About your book East Meets West, you are generalizing cultural habits. What kind of feedback did you receive from your audience?
The book is a personal diary of my life, 13 years in China and 13 years in Germany. Since I’m a designer, my diary happens to be in a visual language instead of words. It shouldn’t be generalized just as a book about cultural habits. I refer to it as a small anecdote in which I have found in my personal life. I hope people have found my book useful. I have gotten many emails from all parts of the world, mostly from China and Europe. There are even some from South America, Africa, southern Asia and Middle East. The responses have been surprising.

In your book, you’ve emphasized differences between China and Germany. Which similarities did you experience that are different to habits of North Americans?
North America is a melting pot. It’s hard to stereotype the whole region following just one specific behavior. If I have to say, they can be categorized somewhere between the Europeans and the Asians.

Although, my book expresses a general idea about the differences between two cultures, it should represent the individuals of the two countries. I think stereotypes will always be there, and my book is meant for people to see the humor out of it. People should not take it too seriously or feel offended by it.

Different artists had different influences on their work, and having mixed backgrounds have, obviously, influenced yours. How do you think influence will evolve in the future?
I think the biggest influences in my works are my life experiences. Living in different countries have changed me as a person and have as well changed my works. To have the chance to be in all these countries and to meet the people has been a very important part in the influence of my works and will continue to influence my work in the future, too. What projects are you currently working on? Any plans to extend East Meets West? I’m currently working on two China-Germany related projects. I’m art directing the visual Identity of 8 exhibitions in Dresden and China. Another one is the Frankfurt book fair, which China will be the guest of honor. I will be art directing the visual identity of the fair, as well. Other than these two major projects, I’ve, recently, worked on a boutique hotel in Beijing with two architects from Berlin. There are also small projects I’m doing for my European and American clients. About east meets west, it will be extended if I feel there are more changes happening between China and Germany. To expand to other countries would be unlikely for the time being. I think it takes 10 years of living in a country to understand its culture. For me, it’s very important to have emotional connection to the contents in my book, as I do for China and Germany.

How do you think the development of the society in China will shape design and aesthetics?
I guess influences from its society can already be seen on the designs in China. There are lots of very talented young designers doing excellent work, very experimental work. This may not be possible in other countries. Quality of design and architecture, alongside, new challenges will need time to grow. Similar to Japan, Chinese designers will grow with time. They will eventually find a stronger Chinese Design Identity, and I strongly believe that this will happen in the near future.

What advice do you have for companies who want to touch the Chinese soul?
It’s very difficult to say, there’s a very big difference in the way of thinking and ideologies of the different generations in China, even if they are only 5-8 years apart. There are lots of things companies should understand about the Chinese people. Depending on what kind of company you are and whom you are targeting, there are different ways to touch the Chinese soul. But in general, the first step is to be interested, respectful, and be able to willingly change things on your side, instead of changing others.