We had the distinct pleasure to interview award winning designer Zhijiang Shan about their original and creative Sales Center design work. Zhijiang Shan is an award-winning architectural designer, that makes our world a better place with their original sales center works.
Zhijiang Shan ("ZS") answered Design Interview ("DI") questions about their award-winning work Zun Fu Sales Center. Interview questions prepared by Frank Scott.
ZS : The design draws from the poetic structure of traditional Chinese gardens, embracing the philosophy of "emptiness and fullness" and "movement and stillness." It reflects a deliberate spatial order rooted in balance and rhythm. Natural elements such as bamboo, stone, water, and blossoms are abstracted and reinterpreted through modern architectural techniques, allowing cultural symbolism to be expressed in a contemporary visual language. This fusion gives the space both temporal depth and spiritual texture.
ZS : My core intention was to reinterpret traditional Chinese spatial aesthetics through a contemporary lens—making them emotionally resonant, artistically restrained, and experientially rich. I sought to create an environment that feels serene yet expressive; a space that speaks softly but lingers powerfully in memory. It's about honoring cultural roots without falling into nostalgia.
ZS : I see this project as a prototype for future hospitality and cultural real estate endeavors. The design language developed here—ritualistic yet fluid, grounded yet adaptable—will be translated into a modular design system suitable for boutique hotels, sales centers, and cultural venues. The goal is to build a flexible yet consistent spatial narrative that can evolve across sites.
ZS : From initial research to final execution, the design process spanned around eight months. This included site analysis, cultural inquiry, conceptual development, material detailing, and on-site coordination. It was an iterative journey of testing, refining, and negotiating between vision and feasibility.
ZS : While this was a commissioned project, I viewed it as a cultural exploration. The client gave us remarkable creative freedom, which allowed me to use this opportunity to probe deeper into the aesthetics of ceremonial space and contemporary hospitality. The project became a space for dialogue between legacy and innovation.
ZS : The design was realized for a leading real estate developer and has since been fully implemented. It now functions as a premium sales gallery and brand experience center—hosting clients, communicating ethos, and setting the tone for a high-end residential development.
ZS : As a designer deeply rooted in interior architecture, I have long been interested in rethinking the so-called "new Chinese style." Rather than following formulaic trends, I wanted to present a more nuanced, emotionally intelligent interpretation of East Asian spatiality—something refined, symbolic, and culturally resonant.
ZS : Tadao Ando’s pursuit of spatial purity and Liang Sicheng’s academic approach to architectural history both influenced my thinking. Their commitment to narrative space and material authenticity mirrors my own belief in architecture as both an art and a vessel of meaning.
ZS : This design targets high-end property buyers, design-conscious cultural visitors, and investors who value heritage, subtlety, and experiential design. It's crafted for those who seek spaces that elevate emotion as much as function.
ZS : Its strength lies in its restraint. Unlike more ornate approaches, this design evokes emotion through spatial rhythm, quiet detail, and symbolic gesture. It neither imposes nor imitates; instead, it invites the user to slow down, reflect, and immerse themselves in a sense of ritual.
ZS : The name “Zun Fu” (尊府) can be translated as "House of Esteem." It invokes a spatial atmosphere of reverence and ceremonial grace, echoing the Confucian ideals of harmony and hierarchy. The name embodies the spirit of formality without rigidity, and tradition without nostalgia.
ZS : We used Rhino and AutoCAD for modeling and layout refinement, Lumion for immersive visualization, and Adobe Creative Suite—especially InDesign and Photoshop—for storytelling and presentation design. Analog sketches and mock-ups also played a vital role in early conceptual stages.
ZS : The most defining element is the floating ribbon-like chandelier in the main hall. Inspired by the “cloud and dragon” motif in traditional Chinese iconography, this sculptural installation serves both a spatial and symbolic function—anchoring circulation, softening scale, and bringing a sense of mythic motion into the architectural core.
ZS : Yes. The project involved collaboration with lighting engineers, stone artisans, and a furniture design workshop. Their technical precision and material expertise were essential in translating abstract design concepts into tactile, high-quality realities. Craftsmanship was a cornerstone of this project’s execution.
ZS : Technology enabled us to prototype complex forms—especially the ceiling installation—through parametric modeling and 3D printing. It also informed aspects of sustainable design, such as airflow optimization and acoustic calibration. Technology here is not a spectacle, but an enabler of precision and comfort.
ZS : What kind of research did you conduct for making this design? We conducted behavioral research on how users navigate ceremonial space—identifying pause points, rhythm shifts, and emotional thresholds. We also referenced classical texts like the “Book of Rites” to align spatial proportions with traditional notions of order and hierarchy. The result is a synthesis of data, intuition, and heritage.
ZS : One major challenge was calibrating traditional decorative language with contemporary restraint. We wanted cultural references to feel embedded, not imposed. Another challenge was the large-scale lobby volume, which required nuanced lighting design due to highly reflective materials and vertical expansiveness.
ZS : I wanted to explore how traditional Chinese spatial thinking could be received and understood in a global design discourse. A’ Design Award, with its interdisciplinary and international reach, offered a platform to test how cultural specificity could translate across borders.
ZS : This project deepened my awareness of how materiality, scale, and light shape emotional experience. It also refined my ability to negotiate between symbolism and pragmatism—to ensure that even poetic gestures remain grounded in real spatial logic and usability.
ZS : Yes. This project reinforced a core belief of mine—that tradition is not a limitation, but a living source of innovation. Our goal as designers is not to replicate the past, but to allow it to evolve meaningfully within the present moment. When done with sincerity, tradition becomes contemporary by nature.
