Terry Xu originally sought out a career in architecture, until he discovered his passion for interior design. Now, he serves as chief designer of Rationale International — Masanori Design Studio, and has gone on to found and cofound Masanori Art and Talent Union. In this interview FRAME, he discusses his beginnings, the state of Chinese design and how the pandemic prompted the role of the designer to change. 

How did you get your start as a spatial designer?

TERRY XU: When I was a student, I majored in architectural design in Guangzhou and took an elective course on architectural engineering drawing software. It was during this course that I discovered my passion for interior design because I was specifically attracted by colourful three-dimensional software drawings. This was my first impression of interior design and that experience led me to switch my major to interior design to continue pursuing my passion. I now work as chief designer of Rationale International — Masanori Design Studio.

Terry Xu.

You’ve also founded Masanori Art. How does your experience in the arts affect your work as a designer and vice versa?

During my 20 years in design, I’ve met many people – both competitors and friends. In 2008, I met the two founders of Hong Kong Rationale Design by chance. This encounter blossomed into a friendship, eventually leading to us working as partners. As artists, the two founders often consider spatial design from an artistic perspective, which has influenced my typical design approaches from a commercial perspective. Thanks to them, I've found a balance between business and art.

Real estate company Hong an Liyuan’s sales centre leans into Foshan Sanshui’s natural regional characteristics, drawing inspiration from the white lotus flower.

In my opinion, art is meant to put forward questions, while design is meant to provide solutions. Art plays a crucial and necessary role in spatial design. I used to believe that art was merely an accessory in interior design. However, my perspective has shifted. Now I believe that art can be an independent presence in interior design, and each piece of artwork should be more than just a decoration, but an object that exudes its unique charm in the space.

How is sustainability a consideration in your own works?

I believe that agility is closely connected to the sustainability of design because a flexible design will not affect the consideration of sustainability. It is important for designers to pay close attention to and invest their time and energy into sustainable design. In China, most architects have recognized the importance of sustainability, but interior designers have not yet been fully aware of this concept. As a result, there is a need for greater awareness of sustainable interior design. By paying attention to the sustainability of design details and utilizing recyclable or degradable materials, we can take steps towards environmental protection and energy conservation. I believe that by gradually incorporating these practices into our work, we can promote the importance of sustainability, set an example in the Chinese design world, and ultimately align with international standards.

How do you balance tensions between tradition and modernity and local and global design influences in your work?

Tradition and modernity share a close and complementary relationship. I agree with the notion that modernity is an evolution stemming from tradition, and this process of inheritance maintains a sustaining connection between everything involved. I believe that design is about innovation rather than creation. It represents an innovative approach that combines cutting-edge technologies and new materials with existing objects. Before the industrial age, chairs were crafted from wood. However, with the advent of steel-making technology, metal materials were introduced, and then, concrete was widely used. The evolution of a common object like a chair provides valuable insight into the nature of innovation. It is a process of generating fresh creations by melding existing elements with new materials and technologies.

Cover and above: Xu researched Western and Eastern legal histories and honed in on Ancient Greek mythology to inform the design of the Guozhi Law Firm in Foshan. The design uses cultural symbolism and elements like a solemn colour palette, clean lines and the use of Roman travertine, an ancient material, to create a dynamic interplay between tradition and modernity within the space.

My educational background is steeped in traditional Chinese culture, but my vision and aesthetic preferences embrace an international perspective. In my opinion, a global design approach stems from taking local historical and cultural elements and presenting them in a contemporary way.

What are the most important factors driving the state of urban design and development in China right now?

I think that the most important factor driving the state of urban design and development in China right now is the imperative of enhancing quality of life but is overall characterized by two distinct trends. The first trend comes from discerning high-end consumer demands. Since the pandemic, people have given more value to their home life and overall lifestyle. This emphasis on quality of life indirectly increases expectations for property acquisition. Many people choose to invest in properties situated in upscale areas, like the central business district of a city. As people increasingly seek a better quality of life, the demand for sophisticated home design also grows. The second trend is fuelled by emerging younger consumers whose preferences for modern living are constantly changing. Their desires focus on custom experiences in branded products and designs. This is also a significant driving force for urban design and development.

The Meizhou Tianyuewan House Z employs an open floor plan, connecting different functional areas to one another allowing flexible spatial movement and programming.

The pandemic changed what we need and how we interact with built spaces. Three years after its onset, what are the biggest and most long-lasting changes you’ve observed?

I think the biggest and most long-lasting change of the pandemic is how people are reconsidering their lives and lifestyles. From a bigger perspective, the pandemic also drives us to rethink the meaning of life, how we should live it and how to achieve work-life balance. A major topic is how to seize the moment and redefine our relationships with our friends and families. Take, for instance, a major change in living room design. In the past, most people would place a TV in their living room. In recent years, however, a notable trend has emerged in interior design, where living rooms have become multi-functional spaces. These spaces are now utilized for different activities, such as spending time with family, exercising, or hosting friends.

In what ways has this prompted the role of the designer to change with it?

The changing ways we live demand a shift in how we design. We must view design from the perspective of everyday space users. This requires identifying the core purposes of our lives, talking with our friends, and reimagining a fresh lifestyle. The transformation in lifestyle puts emphasis on a slower pace of life and the creation of a cozy, artistic ambience at home.