In the ancient walled city of Datong, Shanxi Province, a thousand-year-old frontier stands quietly at the edge of China’s volcanic plateau. Into the heart of this history, Beijing-based Ruize Design has woven Cloudspa Sanctuary: a two-courtyard Siheyuan transformed into a healing retreat where private hot springs, primordial basalt stone, and the whisper of flowing water invite guests to shed the weight of the modern world. For this deeply rooted and philosophically rich work, Ruize Design has been awarded the LIV Interior Design of the Year – Living Space. We sat down with lead designer Wenyuan Guo to explore a practice whose design language is inseparable from the soil beneath it.
Datong is a city with a staggering amount of history, spanning several dynasties. How did the “spirit” of this ancient location dictate the colors, textures, and moods you chose for the Cloudspa Sanctuary?
Datong, a city with a staggering amount of history spanning several dynasties, provided not a “spirit” we chose to reference, but the very bedrock and canvas upon which our entire project rests. This began with our most fundamental decision: to anchor the project within a traditional two-courtyard Siheyuan in the ancient city’s core. The Siheyuan typology itself, a living embodiment of Chinese urban spatial order and residential civilization, predefined the starting point and framework for all our design interventions.
Therefore, our work was not one of creation from zero, but of deeply reading and meticulously translating the existing “text” of the site. The color palette was extracted from the environment: the earthy yellow-grey of the ancient city walls, the dark blue-grey of old roof tiles, and the serene tones of the northern plateau sky. The materiality, particularly the profound use of local basalt, became our most direct dialogue with Datong’s unique geological context—its volcanic landscape. This primordial, textured, and enduring stone transforms the historical sense of “patina” into a physical reality that can be felt.
Our deeper intention was to craft an “immersive” experiential narrative. Guests first wander the ancient city’s lanes, sensing the whisper of every brick and tile. Then, in a natural, almost unconscious transition, they step into our courtyard compound. This movement from the public bustle of the street to the private seclusion of the courtyard is itself a ritual. Brick, tile, and timber—these most natural materials—become the medium connecting millennia. Through contemporary design language, we articulated and enhanced the inherent spatial sequence and layers of the Siheyuan. Space itself, and the juxtaposition and interplay of materials, become a passage for guests to physically and experientially engage with that introspective, tranquil, and profound traditional way of life. Ultimately, the essence of the ancient city is no longer a scenery to be viewed, but a continuous scene to be walked through, touched, and fully immersed in. The character of the Northern Wei, Liao, and Jin dynasties is thus naturally inherited through this contemporary reinterpretation of material, atmosphere, and spatial rhythm.
Traditional Siheyuan courtyards are often known for being dark or compartmentalized. You’ve described your approach as a “spatial miracle.” What was the “aha!” moment when you realized you could turn these low-ceilinged rooms into flowing, airy suites?
Indeed, traditional Siheyuan courtyards are often perceived as dim and compartmentalized—a direct result of the inherent constraints of their timber post-and-beam system, where the spans dictate the scale and division of space. However, when we committed to transforming this two-courtyard Siheyuan into a healing retreat where every suite enjoys a private hot spring and its own courtyard, we knew we had to move beyond these conventional physical and perceptual boundaries.
The pivotal “lightbulb moment” arrived when we consciously chose to disregard traditional room segmentation and structural limitations. We asked ourselves: if the private courtyard and spring are the heart of the experience, why should we be confined by existing walls and column grids? A revolutionary idea took shape: the original columns, beams, roof, and walls could be preserved as the “historical framework” and narrative “imprint” of the space, without having to act as absolute boundaries for function or view. This shift in thinking was crucial—we stopped seeing the ancient structure as a rigid divider to be obeyed, and began to regard it as a poetic armature into which new life could be woven.
Guided by this, we undertook an “inside-out” spatial reorganization. We freed the volume housing the hot spring from the interior, letting it become a focal point embedded within the courtyard. The original living quarters were redefined as a “living plinth” intimately linked to it. Through expansive glazing, slender modern frames, and precisely positioned openings, we introduced light, transparent new interfaces within the heavy historical shell. Light, sightlines, and movement could now flow and mingle freely between these old and new layers.
Ultimately, it was by challenging the absolute authority of these traditional constraints that we succeeded in using a contemporary design language to recreate—within this strict historical vessel—a rich, fluid, and deeply nature-immersive living experience. The once “dim and divided” courtyard has been transformed into a serene stage of shifting light and shadow, where interior and exterior dissolve, allowing history’s armature to gently embrace a contemporary life of restoration.
You specifically chose local basalt stone from the volcanic plateau. Why was it important for guests to literally touch this primordial stone, and how does it change the feeling of a hot-spring bath compared to standard tile or marble?
Our deliberate choice to use local basalt stems from a fundamental belief: there is an essential difference between what is natural and what is man-made. We are convinced that humans are meant to live within nature. Our vital energy, even the deepest memories in our DNA, instinctively crave, adapt to, and need to draw energy from the natural world. Just as we need to eat natural, unprocessed food, our body and mind equally need to dwell in a “natural” environment. Every direct contact with nature—feeling the texture of a material with our skin, observing the flow of light and water—is like a sacred interaction. It nourishes every cell and helps restore our inner equilibrium.
In today’s world of advanced industrialization and modernity, life is exceptionally convenient, yet it has also increasingly alienated us from this primordial energy. Therefore, we believe creating a healing context that allows people to completely “disconnect” has never been more crucial. This is the core mission of “Cloudspa Sanctuary”. We wanted guests not only to seenature but to physically touchit. Basalt, this primordial stone from the volcanic plateau of Datong, is the key medium for realizing this intention.
In stark contrast to the smooth, cold, and highly artificial feel of standard tiles or marble, basalt is “alive.” Its texture is rugged yet warm; each piece is unique in color and grain, telling a story millions of years old. When a guest immerses in the private hot spring, as the warm water envelops the body, the hands and feet touch the pool walls and floor made of solid, raw basalt with its natural pores and subtle undulations. A profound connection is established. This tactile sensation does not offer the refined detachment of an industrial product but provides a grounding force—a sense of stability, solidity, and connection to the earth’s primal energy.
Therefore, the core function of basalt, and indeed all natural materials, goes far beyond the physical senses. Their ultimate role is to help people rediscover and reintegrate themselves. While standardized, polished materials offer a sanitized experience of “being serviced,” basalt facilitates an inward-looking ritual of “dialogue with the earth.” Through its honest physical presence, it constantly reminds you of the spirit of the place—you are in an ancient city on the volcanic plateau of northern China. The water is hot; the stone is “ancient.” Within this “field” constructed by natural materials and filled with a sense of time, one can temporarily shed the roles and distractions of modern society and turn attention to the observation of one’s own inner state of being. Thus, the hot spring bath transcends physical relaxation, becoming a deep process of self-reorganization and spiritual healing mediated through nature. It allows one to regain a sense of replenished energy and wholeness before re-engaging with the outside world. This is a function and a state of being that man-made, polished materials simply cannot match.
Water plays a big role in this project, with balconies even cantilevering over pools. What is it about the presence of water that completes the “healing sanctuary” experience you were aiming for?
Water, celebrated in Chinese philosophy as the embodiment of “ultimate virtue,” represents the highest wisdom that nourishes all life. To us, it is not only a ubiquitous physical substance but also a maternal force imbued with special energy and frequency. Human life begins immersed in amniotic fluid, and this innate intimacy makes water the most fundamental source of healing in our biological memory.
Thus, at “Cloudspa Sanctuary,” we placed water at the experiential core. It is more than a landscape feature; it is the energetic foundation and spiritual carrier that constructs the “healing sanctuary.” Through multi-layered design, we allowed water to engage space and the senses in various forms, realizing its healing power in a holistic manner.
The first layer is direct physical healing, found in the private hot spring of each suite. The warmth and minerals of the spring, combined with the enveloping quality of water, provide deep physical restoration and relaxation—this is water’s most immediate gift.
The second layer is continuous environmental healing. We carefully crafted artificial streams in the landscape, mimicking the form and sound of babbling natural waterways. As guests stroll through the courtyard or enjoy breakfast in the morning, their ears are soothed by the constant, gentle sound of flowing water, while their eyes follow the dynamic play of light on the stream. This persistent “presence” of water acts like a silent mother, tenderly nurturing weary minds and bodies, invisibly “recharging” the spirit.
The design of the “balcony cantilevering over the pool” constitutes the third layer—psychological and perceptual healing. It transcends sight and sound to create a unique “suspended” experience. Standing on the balcony, one’s body feels upheld by the water below, while the gaze meets the tranquil reflections and the depth of the pool. This space achieves a delicate balance between being “surrounded by water” and “floating above it,” offering a sense of stability and serenity that is both embracing and detached. It intensifies the perception of water as an energetic base, allowing guests to feel its supportive embrace even without direct contact.
The uniqueness of water lies precisely in how it weaves a three-dimensional healing field through these three deepening dimensions: physical immersion, sensory envelopment, and psychological uplift. It enables guests, from skin to soul, to reconnect with that primordial tranquility and energy intrinsic to life itself. This is the very foundation upon which the “healing sanctuary” is built.
You’ve described the interior style as a “Frontier Lodge.” For our readers who might be unfamiliar with that term, how would you describe that look, and why does it feel so right for a historic Chinese courtyard?
The concept of the “Frontier Lodge” stems, in essence, from a deep reading of the site’s history. Datong is not a typical ancient city steeped in the literati culture of the Central Plains; it is a frontier stronghold. The Siheyuan here carries a historical memory and spiritual core fundamentally different from those in Beijing’s hutongs—it bears not a narrative of scholarly tranquility, but the weighty stories of garrison duty, warfare, cultural convergence, and sheer survival. Therefore, we believed the design of this space must first honestly and powerfully embody this uniquely frontier history and character.
We were not “designing” a style; we were using materials, colors, and space to weave a silent, texture-rich “web of stories.” We employed primordial timber, rammed earth textures echoing the Great Wall fortifications, basalt sourced from the local volcanic landscape, and heavy wool textiles. These rugged, minimally processed materials are each a historical “vocabulary.” The texture and atmosphere they collectively create speak directly of windswept sands, beacon fires, migration, and resilience.
The purpose is to create a profoundly local, irreplicable healing experience. When guests touch these walls and feel the temperature and weight of these materials, they perceive not just a comfortable dwelling, but a field that allows for a deep dialogue with the unique historical and geographical context of the “frontier.” The space’s capacity for profound healing arises precisely because its story is authentic, and its “roots” are deeply embedded in the very soil of Datong.
This is not a vague “Oriental aesthetic” space that could exist anywhere. It is a healing sanctuary that can only exist, that only makes sense, in a frontier ancient city like Datong. Here, the tension and balance between historical沧桑 and contemporary tranquility, between frontier ruggedness and bodily care, form the unique site spirit and compelling essence of “Cloudspa Sanctuary.”
The sanctuary looks incredibly organic and ancient, yet it features “invisible” smart systems. How do you balance high-tech convenience (like climate and lighting controls) without breaking the spell of being in a thousand-year-old environment?
The balance you observed originates from a fundamental design philosophy: technology should serve as an “invisible attendant,” whose highest purpose is to be “unseen” and to act with “effortless efficacy.” To realize this, we undertook a comprehensive, ground-up process of “bidirectional translation” and “custom integration.”
This was far beyond mere installation. We began by mastering two distinct “languages”: the ethos of traditional Chinese timber construction and the logic of modern building systems. We recognized that standardized industrial components are fundamentally incompatible with the irregular nature of historical structures. Consequently, we completely redesigned every subsystem for this Siheyuan—from lighting and underfloor heating to HVAC and hydraulics. We discarded all “standard solutions,” meticulously replanning the routing of every conduit, the form of every outlet, and even the organization of airflow to align with the texture of the brick-and-wood fabric and the spatial sequence. We compelled the technical systems to actively “adapt and conform,” seamlessly integrating and disappearing within the “body” of the ancient architecture.
Our significant effort had a singular, clear objective: to prevent any visible symbol of modern technology—be it a conspicuous vent, switch panel, or fixture—from disrupting the visual poetry and historical immersion crafted by wood, stone, light, and shadow. The result is that guests perceive only pure comfort: ambient warmth, appropriate lighting, instant hot water, and profound tranquility. All sources of this convenience operate “silently and unnoticed.”
Therefore, this is not merely a technical balancing act, but the definitive establishment of a servant-master relationship. We do not emphasize, and indeed intentionally conceal, these electrical functionalities, as they “should simply perform their duty impeccably from the background.” Our entire design focus remains steadfast on intensifying the courtyard’s poetic atmosphere and the healing environment’s restorative energy. Enabling technology to serve the scene utterly while rendering itself invisible is precisely our core methodology for not only preserving but enhancing the timeless magic of the millennial environment.
Many people think of “green” design as solar panels and new tech, but you focused on “adaptive reuse.” How does saving an old building contribute to a healthier planet in a way that new construction can’t?
You have raised a profoundly essential question. This truly transcends technology, pointing directly to a design philosophy, even a philosophy of existence. We believe genuine sustainability is rooted in the fundamental mode of coexistence between a project and the Earth’s environment.
This aligns with the traditional Chinese concept of “the unity of heaven and humanity” (tian ren he yi)—the pursuit of harmonious symbiosis between humans and nature. Applying this philosophy to architecture means we should first strive to be “understanders” and “transformers,” rather than solely “creators” and “replacers.”
“Adaptive reuse” is the practice of this philosophy. It achieves a deeper, more holistic form of environmental friendliness that is difficult for new construction to match:
Practicing “Restraint” for Whole-Life-Cycle Low Carbon: It embodies the wisdom of “restraint” at the source. By avoiding the massive waste and “embodied energy” consumption of demolition and new construction, it maximizes the inheritance of the centuries of energy already stored within the building fabric itself. This means the project begins its life with a far lower “carbon debt” than any new building. Reduced resource extraction, lower construction costs, and diminished operational energy consumption form a genuine low-carbon cycle considered from the entire life cycle.
Activating “Local Wisdom,” Not Overwriting It: An old building is itself a crystallization of climate-adaptive “local wisdom.” Our renovation focuses on identifying and enhancing its inherent passive design (such as thermal mass walls, natural ventilation layouts), using modern technology for precise calibration and improvement, rather than overlaying it with a high-energy active system. This is a collaboration—a partnership with historical intelligence to address contemporary challenges.
Creating Multidimensional Value for Deeper Balance: The value of a building project extends far beyond its physical function. Through adaptive reuse, with minimal resource consumption, we not only extend the building’s physical life but also safeguard the cultural memory and community identity it carries, significantly enhancing its “soft” value in serving society and the city. This achieves a multidimensional balance of resource, economic, cultural, and social benefits.
Therefore, while focusing on new technologies like solar panels often addresses the question of “how to consume more efficiently,” the philosophy of “adaptive reuse” questions, “Do we truly need to consume this much in the first place?” Starting from a holistic perspective, it fosters a deeper, healthier balance between the architectural project and nature and society—akin to the unity of heaven and humanity—through material restraint, respect for the existing, and the activation of wisdom. This, perhaps, constitutes a more fundamental and friendly contribution to a “healthier planet.”
Winning the LIV Hospitality Design Award is a big achievement. How did the team react to the news, and what does this global recognition mean for you?
The moment we learned the news, the entire team was overcome with immense excitement and joy. To be candid, from the very beginning when we decided to independently create “Cloudspa Sanctuary” using our integrated model, the LIV Hospitality Design Awards stood as the professional pinnacle we aspired to. We longed for our work to be scrutinized on this platform representing the industry’s highest standards. Yet, to ultimately receive the globally unique “Best of the Year” award—this supreme affirmation truly surpassed our initial hopes and has given the team tremendous confidence.
To me personally, the weight of this global recognition goes far beyond being a mere accolade or a career endorsement. What I cherish most is the profound resonance and validation the jurors granted us at the level of design philosophy. It signifies that the complete design value system and methodology we adhere to—the philosophy of “Unity of Heaven and Humanity,” the respect for the “adaptive reuse” of historic structures, the attempt to translate the “frontier spirit” with a contemporary language, and the deep, end-to-end practice from conception and design to construction and operation—has been understood and affirmed by the world’s top peers. This is undoubtedly the most powerful encouragement for the “road less traveled” that our team has chosen.
This honor feels more like a potent surge of “spiritual energy.” It will not make us complacent, but will instead become vital fuel for our future journey. It motivates and compels us to continue cultivating each project with even greater reverence and creativity, striving to create works that can equally touch the human heart and withstand the test of time. This, perhaps, is the best way we can repay this extraordinary recognition.
What is the next “dream project” on the horizon for your studio, and what one piece of advice would you give to a young designer who looks at Cloudspa Sanctuary and hopes of winning an award like this one day?
As for the next “dream project,” we don’t have a precise blueprint. Perhaps, this very “unknown” is the most exciting part—it means the next creation will be a serendipitous encounter, shaped by our thoughts about the future, our sensitivity to place, and circumstance itself.
To the young designers who harbor such dreams, if I could only share one piece of advice, it would be this: If you want to create work that truly moves people, then, for now, don’t focus too “seriously” on designing. Instead, invest yourself more “wholeheartedly” in living.
The wellspring of design is never just image banks, case studies, or theory; its deepest nourishment always comes from life itself. A designer’s “raw material” is their perception of the world, their experience of life in all its richness, and the unique wisdom drawn from it. Love, experience, feel defeat and elation, observe the vibrancy of the everyday and the grandeur of nature, seek to understand the conditions and yearnings of different lives. Only when you are truly immersed in the flow of life can your intuitions about light, scale, material, and emotion take root and grow.
“Cloudspa Sanctuary” was born not from an obsession with a particular design style, but precisely from our longing for an ideal state of being—finding healing and integration within the embrace of history and nature. This was, first and foremost, the life we desired for ourselves, and only then did it become a space we designed for others.
Therefore, my advice is this: There’s no need to rush to prove yourself at the drafting table. First, expand the breadth and depth of your own life. Let living itself become your greatest teacher and partner. When you return to the design desk enriched with lived experience and wisdom, your creations will naturally possess a unique soul and warmth. When that happens, awards may follow, but they will merely be a natural echo of your fidelity to life and your sincere translation of it.
Tucked into the artistic neighbourhood of Melrose, Los Angeles, The Etherea is unlike any restaurant you have entered before — because entering it is only the beginning of the experience. Conceived by Art Center College of Design graduate Zeming Zhu as a “sensorial narrative Omakase,” the space weaves Suzhou cuisine together with bespoke perfume culture, using scent as a medium to carry guests through memory, place, and emotion. For this quietly revolutionary proposal, Zeming Zhu has been awarded the LIV Emerging Interior Designer of the Year – Eating Space. We sat down with the designer to understand how a flower-shaped pendant light and a perfume display table became the architecture of feeling.
The Etherea combines Suzhou cuisine with bespoke perfumery. Can you tell us about the specific warm memory from your own life that inspired this unique concept?
When I vision the Etherea space, I would like to create an unforgettable memory for the guest. In my own experience I remember lots of different scents, from food, nature or a certain piece of memory. Etherea using scents and taste as a medium to guide people through a piece of unique memory. Suzhou cuisine is significant in its various fragrant from ingredients, and it is a cursive that using scents to mimic a sense of environment in local Suzhou region. Therefore, I combine this cuisine and perfume culture to create the “memorable moment.”
You describe the restaurant as a sensorial narrative. If a guest walks in for the first time, what is the very first thing you want them to feel, see, and smell?
The guest would feel slowing down and wandering into this sanctuary that curated by various of scents, they will feel peaceful and calm at first; seeing the bamboo, natural materials and flowing forms of space, and smelling the scents of nature and various perfumes. These elements create an environment that intriguing and also tranquil.
You’ve mentioned that this space is meant to help people struggling with pressure. How can a dining room actually help someone heal from the stress of modern life?
In modern life, people facing the overwhelming amount of information and rapid changing surrounding. This disconnection from nature and people’s familiar environment would cause pressure. Etherea is a place that using scents therapy throughout the dining experience, inviting guest experience scents that feels like a piece of memory or nature. During this reconnection with nature and memory process, people will feel relaxed and comfortable. The food, scents, and environment working together to create a safe and tranquil nature for people to slow themselves down and ultimately relieve the pressure.
As a student at the Art Center College of Design, what was the most important lesson you learned that helped you shape the identity of The Etherea?
In Art Center College of Design, we learned to design for change, not only create a good looking space, but more to create a future scenario and a solution to better shaping the world. Therefore, I try to using spatial design to create a future experience to inspire people on possibilities of hospitality space and dining ritual.
Your project is located in Los Angeles but features Suzhou-inspired cuisine. How did you blend the fast-paced energy of LA with the traditional, poetic nature of a Suzhou garden?
I think LA is unique in its inclusiveness in terms of different culture, you could seen Hispanic, European, Asia , and Africa culture blending together and affect each other. This diversity inspired me to bring poetic and tranquil aspect of Suzhou Cusine into Melrose neighborhood in Los Angeles. I believe the Suzhou’s poetic will benefit the Melrose’s artistic vibe even more, and Melrose’s peaceful environment would create a nice backdrop for Suzhou cuisine’s tranquility.
The Etherea functions as both a retail perfume shop and an Omakase restaurant. How do you ensure the smell of the food and the smell of the perfume complement each other rather than compete?
The Omakase part of Etherea will happened in a semi enclosed dining area, and scent ritual will happened between each course being served, in this part, the scents fucntion as a background, and smells of food function as characters in this background. This, scents will become an element of dining ritual to harmonize with food.
As an FFE (Furniture, Fixtures, and Equipment) designer, was there a specific piece of furniture in this project that you felt was essential to telling the “scent story”?
I think the flower shaped pendant light in the entrance, and organic shaped perfume display table in the bar area telling the scent story very well. The pendant light sets up a form story of nature and floral fragrance vibe. And the perfume display table combines function and flowing forms to deliver the interactive experience for guest to pick their own perfumes and try out different scent samples.
You’ve just been named the Emerging Interior Designer of the Year for Eating Space. How did it feel when you realized your student project had gained such high-level international recognition from the LIV Hospitality Design Awards?
I feel very excited at first, and then feel it is a gift for my design career. And of course, it really encourages me to create more inspiring spaces in the future.
Now that you’ve set a new standard for sensory dining, what is next for you? Are there any upcoming projects or new “scent journeys” you are excited to explore?
My next step is using spatial and FFE design to merge cultures together to create some new experiences. I’m currently designing exhibition spaces and storefront for a luxury brand to tell the story of heritage crafts meets the modern living fashion.
Three design students. One winning concept. La Nopaleña, the Oaxaca-inspired restaurant conceived by Mariaines Monroy Tapia, Fátima James Orozco, and Mariajose Álvarez Aguilar — currently in their 8th semester at Universidad de Monterrey — has been awarded the Emerging Interior Designer of the Year – Living Space. Built around the symbolism of the nopal cactus and the sensory richness of Oaxacan culture, the project transforms a restaurant into a journey: from tunnel entrance to craft shop to dining room, every detail is designed with intention. We spoke with the team about collaboration, culture, and what it feels like to win a global award before you’ve even graduated.
“La Nopaleña” is such a striking name. Can you tell us the story behind it and how that name guided your design choices?
La Nopaleña” comes from something very Mexican, very ours. The name is inspired by the nopal, which is a strong symbol of identity, but we turned it into something more personal by adding “-eña,” almost like giving it a personality, like a woman. It’s not just a restaurant, it feels like someone who welcomes you—warm, rooted in tradition, but with a contemporary touch.
That name really guided our design decisions because we wanted everything to feel the same: authentic, but not cliché. We used natural materials, textures that connect to the earth, green tones inspired by the nopal mixed with more neutral colors, and details that feel handcrafted but with a modern twist. The whole space is about that balance between traditional Mexican elements and a more current aesthetic, just like the name.
Your project starts with a “tunnel” that leads visitors into the heart of Oaxaca. Why did you choose this gradual entry rather than letting people see everything at once?
We chose to start with a tunnel because we wanted the experience to feel like a transition, not just an entrance. Instead of showing everything at once, we liked the idea of slowly taking people out of their everyday context and bringing them into the world of Oaxaca.
The tunnel builds curiosity and creates a moment of pause, so by the time you arrive at the main space, it feels more impactful. It’s more about the journey and the feeling of discovery. We wanted people to feel like they’re entering somewhere special, not just walking into a typical restaurant.
You used traditional materials like clay lattices, lime stucco, and local tiles. How did you make these ancient textures feel modern and fresh for an international audience?
We used traditional materials like clay, lime stucco, and local tiles, but we applied them in a more contemporary way. For example, the clay pieces and celosías create texture and identity, while the stucco gives a soft and continuous finish. We also played with matte and glossy tiles to create contrast. The key was keeping the design clean and balanced, so the materials stand out without feeling heavy or overloaded.
Oaxaca is famous for its “sensory” richness—the smells, the vibrant colors, the heat. How did you translate those non-visual feelings into a physical interior design?
For us, it was about not designing only for what you see, but for how you feel the space. Oaxaca has a really strong sensory identity, so we tried to translate that through materials, temperature, lighting, and even how you move through the space.
We worked with textures a lot—rough finishes, natural materials, handmade elements—so you can actually feel that richness, not just see it. With lighting, we avoided something too uniform and instead created warmer, more intimate atmospheres, almost like the glow you get in traditional spaces.
We also thought about temperature and air, making the space feel slightly warm and enclosed in some areas and more open in others so there’s
contrast. And the layout itself helps, with moments that feel tighter and others that open up, so it’s not static.
In the end, it’s about layering all these elements so the space feels alive and immersive, not just visually inspired by Oaxaca, but emotionally connected to it.
You included a shop for local handicrafts and regional foods like grasshoppers and Oaxaca cheese. Why was it important for you to mix “commerce” with “fine dining”?
For us, it was important because we didn’t want it to feel like just a restaurant, but more like a full experience of Oaxaca. Mixing commerce with fine dining makes the project feel more real and connected to its roots, not something isolated or staged.
By including local handicrafts and regional products like grasshoppers and Oaxaca cheese, we’re giving visibility to local culture and traditions beyond the plate. It also lets people take a piece of that experience with them, making the visit more memorable and personal.
In the end, it’s about blurring that line between eating, exploring, and discovering—so the space feels alive, not just like a place where you sit down to eat.
As a trio of designers, how did you divide the creative work? Who was the “dreamer,” who was the “technical expert,” and who kept the team on track?
As a trio, we didn’t divide the work in a super rigid way, but we naturally fell into roles based on how each of us thinks and works.
María Inés leaned more into the conceptual side—the “dreamer”—bringing strong ideas, narrative, and pushing the overall vision. María José focused
more on the technical side, making sure everything actually made sense in terms of layout, materials, and how it would be built. And Fátima took on the role of keeping everything aligned—organizing, making decisions, and making sure we stayed on track with deadlines.
Even though we each had those strengths, we were constantly overlapping and giving feedback to each other, so everything stayed cohesive and felt like one vision, not three separate ideas.
You are currently in your 8th semester at UDEM. How has your perspective on what “good design” means changed from your first year to winning this global award?
Being in our 8th semester at UDEM, our idea of what “good design” means has changed a lot since first year. At the beginning, we focused more on how things looked—something aesthetic, clean, and visually appealing.
Now, for us, good design is much more about the experience and the intention behind every decision. It’s about telling a story, creating emotions, and making sure everything has a reason—materials, layout, lighting, everything.
Winning this global award made us realize that good design is not about doing more, but about doing things with purpose and coherence. It’s about creating something that connects with people on a deeper level, not just something that looks good.
Winning “Emerging Interior Designer of the Year” at the LIV Awards is a big achievement. Can you describe the moment you found out you won? What does this international validation mean to you?
When we found out we won, it honestly felt unreal. At first we didn’t fully believe it—we had to read it a couple of times to actually process it. It was one of those moments where everything just pauses, and then it hits you all at once. We were really excited, but also proud of everything that led up to that point.
For us, this international validation means a lot because it shows that what we’re doing can go beyond our local context and still connect with people. It gave us confidence in our way of thinking and designing, and reassured us that our ideas, our narrative, and our approach actually have value on a larger scale.
It also feels like a starting point more than an end—like motivation to keep pushing, keep refining our voice, and keep creating projects with intention.
Now that the world is watching, what is next for the three of you? Are there any upcoming projects or specific areas of design you are itching to explore after graduation?
Now that the world is watching, we see this more as a starting point than a final achievement. After graduation, we want to keep building projects that have a strong concept and a clear identity, not just aesthetically, but in the experience they create.
We’re really interested in continuing to explore hospitality design, especially spaces that tell a story and feel immersive, like La Nopaleña. But we also want to experiment with other scales—maybe retail or even residential—while keeping that same narrative-driven approach.
At the same time, we’re excited to collaborate with artisans and work more closely with local materials and processes, pushing that connection
between design, culture, and production. Right now, the three of us are still working together as the same team for our thesis project, trazzo, where we’re exploring furniture design using recycled concrete. It’s a continuation of our way of thinking—designing with intention, material exploration, and a strong conceptual base.
In the end, we want to keep evolving our style, but always staying true to designing with intention and meaning.
A program showcasing the next generation of hospitality design — where innovation, sustainability, and experience come together.
[Switzerland] – The LIV Hospitality Design Awards are officially open for submissions, inviting architects, designers, hoteliers, and developers worldwide to present their most innovative projects shaping the future of hospitality. Now in its seventh edition, the program continues to celebrate architectural firms and interior design studios across the global hospitality industry. Early submissions benefit from a 10% Early Bird discount until June 30, 2026.
Founded in 2020, the LIV Hospitality Design Awards have established themselves as a leading global platform recognizing outstanding design in Living and Eating spaces. With the aim of becoming one of the most comprehensive awards programs, the categories range from economy hotels to ultra-luxury residences, and from pop-up bars to private lounges. Each project must enhance the guest experience through creativity, innovation, and thoughtful design.
An international jury of architects, designers, hoteliers, and industry leaders carefully evaluates each submission, ensuring a high standard of expertise and recognition across all categories. With a strong focus on innovation, sustainability, and guest-centric design, the awards continue to spotlight projects that define how people experience hospitality today.
The Living Space category recognizes architectural and interior designs that create comfort, identity, and a sense of place — from private residences and co-living concepts to resorts and short-term accommodations. The Eating Space category celebrates the fusion of culinary experience and design, honoring projects that elevate dining through atmosphere, storytelling, and spatial creativity.
The sixth edition of the LIV Hospitality Design Awards marked another milestone for the program, attracting over 600 submissions from 64 countries and showcasing the diversity and innovation driving contemporary hospitality design worldwide.
In the architectural category,YongLi Red Tile Banquet Hotelby Yuanhua Zhang and the team at We&Arch was awarded Architectural Design of the Year – Eating Space, reinterpreting traditional red tile architecture within a contemporary setting. The grand title of Architectural Design of the Year – Living Space was awarded to Mandarin Oriental Costa Navarino, designed by Yiannis Romanos, Dimitris Karampatakis, Christina Fragkouli, and Christos Spetseris of Alexandros N. Tombazis and Associates Architects S.A. and K-Studio — a project that seamlessly integrates refined architecture within the natural Greek landscape.
For interior design, Gongu Izakaya by Liubov Tuzovska of Tdot.Design received the Interior Design of the Year – Eating Space prize, offering a contemporary take on Japanese dining culture through layered materials and atmospheric lighting. CLOUDSPA Sanctuary, designed by Wenyuan Guo of Ruize Design, was awarded Interior Design of the Year – Living Space, transforming a traditional Chinese courtyard into a serene, immersive wellness experience.
Astrid Hébert, Founder of the LIV Hospitality Design Awards, shared: “We’re excited to open the seventh edition of the LIV Hospitality Design Awards and continue celebrating the creativity shaping hospitality today. Each year, we see projects that go beyond aesthetics — creating meaningful, immersive experiences that redefine how people connect with spaces. We look forward to discovering this year’s submissions and the ideas driving the future of hospitality.”
The annual winners, selected in both professional and student categories, receive the prestigious LIV Awards trophy, a certificate, the official winner’s seal, and are invited to the bi-annual awards ceremony and conferences. In addition, winning projects benefit from international visibility through publication in the annual LIV Awards Book of Design, inclusion in the online directory, and promotion to a global network of over 60,000 design professionals, media, and potential clients.
Entries are open to professionals and students worldwide. Submissions may include conceptual, in-progress, or completed projects. Submissions for the LIV Hospitality Design Awards 2026 are now open. Take advantage of the Early Bird discount before June 30th, 2026, and join a global community of designers shaping the future of hospitality.
The sixth edition of the LIV Hospitality Design Awards has concluded, celebrating outstanding achievements in architectural and interior design that shape the global hospitality landscape. The 2025 edition attracted an exceptional response, with over 600 submissions from 64 countries, underscoring the diversity and creativity driving contemporary hospitality design.
[Switzerland] – The LIV Hospitality Design Awards proudly announce the winners of its sixth edition, honoring visionary projects that redefine how people experience hospitality around the world.
The jury panel, comprising leading architects, designers, hoteliers, and industry experts, meticulously reviewed each entry. The resulting selections reflect a broad spectrum of design excellence — from immersive restaurant environments and cultural narratives to serene resort sanctuaries and innovative spatial concepts rooted in place and purpose.
Ancient City Grand Courtyard Secluded Luxury Hotel by XIUHUAZHEN ART DESIGNCO.
In the architectural category, YongLi Red Tile Banquet Hotel by Yuanhua Zhang and team of We&Arch was awarded Architectural Design of the Year – Eating Space. Located in Chongzhou, China, the project reinterprets traditional red tile architecture within a contemporary banquet setting, creating a dynamic spatial environment that celebrates communal gathering and cultural heritage. Mandarin Oriental, Costa Navarino, designed by Yiannis Romanos, Dimitris Karampatakis, Christina Fragkouli & Christos Spetseris of Alexandros N. Tombazis and Associates Architects S.A.and K-Studio, received Architectural Design of the Year – Living Space. The resort masterfully integrates into the Greek landscape, blending refined architecture with natural topography and local craftsmanship to create an immersive luxury retreat.
For interior design, Gongu Izakaya by Liubov Tuzovska of Tdot. Design was awarded Interior Design of the Year – Eating Space. Located in Riga, Latvia, the project offers a contemporary reinterpretation of Japanese dining culture, balancing historic architectural elements with modern detailing and atmospheric lighting. CLOUDSPA Sanctuary, designed by Wenyuan Guo of Ruize Design in Datong City, China, secured Interior Design of the Year – Living Space. This serene wellness environment transforms a traditional courtyard into a layered spatial journey, harmonizing volcanic stone, water elements, and soft illumination to foster tranquility and reflection.
DOOD by Run For The Hills
The emerging talent category once again highlighted fresh and forward-thinking perspectives. The Etherea, designed by Zeming Zhu of Art Center College of Design, was named Emerging Interior Designer – Eating Space for its conceptual multi-sensory dining environment that merges perfume artistry with culinary storytelling. La Nopaleña, developed by Mariaines Monroy Tapia, Fátima James Orozco & Mariajose Álvarez Aguilar, alongside Miroslava Petrova of Universidad de Monterrey, earned Emerging Interior Designer – Living Space. Rooted in Oaxaca’s cultural narrative, the project creates an immersive experiential space celebrating craftsmanship, tradition, and sensory design.
Founder of the LIV Awards, Astrid Hébert, expressed, “The sixth edition of LIV reflects the remarkable global evolution of hospitality design. With more than 600 submissions from 64 countries, we are witnessing projects that not only demonstrate aesthetic excellence, but also deepen the emotional and cultural dimension of hospitality. This year’s winners show how design can create meaningful, memorable experiences that resonate far beyond the physical space.””
The LIV Hospitality Design Awards continue to be a leading international platform dedicated exclusively to hospitality design, offering global recognition to designers who elevate guest experience and redefine industry standards. Winning a LIV Award brings valuable international exposure and solidifies a designer’s position among the most innovative voices in hospitality today. Congratulations to all the winners of the sixth edition!
1 Hotel Melbourne by One Design Office (ODO)
We are delighted to announce the launch of the LIV Hospitality Design Awards 2024 Book of Design, now available for free download on our website or for purchase on Amazon worldwide.
This exclusive publication highlights the most outstanding projects recognised in this year’s awards across Architectural Design and Interior Design within the hospitality industry. From luxury resorts to boutique hotels and visionary F&B concepts, the book features groundbreaking work that redefines guest experiences.
It also includes an exclusive interview with the LIV Designer of the Year 2024, offering insights into their creative journey, inspirations, and award-winning approach to hospitality design.
The LIV Hospitality Design Awards celebrate the creativity and expertise of architects, interior designers, and hospitality visionaries who shape the spaces where we live, relax, and connect, setting new standards for innovation, sustainability, and design excellence.
Founded in 2014 by climber Praphol Rungrujiroj, Rockventure Co., Ltd. has evolved from creating artificial climbing walls and adventure courses into one of Thailand’s most innovative design-build studios for outdoor experiences. Known for shaping the country’s most complete artificial rock competitions and adventure bases, the Bangkok-based team recently scaled new creative heights, this time in hospitality design.
At the 2024 LIV Hospitality Design Awards, Rockventure claimed the prestigious Architectural Design of the Year – Eating Space for Canopy, an extraordinary dining capsule suspended 52 metres above the jungle floor at the Anantara Golden Triangle Elephant Camp & Resort. With panoramic views over the borders of Thailand, Myanmar, and Laos, and design elements inspired by local craftsmanship and natural materials, Canopy is a remarkable fusion of adrenaline and serenity.
In this interview, we discuss the challenges of building at altitude and what it takes to transform a passion for adventure into award-winning design.
LIV Hospitality Design Awards, Shanghai
What inspired the concept of Canopy, and how did the idea grow from the first discussions to what it is now?
The location of Anantara Golden Triangle Elephant Camp & Resort is in Thailand but has a view of two neighboring countries, Burma and Laos, which is the most beautiful location in the Golden Triangle area. The idea was to create a bird’s-eye view experience where guests can enjoy a truly unique way of dining, surrounded by nature and this incredible landscape.
Can you expand a bit on the materials chosen for the Canopy? Were they influenced by the environment?
The concept of the hotel is to provide guests with a Northern Thai experience. The natural materials used, such as local bamboo, rattan, and wood, are sourced from the northern region of Thailand and were chosen for their properties suited to the local climate and temperature.
How did you decide to design the Canopy in a Bird’s nest-inspired style? Was it hard to transform your vision into reality?
Bird’s nests are natural safe spaces. The hotel wants guests to feel safe while enjoying one of the most unique dining experiences, even though the Canopy pod is lifted high into the treetops and 52 metres above the grassland of one of Thailand’s leading elephant sanctuaries.
The challenge of this project was to try to design every component to blend in with the natural surroundings.
What design considerations were made to ensure the guest experience begins right in the moment they approach the walkway?
Before guests reach the Canopy tree top area, a wooden walkway made from teak wood is designed as the first step towards the excitement that is about to come. At the end of the walkway, guests will find the Canopy pod area with a special meal prepared for them. And the view becomes even more beautiful when the Canopy pod lifts you up to the top of the tree.
What were the biggest challenges you faced when designing and building this dining space, which stands 52 meters above the ground? How did you solve them?
When we assessed that the large trees that were originally planned to support the entire weight of the Canopy Pod were not suitable for use, we had to redesign the engineering structure and make artificial bark covering the structure to blend in with nature as much as possible, including designing a pulley system that is located in the new structure.
Photo Credit: Minor Hotels
Congratulations on winning the “Architectural Design of the Year – Eating Space” category at the LIV Awards! What does this mean for the future of Rock Venture Co?
It is an award of pride that we did not expect before. Our intention is to make the project assigned by the owner, which is unique, come out as perfect as possible, based on the safety of use.
How do you see the field of eco-conscious hospitality evolving in the next decade? What specific sustainable practices or innovations do you think should become standard across the industry?
Environmental service businesses are likely to evolve in a more sustainable and technology-intensive direction in the coming decades, as consumers become more environmentally aware and governmental regulations become stricter.
Sustainable supply chains and local sourcing involve partnering with environmentally friendly suppliers for food and ingredients used within the service area.
For example, locally sourced organic food will be featured on the menu, reducing transportation emissions and supporting the community.
In the heart of what was once Pawtucket’s historic train station, a surreal dining experience unfolds, where time doesn’t tick; it lingers. Winner of the Emerging Interior Designer of the Year in the Eating Space category at the LIV Hospitality Design Awards, Jihyeon Park invites us into Limen, a project that reimagines nostalgia through spatial poetry. Conceived during her time at the Art Center College of Design, Limen explores the soft boundary between memory and reality, blending moments of longing, love, and stillness into an immersive interior. In this interview, Jihyeon shares her creative process, emotional inspirations, and how one space can transport us through time without ever leaving the table.
Jihyeon Park // Limen, A Place Where Time Stands Still
Can you tell us a bit about yourself? What led you to study interior design?
My family has worked in the architectural business, so I grew up around it. Although my initial exposure to the field stemmed from my childhood, studying interior design has provided me with many fascinating perspectives on viewing the world.
Would you say you have a personal design philosophy? If so, how did you apply it to Limen?
For me, experience is the most important aspect of spaces. I am deeply fascinated by emotions tied to specific environments. For instance, I worked on a project focused on scent memories. I believe that spaces infused with nostalgia or people’s memories hold significant power. For Limen, I chose the concept of time of day, which is a familiar experience for everyone. I aimed to transform these common memories into memorable moments.
What is the concept behind Limen, and how did you come up with it? Where did the inspiration come from?
The concept behind Limen revolves around the time of day. During my childhood, I frequently traveled by train, whether in the early morning, on sunny afternoons, at sunset, or at night. Those little moments vividly remain in my memory. However, this experience is not unique; almost everyone can encounter it in their lives. My project aims to recapture these beautiful moments and inspire appreciation for our memories.
How did you manage to create the kind of surreal, time-altering experience you were looking for in a historic train station?
I aimed to use specific formal strategies to evoke a surreal feeling. The formal strategy for Limen Hotel skillfully combines elements of Classic, Anomalous, and Unity/Balance to transform a historic railway station into a portal of timeless allure. This strategy utilizes balanced compositions and symmetrical shapes to unify these contrasting elements, enhancing the spatial experience and creating a serene environment that respects and emphasizes the building’s historical significance.
Can you walk us through your design process? How did you approach the project from concept to final execution?
When I saw the site, my concept emerged spontaneously because I had vivid memories of the train. I worked out the layout and sequences using the floor plan. Then, I began creating mood boards and color themes for each space. I researched many old train stations and their features as well. I continued adding details until everything finally came together in the end.
Can you tell us about some of the biggest challenges you faced during the design process and how you overcame them?
The biggest challenge was figuring out how to simultaneously mix the historical style and the modern. I drew inspiration from many other architects and interior designers who reinterpreted history through their designs. Additionally, I conducted numerous 3D experiments to determine where to remove ornament detail or whether to add more detail to balance the historical and modern elements.
Congratulations on winning the “Emerging Interior Designer of the Year” award at the LIV Awards! What does this mean for you and your future?
I have always thought my projects were very conceptual, so they might not be compelling in the industry. However, this award has encouraged me to pursue my philosophy and creativity again.
Did you find that being a student brought you more benefits or more challenges? Why?
It provides me with both. However, it was more beneficial for me. I could try and fail as much as I wanted. Additionally, I loved learning many things and developing in my own ways, so the school offered the time and skills to achieve those.
What can we expect from you in the future? Is there any upcoming project you are excited to be working on?
I am working on a restaurant project that combines Hollywood glamour with traditional Korean architecture. Many designers reinterpret Korean tradition as very minimal and modest. I’ve always wondered why traditional Korean aesthetics aren’t modernized to their fullest extent. Therefore, I am experiencing the blending of cultures in a new way.
The hospitality design industry came together in Shanghai for the LIV Hospitality Design Awards, an event that highlighted some of the most innovative and inspiring projects in the field. Held at the beautiful Kerry Hotel Shanghai on April 2, the awards ceremony was a true celebration of creativity and innovation in hospitality design.
Earlier in the day, the LIV Hospitality Design Conference took place at the Shanghai New International Expo Center, hosted alongside the Hotel & Shop Plus Tradeshow. The morning session, “Designing the Future – Opportunities in Lifestyle Hotels & Boutique Resorts,” explored emerging market trends, the role of storytelling in design, and sustainability in hospitality. Keynote speaker Tina Norden, Partner and Principal at Conran and Partners, shared her expertise, followed by a panel discussion featuring Chiara Calufetti-Lim (WATG), Carl Wee (Wyndham Hotels), and Huan Zhu (Wanda Hotel Design & Research Institute), moderated by renowned interior designer Tarek Hegazy (Living Design). The afternoon session, “Hospitality Design Trends – Reinvented by Social Megatrends & New F&B Experiences,” examined how social trends shape hospitality spaces. Keynote speaker Corinna Kretschmar-Joehnk (JOI-Design) led the session, followed by a panel discussion with Kristina Belyavskaya (Cospitality), Marc Schicker (SCHICKER & Co.), and Eric Leong (Minor Hotels), with Arturo Sim (VHC Global) moderating.
The evening ceremony brought together leading architects, designers, and visionaries worldwide. Attendees enjoyed a glamorous dinner, exchanging ideas and forming new connections in an elegant setting. The ceremony was opened by Astrid Hebert and Hossein Farmani, Co-Founders of the LIV Hospitality Design Awards, who welcomed guests with inspiring speeches. Farmani expressed his pride in celebrating the LIV Awards’ 5th anniversary in Shanghai, underscoring the significance of recognizing excellence in hospitality design on a global scale. With representatives from 25 countries—including Comoros, South Africa, Singapore, France, Croatia, Spain, China, Dubai, Brazil, Hungary, New Zealand, USA, UK, Ecuador, Germany, Sweden, Argentina, Russia, Thailand, Vietnam, Japan, and India—the event highlighted the LIV Hospitality Design Awards’ truly global reach and its commitment to celebrating outstanding design from around the world.
Notable winners of the evening included 2023 Interior Design of the Year – Eating Space: Audrey Green & Larry’s Bar at London’s National Theatre by Run For The Hills (Anna Burles, Philippe Bougué), 2023 Emerging Interior Designer of the Year – Living Space: Inter(Vo)ven- A Fashion Hotel by New York School of Interior Design (Mihika Chatterjee), 2024 Architectural Design of the Year – Living Space: Dialogue with Nature – Commune STORE by Atelier Global Limited (Frankie Lui), 2024 Architectural Design of the Year – Eating Space: Canopy: A Treetop Dining Experience by Minor Hotels (Rock Venture Co), and 2024 Interior Design of the Year – Living Space: Nanjing Back To Yaxi Manor Resort by Yuqiang & Partners (Yu Qiang, Mao Hua). Other companies receiving the award on the stage included some of the biggest names in the industry: A1 Arquitectura Avanzada, FGMF Arquitetos, WATG, Eco-Id Architects Pte Ltd, Pham Huu Son Architects, Architectural Design & Research Institute of Scut, BBMichaels Studio, Wan Chen Design, Guangzhou Uniarch Decoration Design, Henderson Land Development Company Limited, Wimberly Interiors, Gala Architects, Gratitude Design, Living Design of Sweden, Vermilion Zhou Design Group, Wanda Hotel Design Institute, and more.
“Having so many esteemed jury members with us in Shanghai made these past few days truly unforgettable,” said Astrid Hebert, Co-Founder of the LIV Hospitality Design Awards. “The evening was filled with insightful conversations, new ideas, and valuable connections. It was incredibly inspiring to witness the winners engaging with other industry professionals. Celebrating the LIV Awards’ 5th anniversary in Shanghai added even greater meaning to the event. It’s exciting to think about the potential collaborations that could arise from this gathering. This is the power of uniting the global hospitality design community.”
The event was held in collaboration with Asian Pacific Design Center (APDC) and was supported by sponsors such as Hotel & Shop Plus, along with media partners like D5 MAG and v2com. The LIV Hospitality Design Awards continue to celebrate the quality and diversity of architectural ventures and interior design projects shaping the hospitality industry today. This year’s winners have been recognized for exceptional projects within living and eating spaces, from luxury resorts and boutique hotels to visionary restaurants and bars.
Lianin Resort invites guests to experience Peranakan culture through a modern lens. Every detail focuses on heritage and hospitality, from the spice in the air to the delicate patterns woven into the décor. Behind this immersive design is Levi Lu, a rising talent in the design world and the newly crowned Emerging Interior Designer of the Year—Living Space at the LIV Hospitality Design Awards.
Levi’s path to interior design wasn’t exactly linear. Born in Taiwan and now based in Los Angeles, he started out in marketing and graphic design before a project restoring a historic site sparked his fascination with how spaces shape emotion. That spark grew into a passion for interior design—one that found its perfect expression at the ArtCenter College of Design, where Levi honed his ability to merge cultural storytelling with experiential design.
We caught up with Levi to talk about the creative process behind Lianin, the challenges of working with an existing site, and how winning the LIV Award is reshaping his creative future.
Lianin // Levi Lu
Can you tell us a bit about yourself? What led you to pursue interior design?
I’m originally from Taiwan and began my journey in design through marketing and graphic design. I’ve always believed that design is a powerful form of communication—one that expresses ideas and influences others.
A pivotal moment for me was working at a cultural creative company focused on revitalizing historical sites. I contributed to the Gen. Sun Li-Jen Residence project, helping with branding and researching ways to breathe new life into the space. That experience sparked my fascination with how color, texture, and lighting shape emotions, leading me to pursue interior design as my true passion.
What exactly inspired you to create Lianin, and what aspects of Peranakan culture influenced your vision the most?
Lianin was inspired by an unexpected experience at a Peranakan restaurant in Los Angeles. A conversation with the owner introduced me to the culture’s rich fusion of Chinese, Malay, and Western influences. The Peranakan pursuit of refined living, intricate patterns, and vibrant colors deeply resonated with me.
As I explored further, I found parallels between Peranakan traditions and my own cultural background. Their appreciation for craftsmanship and sensory experiences fascinated me, making me wonder how I could interpret and share this heritage through design. That curiosity became the foundation of Lianin.
Can you walk us through the design process behind Lianin, from concept to execution?
As I researched, I realized that Peranakan culture extends beyond aesthetics—it embodies a refined way of life. I wanted to create an immersive experience, and travel felt like the perfect medium to introduce this culture to a global audience.
This led me to design a resort on Sentosa Island, a destination suited for cultural exploration. I focused on a key sensory element—scent—as it plays a vital role in Peranakan traditions, from spice grinding to ancestral rituals. By weaving scent-driven experiences into the resort, I created a design that engages visitors on a deeper level.
How did you ensure that Lianin stayed true to Peranakan heritage while making it accessible to a global audience?
My approach was to translate cultural elements into interactive experiences rather than simply recreating historical aesthetics. Instead of displaying Peranakan artifacts, I incorporated hands-on elements like spice grinding to engage guests.
Material selection also played a key role—I integrated traditional Peranakan details like intricate metalwork or such but presented them in a way that felt modern and cohesive within a luxury resort. By blending tradition with experiential design, Lianin offers an authentic yet accessible introduction to Peranakan heritage.
Can you tell us about the biggest challenges you faced while designing Lianin? How did you overcome them?
One challenge was working with an existing site—a permanently closed hotel. I approached the project as an adaptive reuse, preserving much of the original structure while integrating my design vision, which initially felt limiting.
Another challenge was the colonial-style architecture, a remnant of Singapore’s past. I struggled with whether to highlight or downplay it, but eventually chose to embrace it as part of the site’s story. Rather than avoiding its history, I reinterpreted it in a way that celebrates Peranakan resilience, layering cultural influences to create a space that honors the past while looking toward the future.
Do you think being a student gave you more freedom or posed more obstacles?
Being a student gave me tremendous freedom. At ArtCenter, the Spatial Experience Design department encouraged me to think beyond traditional design approaches and focus on experience-driven storytelling.
Unlike professional settings with strict constraints, my academic environment allowed me to explore bold, unconventional ideas as long as they were supported by a strong concept. This creative freedom pushed me to experiment, take risks, and break out of conventional thinking.
Congratulations on winning the “Emerging Interior Designer of the Year” award at the LIV Awards! What does this recognition mean to you and your future?
Winning this award is an incredible honor and a meaningful milestone in my journey. It reinforces my passion for creating immersive spaces, particularly in hospitality design, which has always fascinated me.
Hospitality design offers a unique opportunity to craft experiences that engage all the senses and leave lasting impressions. This recognition motivates me to continue pushing the boundaries of storytelling, materiality, and cultural interpretation in my work. Moving forward, I hope to design spaces that not only captivate but also create meaningful connections between people and places.
What do you want your future to look like? Are you planning on continuing to pursue interior design?
Yes, I absolutely plan to continue pursuing interior design, particularly in hospitality and cultural storytelling. I want to design spaces that celebrate heritage, craftsmanship, and sensory engagement—whether through boutique hotels, experiential dining concepts, or resorts.
I also aim to collaborate across disciplines, exploring new materials, technologies, and sustainable approaches. Ultimately, I want my work to contribute to a more thoughtful, immersive approach to spatial design—one that leaves a lasting impact and redefines how people connect with spaces.
