The 2025 Design Perspectives x Golden Pin Salon concluded its Asia tour with two sessions held in Kuala Lumpur on April 28 and 29. Centered on the theme "Human-Centred Futures: Design at the Confluence of Technology Advancements and Tradition", the salon explored how designers are responding to the rapid rise of AI—finding new ways to innovate while staying grounded in cultural heritage. The event drew a wide range of professionals from the local design community and beyond.

Co-organized with Tsubaki Studio, the two-day salon brought together a diverse lineup of speakers from Taiwan and Malaysia to share perspectives across architecture, branding, visual communication, and digital experience. From Taiwan, architect Borden Tseng and designer Brian Liu discussed how cultural context and innovation intersect in their work. 

Malaysian speakers included Ar. Rien Tan of TKCA Architects, IDr Lai Siew Hong of Blu Water Studio, graphic designer Magdalene Wong, and Fariz Hanapiah, Creative Tech Director at Experiential Design Team (EDT). The Malaysian speakers included Ar. Rien Tan of TKCA Architects, IDr Lai Siew Hong of Blu Water Studio, graphic designer Magdalene Wong, and Fariz Hanapiah of Experiential Design Team (EDT). Their talks spanned topics such as space renovation, visual storytelling, and digital experiences, each offering practical insights from their own fields and sparking lively exchanges with the audience.

　　　　　　　　

Session 1: “Something Old and Something New: Giving Places New Life”

　　　　　　　

In the first session, three speakers from Malaysia and Taiwan—each with backgrounds in architecture and spatial design—shared insights from projects ranging from co-living housing and heritage revitalization to commercial and public buildings. Drawing from work across different scales, they examined how design can respond to evolving social needs, cultural context, and complex urban conditions. Their discussions underscored how architecture is not merely a technical discipline, but a means of connecting people with place, and bridging tradition with innovation.

　　　　　　　　　　　　　

　　　　　　　　　　　　　　　　　　　　　

Ar. Rien Tan: New Spaces for Shared Living and Community Empowerment

　　

Architect Rien Tan, founding director of Kuala Lumpur–based TKCA Architects, opened his talk with the theme New Grounds, Shared Roots, highlighting two socially driven, community-oriented architectural projects rooted in Malaysia’s cultural landscape. For Tan, contemporary design is not just about aesthetics—it’s a means of empowering communities and rethinking how innovation and technology can shape better living environments.

　　　　　　　　　

　　　　　　　　　　　　　　　　　　　　　　　　　　　

The first project, SAMA Square, reimagines the role of a shopping center within a multicultural neighborhood in Kuala Lumpur. Drawing on the idea of “celebrating the vibrancy of life,” the project embraces openness with plazas, marketplaces, and accessible community facilities, rather than replicating the typical enclosed mall typology. The design features high ceilings, natural ventilation suited for the tropical climate, and bold colors that bring energy to the architecture. Its paths connect to public housing nearby, creating chances for casual community encounters.

The second project, Skyblox Co-Living Housing—a winner of the 2024 Golden Pin Design Award—responds to the growing need for affordable urban housing. Targeted at young people seeking short-term rental options, Skyblox introduces a co-living model rarely seen in Malaysia. Built using Prefabricated Prefinished Volumetric Construction (PPVC), the housing units are assembled from factory-made concrete modules, allowing for faster construction, reduced waste, and higher quality control. The building prioritizes shared amenities—such as kitchens, lounges, courtyards, and laundry areas—while implementing sustainable features like natural ventilation, rainwater harvesting, and energy-saving systems.

Tan emphasized that Skyblox wasn’t just an architectural experiment, but a catalyst for change. The project underwent extensive discussions with government, residents, and local communities—ultimately prompting policy adjustments and new approval procedures. As a result, Skyblox has laid the groundwork for future regulations supporting accessible urban housing. For Tan and his team, this isn’t just a new building—it’s a prototype for more inclusive living.

　　　　　　　　　　　　　

Lai Siew Hong: Design as a Bridge Between History and the Present

　　　　

In his talk Bridging Yesterday and Tomorrow, Lai Siew Hong, co-founder and chief executive designer of Blu Water Studio, shared his approach to adapting historically significant spaces for contemporary use. He emphasized that working with heritage buildings goes beyond preservation—it requires designers to understand and reinterpret the spirit and cultural value of a space. “Heritage should not obstruct progress,” he said, “but enhance it.” In the face of urban pressure and public indifference toward cultural heritage, Lai believes design can serve as a vital link between past and present.

　　　　　　　　　　　　　　

　　　　　　　　　　　　　　　　　　　　　　　　　　　

Lai presented two projects as case studies. The first, Lone Pine Hotel in Penang, is a 1948 colonial-era bungalow transformed into a Marriott property. The renovation retained the original building’s structure and opened it up to the tropical landscape with a breezy, open-air terrace. A new steel-and-glass greenhouse pavilion was added—not as a replica of the old, but as a subtle "ghost architecture" gesture that lightly echoes what once stood. Inside, a Mid-Century Modern design language anchors the spatial experience, layered with local heritage details like vintage blue tiles and apothecary-inspired accents that pay tribute to the building’s original owner, an Australian doctor.

The second project, The Edison George Town, involved the transformation of a 120-year-old mansion in Penang. The building blends British colonial and Chinese architectural elements. Working within strict conservation guidelines, Lai and his team carefully preserved the original details while introducing new layers of expression through jade green tones, lantern-inspired lighting, and a retractable glass roof over the courtyard. The overall design strikes a delicate balance between theatrical flair and domestic warmth, weaving together contemporary sensibilities with traditional aesthetics. From the reception hall to the attic reading nook, the space speaks in a language that is both restrained and refined, allowing the historic structure to quietly carry its story into the present with minimal intrusion.

　　　　　　　　　　　　　　　　

Borden Tseng: Rethinking Urban Spaces Through Architectural Practices

　　　　　　　　　　　

Taiwanese architect Borden Tseng, founder of Q-LAB, presented a selection of the studio’s recent works across architecture, landscape, and interior design. Tseng opened his talk titled Transformation by introducing his first project after returning to Taiwan—the NTFSH Gymnasium. Working within an extremely limited budget, he and his team were tasked with building a large facility. Their solution—a concrete structure resembling a suspended system—created a column-free open space, with a diagonally braced truss ceiling that revealed the elegance of the structural form. The project marked the beginning of his deeper exploration into structural logic and architectural language.

　　　　　　　　　　　　　　　　　　　　　　　　

　　　　　　　　　　　　　　　　　　　　　　　　

Tseng went on to present projects such as the Zhonghe Civil Sports Center, a narrow-lot residential complex, and the award-winning Chudong Parking Structure. Each demonstrated Q-LAB’s precision in structural design and its commitment to creating architecture that responds to urban scale and environment. Inspired by the traditional Hakka oil-paper umbrella, the Chudong Parking Structure reinterprets local culture into a simple semi-circular form, transforming an everyday infrastructure into a new kind of public space.

For larger developments—like a cable company’s new headquarters based on spiraling geometry, and an office tower in Nangang that draws from mountain contours—Q-LAB emphasizes site-driven strategies and spatial logic. In the design for the Ching Shin Fu Chuan headquarters, Tseng explored how architectural language could express the quiet ritual of tea culture. He also shared a transit-oriented development project at the intersection of high-speed rail and metro lines, where setbacks, open atriums, and layered views were used to create a more breathable, human-centered experience.

Across each case, Tseng demonstrated how architecture can adapt to a range of site conditions while offering thoughtful responses to culture, environment, and contemporary life. Through his detailed case studies, audiences gained insight into how architectural practices in Taiwan respond to contemporary urban challenges—while the cross-cultural exchange sparked new inspiration.

　　　　　　　　　　　　　　

　　　　　　　　　　　　

Session 2: “From Inner Worlds to Visual Art: Translating Imagination into Digital Assets”

　　　　　　　　　　　　　　　

The second session centered on how creative professionals define their roles and values in the age of AI. From sensory experience and cultural context to brand storytelling, three speakers shared how they navigate a rapidly evolving technological landscape while holding firm to the emotional depth and integrity of design. Their insights prompted audiences to reflect on a timely question: what remains truly irreplaceable in creative work?

　　　　　　　　　　　　　　

　　　　　　　　　　　　　　　

Magdalene Wong: Design That Resonates with the Heart

　　　　　　　　　　　　　

Malaysian designer Magdalene Wong delivered a quiet yet powerful reflection in her talk titled Designed to Feel. “In an age where technology makes everything faster and easier,” she asked, “as designers, how do we still create work that truly matters?” Opening with a simple question, Wong addressed a growing concern shared by many creatives navigating the rise of AI.

　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　

　　　　　　　　　　　　　　

Citing a recent study predicting that graphic designers could become one of the fastest-disappearing jobs by 2030, she began questioning the irreplaceable value of design—and of designers. In a moment of curiosity, she asked ChatGPT directly: “Can you replace designers?” The answer—“not entirely”—reaffirmed her belief that the essence of design lies not in tools or technique, but in the deeply human qualities of intuition, emotion, and sensory memory rooted in personal experience, culture, and context.

“Design should be felt, not just seen,” Wong emphasized. Her work reflects this philosophy, grounded in social awareness and storytelling. Whether through her Lunar New Year gift box A Year of Growth or the candid publication Sustainability is a Pain *, she translates cultural insights and environmental concerns into visual narratives that carry clear intention and perspective.

A fan of 1990s COLORS Magazine and the films of Hayao Miyazaki, Wong noted that the designs she loves most all share one thing: soul. That sentiment underscored her message—when design remains connected to human stories and places, its purpose remains clear, even in the face of rapid technological change.

　　　　　　　　　　　　

Fariz Hanapiah: What resonates isn’t how much you show, but what people feel

　　　　　　　　　　

Fariz Hanapiah, Creative Tech Director at Experiential Design Team (EDT), took the stage with a talk titled The Blur Between Artist and Machine, addressing the unease many creatives feel in the age of AI. “When creation becomes too easy,” he said, “everything starts to look the same.” His message was clear: while AI offers incredible tools, it also challenges us to define what makes human creativity truly unique.

　　　　　　　　　　

　　　　　　　　　　　　　　　　　　　　　　

Using the shift from quartz to mechanical watches as an analogy, Fariz argued that what is handmade and imperfect often holds deeper value. The rise of AI, he suggested, doesn’t signal the end of human creativity—it highlights the need to redefine what makes design uniquely human: emotional depth, lived experience, and cultural understanding.

At EDT, Fariz leads projects that blend AI with immersive experiences, including interactive animated characters, virtual meditation guides, and storytelling tour bots. But even in these cutting-edge applications, he emphasized that the role of designers is to guide the technology—not be guided by it. “What moves people isn’t the number of images, but the emotions and narratives behind them.”

“People crave stories—not optimized output,” he said. In an era of infinite generation, meaning—not speed—is what will continue to set human creators apart. The future, Fariz concluded, belongs to those who can harness technology, but still speak from the heart.

　　　　　　　　　　　

Brian Liu: Quiet yet Powerful

　　　　　　　　　　　

Taiwanese designer Brian Liu took the stage with a talk titled Quiet Power, Loud Presence, offering insight into his design philosophy and approach to brand strategy. “We don’t see branding as a fixed system,” he said. “We see it as an ecosystem.” For Liu, a brand identity is no longer a static image, but a dynamic language that adapts across platforms and mediums.

　　　　　　　　　　　　　　　　　　　　　　　　

　　　　　　　　　　　　　　　

With experience at Nike Global Retail, 2x4, and Google Creative Lab, Liu returned to Taiwan to co-found Local Remote, a design studio that bridges visual strategy with cultural relevance. In rebranding the iconic Taipei music venue The Wall, his team developed a dynamic font that visually echoed sound vibrations—capturing the spirit of the space. “Even without music playing, you can feel the energy and history embedded within the space,” he said.

In a separate project for fashion label Studio DOE, Liu drew on the idea of “flow in style” to develop a linear, tactile identity system. From packaging textures to digital touchpoints, every element was designed to reflect the brand’s focus on bodily experience and movement—the identity extends from the user’s daily life.

“We’re not just designing logos—we’re building frameworks for conversation,” Liu noted. As AI and algorithms increasingly shape creative work, he emphasized that impactful design still stems from human insight: the ability to read cultural cues, evoke emotion, and imagine new possibilities. “Most importantly, I believe design should create impact, not just visually, but emotionally and socially,” he concluded. “Good design should change behaviors, shift perspectives, and leave a lasting impact. That’s the power of design we believe in.”

　　　　　　　　

　　　　　　　　　　　

Let’s Keep the Dialogue Going — 2025 Call for Entries

　　　　　　　　　　

The 2025 Golden Pin Design Award and Golden Pin Concept Design Award are now calling for entries. The awards cover four major categories: Product Design, Communication Design, Spatial Design, and Integration Design. Open to both new ideas and completed works, both individual designers and companies are invited to enter. Winners will gain opportunities for international exposure, industry connections, and market opportunities. 

The deadline for registration is June 24, 2025, at 17:00 (GMT+8). Those who complete their registration and payment by May 20 will receive an early bird discount.