From Xinjiang to NYC: An Exclusive Conversation with Jiageng Guo

I'm Jiageng Guo. I’m a Chinese-born architectural designer from Xinjiang who is now based in NYC. My work is driven by interwoven programs, urban landscapes, and associated material cultures. I use multimedia research and a collaborative process to rethink how architecture connects to the city.

Growing up in a culturally diverse environment sparked my interest in how architecture can foster collective agency and cultural exchange. I’ve always been fascinated by how spaces shape and reflect people’s experiences, which led me to create architecture that enriches city life through the interplay of programming and urban landscapes.

I am currently contributing to the SPARC Kips Bay project in NYC at Dattner Architects—a mission-driven firm that views architecture as social infrastructure, enriching the urban environment. Before this, I worked at Buro Ole Scheeren, exploring large-scale, forward-thinking concepts, and at Junya Ishigami, where I learned about unconventional spatial constructs and the phenomenological creation of architecture as an expanded landscape. These experiences continue to shape my collaborative, holistic approach to design.

For me, design is a vessel for cultural exchange. It should be contextual—enhancing its surroundings—while being programmatic, functional, and responsive to the users’ needs.

I’m particularly drawn to public architecture, where projects involve multiple stakeholders therefore capitalism does not alone describe demands.

A “good” design is a holistic blend of context, program, creativity, and sustainability—an interplay that balances function with a sense of place and spirit.

“Mechanical Time and Body Time” arose from observing how our lives are structured by both mechanical systems (clocks, schedules) and our internal, bodily rhythms (sleep cycles, instincts). I wanted to merge these often-conflicting senses of time into a single spatial narrative—one that brings people together and highlights our shared, yet dual, experience of time.

Alan Lightman’s novel Einstein’s Dreams provided the central spark. It explores mechanical time versus body time, a duality that deeply resonated with the concept I wanted to realise architecturally.

Absolutely. Xinjiang is a melting pot of diverse ethnicities and cultures. These collisions appear in both formal and informal spaces—like bazaars, theaters, alleyways, and underground marketplaces—that naturally foster cultural dialogues. Experiencing such variety has profoundly influenced how I view and approach architecture.

It’s incredibly affirming. This recognition validates my conceptual explorations and underscores the importance of pedagogical thinking in design. It motivates me and my collaborators to keep pushing boundaries—especially in our current political climate—where architecture can serve as a dialogue.

"Mechanical Time and Body Time” encapsulates my design philosophy: cultural exchange expressed through program, context, detailing, and lighting. I submitted it because it tackles a universal phenomenon—time—in a divided yet cohesive way, prompting users to reflect on their relationship with time. It felt like the ideal representation of my creative vision on an international stage.

One major challenge was translating the abstract concept of time into tangible architectural features. I addressed it by mapping how people move through the space, layering in cyclical design cues, and referencing cultural archetypes—like cloisters for mechanical time and spontaneous, communal structures for body time.

It broadens my network, increases visibility, and confirms the value of my experimental approach. This honour encourages me to keep exploring, pushing boundaries, and fostering research-driven, conceptually provocative designs.

1. Collaboration: The best projects draw on diverse perspectives and disciplines.

2. Associations: Seemingly unrelated elements often reveal unexpected connections during the design process.

3. Creative Storytelling: Every design narrates a story of culture, environment, and human experience.

I strive to bridge the tangible and intangible—turning concepts like cyclical time and subjective perception into built environments that engage both mind and body. Merging function, poetic narrative, and user experience helps my work stand out.

I foresee a move toward immersive, tech-enhanced, and sustainable solutions, with designers leveraging AI and virtual reality for rapid prototyping and conceptual exploration. Environmental responsibility and wellness-centric approaches will likely become even more integral.

• Stay Curious: Keep learning and experimenting beyond your immediate field.

• Develop Your Voice: Cultivate a unique angle or conceptual anchor.

• Iterate and Refine: Design is iterative—continuously test and sharpen your ideas.

• Observation of Everyday Life: Examine mundane routines or objects; they can reveal surprisingly rich design insights.

• Community & Mentorship: Engage in local meetups or online forums (e.g., Behance, Dribble, Architizer) to share and critique work.

• Design Publications & Journals: Stay current via platforms like Architectural Review, Dezeen, and Detail.

I often weave subtle, hidden motifs into my initial sketches—like personal memories or patterns from nature. They rarely appear in final presentations but keep my creative spirit alive.

1. Mierle Laderman Ukeles (b. 1939): As the first artist-in-residence at NYC’s Department of Sanitation, she used simple yet radical interventions (like mirror-cladding a garbage truck) to completely transform how we perceive everyday urban objects and services.

2. Arne Jacobsen (1902–1971): A pioneer of “total design,” exemplified by his work on the SAS Hotel in Copenhagen. He designed every detail—from the building’s structure to the cutlery—creating a holistic design language that immerses users at every scale.

Persistence and openness to feedback are essential. Each critique is an opportunity to refine or pivot an idea. Stay curious, and don’t shy away from uncharted territories—sometimes the most unexpected path leads to the biggest breakthrough.

I’m grateful to the London Design Awards team for championing conceptual exploration. I hope my work inspires others to transform abstract ideas into architecture that serves communities and sparks meaningful dialogue.