Interviews with Xudong Zhu

My interest in design began very early through my fascination with cities and public spaces. Growing up in China, I was always curious about why certain streets and public spaces felt vibrant and memorable while others felt empty or uncomfortable. This curiosity led me to architecture and urban design. Studying architecture and later urban design allowed me to explore how spatial design influences human behavior, culture, and community life. Over time, design became not only a profession but also a way of observing and understanding the world.

There are three aspects I prioritize most when designing:

Context – understanding the cultural, environmental, and urban context of a project.
Spatial Experience – designing spaces that people can truly experience and enjoy.
Adaptability – creating designs that can evolve and remain meaningful over time.

Technically, I combine digital tools such as Rhino, Grasshopper, and AI-assisted design tools with conceptual sketching and spatial modeling. I believe both analytical tools and intuitive thinking are important in the design process.

Designing is both exciting and challenging. The most exciting moment is usually the early conceptual stage when ideas start to emerge and possibilities feel endless. At the same time, the process also requires patience, iteration, and problem solving. What I enjoy most is the moment when a concept becomes spatially clear and begins to form a coherent design vision.

Living and studying in different cultural contexts has shaped my design thinking significantly. Experiencing both Chinese and Western cities gave me a broader perspective on urban space and public life. Chinese cities often have a strong sense of density and social energy, while Western cities often emphasize public space and urban structure. Another important influence has been working on international projects, where design must respond to different cultures, climates, and social contexts.

My professional growth has moved gradually from architecture toward urban-scale design. In the future, I hope to continue exploring the intersection of urban design, culture, and emerging technologies. My dream project would be designing a large-scale cultural waterfront district where architecture, landscape, public space, and cultural programs interact to create a vibrant urban environment.

My advice to young designers is to stay curious and patient. Design is not something that can be mastered quickly. It requires years of observation, learning, and practice. Travel, observe cities, read widely, and learn from disciplines beyond architecture. The broader your perspective, the stronger your design thinking becomes.

One important principle is to balance creativity with responsibility. Design is not only about creating visually impressive projects. It also involves understanding social, environmental, and cultural impacts. Designers should remain open to collaboration and continuously learn from other disciplines.

A typical day includes design work, meetings with collaborators, and research. I usually start the day reviewing project updates and design materials. Much of the day involves sketching ideas, developing models, or discussing design strategies with colleagues. I also spend time reading about urban development, technology, and culture to keep expanding my perspective.

I pay attention to design trends, but I do not design purely based on trends. Trends can reflect broader cultural or technological changes, which can be useful references. However, good design should primarily respond to context and long-term value, rather than temporary trends.

Good design creates a strong relationship between people, place, and function. A well-designed project should be clear in concept, appropriate to its context, and able to improve the experience of those who use it. Often the best designs feel natural and effortless, even though they require careful thinking and refinement.

A design is ready when its core concept is clear and all major elements support that concept. Of course, no design is ever absolutely perfect. There will always be possibilities for improvement. However, when the design logic becomes coherent and the project communicates its intentions clearly, it is usually the right moment to move forward.

One project that is particularly meaningful to me is Flexible Landscape, a public plaza design in Shanghai. The project explores how a landscape can adapt to different uses over time. Instead of a fixed spatial arrangement, the design allows the plaza to host markets, exhibitions, and community events. This project reflects my interest in flexible public spaces and received the Shanghai Creative Design Recommendation Award.

There are many designers I admire. In architecture and urban design, figures such as Aldo Rossi and Rem Koolhaas have greatly influenced how we think about cities and architecture. I appreciate designers who are able to combine strong conceptual thinking with real spatial impact.

I currently live in Boston but work internationally. Experiencing different cities and cultures is very important for my design thinking. Travel often provides new perspectives on urban space, culture, and social life. Music, photography, and observing everyday city life are also important parts of my creative process.

Design is always collaborative. Successful projects require cooperation between architects, planners, engineers, clients, and communities. My approach is to create an open and constructive design environment where ideas can evolve through dialogue. Respect, curiosity, and clarity of communication are very important in this process.

I believe designers should contribute to public culture and knowledge. Through exhibitions, lectures, and experimental projects, I try to connect design with broader audiences. Spaces like our exhibition programs in Hangzhou aim to make design more accessible to the public. Supporting younger designers and sharing knowledge is also an important responsibility.

Participating in the A’ Design Award has been a very positive experience. Design competitions offer three important benefits: First, they provide international visibility for design ideas. Second, they encourage designers to reflect critically on their own work. Third, they create a global community where designers can exchange ideas and inspiration. Being selected as Designer of the Day is an honor and also a motivation to continue exploring meaningful design.

The main focus of this design was to create a balance between technical functionality and urban livability. As a power substation, the building must meet strict operational and safety requirements. At the same time, the design aimed to improve the surrounding urban environment by introducing green infrastructure and public space. My goal was to turn the edge of the facility into a linear park that reduces noise, improves air quality, and connects surrounding neighborhoods.

In the future, I hope the ideas explored in Green Island can be applied to other urban infrastructure projects. Cities contain many functional facilities such as substations, pumping stations, and utility plants that are often isolated from the public realm. This project demonstrates that infrastructure can be redesigned as an ecological and social asset. I hope to further develop similar strategies in future urban design and infrastructure projects.

The design concept was developed over several months through research, environmental analysis, and iterative design exploration. The early stage focused on studying sunlight conditions, urban context, and potential ecological strategies. Later stages involved parametric modeling and environmental simulations to optimize the double-skin facade system. Although the core idea emerged relatively early, refining the technical and spatial aspects of the project required careful development.

This design originated from an exploration of how infrastructure could contribute positively to the urban environment. Instead of treating technical facilities as isolated structures, I wanted to explore how they could become part of the city’s ecological and social network. The project was therefore inspired by a conceptual interest in sustainable urban infrastructure rather than a conventional architectural brief.

At the moment, the Green Island design functions primarily as a conceptual proposal and applied research project. However, the strategies developed in the project have strong potential for real-world implementation. Infrastructure facilities exist in almost every city, and the design approach demonstrated here could be adapted to different contexts in collaboration with municipalities, developers, or infrastructure operators.

Urban infrastructure is an essential yet often overlooked component of city life. Facilities such as power substations usually prioritize technical performance but rarely contribute positively to the surrounding environment. This project allowed me to explore how infrastructure could simultaneously serve operational needs while enhancing urban ecology and public space.

The design was influenced by research in green architecture, sustainable urban infrastructure, and ecological design strategies. Observing contemporary projects that integrate landscape and architecture also provided inspiration. In particular, projects that transform infrastructure into public amenities helped shape the conceptual direction of Green Island.

The direct client for a project like this would typically be an urban infrastructure operator or municipality responsible for energy systems. However, the broader beneficiaries of the design are urban residents and surrounding communities. By transforming the boundary of the substation into a linear park, the project creates a space that improves environmental quality and urban connectivity.

Green Island distinguishes itself by integrating energy infrastructure, ecological design, and public space into a single architectural system. The double-skin facade not only enhances the building’s environmental performance but also creates a living interface between the infrastructure and the city. Solar panels generate renewable energy while green walls support biodiversity and improve microclimate conditions.

The name Green Island reflects both the architectural form and the environmental ambition of the project. The substation is conceived as a self-sustaining ecological “island” within the urban fabric. It represents a place where infrastructure, vegetation, and public space coexist, creating a green landmark that supports both urban life and environmental performance.

The design process involved a combination of parametric design tools, environmental simulations, and digital modeling software. Programs such as Rhino and parametric modeling platforms were used to explore facade configurations and optimize environmental performance. Environmental analysis tools were also used to study sunlight exposure and energy generation potential.

The most unique aspect of the design is the double-skin facade system that simultaneously performs environmental, architectural, and social functions. The solar panel surfaces generate energy, while the green walls support vegetation and biodiversity. Together, they transform the building envelope into a living environmental system.

Although the design was led by a single designer, the project concept integrates insights from multiple disciplines including environmental design, urban planning, and energy infrastructure engineering. Developing a project like this requires understanding both architectural design and technical infrastructure systems.

Technology plays a crucial role in the design, particularly in optimizing the performance of the facade system. Parametric modeling tools were used to analyze solar exposure and determine the optimal placement of photovoltaic panels. Environmental simulations also helped evaluate the performance of green walls in improving air quality and microclimate.

Yes, the design is strongly informed by analytical research. Sunlight analysis, environmental modeling, and energy simulations were used to guide design decisions. These tools helped ensure that the photovoltaic panels and green walls perform effectively within the site’s environmental conditions.

One of the biggest challenges was working within strict regulatory constraints for power infrastructure facilities. Local regulations limited modifications to the building footprint and structural system. This required finding creative ways to introduce ecological and architectural improvements without altering the core infrastructure.

Submitting the project to an international competition was an opportunity to share the concept with a broader design community. The Green Island project represents an experimental approach to infrastructure design, and international platforms allow such ideas to reach a wider audience.

This project reinforced the importance of interdisciplinary thinking in architecture and urban design. It required integrating technical infrastructure requirements with environmental strategies and public space design. The experience strengthened my ability to use research and environmental analysis as part of the design process.

Green Island reflects a broader design philosophy that infrastructure should not be isolated from urban life. As cities continue to grow and face environmental challenges, rethinking infrastructure as ecological and social space will become increasingly important. I hope this project encourages designers and cities to imagine more integrated and sustainable urban environments.

I founded T.E.N, which focuses on architecture, urban design, and cultural projects. The studio explores how design can connect people, place, and local culture. Our work ranges from urban master planning and architecture to small-scale spatial experiments, exhibitions, and cultural installations. Recently we also launched Brick Gelato, a hybrid space that combines a gelato shop, design studio, and exhibition space in Hangzhou. It is an experiment in how design can activate everyday life and create new forms of public cultural spaces.

For me, design is a way of thinking about the relationship between people, space, and time. Good design is not only about aesthetics. It is about understanding context, culture, environment, and human behavior, and transforming these elements into meaningful spatial experiences. Design is both analytical and poetic at the same time.

I particularly enjoy projects that combine urban design, landscape, and public life. Projects such as waterfronts, cultural districts, public parks, and experimental public spaces are especially interesting to me because they allow design to interact directly with everyday life. I also enjoy working on projects that integrate culture, tourism, and community life.

One project that is particularly meaningful to me is Flexible Landscape, a public plaza installation design in Shanghai. The project explores how a public space can adapt to different social activities over time. Instead of creating a fixed landscape, we designed a flexible system that allows the space to host markets, exhibitions, and community events. The project received the Shanghai Creative Design Recommendation Award, and it represents my interest in adaptable and socially active public spaces.

One of my early professional experiences involved working on urban public space design projects. It was a plaza project where I learned how design decisions must respond not only to spatial qualities but also to budget, regulations, and construction realities. That experience helped me understand how ideas can be translated into real built environments.

I am very interested in digital design tools and emerging technologies, especially how they influence spatial design. Tools such as Rhino, Grasshopper, and AI-assisted design platforms are expanding the possibilities of architectural thinking. At the same time, I also appreciate traditional materials such as stone, concrete, and wood, which carry strong tactile and cultural qualities.

Often when I am traveling or walking in cities. Observing streets, buildings, and everyday urban life often triggers new ideas. Many design inspirations come from simply watching how people interact with space.

I usually focus on three aspects: Spatial experience, Cultural context, Long-term adaptability. A good design should not only look good when it is completed, but also remain meaningful and functional over time.

Designing is a mixture of curiosity, excitement, and sometimes uncertainty. The process often involves exploring many possibilities before discovering the right solution.

When a design is finally built, it is very rewarding to see people actually using the space. Architecture and urban design only truly come alive when people interact with them.

A successful design creates a meaningful relationship between people and place. It should respond to its context while also generating new experiences.

I usually look at clarity of concept, response to context, spatial quality, long-term impact.

Designers have a responsibility to consider the social and environmental impact of their work. Cities and landscapes are long-lasting systems, so our design decisions affect many generations.

The design field is becoming increasingly interdisciplinary. Architecture, urban design, technology, environmental science, and digital tools are becoming more interconnected. AI and data will likely transform how we understand and design cities.

Recently we have organized several design-related exhibitions in the X Exhibition Space within Brick Gelato in Hangzhou. These exhibitions focus on architecture, urban culture, and creative experimentation. We hope to organize more exhibitions in the future that connect design with the public.

My inspiration often comes from cities and public spaces, travel experiences, cultural history, everyday urban life. I also find inspiration from art, photography, and literature.

I would describe my design approach as contextual, experimental, and urban-oriented. Rather than imposing a fixed style, I prefer to let the project context shape the design language.

I currently live in Boston but work internationally. Experiencing both Eastern and Western cultural contexts has influenced my design thinking significantly. Chinese urban culture, historical cities, and contemporary global urbanism all shape my perspective.

Working with companies usually involves a collaborative process. Designers translate ideas, goals, and constraints into spatial strategies and design solutions.

Companies should look for designers who understand both creativity and real-world constraints. The best design collaborations are based on trust and open communication.

1. Research and context analysis
2. Concept exploration
3. Spatial strategy development
4. Design refinement
5. Implementation

1. Architectural books
2. Design sketches
3. Minimal furniture pieces
4. Handmade ceramics
5. Travel photographs

A typical day usually involves design work, meetings, research, and sometimes sketching ideas. I also spend time reading, observing cities, and exploring new design tools.

Stay curious. Travel, observe cities, and learn from different disciplines. Design is not only about drawing — it is about understanding the world.

The positive aspect is the opportunity to shape environments and influence people's experiences. The challenge is that design projects often take many years to realize.

Design should always respect people, place, and time.

1. Observation
2. Critical thinking
3. Creativity
4. Communication

I use a combination of tools including: Rhino, Grasshopper, CAD, Adobe tools, and increasingly AI-assisted design tools.

I try to divide time between focused design work and broader research. Balancing creativity and productivity is very important.

It depends on the project scale. Some design ideas appear quickly, but the process of refining and realizing them can take months or even years.

Many people ask how designers come up with ideas. In reality, ideas often emerge from careful observation and analysis rather than sudden inspiration.

Working on international urban design projects has been very important for my development as a designer.

My work involves collaboration with cities, developers, cultural institutions, and design organizations.

Public space and urban-scale projects.

I hope to continue exploring the intersection of design, culture, and technology, especially how emerging tools such as AI can influence spatial design.

Design is always collaborative. Most projects involve teams of architects, planners, engineers, and clients.

Yes, I am currently involved in several urban design and architecture projects internationally. But most of them are confidential.

xudong.zhu.dong@gmail.com

Just want to emphasize that design is a continuous exploration. Every project is an opportunity to learn something new about cities, culture, and human experience.

The inspiration emerged from rethinking infrastructure as part of everyday urban life rather than as a segregated utility. In many cities, substations create inactive and often hostile edges. By transforming the southern facade into a linear park, the project reclaims this boundary as a social interface. The facade acts as both a noise buffer and a spatial threshold, allowing pedestrian movement, rest, and informal gathering. This approach is rooted in the belief that infrastructure should contribute to public life. The design reframes necessity as opportunity, turning a defensive edge into a civic space that reconnects neighborhoods and enhances urban continuity.

The double-skin facade was developed through parametric simulations to balance multiple performance criteria. Variables such as solar exposure, ventilation gaps, planting depth, and structural spacing were tested iteratively. The outer layer integrates adjustable photovoltaic panels and shading devices, while the inner layer supports vegetation and thermal buffering. Parametric modeling allowed us to optimize panel angles for energy output while ensuring sufficient light and airflow for plant growth. At the same time, the system reduces heat transfer and improves microclimatic conditions. This data-driven approach enabled a precise calibration between energy efficiency, environmental comfort, and ecological performance.

The project was grounded in interdisciplinary research spanning urban ecology, infrastructure design, and public space theory. We studied precedents where infrastructure and landscape intersect, alongside technical standards for substations. Early design phases involved mapping environmental constraints, noise levels, and circulation patterns. Through iterative prototyping, we explored how architectural elements could simultaneously meet safety requirements and invite public engagement. Collaboration with engineers and landscape specialists was critical. The outcome reflects a shift from single-function infrastructure to hybrid urban systems, where technical performance and social value are integrated rather than treated as separate design objectives.

One of the primary challenges was mitigating mechanical noise while maintaining openness and accessibility. Substations typically require strict acoustic control, which often results in enclosed, impermeable structures. We addressed this by using the building envelope itself as a layered acoustic buffer. The double-skin facade, combined with planted surfaces, absorbs and diffuses sound. The southern edge, designed as a park, incorporates spatial setbacks and landscape elements to further reduce perceived noise. These constraints ultimately shaped a more sophisticated section design, where environmental performance and user experience are resolved simultaneously rather than in conflict.

Plant selection was guided by adaptability, seasonal variation, and ecological contribution. We prioritized native and climate-resilient species that could thrive within vertical planting systems with minimal maintenance. A mix of evergreen and deciduous plants ensures year-round visual interest, while flowering species introduce seasonal change. The planting strategy also considers microclimatic conditions created by the facade, such as varying sunlight exposure and wind patterns. Beyond aesthetics, the vegetation supports urban biodiversity by attracting pollinators and improving air quality. The result is a living facade that evolves over time, reinforcing the building’s identity as an ecological system.

This project proposes a shift in how infrastructure is perceived and designed in dense urban environments. By layering functions—energy production, environmental mitigation, and public space—the design maximizes limited land resources. It demonstrates that infrastructure can be both compact and multifunctional without compromising technical performance. The approach is highly adaptable and can be applied to other essential facilities such as water treatment plants or transit hubs. In rapidly urbanizing contexts, this model offers a strategy for integrating necessary infrastructure into the social and ecological fabric of the city rather than isolating it.

Receiving the Bronze A’ Design Award provided international validation for an approach that challenges conventional infrastructure typologies. It reinforced the importance of integrating sustainability, public engagement, and technical innovation within a single design framework. The recognition has expanded opportunities for dialogue with a global audience and encouraged further exploration of hybrid infrastructure models. It also strengthens the argument that even highly technical projects can contribute meaningfully to urban life. Moving forward, this acknowledgment motivates us to push boundaries and apply similar principles to larger-scale and more complex urban systems.

The project integrates multiple monitoring systems to evaluate performance across environmental and social dimensions. Energy generation from photovoltaic panels is tracked in real time, alongside building energy consumption. Environmental sensors monitor temperature, humidity, and air quality to assess the effectiveness of the green facade. Noise levels are also measured to ensure compliance and user comfort. Additionally, user engagement is evaluated through pedestrian flow analysis and spatial usage patterns. These data streams provide feedback for ongoing optimization and demonstrate how infrastructure can be both measurable and responsive to its urban context.

The design reflects our studio’s core principles of Technology, Economy, and Nature through an integrated and balanced approach. Technology is expressed through parametric optimization and renewable energy systems. Economy is addressed by maximizing the utility of a single site through multifunctional design, reducing the need for additional land and resources. Nature is embedded through living systems that enhance environmental performance and user experience. The project demonstrates that these principles are not mutually exclusive but mutually reinforcing. It informs our future work by emphasizing holistic design strategies that align technical efficiency with ecological and social value.