Iron Interior Space and Exhibition Design · 2025
The Joy Of Swimming Fish Exhibition Space Design
by Qian Zhen
- A' Design Award 2025 Iron Winner in Interior Space and Exhibition Design
- Awarded April 15, 2025
- Estimated Number of Design Views: 18,230
- Verification code 123A251801 · Verify this award
About The Joy Of Swimming Fish Exhibition Space Design
The exhibition space design of The Joy of Swimming Fish matches the space design with the poetic and logical debate and the thinking mode with romantic style in the ancient Chinese philosophy story Pond Dialogue, extracts "the joy of swimming fish as the concept of the space design. The uniqueness of the exhibition space lies in its profound cultural heritage and the perfect integration of modern design. By employing flowing curves and dynamic spatial structures, the design aims to simulate the state of fish swimming freely in water, creating a lively and poetic atmosphere.
Qian Zhen's exhibition space design engages contemporary architectural discourse concerning the transformation of circulation from mere functional necessity into choreographed spatial experience and the integration of materiality as communicative medium, situating this project within the broader evolution of cultural institutions toward transparency, accessibility, and experiential richness that characterizes early twenty-first-century museum and gallery design, the architect demonstrates sophisticated understanding of how vertical circulation can function simultaneously as sculptural element, wayfinding device, and narrative armature guiding visitor progression through exhibition zones, the helical staircases rendered in contrasting hues suggest a design sensibility informed by the spatial experiments of modernist masters who explored the expressive potential of structural elements while also drawing upon contemporary Scandinavian traditions that privilege natural material warmth and tactile authenticity within rigorously geometric frameworks, the central timber-clad volume achieves notable compositional authority through its cylindrical form and vertical emphasis, establishing clear axial organization while the rhythmic linear articulation of wood slats creates a surface that modulates between opacity and transparency depending on viewing angle and proximity, rewarding close examination with shifting perceptual experiences, this oscillation between solid enclosure and layered transparency invites contemplation of boundaries and thresholds, themes fundamental to exhibition design where the architecture must both frame and recede, providing neutral backdrop yet establishing memorable spatial character, the chromatic restraint demonstrates confidence in limited means, allowing material qualities rather than applied color to generate atmospheric warmth, the blonde timber's golden undertones suggesting natural light even in shadow zones while the pristine white vault maximizes luminous reflection, creating an overall environment conducive to focused attention on displayed works while maintaining distinctive architectural identity, the bilateral symmetry and proportional refinement suggest awareness of classical architectural principles reinterpreted through contemporary minimalist sensibility, achieving monumentality through geometric clarity rather than ornamental elaboration, the generous ceiling height and barrel vault form evoke sacred architecture traditions where vertical space symbolizes aspiration and transcendence, here secularized and applied to cultural rather than religious programming yet retaining that sense of spatial dignity befitting institutions devoted to human creative achievement, the integration of natural illumination through extensive glazing and vaulted clerestory demonstrates commitment to sustainability and occupant wellbeing while also acknowledging light's fundamental role in perception and the viewing of visual art, the polished stone flooring provides durability appropriate to public circulation while its reflectivity creates subtle mirroring effects that dematerialize the floor plane and extend perceived spatial volume, viewers might consider how this design negotiates the tension between architectural presence and curatorial neutrality, between creating memorable space and providing adaptable backdrop, and how the circulation paths inscribed through contrasting color potentially shape visitor experience and movement patterns through exhibition sequences.
Press Kit
- Unique Properties
- The exhibition space design of "The Joy of Swimming Fish" matches the space design with the poetic and logical debate and the thinking mode with romantic style in the ancient Chinese philosophy story "Pond Dialogue",It extracts "the joy of swimming fish" as the concept of the space design. The uniqueness of the exhibition space lies in its profound cultural heritage and the perfect integration of modern design.
- Dimensions & Packaging
- The design is situated within a rectangular glass structure, aimed at highlighting the curved characteristics of the interior space and enhancing its breathability. The building comprises a first floor and a second floor, with dimensions of 21.5 meters in length, 8.2 meters in height, and 13.3 meters in width.Site area：285.95 sqm
- Tags
- Fluidity, Pond Dialogue, Space, Philosophical Thought,Nature
- Production Technology
- By employing flowing curves and dynamic spatial structures, the design aims to simulate the state of fish swimming freely in water, creating a lively and poetic atmosphere.
- Design Challenge
- The challenge lies in how to express the essence of the story, depict the debate process between Zhuangzi and Huizi, while also ensuring the practicality of the space.
- Project Duration
- The project started in October 2021 in Shanghai and finished in June 2023.
- Operation Flow
- In the concept of "the joy of swimming fish," the verb "swim" not only refers to the activity of the fish but also connects the interaction and communication between the two observers. This allows visitors to not only appreciate the art but also to profoundly reflect on the relationship between humanity and nature, as well as the individual and society, symbolizing the harmony between nature and life. By integrating the Eastern philosophical concepts of harmony between humanity and nature, and dialectical unity, it creates an environment that embodies both aesthetic and educational significance.
- Research
- When I am in this space, how can I perceive the joy of the fish, both as the fish swimming below and as the observer above, thus achieving a moment of unity between myself and the surroundings?
- Inspiration
- Huizi said,'You are not a fish; how do you know what constitutes the enjoyment of fishes?' Zhuangzi rejoined, 'You are not I. How do you know that I do not know what constitutes the enjoyment of fishes?'
- Image Credits
- All Images Photographer :Qian Zhen
- Patents
- For copyrights: "Copyrights belong to Qian Zhen, 2021."
Colors of The Joy Of Swimming Fish Exhibition Space Design
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Design Interview about The Joy Of Swimming Fish Exhibition Space Design
Openness and fluidity, inspired by a dialogue from Zhuangzi by the pond, expressing a philosophical idea of transcending worldly concerns.
How to express a philosophical idea through space? First, I need to understand what that philosophy conveys—is it about the relationship between self and the world, or a different way of perceiving it? What I aim to achieve is the process of reflection itself.
I want to turn it into a physical model and place it at my workplace; I don’t have grander ambitions beyond that.
About a year or so.
This specific concept stems from my interest in Eastern philosophical ideas and their guidance in my life. This design wasn’t commissioned; every step from inspiration to realization, including the details, was under my control.
Currently, I have no intention of selling, leasing, or producing it.
Graduation.
Junya Ishigami, Antoni Gaudí, and Mies van der Rohe.
Commercial.
Contemplation and deep thinking guide my design process.
It originates from the core concept of the design itself.
I use rendering software on a computer to bring my ideas to life.
Curves and materials are essential elements that define the aesthetic and structure.
Myself—I rely on my own intuition and skills.
To better represent the actual effect and enhance the final outcome.
Researching the concept and studying how other designers have brought their ideas to life.
Technology plays a crucial role in advancing my designs.
To understand my true position and place in the design world.
I learned how to realize a design step by step, breaking it down into manageable phases.
Not at the moment.
Grand Interview about The Joy Of Swimming Fish Exhibition Space Design
The core of the story, and my interpretation of the Pond Dialogue, involves a collision of emotional and rational thinking. This translates into different entry approaches to the space, creating varied experiences within the same environment.
I incorporated extensive curved partitions and irregular lines to mimic the trajectories of fish in water. Paired with translucent dividers, the overlapping effect simulates the projected interplay of fish swimming freely.
This space is larger than my previous works, especially in terms of height. I divided the space into two levels, leaving a significant open atrium in the middle, as fish can swim at any depth and move up or down freely. I also incorporated many fluid elements to create an airy atmosphere. The rectangular glass exterior is crucial for showcasing the interior, so I opted for gradually widening windows to spark curiosity from outside.
The exterior glass enables the first mutual observation between inside and out. The staggered layout of upper and lower spaces creates a second observation point. The entry method—whether starting on the second floor or the first—also shapes the perspective, making it a highly engaging space.
I incorporated many details to meet practical needs, such as using wall grooves as supports, concealing storage platforms within flowing walls, and hiding hanging fixtures behind translucent partitions, combining space division, functionality, and an element of discovery.
My personal style leans toward a light, airy feel. Initially, I had only an intuitive spatial image, but after delving into the philosophical elements of the "Pond Dialogue," I began exploring how abstract spaces could embody philosophical thought and guide visitors to awaken their spatial awareness of self and the world.
This relates to material choices. Water is represented by transparent glass, with abundant red koi colors as the dominant tone, paired with flowing forms to mimic natural scenes. Interestingly, while designing this space, I couldn’t help but think of the fish tank at home.
I believe the states of observing and being observed are interchangeable. We consider ourselves observers, but while we observe the external or internal, we are also being observed. No one is the sole subject—this applies to nature too, where everything is part of a harmonious unity.
This cultural approach will become a methodology. In the context of homogenized spaces, culture and context will distinguish architectural or exhibition spaces, opening up more imaginative possibilities.
Glass is a man-made product used to mimic natural scenes, which are inherently more fluid and organic than industrial creations. This creates an intangible contrast between the random vitality of nature and the precision of standardized production, rather than relying on a uniform industrial attitude for the architectural surface.