, 'We hope the fish school shows a sense of hesitation and exploration when swimming around corners,' the programmers didn't simply treat it as a pathfinding algorithm problem. They began discussing the 'emotions' of the fish school with us, ultimately encoding this subtle sense of life by adjusting image transparency, swarm density, and random algorithms for swimming speed. They wrote poetry with code.We Became 'Systems Engineers': Conversely, as architects, we were no longer just providing static blueprints. We needed to deeply understand the light paths, focal lengths of projectors, and the impact of ambient light to, from the early stages of spatial design, reserve space for their 'invisible' carriers and conduits. We were no longer designing just a form, but a complete ecosystem capable of carrying dynamic experiences.The Expansion from 'Spatial Narrative' to 'Temporal Narrative'Traditional interior design primarily deals with spatial narrative. This collaboration made us clearly realize that we were, in fact, designing 'space soaked in time.'Unexpected Insight: Our technology partners suggested that the fish school's behavior patterns could change based on the time of day (e.g., morning, noon, dusk, late night) or the indoor atmosphere detected by sensors (e.g., quiet, presence of visitors, music playing). For instance, in the morning, the fish might be sparse and active; late at night, perhaps only one or two drift slowly.The impact on the living experience is revolutionary: Space is no longer just a backdrop but becomes a living, responsive partner. This time-based, dynamic narrative creates an ongoing emotional connection with the inhabitant, unattainable by any static physical design. It makes the 'home' truly come 'alive.''Imperfection' as the New Standard of PerfectionIn purely technical fields, the pursuit is often absolute clarity and fluidity. In our collaboration, however, we collectively embraced 'intentional digital imperfection.'We intentionally introduced slight delays and randomness into the fish's swimming patterns to prevent them from appearing like precise machines. We even allowed the images to produce slight distortions and halations on certain material surfaces, as this precisely enhanced the sense of realism and poetry of 'viewing through a medium.' What we learned was that in pursuit of emotional truth, sometimes technical perfection must be sacrificed.In summary, the greatest insight from this interdisciplinary collaboration is this: The design of future residences will no longer be a simple superimposition of architecture, interior design, technology, and other fields, but rather a profound 'chemical fusion.' It requires us to collectively create a new language—a language in which walls breathe, light holds emotion, and the virtual and real nourish each other. Ultimately, the 'Soulful Residential House' is not merely a physical dwelling; it is a living prototype, co-explored with our partners, representing possibilities for future living.

When selecting and positioning artworks, my role is more that of a ‘curator’ than a ‘decorator.’ My core principle is not ‘beauty,’ but whether the work can serve as a ‘resonator’ and ‘guide’ for the space’s meditative atmosphere. Every piece must adhere to an ultimate goal: guiding the inhabitant from outward observation to inward contemplation.My methodology can be summarized by the following principles:Resonance of Theme: Shifting from ‘Narrative’ to ‘Phenomenological’I deliberately avoid artworks with strong narratives or personalized symbols. We do not need a painting that tells a specific story; we need a ‘field’ that evokes universal sensations.Selection Criteria: I tend to choose works that explore natural phenomena, the essence of light and shadow, or the micro and macro cosmos. For example, a metal installation mimicking the shimmering surface of water or an abstract painting depicting the rhythmic pulse of cell division. These works do not ‘speak’ but directly ‘present’ a state of being, resonating with the natural rhythms represented by the school of fish and the essential forces of life.Effect: They invite viewers to immerse themselves in a pure sensory experience, making it easier to enter a meditative state of clearing the mind and focusing on the present.The Whisper of Materials: A Dialogue with TouchIn the Soulful Residential House, materials themselves are a form of art. The materials of the artworks I select engage in a silent dialogue with the overall texture of the space.Selection Criteria: I prefer works made from natural, warm, or time-worn materials—such as uncut raw stone, aged paper, rusted iron, or smooth wood. Even modern materials must reveal their essential textures. These materials inherently convey stories of tranquility, endurance, and authenticity.Effect: When one’s fingertips instinctively reach out to touch these works, the cool, rough, or smooth textures instantly ground them in the tangible present, pulling them away from virtual holograms. This tactile anchor between the virtual and the real deepens the layers of the meditative experience, making it more than just visual.Dynamic Stillness: Becoming the ‘Breath’ of the SpaceIn a space filled with dynamic holographic imagery, the ‘stillness’ of static artworks becomes a powerful force in itself.Positioning Strategy: I place a substantial static sculpture or painting at the visual focal point of the fish’s swimming path. As the virtual fish repeatedly ‘pass through’ this still object, the contrast between motion and stillness is dramatically heightened. The static object becomes a monument to time, while the flowing fish represent fleeting moments. This arrangement is, in itself, a meditation on eternity and transience.The Use of Negative Space: Letting ‘Emptiness’ Be the CanvasIn the Soulful Residential House, the ‘emptiness’ surrounding the artworks is as important as the works themselves.Positioning Strategy: I give artworks ample, even lavish, breathing space. A single small piece may occupy a large wall, surrounded by vast areas of emptiness. The purpose is to allow the viewer’s gaze and thoughts to circulate, settle, and reflect. Artworks are not meant to fill space but to illuminate and define the void around them, making ‘emptiness’ meaningful and meditative.Symbiosis with Technology: The Interplay of Virtual and RealMost importantly, artworks must harmonize with holographic projection technology rather than compete with it.Selection and Positioning: I avoid highly reflective frames or overly vibrant surfaces that could interfere with the projections. The placement of each work is meticulously calculated to ensure it does not obstruct the projection’s light path and may even巧妙地 serve as a ‘stage’ or ‘background’ for the projections. For instance, when the virtual fish glide over the surface of a lightly textured relief, it creates a vivid effect, as if they are darting through reefs.In summary, what I do is not merely ‘placing’ artworks. I am ‘selecting residents’ for this spiritual space and carefully arranging the ‘social distance’ and ‘dialogue’ between them. Each piece is a meticulously placed node of meditation, contributing through its silence, materiality, form, and theme. Together with the space’s fluidity and the virtuality of technology, they compose a visual symphony that guides the soul to tranquility. Ultimately, they transform the residence itself into a complete, inhabitable work of art.

The collaboration with MULU has been an in-depth, symbiotic 'philosophical dialogue.' Initially, the concept of 'black and white' I proposed served more as an aesthetic foundation, a visual starting point. With their profound cultural insight and understanding of craftsmanship, the MULU team helped us collectively deepen this concept into a residential experience centered on the 'way of balance.' The evolution of this idea can be summarized into three key stages:1. Sublimation from 'Color Contrast' to 'Texture Narrative'My Initial Concept: Initially, 'black and white' was, for me, a tool to construct spatial purity and a sense of futurism—an extreme visual contrast.The Evolution Brought by MULU: The MULU team guided us through a profound process of 'de-colorization.' They posed the question: 'If we strip away color, what else can we use to tell a rich story?' This question shifted our focus from the 'opposition' of colors to a 'dialogue' of materials.Concrete Manifestation: Consequently, we moved beyond merely using black and white and began exploring:The Diversity of 'White': From micro-cement white with subtle granular texture, to matte paint white as soft as silk, to opal glass white that captures light and shadow.The Layered Depth of 'Black': From mirror-deep piano black, to forged black iron with artisanal warmth, to finely textured black jade stone.This evolution allowed the space to present an incredibly rich sensory hierarchy within a monochromatic scheme. The elegance and refinement stem precisely from this uncompromising, deep excavation and juxtaposition of the materials themselves.2. Philosophical Deepening from 'Formal Opposition' to 'Energy Fusion'My Initial Concept: I initially viewed black and white as symbols of binary opposition, attempting to create a sense of tension within the space.The Evolution Brought by MULU: MULU introduced the concept of 'Yin and Yang' from Eastern philosophy. They pointed out that black and white are not in opposition but are interdependent, mutually transforming flows of energy. Our goal should not be to showcase conflict but to cultivate a dynamic, cyclical balance.Concrete Manifestation: This philosophy fundamentally altered our spatial decisions:Flowing Boundaries: We ceased using harsh lines to demarcate black and white areas. A black wall might 'flow' into the floor, while a white ceiling could 'blend' into a dark side wall through a soft curve. Each contains elements of the other.Light as a Mediating Agent: MULU provided crucial advice on lighting design, suggesting the use of warm, concealed light sources to 'bathe' these cool tones. A beam of warm light hitting a textured black wall can instantly evoke its inherent warmth, while diffused light creating a 'halo' on a white micro-cement surface eliminates the coldness of pure white. Light became the key element fusing black and white, infusing the space with soul.3. Mission Shift from 'Visual Style' to 'Vessel for Life'My Initial Concept: Initially, the black-and-white minimalist style was an end in itself.The Evolution Brought by MULU: Through our collaboration, we collectively elevated the design to a new level: this space should not merely be a showcase of a style; it must also be a 'vessel' capable of embracing all the traces of life and the fluctuations of emotion of its inhabitants. The pure backdrop created by black and white precisely serves to highlight those colorful, warm moments of life.Concrete Manifestation:Leaving 'Blank Space' for People: We intentionally incorporated significant 'blank space' into the design—not just physically, but also perceptually. These voids await filling by the activities, memories, and emotions of the residents. The open book, a cup of hot tea on the coffee table, a shaft of sunlight streaming through the window—all become the most vivid and precious 'performances' on this black-and-white stage.Openness to the 'Future': MULU helped us realize that this radically restrained design inherently offers maximum flexibility for the future. When holographic fish swim across the room, or a deep red throw appears on the sofa, these 'soft' elements achieve their most striking and focused presentation against the 'hard' backdrop of the black-and-white base.In summary, the collaboration with MULU was a process of taming 'opposition' into 'harmony' and deepening 'style' into 'philosophy.' They helped us understand that true elegance and refinement do not come from the accumulation of decoration, but from the exquisite balancing of contradictions, a profound respect for materials, and ultimately, a deep care for the state of 'human' life within the space. The moving sense of harmony in the 'Soulful Residential House' is precisely the perfect movement resulting from the co-evolution and final symphony of our shared philosophies.

Our core strategy is to prevent 'function' from appearing as bulky, self-proclaiming 'objects,' but rather to dissolve it into the flow of space, making it part of the background narrative instead of foreground noise. This is achieved through the following methods:The 'Disappearance' and 'Integration' of FunctionWe are committed to seamlessly integrating functional elements into the architectural form.Storage Space as Wall Systems: Part of the storage function is not achieved through additional cabinets but by constructing "double-layer walls" or utilizing the thickness of curved partitions. A pristine, sculptural-looking curved wall may internally house all daily clutter. This achieves the ultimate unity of "visual emptiness" and "functional fullness."'Fixed' and 'Extended' Furniture: We have reduced the use of movable furniture. Some furniture is permanently shaped through architectural techniques such as raised platforms and wall extensions. This eliminates the "clutter" associated with furniture, making the space appear incredibly cohesive and pure.The 'Blurring' and 'Scenarization' of CirculationWe have abandoned traditional, explicitly circulation-oriented "corridors."Fluid 'Living Paths': The spatial layout is structured around a central circulation spine, but the width of this spine varies—sometimes opening up into a "living area," sometimes narrowing into a "path." Moving through it, one does not feel as though they are "passing through" one room to reach another but are instead experiencing a series of continuously shifting living scenes. This layout encourages exploration and lingering, maximizing the use of every square meter and transforming it into part of the experience rather than wasting it on mere passage.'Overlapping Zones' of Function: We intentionally designed ambiguous areas of function. For example, a raised platform area can serve as a tea room or reading nook during the day, and by drawing a hidden curtain at night, it can become a temporary guest room. This time-based functional overlap allows a single physical space to assume multiple roles, greatly enhancing spatial efficiency.Visual 'Guidance' and 'Transparency'The enemy of an ethereal sense is obstruction and crowding.Restrained Use of Solid Partitions: We尽可能 use transparent or semi-transparent boundaries. For instance, employing glass brick walls, perforated partitions, or merely suggesting functional transitions through changes in floor materials or subtle level differences. This ensures visual permeability, making the space feel much larger than its actual area.Directing Focus to 'Emptiness': Holographic projection technology also plays a functional role here. It draws visual focus to the "void" within the space rather than to accumulated objects. When attention is captured by floating, weightless light and shadow, people subconsciously overlook the cleverly concealed functional components, thereby enhancing the ethereal quality of the space.The 'Servient' Concealment of TechnologyAll technical equipment for comfort and functionality, such as air conditioning, ventilation systems, and smart control panels, is thoroughly concealed. They are integrated into ceiling designs, hidden within the fine seams of wall bases. We ensure that residents enjoy the convenience brought by technology without seeing any disruptive, cluttered devices or cables.In summary, our approach to maximizing functionality is not by increasing the number of objects but by enhancing the intelligence of the spatial 'form' itself. We treat the 121.8 square meters as a complete, malleable piece of clay. By sculpting its form, thickness, and fluidity, we allow the space itself to 'grow' the required functions, rather than 'placing' functions within it. Ultimately, residents experience not a house filled with various functional objects but a fully functional 'ethereal realm' where one can breathe freely and let thoughts wander. Here, function serves the atmosphere, not the other way around.

If the initial design concept is compared to a seed, then extensive collaboration—with clients, with partners (such as MULU), and with technical teams—is the sunlight, rain, and soil. It does not alter the fundamental direction of the seed’s growth, but allows it to develop into a stronger, more lush, and more unexpected form. This influence is fundamental and is mainly reflected in three aspects:From 'the Designer’s "I"' to 'the Project’s "We"': The Client as a "Soul Resonator"The client is not merely a functional proposer; they are a resonator and co-definer of the project’s "soul."Case Study: Deepening the Black-and-White PaletteThe initial black-and-white concept was the client’s aesthetic preference. Through in-depth discussions, they shared their personal life attitude toward "timeless elegance" and "not following trends." This elevated black-and-white from a stylistic choice to the spiritual core of the entire project. Together, we decided to eliminate any potentially excessive decorative colors, thereby reinforcing the use of deep red as the sole focal point and holographic technology to infuse vitality. It was the client’s values that strengthened and purified the philosophical core of the design.Case Study: The Embodiment of a "Healing Sensation"The client profile—"nature-loving, seeking healing"—became clearer through dialogue. This profile directly inspired the core metaphor of the "school of fish." It was not a sudden spark of inspiration but a precise response to the client’s spiritual needs. Without this resonance, the design might have remained a beautiful form without touching the essence of a "soulful residence."From a "Single Perspective" to an "Interdisciplinary Lens": Partners as "Possibility Expanders"Brainstorming sessions with MULU and the technical team pushed the design from "what I can think of" to "what we can create together."Case Study: The "Emotionalization" of MaterialsWhen I expressed the need for a "warm black," it was MULU’s material experts who brought samples of gray-black plaster with subtle textures and suggested that it could emit a subtle glow under specific lighting angles. This suggestion transformed a color into a deep, tangible experience, directly influencing our decision on lighting design—shifting from uniform lighting to dramatic, accent-focused illumination.Case Study: The "Humanization" of TechnologyDiscussions with the technical team about holographic projection initially focused solely on functional implementation. However, during brainstorming, we collectively proposed the idea of "emotional programming"—allowing the behavior of the fish school to subtly change according to different times or spatial atmospheres. This decision transformed a display technology into a "spatial companion" capable of interacting with the occupant’s emotions—an unexpected delight born entirely from interdisciplinary collaboration."Dynamic Optimization": Collaboration as a "Design Validator"Extensive discussions serve as an ongoing "stress test" process, forcing design decisions to be continuously questioned, validated, and optimized.Case Study: Balancing Function and FormDuring internal team brainstorming, countless sketches were generated on how to meet storage needs without compromising the sense of purity. The final solutions of "double-layered walls" and "platform storage" emerged as the optimal resolutions under the stimulation of collective wisdom, perfectly addressing the core challenge of "maximizing functionality without disrupting the ethereal atmosphere."In summary, collaboration had a transformative impact on my final design decisions. It made the design:Deeper: Evolving from a personal aesthetic expression to a resonance with the spiritual needs of a specific group.Richer: Expanding from a singular architectural perspective to incorporate multiple layers of technology, material science, and humanistic philosophy.More Authentic: Transitioning from a perfect rendering to a tangible, perceptible, and livable real space.The Silver Award was not just for a design work but for this open, trusting, and insightful collaborative approach itself. The final form of Soulful Residential House is a spiritual home collectively built by all participants with their hands, minds, and hearts.

Soulful Residential House" essentially explores a "prototypical answer" to how humans can exist and dwell in an era where the digital wave is sweeping everything. The principles it practices do not offer a fixed style but rather point to an "attitude" and "methodology" for responding to digitization. I foresee these principles profoundly influencing the evolution of future meditation-oriented living spaces through the following key pathways:From "Technology Integration" to "Technology Assimilation": Constructing an Unobtrusive Intelligent EnvironmentThe principles of "Soulful Residential House" teach us that technology should be like air—present but invisible.Evolution Path: Holographic projections, environmental sensors, and AI assistants will become further "architecturalized," seamlessly integrated into walls, furniture, and even textiles. Interaction will shift from "command-based" to "anticipatory" and "ambient." Spaces will be able to perceive emotional agitation through biosensors, automatically adjusting light and shadow, playing guided meditation sounds, or allowing virtual creatures to move in more soothing patterns. The purpose of technology will no longer be to capture attention but to help reclaim it, guiding individuals back to their inner selves.From "Static Container" to "Dynamic Resonator": Space as a Meditation PartnerThe space in "Soulful Residential House" is not a passive backdrop but a responsive organic entity. This principle will be profoundly deepened.Evolution Path: Future meditation spaces will feature a "spatial operating system" with core algorithms based not on efficiency but on physical and mental well-being. It will learn the occupant's rhythms, awakening the body in the morning with simulated sunrise-spectrum lighting and vibrant virtual ecosystems, while at night, contracting the space into a cocoon wrapped in starlight and silence. It will become a true "resonator," with its form, sound, light, and atmosphere synchronizing with the occupant's inner state.Deepening "Biophilic Design": Coexisting with Digital NatureEvolution Path: We will see more algorithmically generated, never-repeating virtual natural scenes—not just schools of fish, but perhaps cycles of blooming and withering flowers, simulated random light spots in forests, or digital water bodies that change in real-time based on global ecological data streams. These will no longer be mere decorations but dynamic "digital specimens of nature" for meditation, reminding us of our connection to the vast web of life, even in the heart of urban environments.The Ultimate Purpose of Minimalism: Creating "Blank Space" for ConsciousnessThe extreme physical simplification in "Soulful Residential House" is intended to create a stage for the spirit and digital content. This principle will become more imperative.Evolution Path: In a future world of information overload, a pure, orderly, and predictable physical environment will become a "psychological necessity." The core function of home will be to provide "cognitive rest" for the brain. Thus, "subtractive design" will become an ethical standard for future residences. We will design not a space filled with objects but a "sensory sanctuary" that filters digital noise and allows consciousness to wander freely.Personalized Meditation Ecology: From "One-Size-Fits-All" to "A Unique World for Each Individual""Soulful Residential House" was designed for a specific group, but future technology will push this personalization to the extreme.Evolution Path: Based on individual physiological data and preferences, each household can possess a unique "meditation ecology." For one person, the optimal meditation environment might be the sound of wind through bamboo forests and moist mist; for another, it could be scenes of interstellar travel with low-frequency vibrations. The home will become a highly customized, dynamic ecosystem that actively supports personal spiritual growth.In summary, the principles of "Soulful Residential House" foreshadow a paradigm shift: the value of future homes will no longer depend on how many technological products they contain, but on how wisely they use technology to protect and nurture our most precious human qualities in this increasingly digital world—focus, inner peace, and connection to the source of life. It will evolve from a "machine for living" to a "sanctuary for the soul.