We, as the Designer Interviews ("DI") had the distinct pleasure and opportunity to interview award-winning, most creative and innovative Zhijiang Shan ("ZS").
Zhi-Jiang Shan is an interior designer known for his cross-cultural design sensibility and poetic spatial expression. With over two decades of experience in residential, commercial, and hospitality projects, his portfolio bridges Eastern philosophies with contemporary aesthetics. From understated minimalism to ornate luxury, Shan’s work defies stylistic boundaries, instead embracing a sensitivity to material, place, and cultural memory. He often draws inspiration from classical Chinese landscapes, local craftsmanship, and symbolic spatial rituals, transforming them into immersive environments that resonate with modern life. His projects are not only functional but emotionally engaging, inviting users to experience beauty, stillness, and story through design. Recent works span a wide range of project types across residential, commercial, hospitality, and cultural sectors. Highlights include the Luoyang “Da Zhai Di” Restaurant, boutique hotels, high-end private residences, and a number of large-scale community and urban living developments. Shan has led the design for model homes, clubhouses, and marketing suites for prominent real estate developers, such as Central China, Country Garden, and Evergrande projects. He has also overseen the interior concepts for landmark commercial projects like the Hongguang Crystal Star Tower in Zhengzhou, as well as international residential commissions in North Ameirca such as Canada and the U.S. Whether crafting tranquil mountain-view villas or immersive retail environments, Shan’s portfolio reflects both design versatility and a consistent dedication to quality and meaning in built space.
Zhijiang Shan Designs
We are pleased to share with you original and innovative design work by Zhijiang Shan.
Zhijiang Shan Design - Zun Fu Sales Center
Designer Interview of Zhijiang Shan:
DI: Could you please tell us more about your art and design background? What made you become an artist/designer? Have you always wanted to be a designer?
ZS : I’ve been in the design industry since 1998 and founded my studio in 2005. My professional background is rooted in fine arts education, but my practice has always spanned across multiple disciplines—environmental art, spatial storytelling, research-based design, and cultural programming. I became a designer not only out of a pursuit of beauty, but also from a desire to create meaningful spaces that resonate.
DI: Can you tell us more about your company / design studio?
ZS : R&J Studio was founded on the belief that design should go beyond aesthetics to actively engage with place, function, culture, and nature. Our portfolio spans commercial interiors (hospitality and restaurent), exhibitions, cultural venues, retail, and residential. We view each project as an opportunity to explore form, ritual, and behavior. Our team consists of designers, researchers, and visual artists working collaboratively to create works that are both rigorous and poetic—grounded in cultural sensitivity and narrative clarity.
DI: What is "design" for you?
ZS : Design is the discipline of intention - it is the deliberate shaping of experience. It transforms context, emotion, and function into form and atmosphere. Design, for me, is not simply about visual impact but about invisible relationships - how people inhabit space, how light changes the mood, how texture invites touch. A successful design doesn’t need explanation; it just feels right.
DI: What kinds of works do you like designing most?
ZS : I’m drawn to projects with layered challenges—spatial, cultural, or conceptual. Whether it's a storytelling sales center, a exhibition, restaurant or hospitality, I feel most energized when the work allows us to transcend typological boundaries. I appreciate briefs that encourage critical thinking and emotional nuance—where architecture, narrative, and materials can intersect in unexpected ways.
DI: What is your most favorite design, could you please tell more about it?
ZS : One of my favorite works is the "Zun Fu" Sales Center, which integrates Chinese ceremonial spatial logic into a modern narrative. It was a deeply layered project that challenged us to translate traditional rituals into contemporary forms without losing symbolic weight. I also cherish a small art residency project we designed in a rural town, where every spatial gesture—from the doorway to the reading nook—was treated as a quiet invitation to reflect, pause, and connect.
DI: What was the first thing you designed for a company?
ZS : A reception area for a real estate firm. Though modest in size, it taught me that even transitional spaces can hold symbolic significance. It was there I began to understand the power of small-scale interventions—how lighting, proportion, and detail can influence perception and mood. That experience laid the foundation for my belief that every square meter deserves intention.
DI: What is your favorite material / platform / technology?
ZS : I gravitate toward honest and natural materials—stone, wood, metal, fabric, leather, terrazzo, and exposed concrete. These materials carry a certain humility and warmth that digital materials often lack. I also enjoy reinterpreting traditional crafts in contemporary ways, bridging the past with the present. Currently, I’m exploring parametric design and digital fabrication tools that allow for modular and adaptive structures, particularly in public and cultural space contexts.
DI: When do you feel the most creative?
ZS : When I step away from my desk—wandering through unfamiliar cities, reading literature unrelated to design, or cooking. Creativity often arrives when the mind is unburdened. I find that insights often emerge in moments of idleness or when immersed in a completely different rhythm. Being in nature or listening to music also helps me reset and reimagine.
DI: Which aspects of a design do you focus more during designing?
ZS : I pay close attention to rhythm and transitions—how people move, pause, perceive, and engage. I think of spatial sequencing almost musically. I’m also deeply attuned to material textures, the quality of natural and artificial light, and the kind of emotional memory a space can evoke. Above all, I aim to design atmospheres, not just objects or surfaces.
DI: What kind of emotions do you feel when you design?
ZS : Designing is a meditative process. It carries a calm urgency, much like composing music—sometimes playful, sometimes deeply introspective. It demands presence, patience, and empathy. There’s also a quiet thrill in problem-solving, in discovering poetic possibilities within practical constraints. Some days feel like sculpture, others like choreography.
DI: What kind of emotions do you feel when your designs are realized?
ZS : A quiet and profound joy. The most rewarding moments come when I witness people engaging with the space in unexpected and delightful ways. There’s something deeply moving about seeing a child lie down beneath a skylight or someone instinctively pausing where you intended a visual breath. Realization, for me, is not about ego but about resonance.
DI: What makes a design successful?
ZS : It must resonate—functionally, emotionally, and contextually. A successful design aligns with its users, setting, and purpose while offering something intangible yet powerful. When a space feels inevitable, as if it couldn’t have been otherwise, you know it’s right. It also allows room for interpretation, for the user to bring their own narrative into the space.
DI: When judging a design as good or bad, which aspects do you consider first?
ZS : Purpose and clarity. Does it solve a problem with elegance? Does it elevate the user’s experience, not just physically but emotionally? I also look for thoughtfulness—whether the design considers the lifecycle of materials, inclusivity, and environmental impact. Good design is generous; it thinks beyond itself.
DI: From your point of view, what are the responsibilities of a designer for society and environment?
ZS : Designers shape behaviors and values. We must take responsibility for cultural stewardship and sustainability. This includes sourcing responsibly, designing for longevity, and creating spaces that nurture rather than extract. Sometimes, choosing not to design—embracing restraint or subtraction—is the most powerful act of care.
DI: How do you think the "design field" is evolving? What is the future of design?
ZS : Design is becoming more collaborative, data-informed, and socially engaged. It’s no longer about isolated authorship but collective intelligence. The future lies in interdisciplinary practice—where technology, culture, and ethics converge. Designers will increasingly act as facilitators, bridging different worlds and addressing complex systems, from urban resilience to emotional wellbeing.
DI: When was your last exhibition and where was it? And when do you want to hold your next exhibition?
ZS : Our last exhibition was held at the 2019 CIID Annual Works Exhibition in Shanghai, where we presented an experimental space installation. We are planning a cross-disciplinary showcase next year that will blend spatial design, installation art, and interactive storytelling. It will invite the audience to become co-authors in the experience.
DI: Where does the design inspiration for your works come from? How do you feed your creativity? What are your sources of inspirations?
ZS : From everyday rituals, urban textures, natural rhythms, literature, and human dialogue. I also collect photographs of light and materials as a source of inspiration. I believe inspiration is not something you chase, but something you train yourself to notice—to see the poetic in the mundane.
DI: How would you describe your design style? What made you explore more this style and what are the main characteristics of your style? What's your approach to design?
ZS : My style is poetic yet grounded, restrained but warm, technically driven but not rigid. I approach each project with curiosity and humility, using methods that vary—from research-led to material-oriented to experiential design. I prioritize atmosphere over appearance, and intention over trend.
DI: Where do you live? Do you feel the cultural heritage of your country affects your designs? What are the pros and cons during designing as a result of living in your country?
ZS : I live in China and have worked across Asia and North America. Chinese culture informs my understanding of rhythm, symbolism, and the beauty of restraint—values that shape all of my work. My upbringing taught me that space is not only about function, but also about meaning, ritual, and memory.
DI: How do you work with companies?
ZS : We begin by deeply understanding their mission, values, and culture, then translate it into spatial and sensory experiences that are both functional and expressive. We also help companies articulate their design language through strategic workshops, brand spatial audits, and visual storytelling sessions. Collaboration is at the heart of everything we do.
DI: What are your suggestions to companies for working with a designer? How can companies select a good designer?
ZS : Treat your designer as a creative partner, not just a service provider. Be transparent about your constraints, but also generous with your aspirations. The best outcomes are co-authored—when designers and clients think together, challenge each other respectfully, and remain open throughout the process. Trust and dialogue are essential.
DI: Can you talk a little about your design process?
ZS : Our process is iterative and non-linear. It often begins with immersive research—understanding site, users, and context—then moves to concept sketching, modeling, and spatial prototyping. We oscillate between hand-drawing and digital tools, and often involve collaborators from other fields such as installation, sculpture, and sound design. Each project becomes its own ecosystem.
DI: What are 5 of your favorite design items at home?
ZS : A hand-woven bamboo pendant light that casts soft shadows; a reclaimed wood bookcase filled with design and poetry books; a ceramic tea set from Jingdezhen that I use every morning; a Bauhaus-era armchair passed down from a mentor; and a kinetic wall sculpture that shifts with the wind, reminding me of impermanence.
DI: Can you describe a day in your life?
ZS : My day often begins slowly—with tea, journaling, and sketching by hand. Mornings are reserved for deep focus work, afternoons for meetings, site visits, or team critiques. Evenings are quieter, spent walking, reading fiction, or listening to music. I try to protect spaces of idleness in the day, as they often become fertile ground for new ideas.
DI: Could you please share some pearls of wisdom for young designers? What are your suggestions to young, up and coming designers?
ZS : Be patient with your journey. Master the tools, but don’t let them define you. Focus on how to think, not just how to render. Cultivate curiosity across disciplines—philosophy, ecology, anthropology—because design does not happen in a vacuum. And most importantly, stay honest with yourself.
DI: From your perspective, what would you say are some positives and negatives of being a designer?
ZS : The joy is immense—you get to shape how people feel, behave, and connect through space. But the boundaries between work and life can blur, especially when your work is deeply personal. There are also moments of doubt and tension. Still, for many of us, design isn’t just a job—it’s a way of living.
DI: What is your "golden rule" in design?
ZS : Design with care. It’s about more than just solving a problem—it’s about elevating the human experience with empathy, restraint, and integrity. When in doubt, I always ask: Does this move serve the people and the place honestly?
DI: What skills are most important for a designer?
ZS : Beyond technical skills, a designer must be a good listener, a systems thinker, a storyteller, and a synthesizer. Design is about framing possibilities, making decisions, and communicating ideas in ways that others can feel and understand.
DI: Which tools do you use during design? What is inside your toolbox? Such as software, application, hardware, books, sources of inspiration etc.?
ZS : We use Rhino, AutoCAD, Adobe Creative Suite, and various rendering platforms. I still value hand-drawing in early phases. We also use AI visual tools for concept moodboards, and Notion for internal knowledge and process management. The tool is less important than what you do with it.
DI: Designing can sometimes be a really time consuming task, how do you manage your time?
ZS : I use a theme-based structure: mornings for deep, uninterrupted work; afternoons for team and client collaboration; evenings for reflection or analog activities. I intentionally leave pockets of open time for reading, thinking, or responding to spontaneous ideas.
DI: How long does it take to design an object from beginning to end?
ZS : Anywhere from a few weeks to over two years, depending on the project's scale, complexity, and regulatory process. Some research-led or conceptual projects are never really finished—they evolve as long-term dialogues.
DI: What is the most frequently asked question to you, as a designer?
ZS : "Why do your spaces feel so peaceful and elegant?" My answer is often: Because we remove what doesn’t belong. We try not to over-design, and let light, proportion, and rhythm speak for themselves.
DI: What was your most important job experience?
ZS : We’ve worked with real estate developers, boutique hotels, cultural institutions, independent retail brands, galleries, F&B entrepreneurs, and individual house owners in China and North America. Each client brings a different rhythm, which makes the work constantly fresh.
DI: Who are some of your clients?
ZS : I enjoy projects that involve narrative and interaction—where the space becomes a protagonist in the story, and the user becomes a co-author. These types of projects invite imagination and engagement on multiple levels.
DI: What type of design work do you enjoy the most and why?
ZS : I enjoy projects that involve narrative and interaction—where the space becomes a protagonist in the story, and the user becomes a co-author. These types of projects invite imagination and engagement on multiple levels.
DI: What are your future plans? What is next for you?
ZS : We are launching a research initiative on emotional wellness in public spaces and exploring AI-enhanced participatory design tools. I’m also mentoring emerging designers and planning an international design residency to foster slower, deeper conversations around practice.
DI: Do you work as a team, or do you develop your designs yourself?
ZS : I lead the concept and creative direction, but all of our projects are team efforts. I believe in collaborative intelligence—our team includes architects, strategists, visual thinkers, and craft specialists. We design together, debate together, and grow together.
DI: Do you have any works-in-progress being designed that you would like to talk about?
ZS : We’re currently prototyping a restaurant in Beijing focused on modern oriental design; developing a modular museum exhibition exploring language and space; and designing a cross-cultural food concept that blends spatial storytelling with branding.
DI: How can people contact you?
ZS : follow our social media instagram: rongjie_studio; Red Note: 空间设计师单志江 our website: https://www.rongjie.org/ email: contact@rongjie.org phone: (86) 138 388 68961 (China) / (1) 332 262 0770 (USA)
DI: Any other things you would like to cover that have not been covered in these questions?
ZS : Design is not just about making things—it’s about framing how we see, feel, and connect with the world. It is both mirror and compass. As designers, we have the responsibility—and privilege—to make that lens as generous, inclusive, and meaningful as possible.