Interviews with Tsung Han

I grew up in an environment closely connected to interior design, so I was exposed to spatial thinking from a young age. Over time, I became fascinated by how spaces can influence people’s emotions, behaviour and memories.

My design education and professional experience helped me understand that interior design is not only about making a space look beautiful. It is about solving problems, telling stories and creating places that people can truly experience. That is what made me want to continue in this field.

My priorities are narrative, atmosphere, function and human experience. I usually begin by understanding the story behind the project, then translate that story into circulation, materiality, lighting, form and details.

My style is refined, atmospheric and experience-led. I like interiors that feel contemporary but not cold, with a balance between visual clarity and emotional warmth.

I use both digital and practical tools. Revit helps me organise the design and connect with technical coordination, while Rhino is useful in the early stages for concept development, form exploration and visual studies.

When I design, I usually feel curiosity, pressure and excitement at the same time. The beginning of a project is always full of uncertainty, but that uncertainty is also what pushes the idea forward.

As the design becomes clearer, I start to imagine how people will move through the space, what they will see, where they will pause, and what they might remember. That is the part I enjoy most.

For me, design is both rational and emotional. It requires discipline, but it also needs sensitivity.

My background shaped me in two important ways. First, growing up around interior design made me sensitive to space from an early age. I learned that interiors are not only visual environments, but places where people live, work, remember and connect.

Second, living and working between different cultural contexts has influenced the way I see design. My background in Taiwan and my experience in London allow me to think across cultures, between old and new, emotion and function, local memory and contemporary life.

My growth path is to continue developing as an interior designer and interior design consultant, with a stronger focus on projects that combine brand identity, technology, storytelling and human experience.

In the future, I would like to work on more international retail, commercial and mixed-use interiors. I am especially interested in spaces that respond to new ways of living, shopping and interacting with technology.

My dream project would be an interior that combines culture, technology and emotion, a place where people do not only see the design, but also feel and remember it.

My advice is to observe more and rush less. Good design does not come only from strong visuals. It comes from understanding people, context, materials, light and behaviour.

Young designers should build a strong way of thinking before trying too hard to define a personal style. Style will become clearer with time, but sensitivity and judgement need to be trained every day.

Also, learn how things are built. A good idea becomes stronger when you understand how it can exist in the real world.

I would suggest staying curious, but also staying responsible. Creativity is important, but a designer also needs to understand people, budgets, materials, construction and long-term use.

Do not design only for attention. Try to design for meaning. A space may look impressive at first glance, but what matters more is whether it still feels thoughtful after people use it.

The best designers are not only good at creating ideas. They are good at listening, questioning, refining and turning ideas into something real.

My daily routine usually moves between creative thinking and practical problem-solving. Some days are focused on concept development, visual research and atmosphere studies. Other days are more about drawings, coordination, materials and communication with clients or collaborators.

Outside work, I like travelling whenever I can. I often buy a flight ticket and leave quite spontaneously, because I believe a designer needs to see and experience the world directly. The more I experience different cities, interiors and cultures, the more truthfully I can bring stories and atmosphere into my work.

I keep up with design trends through travel, exhibitions, publications, social media, retail observation and conversations with people in the industry. I like to see how design appears not only in magazines, but also in real streets, shops, hotels and everyday interiors.

Trends matter because they show how society is changing. However, I do not think designers should follow trends blindly. A trend can be a useful reference, but the design still needs to respond to the specific story, place and people behind each project.

For me, the strongest design is contemporary, but not trapped by trend.

A project is well designed when it has a clear intention and when every decision supports that intention. Good design should not feel random. The concept, function, material, lighting and details should work together.

For interior design, I also look at how people experience the space. Does it guide them naturally? Does it support their behaviour? Does it create atmosphere, memory or emotional connection?

Good design is not only about how something looks. It is about how it works, how it feels, and how long it continues to matter.

I know a design is ready when the concept, function, atmosphere and technical logic are aligned. At that point, the design no longer feels like separate decisions. It feels like one clear system.

I also look at whether anything feels unnecessary. If an element does not support the story, the experience or the function, it should be removed or refined.

Of course, design can always be improved, but a project is ready when it has enough clarity, depth and buildable logic to stand on its own.

One of my most important works is LAP AI Taipei. Although it is a compact retail interior, it carries a strong design ambition: to rethink how technology retail can work in the age of AI.

The project was meaningful to me because I developed the concept, narrative and interior direction almost entirely myself. It allowed me to explore the relationship between digital behaviour, customer journey, material atmosphere and brand experience.

For me, the importance of this project is not about its size, but about the clarity of its idea. It shows how a small interior can still carry a strong story, a precise experience and a wider discussion about the future of retail.

One of my favourite designers is Antoni Gaudí. I admire his work because it always feels full of stories, almost like reading a book through space.

His architecture is not only about form or decoration. It carries imagination, nature, religion, craftsmanship and emotion at the same time. Every detail seems to belong to a larger narrative, and that is something I find very powerful.

I am especially inspired by the way his work makes people feel. His spaces are memorable because they are not only seen, but experienced. This is also something I value deeply in interior design.

I currently live and work in London, while my cultural background is rooted in Taiwan. This combination has shaped the way I see design. Taiwan gives me sensitivity towards memory, local culture and layered urban life, while London gives me an international and contemporary perspective.

Travel is also a big part of my lifestyle. I like experiencing different cities directly, from their streets and shops to their museums, hotels and everyday interiors. These experiences constantly feed my design thinking.

I believe culture is not something separate from design. It affects how people live, remember, gather and feel within a space.

My work culture is based on clarity, responsibility and collaboration. I believe good design needs a strong concept, but it also needs good communication and practical execution.

When working with clients or collaborators, I try to understand the story, goals and constraints of the project first. From there, I can develop a design direction that is creative but also realistic.

My business philosophy is simple: design should create value. That value can be emotional, cultural, practical or commercial, but it should always mean something to the people who use the space.

I believe a designer’s contribution to society begins with creating spaces that respect people, culture and the environment. Interior design affects daily life directly, so every decision has a social responsibility behind it.

At this stage of my career, I try to contribute by designing thoughtfully, sharing my experiences with younger designers when possible, and supporting conversations around culture, memory, sustainability and human-centred design.

For me, giving back does not always have to be grand. It can begin with making spaces more considerate, more inclusive and more meaningful.

Participating in the A’ Design Award has been a very positive experience because it allowed my work to be seen in a wider international context. It gave LAP AI Taipei a platform beyond its local and commercial setting.

The award also encouraged me to look at my own work more critically. It helped me articulate the concept, the design process and the value of the project more clearly.

Being recognised as Designer of the Day is meaningful to me because it is not only recognition of one project, but also encouragement for the design direction I am developing: interior design that connects story, technology, atmosphere and human experience.

My main focus was to reduce the sense of confusion and pressure that often appears in technology retail. Laptop shopping can be very functional and specification-driven, but I wanted to create an interior where the decision-making process feels clearer, calmer and more engaging.

I wanted the space to guide customers naturally. Through circulation, lighting, display rhythm and service points, the design creates a journey from curiosity to comparison, and then to consultation. The goal was to make the customer experience feel more structured without becoming cold or mechanical.

I also wanted to create a new image for technology retail. The space needed to feel futuristic, but still warm and human. For me, the achievement of LAP AI Taipei lies in combining AI-driven thinking with atmosphere, materiality and storytelling.

My future plan for LAP AI Taipei is to continue developing it as a reference for a new type of technology retail interior. The project opened many questions about how physical stores can respond to AI, digital behaviour and changing customer expectations.

I would like to further explore how this concept can be adapted to other compact retail environments, especially where customers need guidance, comparison and personalised consultation. The design logic behind LAP AI Taipei can potentially be expanded beyond laptops into other technology or lifestyle retail categories.

Winning this award also gives the project a stronger international platform. I hope it can lead to more conversations around the future of AI-guided retail, customer experience and interior architecture.

The concept developed over several stages, from research and initial idea development to spatial planning, material studies, visualisation and refinement. Because the space is compact, every decision had to be considered carefully, from the customer journey to product display and service interaction.

The early concept stage focused on understanding the problem of choice fatigue in technology retail. After that, I explored how the digital gesture of swiping could become an interior language. The later stages were about refining the curved circulation, the display sequence and the balance between futuristic technology and warm atmosphere.

Although the design process was relatively focused, it required a lot of precision. In a small retail space, there is very little room for unnecessary gestures, so every element needed to support the concept clearly.

LAP AI Taipei was developed from both a real retail need and my personal interest in the future of technology-driven interiors. The project responded to a practical challenge: how to create a more meaningful and guided laptop shopping experience within a compact retail space.

At the same time, I was personally interested in how AI could change not only the way products are recommended, but also the way interior spaces are organised and experienced. I wanted to explore whether a physical store could behave more like an intelligent interface, guiding customers through information and choices in a natural way.

So the concept was not only about solving a commercial requirement. It was also a design exploration into how AI, retail service and interior architecture can come together.

LAP AI Taipei was designed as a retail interior concept for a specific laptop brand environment. The design was developed to support the brand’s customer experience, product display and consultation process.

At this stage, my focus is on presenting the project as an award-winning interior design work and as a design model for future AI-guided retail environments. I am open to future opportunities where the design strategy, experience logic or interior concept can be adapted, developed or applied to other retail contexts.

For me, the value of the project is not only in its physical form, but also in the design thinking behind it: how a compact retail space can use AI, storytelling and interior architecture to create a more intuitive customer journey.

I designed this type of work because I am interested in how retail spaces are changing. Physical stores can no longer rely only on product display. They need to offer experience, guidance, service and emotional connection.

Technology retail is especially interesting because it often contains a large amount of information. Customers may know what they want in general, but still feel overwhelmed by specifications, models and comparisons. This creates an opportunity for interior design to become more than a background; it can become an active guide.

LAP AI Taipei allowed me to explore how interior design can respond to this challenge and create a more intelligent, cinematic and human-centred retail journey.

The project was less influenced by a single designer or a specific visual reference, and more influenced by the wider relationship between digital interfaces, retail behaviour and cinematic spatial experience.

I was inspired by the way people interact with digital platforms, especially the gesture of swiping, filtering and moving through options. I was also influenced by theatre and cinema, where movement, sequence, lighting and framing are used to guide attention and emotion.

Rather than directly referencing an existing retail design, I wanted LAP AI Taipei to translate digital behaviour into an interior experience. The aim was to create a space that feels familiar in its logic, but new in its physical expression.

The target customers are people who are looking for a laptop but may feel overwhelmed by too many choices, specifications and product categories. They may include students, young professionals, creatives, business users and customers who need guidance before making a decision.

The design is especially suitable for customers who do not want a purely transactional shopping experience. Instead, they want to understand which product fits their lifestyle, work needs and personal preferences.

LAP AI Taipei is designed for a new generation of retail customers who expect physical stores to be more intelligent, more curated and more service-oriented.

What sets LAP AI Taipei apart is that it does not treat AI as only a technical feature. Instead, AI becomes part of the spatial logic and customer journey.

Many technology stores focus on product quantity, specification display or visual impact. LAP AI Taipei focuses on guidance. The curved interior journey, inspired by the digital swipe gesture, allows customers to experience the process of filtering and discovering products physically.

Another distinctive aspect is the balance between futuristic technology and warmth. The design uses champagne-toned metal, neutral wood finishes and translucent materials to create an atmosphere that feels advanced but not cold. It suggests a different future for technology retail: intelligent, personal and emotionally connected.

LAP AI is the name of the brand itself, rather than a name I created separately for the design. For this project, my role was to translate the brand identity of LAP AI into an interior experience.

The name naturally suggests a connection between laptops and artificial intelligence, which became an important starting point for the design. I wanted the interior to reflect this relationship: a space where technology, AI-guided service and product discovery come together in a clear and human way.

By adding Taipei to the project title, the design is also grounded in its local context. LAP AI Taipei therefore represents both the brand identity and the specific retail environment created for this city.

For this project, I mainly used Revit to develop and organise the overall interior design. Revit was especially useful because it allowed the design to be structured in a way that could connect more directly with technical documentation and coordination with engineering and construction-related teams.

In the early design stage, I used Rhino for concept development, form exploration and visual studies. It helped me test the curved interior language, spatial flow and overall atmosphere of the project more freely before the design was further developed in Revit.

I also used rendering and visual presentation tools to study materials, lighting and the final atmosphere of the space. For me, the combination of Rhino and Revit allowed the project to move from conceptual exploration into a more coordinated and buildable interior design.

The most unique aspect of LAP AI Taipei is the transformation of a digital gesture into an interior journey. The familiar action of swiping becomes a physical experience through the curved circulation, product sequence and guided customer path.

This means the space does not simply display laptops. It allows customers to experience the logic of selection, comparison and recommendation through movement. The interior becomes an interface.

Another unique aspect is the emotional interpretation of technology. Rather than creating a cold futuristic environment, the design uses warmth, light and material softness to make the AI-driven retail experience feel more human.

The core concept, design narrative and interior direction of LAP AI Taipei were developed primarily by myself. However, as with any interior project, communication and collaboration with different parties were necessary for the design to become realistic and buildable.

I worked with the client to understand the brand needs, product display requirements and customer service expectations. I also communicated with suppliers and construction-related teams regarding materials, feasibility and implementation.

For me, a successful interior relies on both a clear design vision and practical collaboration. The designer may lead the concept, but the final outcome depends on many areas of technical and specialised knowledge.

Technology plays both a conceptual and experiential role in LAP AI Taipei. Conceptually, the project responds to the rise of AI and the way intelligent systems can help people make decisions. Experientially, the space translates this logic into a physical customer journey.

Instead of presenting technology only through screens or devices, the design uses technology as a way of organising the interior. The swipe-inspired circulation, product filtering logic and consultation experience all reflect how digital behaviour can influence physical space.

The role of technology here is not to replace human interaction, but to support it. The design imagines a retail environment where AI can make the decision process clearer, while the interior still provides warmth, atmosphere and personal connection.

Yes, the design was influenced by research into customer behaviour, retail experience and the problem of choice fatigue in technology shopping.

I looked at how customers typically compare laptops, how product specifications are presented, and why technology retail can sometimes feel overwhelming. This helped me understand that the issue was not only the number of products, but also the lack of a clear and emotional journey.

The research informed the design strategy: instead of displaying everything equally, the space should guide customers through discovery, comparison and consultation. This analytical understanding became the foundation for the curved journey and the AI-guided retail concept.

One of the main challenges was working within a compact space while still creating a complete and memorable customer journey. In a small retail interior, every decision becomes important, because there is very little room for unnecessary elements.

Another challenge was balancing a futuristic technology atmosphere with warmth and comfort. I did not want the space to feel cold or purely technical. The material palette, lighting and curved forms had to work together to create a sense of softness while still expressing innovation.

It was also important to make the concept clear without becoming too literal. The swipe gesture inspired the design, but it needed to become an interior experience rather than just a visual metaphor.

I decided to submit LAP AI Taipei to an international design competition because I felt the project addressed a global question: how physical retail can evolve in the age of AI.

Although the project is located in Taipei, the issue it responds to is not limited to one city. Around the world, retail spaces are trying to redefine their role as digital platforms become more dominant. I wanted to share this project with an international audience and contribute to that conversation.

Submitting the design also allowed me to position the project beyond its commercial context. It became a way to discuss interior design, technology, customer experience and the future of retail on a wider platform.

Through LAP AI Taipei, I learned how important it is to make a strong concept precise. A good idea is not enough by itself; it needs to be translated into circulation, materiality, lighting, display and service logic.

This project also helped me improve my ability to work within limitations. The compact scale of the space forced every decision to become more intentional. Nothing could be added only for decoration; each element had to support the customer journey and the overall narrative.

Most importantly, the project strengthened my belief that technology and emotion should not be separated. Even in an AI-driven retail concept, the final goal is still to create a space where people feel guided, understood and connected.

I would like to add that LAP AI Taipei is a project about the future of retail, but it is also a project about human experience.

AI and digital tools are becoming increasingly important, but I believe physical interiors will continue to matter because they allow people to feel presence, atmosphere and memory. The question is not whether technology will replace physical stores, but how physical stores can become more intelligent, meaningful and emotionally engaging.

LAP AI Taipei is my attempt to answer that question through interior design. It imagines a retail space where technology supports people, where information becomes easier to understand, and where a compact store can still carry a strong story and atmosphere.

I am motivated by the way spaces can affect people emotionally. A space can change how people move, think, remember and connect with each other.

I became a designer because I wanted to create environments that carry stories. I am interested in how interior design can turn an abstract idea, a brand identity or a memory into something people can physically experience.

I was not forced to become a designer. It felt more like a natural path that slowly became clearer.

Because I grew up close to interior design, I was exposed to spaces, materials and construction from a young age. Over time, I realised that design was the field where I could combine creativity, logic, culture and emotion.

I mainly design interiors, especially commercial interiors, retail spaces, residential spaces and mixed-use interior architecture.

In the future, I would like to design more projects that combine interior design, brand identity, technology and cultural storytelling. I am interested in spaces that are not only functional, but also memorable and emotionally engaging.

I would not call myself a design legend, but I think young designers should stay curious, patient and honest with their work.

Do not rush to create a style too early. First, learn how to observe people, understand space, work with limitations and build ideas carefully. A strong design voice comes with time, practice and real experience.

A good designer can solve a problem well. A great designer can solve the problem while creating meaning.

For me, the difference is depth. A great designer understands function, but also understands emotion, culture, memory and people. They do not only create something beautiful; they create something that continues to matter.

A really good design has clear intention. It should know what it wants to say, who it serves and how people should experience it.

I evaluate design through function, atmosphere, materiality, detail and emotional connection. Good design should work well, feel right and stay meaningful over time.

Good design creates value beyond appearance. It can improve how people live, work, shop, gather and remember a place.

For companies, good interior design can strengthen brand identity and customer experience. For individuals, it can improve daily life and emotional well-being. Investing in good design is really investing in better experiences.

If I had more time, I would like to design a small cultural interior that combines memory, technology and storytelling.

It could be a retail space, a home, or a small exhibition environment. I would like to design for people or brands who care about meaning, not only appearance. The most exciting clients are those who have a story they truly want to share.

My dream project is an interior that feels like walking through a story. It would combine culture, technology, atmosphere and emotion in one continuous experience.

I am especially interested in a project where interior design can become almost cinematic, where light, movement, material and memory work together to create a space people can deeply feel.

I do not think there is a secret recipe, but my “secret ingredient” would be sensitivity.

A designer needs to be sensitive to people, space, light, materials, culture and emotion. Many design decisions are not only technical. They depend on whether you can feel what a space needs and what people may remember from it.

I am inspired by designers and architects who create strong atmosphere and emotional depth. Antoni Gaudí is one of them. His works feel full of stories, almost like reading a book through space.

I am also inspired by designers who understand light, material and sequence very well. I admire works that do not only impress visually, but also make people slow down, feel and remember.

I am drawn to designs that feel like complete worlds. Gaudí’s architecture is a strong example for me because every detail seems to belong to a larger story.

I also like interiors and architecture where material, light and movement are carefully controlled. I like designs that do not explain everything immediately, but allow people to discover their meaning slowly.

One of my most important designs is LAP AI Taipei. It is a compact AI-guided laptop retail interior, but it carries a larger question: how can physical retail evolve in the age of AI?

What makes this project meaningful to me is the clarity of its idea. It transforms the digital gesture of swiping into a curved interior journey, helping customers move through product discovery, comparison and consultation.

I value this project because it combines technology, brand experience, atmosphere and human emotion within a small but precise space.

I think designers improve by observing more, travelling more, asking better questions and learning how things are actually built.

For myself, I try to learn from real spaces as much as possible. I travel, visit shops, exhibitions, hotels and cities, and pay attention to how people use spaces. I also keep improving my technical skills, because good ideas need practical ability to become real.

If I had not become a designer, I might have done something related to film, writing or visual storytelling.

I have always been interested in stories, atmosphere and emotion. Interior design became the field where I could bring these interests into physical space. In another path, I think I would still be working with images, narratives and human experience in some way.

For me, design is a way of connecting emotion and function. It is not only about how something looks, but how it works, what it communicates and how people feel when they experience it.

Interior design is especially powerful because people live inside it. Their routines, memories and emotions become attached to the space. That is why I believe design should be thoughtful, useful and emotionally meaningful.

I am grateful to the people who supported me throughout my design journey, including my family, teachers, colleagues, clients and collaborators.

My family gave me early exposure to interior design, while my education and professional experience helped me shape my own design voice. I also learned a lot from clients and collaborators, because real projects always teach you things that cannot be learned from theory alone.

I am still developing as a designer, but what has helped me most is curiosity and real experience.

Working on real projects taught me that design is not only about ideas. It is also about communication, coordination, detail, patience and responsibility. Travelling and observing different spaces also helped me build a wider perspective.

I would not call myself a design master, but I have faced challenges like any designer. One challenge is learning how to balance creativity with practical constraints.

A design may begin with a strong idea, but it still needs to work with budget, construction, materials, client needs and technical coordination. Learning how to protect the core idea while adapting to reality has been one of the most important lessons for me.

Designers should present their work with clarity and honesty. A good presentation should not only show beautiful images, but also explain the thinking behind the design.

For interior design, I think it is important to show the story, the user journey, the atmosphere, the materials and the practical logic. People should understand not only what the space looks like, but why it was designed that way.

I would like to continue exploring interiors that combine technology, brand experience, culture and human emotion.

After LAP AI Taipei, I am especially interested in how physical spaces can respond to the digital and AI-driven era. In the future, I hope to work on more international retail, commercial, residential and mixed-use interiors with strong stories and memorable experiences

My ultimate goal is to create interiors that people can truly feel and remember.

I want my work to go beyond visual impression. I hope to design spaces that carry stories, support real life and create emotional connections between people and place.

I think people expect clarity, responsibility and a strong point of view from a designer.

They want someone who can listen carefully, understand the project deeply and translate ideas into a space that works. A designer should bring creativity, but also judgement, patience and the ability to make the project real.

Design helps create a better society by improving the way people live, work, gather and interact.

Interior design affects daily life directly. A thoughtful space can make people feel more comfortable, included, inspired and connected. Good design can also preserve culture, reduce waste and make better use of resources.

For me, design is not only about objects or spaces. It is about how people experience the world.

I am currently interested in projects that connect interior design, technology, brand identity and human experience.

After LAP AI Taipei, I want to continue exploring how physical spaces can respond to AI and digital behaviour, while still keeping warmth, atmosphere and emotional connection.

LAP AI Taipei gave me a strong sense of satisfaction because it allowed me to bring together many things I care about: storytelling, technology, customer experience and interior architecture.

It was also satisfying because the project was compact, which meant every decision had to be precise. Seeing a small space carry a clear story and strong experience was very meaningful to me.

I would like to see the design industry place more value on depth, responsibility and long-term thinking.

Sometimes design becomes too focused on quick visual impact. I hope the industry can pay more attention to how spaces are used, how materials age, how resources are consumed and how design affects people emotionally over time.

I think design is moving towards a more interdisciplinary future. Interior design will become more connected to technology, branding, psychology, sustainability and experience design.

At the same time, I believe human emotion will become even more important. As digital tools develop quickly, physical spaces need to offer something deeper: presence, memory, atmosphere and real connection.

It depends on the scale and complexity of the project. A compact interior may take several weeks or months, while a larger or more technically complex project can take much longer.

For me, a design is ready when the concept, function, atmosphere and technical logic are aligned. It should feel clear, complete and buildable.

I always start with the story. Before thinking about form or materials, I try to understand the client, the users, the site, the context and the feeling the space should carry.

Once the story is clear, the design decisions become more natural. Circulation, lighting, materiality and details can then work together to support one clear direction.

My motto is: understand the story before creating the form.

I believe design should not begin with appearance alone. A good space needs meaning, intention and emotional depth before it becomes visually powerful.

I think it works both ways. Trends can reflect how society is changing, but strong design can also shape how people think, behave and imagine the future.

I do not believe designers should follow trends blindly. Trends can be useful references, but good design should come from the project’s own story, context and purpose.

Technology helps me research, test, visualise and coordinate ideas more efficiently. Tools such as Revit, Rhino and rendering software allow me to move between concept and practical development.

I am also interested in AI as a creative tool. I do not see it as a replacement for designers, but as a way to expand exploration while keeping human judgement at the centre.

I mainly use Revit, Rhino, SketchUp, Enscape and Adobe Creative Suite.

Revit helps me organise the overall interior design and connect with technical coordination. Rhino is useful for early concept design, form exploration and visual studies. I also use rendering tools, material references, photography and sketches to test atmosphere and communicate ideas.

Colour, materials and atmosphere are what allow people to feel a space, not only see it.

Materials carry texture, temperature and memory. Colour influences mood and identity. Lighting and atmosphere shape how people move, pause and remember. For me, these elements are not decorative. They are part of the emotional structure of an interior.

I wish people would ask more about the story behind the design.

Images can show what a space looks like, but they cannot always explain why certain decisions were made. I enjoy when people ask about the concept, the journey, the materials and the emotional intention behind a project.

When I see a great design, I usually first ask myself why it feels right.

I look at how the idea, function, material, detail and emotion come together. A great design often feels effortless, but behind that simplicity there is usually a lot of thinking, testing and refinement.

My ideal design partner is someone who is open, thoughtful and honest in communication.

I do believe in co-design, especially in interior design. A strong interior usually needs input from clients, consultants, suppliers and users. The key is to keep a clear design vision while allowing collaboration to make the project stronger.

The people who influenced me most are not only designers. They include family, teachers, colleagues, clients, suppliers and the people who actually use the spaces.

Clients teach me what a brand or project truly needs. Suppliers and construction teams teach me how ideas become real. Users remind me that design ultimately has to work for people.

I am influenced by books about architecture, interiors, cities, film and culture. I do not think one single book shaped everything for me, but reading helps me understand how people remember places and how spaces carry meaning.

Books also slow me down. They help me think beyond quick images and look deeper into history, emotion, atmosphere and human behaviour.

I would not call myself a master designer. I am still learning and developing.

I developed my skills through education, real projects, technical practice and constant observation. I learned that design requires both imagination and discipline. You need to dream, but you also need to know how to draw, coordinate, communicate and build.

I would like to meet Antoni Gaudí. I would be very interested to understand how he saw the relationship between nature, religion, craft, structure and imagination.

His work feels like a complete world, full of stories and emotion. I would like to ask him how he kept such a strong personal vision while creating spaces that still feel alive today.

I feel grateful for the recognition, but I try not to let awards define the work completely.

Awards can give a project a wider platform, which is valuable. But for me, the most important thing is still the design itself: whether it has meaning, whether it works and whether people can connect with it.

I do not think of it as fame. I see it as encouragement to keep developing.

My favourite colours are warm neutral tones, especially colours that feel calm, refined and slightly cinematic.

One of my favourite places is any city where I can walk freely and discover small details. I enjoy travelling, so my favourite place often changes with experience.

My favourite season is autumn, because the light, temperature and atmosphere feel very emotional. I like simple food, thoughtful objects and brands that have a clear identity without being too loud.

One funny thing about being a designer is that it becomes difficult to stop observing spaces.

Even when I am travelling or having dinner, I may suddenly notice the lighting detail, the material joint, the ceiling height or the way people move through the space. Sometimes I realise I have been analysing the room instead of simply enjoying it. But in a way, that is also part of the joy of being a designer.

A good day for me is when an idea becomes clearer than it was the day before.

It could be a concept finally finding its shape, a detail starting to work, or a conversation helping the project move forward. Small progress motivates me. I also stay motivated by travelling, observing spaces and reminding myself why the project matters.

I do not know if it was obvious, but I was always sensitive to spaces and atmospheres.

Because I grew up close to interior design, I noticed materials, layouts and environments from a young age. At the time, I did not fully understand it as design. But looking back, I think that sensitivity was already there.

A thousand years is almost impossible to imagine, but I believe people will still need spaces that carry emotion, memory and identity.

Technology will change dramatically, but the human need for belonging may remain. The way we live may become more digital, but physical spaces will still matter because they connect us to the body, to others and to time.

I would like people to know that my design is driven by stories, atmosphere and human experience.

I am interested in interiors that are not only visually refined, but also meaningful and emotionally connected to the people who use them. I hope my work can create spaces that people see, feel, remember and return to in their minds.

I currently work as a London-based independent interior designer and interior design consultant, with a focus on commercial interiors, retail environments and mixed-use spaces.

My design practice is centred on the relationship between experience, spatial storytelling and brand identity. I believe interior design is a powerful medium for translating a client’s story into a physical environment, allowing visitors to understand, feel and remember the message behind a brand or a place.

Through my work, I aim to create interiors that are not only visually refined, but also emotionally engaging, commercially relevant and carefully connected to the people who experience them.

For me, design is not simply decoration or visual styling. It is a way of solving problems, guiding behaviour and creating meaningful experiences.

A good design should first understand the story and emotion of a space, and then consider how people connect with it. Interior spaces need to communicate, guide and serve at the same time. They are not empty containers, because people live, move, remember and experience life within them.

I believe memories and emotions can be stored in space. What happens between people, and what people choose to remember, often becomes attached to the environment around them. In this sense, design is a bridge between emotion and function. It should be beautiful, but it should also be useful, thoughtful and deeply connected to the people who experience it.

I am most interested in projects that rethink the relationship between people, space, products and services. For example, retail design today is no longer only about displaying products. It is about creating an experience journey.

I am especially drawn to projects with a strong visual and emotional quality, almost like watching a film. I enjoy designing interiors where circulation, lighting, materiality, display and service points work together to create a clear, memorable and cinematic experience.

I am drawn to interior architecture projects because they allow me to work across many layers at the same time: narrative, function, atmosphere, materiality and human behaviour. A successful interior should express a clear identity, support the way people use the space, and create moments that stay in people’s memory. I enjoy working within these layers, because they allow interior design to become both practical and poetic.

One of my favourite designs is LAP AI Taipei, a compact AI-guided laptop retail interior. The project explores how artificial intelligence and interior design can work together to reduce choice fatigue in technology retail.

The concept was inspired by the familiar digital gesture of “swiping”. I translated this gesture into a curved, theatre-like interior journey, where customers are guided through a more intuitive process of discovery, comparison and consultation.

Instead of using a conventional grid display, LAP AI Taipei creates a sequenced retail experience. Customers move through the space as if they are physically filtering options, while the interior supports both product exploration and one-to-one service.

What I like most about this project is that it is not only about selling laptops. It is about rethinking how a physical store can become a smarter, more personal and more emotionally engaging environment in the age of AI.

One of the first design projects I was involved in was a department store project in Taipei. From that experience, I began to understand that an interior does not only carry services or commercial functions. It can also carry history, memory and cultural narratives.

The project brought the history of the local area and the story of Taipei’s urban development into a contemporary commercial environment. Within a modern city, the interior allowed people to walk through a memory of late 19th-century Taipei. That experience made me realise that people can be emotionally touched by a space.

In a time when cities and technologies are developing so quickly, preserving the atmosphere and cultural memory of a golden historical period becomes extremely meaningful. Design is never only about creating a beautiful environment. It can become a reflection of an era, and a way for people to hold on to certain stories within the vast flow of time. I find that deeply romantic.

Recently, I have been interested in materials that carry a sense of modern technology, but do not feel too cold or distant. I want to express a feeling that belongs to the current era: futuristic, intelligent and digital, but still warm, tactile and emotionally connected.

In LAP AI Taipei, I used champagne-toned metal, neutral wood finishes and semi-transparent materials to create a retail atmosphere that feels both warm and futuristic. I am especially drawn to translucent and screen-like materials, because they can blur the boundary between the physical and the digital.

For me, these materials are not only visual choices. They allow light to become part of the interior experience, rather than just a technical lighting element. They also represent my imagination of this era: a world shaped by AI and digital technology, but still carrying stories, emotion and atmosphere.

In this project, I combined a theatre-like sense of the past with the gesture of digital swiping and product display. This contrast between the old and the new is very important to me. It shows how interior design can respond to technology while still keeping human experience at its centre.

I am also very interested in generative AI and digital design workflows. I see AI not as a replacement for designers, but as a tool that can expand research, visualisation and creative testing. It can help designers explore ideas more quickly, while still keeping emotion, memory and human experience at the core. In many ways, I think this reflects the role of designers in our time.

I feel most creative when I am trying to connect things that do not seem directly related at first: a story, a material, a memory, a brand identity, or even a small human gesture.

For me, creativity often begins when I start to understand the emotional core of a project. Once I know what the space is trying to say, ideas begin to form more naturally. I also find myself very creative when I walk through cities, observe people, or experience places with a strong atmosphere. Those moments often become references in my design thinking later.

During the design process, I focus strongly on narrative, circulation, atmosphere and the relationship between people and the interior.

I always try to understand what the space needs to communicate before deciding how it should look. For me, function and emotion should not be separated. A beautiful interior needs to work well, but a functional interior should also have character, rhythm and emotional depth.

I also pay great attention to materiality and lighting, because they are the elements that allow people to physically feel the atmosphere of a space. They can turn a concept into something tangible and memorable.

When I design, I often feel a mixture of curiosity, pressure and excitement. There is always a sense of uncertainty at the beginning of a project, but I think that uncertainty is important. It pushes me to explore deeper and to question the first idea that comes to mind.

As the concept becomes clearer, the process becomes very emotional for me. I start to imagine how people will move through the space, what they will see first, where they will pause, and what kind of memory they may take away from it.

Designing is both rational and emotional. It requires discipline, but it also requires sensitivity.

When a design is realised, I feel a strong sense of gratitude and responsibility. Seeing an idea move from drawings and models into a physical interior is always very powerful.

There is also a quiet emotional moment when people begin to use the space. At that point, the design no longer belongs only to the designer. It starts to become part of other people’s routines, memories and experiences.

For me, that is one of the most meaningful parts of interior design. A realised interior continues to live after the designer has finished the work.

A successful design is one that can balance clarity, emotion and function.

It should communicate its idea clearly, support the way people use the space, and create an atmosphere that people can remember. I do not think success is only about visual impact. A design is successful when it feels natural to use, when it carries a meaningful story, and when people can form a genuine connection with it.

For interior design, I also believe success lies in longevity. A good interior should not only look impressive at first glance. It should continue to feel relevant, thoughtful and valuable over time.

When I judge a design, I first consider whether it has a clear intention. A good design should know what it is trying to do, who it is speaking to, and how people are meant to experience it.

After that, I look at the relationship between concept and execution. Sometimes a concept can be very strong, but if the materiality, circulation, lighting or details do not support it, the design can lose its power.

I also consider whether the design respects people. For me, good design should not only be visually impressive. It should be thoughtful, usable and emotionally intelligent.

I believe designers have a responsibility to create spaces that are meaningful, responsible and considerate of both people and the environment.

Interior design has a direct impact on how materials are selected, how resources are used, and how long a space can remain relevant. Designers should think carefully about durability, adaptability and the environmental impact of their decisions.

At the same time, designers also have a social responsibility. Spaces influence behaviour, emotion and memory. We should create interiors that respect people, support communities and contribute positively to the way people live, work and gather.

I think the design field is becoming more interdisciplinary, more experience-driven and more closely connected to technology.

The future of design will not be only about creating beautiful objects or interiors. It will be about creating systems, experiences and environments that respond to changing human behaviour. Technology, especially AI, will become an important part of the design process, from research and visualisation to testing and communication.

However, I do not believe technology will replace the designer’s role. Instead, it will make the human part of design even more important. The future designer needs to be able to use technology intelligently, while still understanding emotion, culture, memory and human experience.

My recent work has been presented more through design awards, publications and project-based platforms rather than a traditional exhibition format. For me, these platforms are also meaningful ways to share design ideas with an international audience.

In the future, I would be interested in holding an exhibition that explores the relationship between interior design, technology and memory. I would like to present not only finished design outcomes, but also the research, material studies, narratives and digital processes behind the work.

I hope my next exhibition can be an immersive experience, where visitors can understand how an interior concept develops from an idea into a physical and emotional environment.

My inspiration often comes from cities, films, memories, materials and the way people behave in everyday spaces.

I am very interested in observing how people move, pause, gather and interact within interiors. Sometimes a small gesture or a particular atmosphere can become the starting point of a design idea. Film is also a very important source of inspiration for me, because it teaches me how light, framing, sequence and emotion can shape the way people experience a story.

I feed my creativity by constantly observing the world around me. I like visiting different cities, looking at historical interiors, studying materials and paying attention to the emotional atmosphere of places. I believe good design often comes from being sensitive to ordinary moments.

I would describe my design style as narrative-driven, atmospheric and refined. I am interested in interiors that feel visually memorable, but also quiet, thoughtful and emotionally layered.

My approach often begins with the story behind the project. Before developing the visual language, I try to understand the identity of the place, the people who will use it, and the emotional message it should carry. From there, I translate the narrative into circulation, materiality, lighting, form and details.

The main characteristics of my work are a strong sense of atmosphere, careful material selection and a balance between modernity and warmth. I like interiors that feel contemporary, but not cold. I want my spaces to feel designed, but still human.

I currently live and work in London, while my cultural background is rooted in Taiwan. I think this combination has had a strong influence on the way I design.

Taiwan has a rich and layered cultural context, where different historical periods, materials, lifestyles and urban memories exist very close to each other. This makes me sensitive to the relationship between old and new, and to the emotional value that a space can carry.

Living in London has also expanded my perspective. It is an international city with a strong design culture, where different disciplines, histories and contemporary ideas constantly meet. The advantage of this background is that it allows me to think across cultures and develop a more open design language. The challenge is to avoid making design too general. I always try to keep a clear emotional and cultural identity in my work.

When working with companies, I see the process as a collaboration rather than a one-way design service. I first try to understand the company’s identity, business goals, audience and the message they want to communicate through the interior.

From there, I translate these ideas into a design strategy, and then into a physical environment through planning, circulation, materials, lighting and details. I believe good communication is very important throughout the process, because interior design involves many layers, from concept and brand experience to technical coordination and final delivery.

My role is to help companies turn their story into a space that people can experience. I aim to create interiors that support the brand, serve the users and remain meaningful beyond the first visual

My suggestion to companies is to see the designer as a strategic partner, not only as someone who makes things look beautiful. A good interior designer can help a company translate its identity, values and business goals into a physical experience.

When selecting a designer, companies should look beyond style. They should consider whether the designer can understand the brand, communicate clearly, solve problems and think about both the user experience and the practical delivery of the project.

A good designer should be creative, but also responsible. They should be able to listen, challenge ideas when necessary, and turn a company’s story into an interior that feels meaningful, functional and memorable.

My design process usually begins with understanding the story behind the project. Before drawing forms or choosing materials, I try to understand the client, the users, the brand identity, the context and the emotion the space should carry.

After that, I develop the concept and translate it into interior architecture: circulation, zoning, spatial rhythm, materiality, lighting and details. I like to build a clear narrative structure, so that every design decision has a reason behind it.

The later stages are about refinement and coordination. A strong concept needs to be supported by technical clarity, practical details and good communication with everyone involved. For me, design is a process of moving from emotion to structure, and then from structure into a real experience.

Five of my favourite design items at home are a well-designed chair, a small table lamp, a textured fabric throw, a ceramic object and a good notebook.

I like these objects because they are quiet but meaningful. They do not need to be visually loud to affect the atmosphere of a room. A chair changes the way the body rests, a lamp changes the mood of the evening, fabric adds softness, ceramics bring a sense of handcraft, and a notebook keeps traces of thoughts and ideas.

For me, good design at home is not about having many objects. It is about having a few pieces that support daily life and carry a sense of intimacy.

A typical day usually begins with reviewing what I need to focus on, whether it is concept development, design coordination, drawings, visual research or communication with collaborators.

A large part of my day is spent moving between creative thinking and practical problem-solving. I may start by studying references or developing an idea, then move into drawings, models, material studies or technical coordination. I think this movement between imagination and precision is one of the most interesting parts of being an interior designer.

Outside work, I really enjoy travelling. I often buy a flight ticket and leave almost immediately, because I believe a broad perspective is very important for a designer. The more I experience different cities, cultures, interiors and ways of living, the more truthfully I can bring stories and experiences into my design. For me, a design should not only come from imagination. It should also come from real feelings and lived experiences.

My advice to young designers is to stay curious and patient. Design is not only about having strong ideas, but also about learning how to develop, test and refine those ideas with discipline.

I think young designers should observe more than they speak at the beginning. Look carefully at how people use spaces, how materials age, how light changes, and how details affect experience. These observations will slowly build a designer’s sensitivity.

I would also say: do not rush to create a fixed style too early. It is more important to build a strong way of thinking. A personal style will become clearer when your values, experience and design logic become stronger.

One of the most positive aspects of being a designer is the ability to turn ideas into real environments that people can experience. It is very meaningful to know that something you imagined can become part of someone’s daily life, memory or emotional experience.

Another positive aspect is that design keeps you curious. Every project is different, so you are constantly learning about new contexts, people, materials, technologies and cultures.

The difficult side is that design can be demanding. It requires creativity, technical knowledge, communication, patience and resilience at the same time. Sometimes the process can be stressful, but I think that pressure is also part of what makes the final result meaningful.

My golden rule in design is to understand the story before creating the form.

I believe form should not appear only because it looks interesting. It should come from the project’s identity, context, function and emotional intention. When the story is clear, the design decisions become more precise and meaningful.

For me, a successful interior is not only something people look at. It is something people move through, feel and remember.

I think the most important skills for a designer are observation, communication, problem-solving and the ability to translate abstract ideas into real experiences.

Observation helps designers understand people and context. Communication allows ideas to be shared clearly with clients, consultants and collaborators. Problem-solving is essential because every project has limitations, and good design often comes from working intelligently within those limitations.

For interior designers, it is also important to understand both concept and detail. A designer needs to think about atmosphere and story, but also about drawings, materials, coordination and how the space will actually be built and used.

My design toolbox includes both digital tools and more traditional ways of thinking. I use software such as Revit, Rhino, SketchUp, D5, Enscape and Adobe Creative Suite for design development, modelling, visualisation, documentation and presentation.

I also use physical and visual references, including material samples, photography, films, books, exhibitions and city observations. For me, these are just as important as software, because they help shape the emotional and atmospheric side of a project.

Recently, generative AI has also become part of my research and visual testing process. I use it carefully as a tool for expanding ideas and exploring possibilities, while keeping the final design judgement human and intentional.

I manage my time by separating the design process into clear stages: research, concept, development, coordination and refinement. This helps me understand what kind of thinking is needed at each stage.

I also try to identify the most important decisions early. In interior design, many details depend on the main concept, circulation and material direction, so clarifying these key elements helps the later process become more efficient.

At the same time, I think designers need to leave space for reflection. Good design cannot always be forced quickly. Time management is not only about speed, but also about knowing when to make decisions and when to step back and look again.

It depends on the scale and complexity of the project. For an interior design project, the process can range from several weeks to several months, and larger or more complex projects may take much longer.

A small concept or design object may be developed relatively quickly, but a complete interior requires research, concept development, spatial planning, material studies, coordination, technical drawings and refinement.

For me, the most important thing is not only the length of time, but whether the process allows the idea to mature properly. A good design needs enough time to be questioned, tested and developed into something that can work in reality.

One of the questions I am often asked is: “How do you turn an idea into a space?”

I think people are curious because interior design can look very visual from the outside, but the process behind it is much more layered. An interior is not created from appearance alone. It comes from understanding the client, the users, the context, the story, the function and the atmosphere.

My answer is usually that a good space begins with a clear intention. Once the intention is clear, the form, materials, lighting and details can begin to support it.

One of my most important job experiences was being involved in complex interior design projects where concept, coordination and technical delivery had to work together.

These experiences taught me that a designer cannot only think visually. In real projects, design needs to communicate with architecture, engineering, materials, suppliers, clients and construction constraints. A strong idea has to survive many layers of coordination before it becomes a real space.

This has shaped the way I work today. I still care deeply about story and atmosphere, but I also understand that good interior design needs clarity, responsibility and the ability to bring an idea into reality.

My work has mainly focused on commercial, retail and mixed-use interior projects, including brand-led retail environments and experience-focused interiors.

Due to the nature of some professional collaborations, I prefer to speak about the type of clients and projects rather than naming every client directly. I have worked with clients who are interested in using interior design as a way to communicate brand identity, improve customer experience and create memorable physical environments.

For me, the most meaningful clients are those who understand that interior design is not only a visual investment, but also a strategic and emotional one.

I enjoy interior design projects that combine narrative, atmosphere and user experience. I am especially interested in spaces where people do not simply pass through, but actually feel something.

Retail, commercial and mixed-use interiors are interesting to me because they bring together brand identity, human behaviour, product experience and spatial storytelling. They require both imagination and discipline.

I also enjoy residential design, because home is the place where people have the closest and most frequent relationship with space. It is also where many personal memories are formed and stored. Designing a home is not only about function or aesthetics; it is about understanding how people live, rest, remember and feel safe within an interior.

I enjoy this type of work because it allows design to become a form of communication. A space can tell a story without using words, and that is something I find very powerful.

My future plan is to continue developing my work as an interior designer and interior design consultant, with a focus on commercial interiors, retail environments and mixed-use interior architecture.

I would like to explore more projects that combine interior design, technology, brand experience and cultural storytelling. LAP AI Taipei is an important step in this direction, because it reflects my interest in how physical spaces can respond to the digital and AI-driven era.

In the future, I hope to work on more international projects and continue building a design practice that is thoughtful, contemporary and emotionally engaging.

It depends on the nature of the project. I usually develop the core concept and design direction myself, especially in the early stages when the story, atmosphere and overall intention of the project need to be clearly defined.

For example, LAP AI Taipei was almost entirely developed by myself, from the initial concept and design narrative to the overall interior direction. However, communication and collaboration with the client, suppliers and construction teams were still essential, because a successful interior relies on many different areas of professional knowledge.

For me, the best process is a balance between a clear personal design vision and strong teamwork during development and delivery. A project needs a strong central idea, but it also needs collaboration to become a real and well-executed space.

People can contact me through my professional email or online portfolio. I am always open to discussing interior design projects, creative collaborations and opportunities related to commercial interiors, retail design and experience-led environments.

Email: adonislee204@gmail.com
Phone number: +44 7392779031 / +886 955998089

I would like to add that, for me, interior design is ultimately about creating meaningful relationships between people and places.

In a time when technology is changing very quickly, I think physical spaces are becoming even more important. They give people a sense of presence, memory and emotional connection. My work is interested in how interior design can respond to contemporary life while still carrying warmth, story and human experience.

I hope my designs can create spaces that people do not only see, but also feel, remember and return to in their minds.

My research started with a simple observation. Many people do not feel fully confident when buying technology products. They may know they need a laptop, but they do not always know how to judge the difference between models. The number of choices can quickly become tiring.I looked at how customers compare products in technology stores. I noticed that the problem is not only too many products. It is also the lack of a calm order. When everything is shown with the same importance, customers have to build their own logic from zero. That creates pressure.In LAP AI Taipei Retail Store, the sequence of zones was designed to reduce that pressure. The journey begins with discovery. Then it moves into comparison, followed by more focused guidance and one to one consultation. The customer is not expected to understand everything at once.What I learned about human behaviour is that people often need emotional reassurance before they can make a rational decision. In retail design, this is sometimes underestimated. Customers are not only buying a product. They are also looking for confidence.

I wanted the lighting to feel like part of the space, not just something added to make the store bright. In LAP AI Taipei Retail Store, light works with the hollow panels, champagne toned surfaces, and silver demo table to create a softer way of seeing technology.Tech retail can easily feel sharp and stressful. Too much brightness can make the space feel cold. Too many reflections can make products feel distant. I used warm white light to reduce that tension. It makes the store feel clearer, but not harsh.The hollow panels and segmented ceiling elements help the light spread more gently. The reflections from the champagne metal and silver surfaces add depth without becoming too loud. The goal was to make customers feel guided, not exposed.During a high value purchase, trust is very important. Lighting can help build that trust by making the space feel calm and controlled. It gives customers time to look, compare, and ask questions without feeling rushed. In this project, light became a quiet material that supports both the product and the person.

The biggest challenge was that the store had to do many things within only 23.5 square metres. It needed to introduce the brand, display up to 36 laptops, guide customers through comparison, allow one to one consultation, and still include aftercare. There was no room for loose decisions.Because the space was small, the sequence became very important. I could not treat the store as a simple showroom. Every part had to support the next part. The curved loop helped organise this. It allowed the customer journey to feel continuous instead of crowded.The most important trade off was to avoid making the store visually full. A larger space might allow more separated zones. Here, everything had to be connected. I had to make the display clear, but not overwhelming. I had to make the consultation area feel present, but not closed off.In the end, the limited footprint made the design stronger. It forced the idea to become more precise. Every element had to earn its place. A larger space may have allowed more freedom, but this small space gave the project its discipline.

The material palette was designed to make AI assisted matching feel calm and approachable. I did not want customers to feel that they were entering a cold technical environment. I wanted the store to suggest intelligence, but also care.Champagne toned metal was used because it carries a softer kind of futurism. It is reflective, but not clinical. Neutral wood brings warmth and keeps the space grounded. Frosted acrylic and curved plywood add softness. Together, these materials help the store feel advanced without losing human touch.This was also important for the brand communication of LAPT AI Intelligent Ltd. The brand is about technology, but the interior needed to show that technology can serve people in a reassuring way. The space had to feel clear, personal, and reliable.I calibrated the materials by thinking about the emotional weight of each surface. Too much metal would feel cold. Too much wood would make the space feel less technological. The final palette sits between both worlds. It presents AI as something helpful and close to daily life.

The fabrication process required a lot of attention because many key elements were curved. The plywood forms, bent PC hollow panels, and LAP AI ring chandelier all needed to feel smooth and precise. If any part felt rough, the whole concept would lose its clarity.The main challenge was controlling the relationship between geometry and budget. Curved elements can become expensive very quickly. I had to simplify the forms enough for fabrication, while still keeping the gesture strong. The design could not rely on unnecessary complexity.The bent PC hollow panels were especially important because they carried both light and the screen like feeling of the space. They had to be light, clean, and buildable. The ring chandelier also needed to support the brand identity without becoming too decorative.This challenge enriched the final result. It made the design more disciplined. The curved elements became less about visual drama and more about function, movement, and atmosphere. The final space feels precise because the fabrication limits forced each line to be carefully considered.

Guanghua Digital Plaza is a very dense and competitive technology retail environment. It has a strong commercial energy, but it can also feel visually saturated. Many stores compete through brightness, signage, and product quantity. I wanted LAP AI Taipei Retail Store to take a different position.The design is intentionally more restrained. Instead of trying to shout louder, the store creates a calmer experience. This restraint was important because the brand needed to stand out through clarity, not noise. In a place where customers are surrounded by information, calmness can become a strong identity.The cultural and commercial context of Taipei also influenced the design. Taipei is fast, practical, and deeply connected to technology. At the same time, people still value service, trust, and personal recommendation. I wanted the store to reflect both sides.For me, technology retail environments in dense Asian markets should not only compete by displaying more. They should help customers think better. A store can become more valuable when it gives people order, confidence, and a sense that their needs are understood.

Working on a Taipei project as a London based designer gave me a useful distance. I could look at the market with fresh eyes, but I also understood the culture because Taiwan is part of my own background. That position helped me balance observation and personal memory.Taipei customers often care about practical value, speed, service, and trust. A design cannot only look good. It needs to work clearly. At the same time, I wanted the store to carry a stronger atmosphere than a typical technology shop. The challenge was to make the space feel new without making it feel unfamiliar.This cross cultural process reminded me that interior storytelling is not about adding decoration. It is about understanding how people behave in a specific place. Consumer trust also depends on small details. The height of a display, the way a customer is guided, and the place where consultation happens all affect the experience.This has shaped my future work directly. I want to keep developing interiors where service design, brand identity, and human behaviour are not separate layers. They should be designed together from the beginning.

The idea of a glossy screen without an actual screen was tested through material layering. I wanted the space to remind people of a digital interface, but I did not want it to become too literal. The goal was not to copy a screen. It was to borrow its feeling.The semi transparent materials were important because they hold light in a soft way. They create depth without making the space heavy. The controlled reflections from the metal surfaces also helped build the impression of a digital world. The segmented ceiling added rhythm, almost like pixels or interface layers, but in a more architectural way.During the design process, I tested how these materials reacted with light and movement. The question was whether the space could suggest technology without relying on excessive media. At one point, the material composition began to feel convincing because it created the right mood before any explanation was needed.That was the key moment. The space started to feel like a physical interface. It carried the memory of digital behaviour, but it remained warm and touchable as an interior.

The most transferable lesson from LAP AI Taipei Retail Store is that a customer journey can be built into the interior itself. It does not always need to be explained through signs, screens, or digital overlays. When circulation, display, lighting, and service points are planned together, the space can quietly guide people.For other retail or experience based projects, I think this principle is very useful. A small space can still carry a large brand idea if the concept is clear. The designer has to decide what the customer should feel first, what they should understand next, and where the most important interaction should happen.The second transferable principle is restraint. In compact interiors, adding more does not always create more value. Often, the stronger decision is to remove anything that does not support the journey.For young interior designers, I would say start by understanding the behaviour, not the image. Ask how people enter, how they choose, where they hesitate, and what gives them confidence. If you understand that clearly, even a very small space can hold a powerful idea.