Hu

The Erhu, an instrument with a thousand-year history, is celebrated for its unique and soulful tone, often described as the “violin of the East.” At its spiritual core lies the Daoist philosophy of harmony between humanity and nature. Yet since the last century, its design language and materiality have remained largely stagnant, increasingly disconnected from contemporary aesthetics and technology.



This project stems from a deep reflection on that condition. Collaborating with three renowned Erhu performers and traditional music scholars, I traced the instrument’s evolution and deconstructed its spiritual essence. I discovered that the design philosophy of Ming style furniture, which combines advanced engineering with minimalist aesthetic, has similar ideas to the spirit of Erhu and the design of its sound box which references Chinese traditional flower window.



My academic background of product design at Central Saint Martins, along with the experience of window design at Louis Vuitton, has led me to understand that outstanding contemporary design, from the Bauhaus to Apple, is always a perfect unity of function, aesthetics, and the spirit of its time. This forms the core philosophy of this Erhu reimagination.



The design innovation focuses on three key aspects:



Beauty of curves: The reimagined curved body optimises acoustic performance while embodying a pure, modern sculptural presence. Its geometry follows ergonomic principles, fostering a more comfortable connection between the instrument and performer.

Symbolic cultural expression: The traditional flower window sound holes have been reinterpreted as a central visual motif, bridging the dialogue between tradition and modernity.

Holistic refinement: Every component follows a unified design language, achieving a perfect balance of detail.



Ultimately, this Erhu was handcrafted by a master Chinese artisan, demonstrating both its feasibility and craftsmanship. It stands as a tribute to the instrument’s enduring soul and a bold anticipation for its future — proof that traditional craftsmanship and modern design are not opposing forces but complementary ones. Together, they compose a new chapter for this ancient instrument.



This is not merely a redesign of the erhu’s form, but a profound dialogue on cultural inheritance and the possibilities of the future.