Henry (Penghui) Zhang Shares His Concept on Contemporary Design & Architecture

This recognition is significant. It feels like a culmination of years of academic study, research, and professional effort. For me, the award is not only an honour but also a validation that the ideas I’ve been pursuing—merging architecture and interior design without drawing a boundary between them—resonate with others in the field.

The award has strengthened my professional profile and brought greater visibility to my work. It has sparked new conversations, both internally with colleagues and externally with collaborators and potential clients. It has also opened doors to future design opportunities and expanded my network, especially among designers who share an interest in cross-disciplinary practice.

Experimentation is essential to my process. I frequently explore design ideas through digital sculpture and drawing before translating them into architecture or interiors. For example, while developing my award-winning project, I used digital sculpting tools to test fluid geometries and spatial sequences. These exploratory forms later informed the final design language and helped me discover unexpected solutions.

One of the most unusual but rewarding inspirations came from working on prop designs for a friend’s upcoming film. The narrative and character-driven approach of filmmaking forced me to think about design through storytelling, symbolism, and mood—not just function. That cinematic mindset later influenced how I approached spatial atmosphere in my architectural work.

I wish more people understood that design is not simply about aesthetics; it’s a process of negotiation—between ideas, constraints, and human needs. Great design is always intentional and analytical. Even the simplest forms often result from hundreds of decisions, revisions, and conversations.

I see design as a dialogue. Clients bring goals and constraints, and I bring vision and expertise. My approach is to first understand their priorities, then use design logic to show how thoughtful ideas can meet or even elevate those needs. The balance comes from communicating clearly, being adaptable, and using strong conceptual foundations to guide the discussion.

One major challenge was reconciling ambitious design goals with practical limitations—such as budget, construction feasibility, or client preferences. This is something that often separates academic work from professional practice. I overcame this by refining the core concept until it could survive simplification. When the idea behind a project is strong, you can adapt the form while keeping the essence intact.

I switch mediums. Stepping away from architecture to do digital sculpting, painting, or even working on film props often refreshes my mind. These parallel creative practices allow me to return to architectural problems with a renewed perspective and a more open mindset.

I bring a sense of fluidity, openness, and cultural sensitivity into my work. Growing up in a landscape that felt both vast and sculptural taught me to appreciate expressive forms and spatial harmony. My cross-disciplinary training also shapes my belief that architecture and interior design should be seen as one continuous practice—not two separate professions.

Stay curious, stay experimental, and don’t limit yourself to one medium. The discipline of design is evolving faster than ever, and being a generalist with depth—someone who can think across scales and platforms—has tremendous value. Most importantly, trust your instincts, but also build the skills to articulate and defend your ideas.

I would choose Zaha Hadid. Her work reshaped the conversation about what architecture can be, pushing boundaries of geometry and imagination. Collaborating with her—even hypothetically—would be an unparalleled opportunity to learn from her fearless approach to form and innovation.

Question: How do you envision the future of design across disciplines?

Answer: I believe the future lies in dissolving boundaries—between architecture, interiors, digital art, product design, and even film. Designers today have the tools to move fluidly among media, and that cross-pollination will create richer, more holistic environments. My goal is to continue exploring that intersection as a generalist who can think at multiple scales.