Di Zhang, a British-registered architect, and Jack Young co-founded waa (we architech anonymous) in 2010 in Beijing, China. waa is known for its narrative-driven, human-centered approach to architecture, emphasizing emotional and sensory experiences through innovative design. The firm avoids traditional architectural branding, preferring to let its buildings speak through the stories they create in response to the environment and their users.
Di Zhang is a graduate of the Bartlett School of Architecture (UCL) and worked at Foster + Partners before founding waa. Her design philosophy is deeply rooted in creating spaces that evoke emotional responses, focusing on the interaction between people and the built environment. Jack Young, also a graduate of Bartlett, joined Di in founding the practice. His architectural career includes work at Allies and Morrison, and his approach mirrors the studio’s ethos of blending functionality with human-centered experiences.
waa has earned recognition for projects such as the MOCA Yinchuan and An Atlas of Superpower, and has become known for its sustainable, large-scale public and cultural projects across China. Both architects are registered members of the Royal Institute of British Architects (RIBA).
1. What inspired you to become an architect?
Di Zhang
My mum was an architect, and at first, studying architecture felt more like a given path than a source of personal inspiration. However, I became deeply committed to pursuing architecture as my lifelong profession. My experiences at the Bartlett (UCL) and my first job at Foster+Partners played a crucial role. The journey, from the open-ended exploration of ideas to the meticulous execution of building processes, seemed like two extremes that somehow met. Architects conjure ideas from nothing and turn them into real-world structures—a fascinating process that few professions can rival.
2. How would you describe your design philosophy?
Our ethos, which we call narrative architecture, isn’t just about telling a story of design ideas but focuses on the people in the architecture. We design to respond to the collective differences of each individual, stimulating a sequence of experiences that might happen to people while they are in the space. People are the core of our design. While architecture itself does not have emotion, the events we design in the space trigger people’s senses and evoke emotional responses. The space becomes meaningful, like a screenplay with different scenes arranged to provoke emotions.
3. What is your favorite architectural detail?
Carlo Scarpa’s approach to joints, material transitions, and layered geometries is the hallmark of his architectural style. This influenced me to understand how modernist abstraction can bridge with traditional craft. He emphasized the contrast between materials like stone, concrete, steel, and glass, using joints as expressive elements rather than concealing them. This philosophy inspired our installation project, the “Wo-er,” where we worked with 20mm thick industrial felt to create a shelter for an individual reader. We experimented with the material’s form, using nylon bolts and allowing the felt to find its stable form.
4. What is your process for starting a new project?
We don’t start with preconceived ideas; every project is a unique, custom process. Design development begins by addressing key questions about the project’s function and goals, focusing on the end users. We imagine the experience from their perspective, whether it’s an individual or a community, to ensure the design reflects their needs.
5. How do you balance function and creativity in your designs?
This process is a balancing act between constraints—structural, regulatory, and economic—and the creative possibilities of architectural ambition. Clients bring their visions, which we categorize as “what to achieve,” leaving room for flexibility in “how to achieve it.” Our solutions come from in-depth exploration and a dynamic design process.
6. How do you collaborate with clients to achieve their vision?
We collaborate closely with clients, who naturally bring their visions and ideas. Our process evolves with the project, not following fixed outcomes, but adapting to ensure that the final result meets both functional and creative aspirations.
7. What inspired An Atlas of Superpower?
We were commissioned to work on a series of family indoor sports centers. The inspiration came from the original project name, “Superland,” and the concept of narrating our design around specific sports features related to body movement and development through play. We wanted to collect the superpowers of all family members’ growth and represent each project within this series as one of these superpowers, creating a collection that forms an “Atlas of Superpowers.” The first edition focused on arid land plants with ‘superpowers’ to survive extreme climates. The next edition explores jellyfish, which possess the ability to glow in the dark.
8. What inspires you?
Jack Young
One of our office’s key interests is creating emotional buildings—structures that can inspire and evoke positive emotions in their users. Emotions arise from a blend of sensory information and memories. I am inspired to investigate how buildings can be shaped and programmed to respond to us. This connection can be achieved through storytelling, like our project at MOCA Yinchuan, or by creating interactive spaces, like playscapes, that engage the body and enhance the experience of the space.
9. What is your favorite project?
My favorite projects are often the ones that never got realized—like a mirage, they float in the imagination. One particular idea was the renovation of an old industrial shipyard into an Arts Hub by the Bund in Shanghai. The vision was to transform this historical space into a vibrant cultural center, preserving its industrial character while introducing new layers of activity for the contemporary cultural and arts economy.
10. Do you have a favorite material?
As I mentioned earlier, we aim to create buildings that evoke emotion and feel relatable. This requires flexibility in material usage, and we often decide on specific materials later in the design process. The materiality of each building is shaped by how it interacts with people and the environment—whether it can transmit light in an ephemeral way, allow for sculptural forms, feel soft to the touch, or hold historical significance. This approach lets us explore possibilities as the design evolves.
11. How does the environment influence your work?
We prioritize who will benefit from the design, particularly future users and clients. Low-tech methods, such as naturally lit spaces, improve well-being and reduce the need for artificial lighting. Employing ramps and reducing the use of staircases enhances user experience and makes the design more accessible and efficient. From a social standpoint, creating places where people genuinely want to inhabit enriches lives and reduces the likelihood of future demolition. We also believe in maintaining existing structures whenever feasible to preserve resources and reduce embodied carbon.
12. How did materiality shape the design of An Atlas of Superpower?
An Atlas of Superpower reshaped architecture at a children’s scale, and materiality played a crucial role. Accessibility and material choices were tested extensively to ensure they were functional and safe. A cactus-inspired hoop steel structure supports three levels of access to play activities, clad in an impact-resistant sandwich of foam and durable fabric. The undulating ground, which varies in difficulty, acts like an obstacle course, requiring materials that handle impact while maintaining durability. Every angle was ergonomically engineered to prevent obstructions and ensure a secure play experience.
13. What advice would you give to young architects?
Find something interesting in every opportunity, no matter how mundane it seems. Every project should mean something to you personally, but there’s always a chance to create something inspiring. Each design should represent your ideals and beliefs about improving the world. Start with the environment and people close to you. Doing so will help you find meaning in your work and leave a lasting impact on the people who use it. Architecture is an act of generosity.
