Since 2020, the whole world has experienced the impact of the pandemic, and gradually moved toward restoring normality. However, although it may seem as though everything has returned to its original rhythm, the structure of society, our way of life, and design concepts have quietly undergone fundamental changes. We are now facing the impacts of an aging population and declining birthrate, climate change and a growing list of environmental issues, the rapid integration of digital technology into our lives and industrial spheres, and a restructuring of urban and rural spaces. These intersecting issues have accelerated the evolution of design, propelling it beyond a combination of aesthetics and functionality and transforming it into an action plan for responding to this era’s challenges. With this backdrop, the role played by design has also entered a new stage of transition. Interior design is not only a response to the needs of “how we live” but also extends to the deep question of “why do we live this way?” In addition to providing spatial solutions for users, design must also consider the relationships of humans with places, technology, and the environment, as well as the relationship between individuals and society. This is precisely the core question that design education and practice must answer.

Having served on judging panels at international design competitions for several consecutive years, I’ve observed many design works that keenly respond to the current issues. During the pandemic, remote work became a global norm. Some outstanding works approached this phenomenon from the angle of spatial integration with behavioral transformation, suggesting multifaceted and forward-thinking design strategies. As the pandemic eased, we saw renewed discussion and adjustments to the allocation of domestic spaces such as studies and guest rooms, showing a rethinking of people’s use of structures within their homes. However, this sort of “spatial reconfiguration” was not a return to old frameworks, but instead proved once again that the essence of design is a real-time response to lifestyle patterns. These changes are even more apparent in office and commercial spaces.

Post-pandemic, there has been a transition to a new model. Office spaces gradually abandoned the traditional cubicle layout that emphasized separation and hierarchy, adopting a more flexible and shared space that functions as a way of connecting the office community. Commercial and dining spaces, on the other hand, responded to the popularization of e-commerce and delivery platforms by starting to emphasize the interactive experience and brand narration functions of physical spaces. Design no longer stopped at “decoration”, but spanned visual, behavioral, and psychological dimensions, becoming a medium for transmitting value and emotions.

With regard to the design works of young designers and design students, they universally possess aesthetic attainment and technical manifestation, but I believe that the realization of a design does not end at the form and details; more importantly, it must deeply understand the user’s real needs and life behaviors. Designers must be able to propose observations, speculations, and solutions. Even more importantly, they must continue to “raise questions” and cannot merely “solve problems”. Taking residential design as an example—whether it’s a small apartment, a multi-story house, or a large single-story unit—in addition to accounting for the differences in scale, designers must thoroughly understand and appropriately plan the circulation, functional integration, and living customs of the space. A small apartment should have diversity of functional variation, a multi-story house should make the most of vertical circulation, and a large single-story unit should further emphasize the level and functional equivalence of forms within different spaces, and cannot simply focus on superficial style.

In recent years the world has been laser focused on the issue of sustainable development. This concept has already become a global consensus; however, in terms of practical implementation, sustainable development is still restricted by regional conditions, economic budgets, and usage customs. As a designer, I don’t claim to be an expert on environmental issues, but I believe we can start with the most obvious options: reducing the use of chemical materials, selecting building materials that are natural and good for human health, rationally planning ventilation and lighting, integrating energy-saving mechanical and electrical equipment, etc. Even if we aren’t able to singlehandedly change the industrial structure, we can still implement the idea of “healthy foundation, natural circulation” in every project, and this remains our responsibility as designers.

In addition to the practical affairs related to design and assessment work, I frequently participate in projects promoted by the government and research units, including regional revitalization, design movement for the public, and campus space transformation projects. The common core of these projects lies in using design to respond to public issues and assigning a new life and functions to old spaces. For example, through cooperation with designers, local residents, and specialized advisory teams, many idle spaces, such as old houses and abandoned schools, can be redefined as community infrastructure, educational spaces, and cultural hubs, thus reviving the space and reintegrating it into the daily operations of the community. Design education should guide students to comprehend that design is definitely not only an expression of individual style, but a ring of social action. Our generation of designers must shoulder the public- and service-oriented nature of design. I am happy to see an increasing number of young designers whose backgrounds include interdisciplinary knowledge and the ability to integrate technology, humanities, and social issues. They draw inspiration from details, have the courage to break traditions, and pose innovative and experimental directions for solutions. However, the real challenge lies in how to realize these innovations, ensure that they can endure the test of time and user scrutiny, and truly bring a positive influence to people’s lives. Anne Lacaton, winner of the 2021 Pritzker Architecture Prize, said it best, “Good architecture is open—open to life, open to enhance the freedom of anyone, where anyone can do what they need to do. It should not be demonstrative or imposing, but it must be something familiar, useful, and beautiful, with the ability to quietly support the life that will take place within it.” These words remind us that the value of design is not in the volume of its expressive form, but in the support and emotional connection it brings to our lives.   

Image: Zhongshan MRT Station (Photos courtesy of Morpho-Design)
Designers improved the service procedures and wayfinding system of a high-volume transfer point, transforming it into an amiable mass transit node with clear, guided circulation, and providing essential assistance for travelers through design details.

Image: San-Chung Vocational Workshop (Photos courtesy of Morpho-Design)
The New Taipei Vocational Workshop Transformation Project repurposes factories into cradles for fostering talent. It elevates vocational school students’ confidence in their professional skills and turns factories into platforms for translating knowledge into ability. The goal is to foster capable craftsmen who also have excellent character and top-class professional skills.

Image: Tamsui Vocational Workshop (Photos courtesy of Morpho-Design)
The New Taipei Vocational Workshop Transformation Project repurposes factories into cradles for fostering talent. It elevates vocational school students’ confidence in their professional skills and turns factories into platforms for translating knowledge into ability. The goal is to foster capable craftsmen who also have excellent character and top-class professional skills.