Interview about The Joy of Swimming Fish Exhibition Space Design, winner of the A' Interior Space, Retail and Exhibition Design Award 2025
The exhibition space design of The Joy of Swimming Fish matches the space design with the poetic and logical debate and the thinking mode with romantic style in the ancient Chinese philosophy story Pond Dialogue, extracts "the joy of swimming fish as the concept of the space design. The uniqueness of the exhibition space lies in its profound cultural heritage and the perfect integration of modern design. By employing flowing curves and dynamic spatial structures, the design aims to simulate the state of fish swimming freely in water, creating a lively and poetic atmosphere.
View detailed images, specifications, and award details on A' Design Award & Competition website.
View Design DetailsThe core of the story, and my interpretation of the Pond Dialogue, involves a collision of emotional and rational thinking. This translates into different entry approaches to the space, creating varied experiences within the same environment.
I incorporated extensive curved partitions and irregular lines to mimic the trajectories of fish in water. Paired with translucent dividers, the overlapping effect simulates the projected interplay of fish swimming freely.
This space is larger than my previous works, especially in terms of height. I divided the space into two levels, leaving a significant open atrium in the middle, as fish can swim at any depth and move up or down freely. I also incorporated many fluid elements to create an airy atmosphere. The rectangular glass exterior is crucial for showcasing the interior, so I opted for gradually widening windows to spark curiosity from outside.
The exterior glass enables the first mutual observation between inside and out. The staggered layout of upper and lower spaces creates a second observation point. The entry method—whether starting on the second floor or the first—also shapes the perspective, making it a highly engaging space.
I incorporated many details to meet practical needs, such as using wall grooves as supports, concealing storage platforms within flowing walls, and hiding hanging fixtures behind translucent partitions, combining space division, functionality, and an element of discovery.
My personal style leans toward a light, airy feel. Initially, I had only an intuitive spatial image, but after delving into the philosophical elements of the "Pond Dialogue," I began exploring how abstract spaces could embody philosophical thought and guide visitors to awaken their spatial awareness of self and the world.
This relates to material choices. Water is represented by transparent glass, with abundant red koi colors as the dominant tone, paired with flowing forms to mimic natural scenes. Interestingly, while designing this space, I couldn’t help but think of the fish tank at home.
I believe the states of observing and being observed are interchangeable. We consider ourselves observers, but while we observe the external or internal, we are also being observed. No one is the sole subject—this applies to nature too, where everything is part of a harmonious unity.
This cultural approach will become a methodology. In the context of homogenized spaces, culture and context will distinguish architectural or exhibition spaces, opening up more imaginative possibilities.
Glass is a man-made product used to mimic natural scenes, which are inherently more fluid and organic than industrial creations. This creates an intangible contrast between the random vitality of nature and the precision of standardized production, rather than relying on a uniform industrial attitude for the architectural surface.
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