A selection of our work.

Jingzhi Chronicle is a bilingual media platform covering China's new luxury economy: craft, fashion, fragrance, beauty and the brands emerging around them. Its readers are split between mainland China and the international luxury industry.

The editorial structure was the hard part. Alongside conventional categories the publication runs named standing sections (Jingzhi Brand, Jingzhi Voice, The Visionary, the Weekly Brief), and each behaves differently. The Weekly Brief is a numbered digest, the Visionary a profile format. We modelled these as first-class section types so editors publish into the right shape without reaching for a developer.

Around the writing sits the business: newsletter capture, a downloadable media kit, gated annual reports, and WeChat, Weibo, Instagram and LinkedIn treated as equal distribution. Images are served through Cloudflare's transform pipeline so a photo-heavy feature loads acceptably on either side of the border.

Editors now publish features, weekly briefs and annual reports without a developer in the loop, and the archive has grown steadily without the section pages slowing down. The site is still running.

XNode helps overseas technology companies enter China and Chinese companies expand outward, working with corporations, governments, investors and startups. Four audiences, travelling in opposite directions, arriving at one website.

The site is organised around five service lines, so a visitor lands on the one that matches their situation: Launch China, Global Expansion, Corporate Innovation, City Innovation, Venture Building. Case studies, an events calendar and a news stream give each of them proof.

The enquiry form segments by client type on the first field. A government agency and a seed-stage startup need to reach different people inside XNode, so the form routes them and the team is not triaging an inbox every morning. The whole site runs in English and Chinese, with a linked Singapore edition.

Enquiries arrive already sorted, so nobody spends the morning working out who should answer them. The site has been running in both languages since launch and now carries a Singapore edition alongside it.

YMCE runs school trips and summer camps across China for international schools, plus its own Camp Greenwoods programmes. The audience is two groups with very different questions: teachers planning a residential twelve months ahead, and parents deciding where to send a child in July.

Programmes are modelled as a content type with their own categories, so the team adds a new destination or camp themselves and it appears in navigation, listings and the relevant category automatically. That matters for a business whose catalogue changes every season.

A standing safety policy page, partner school logos and testimonials from named teachers at named schools sit close to the enquiry path. Parents and heads of year ask about risk before they ask about the itinerary.

Each season's destinations and camps go up without waiting on us, which matters for a business that rewrites its catalogue every year. The site has been running since launch.

Polymaker makes the plastic filament that 3D printers run on, and sells it worldwide. The site has to work for someone picking a colour for a weekend project and for an engineer who needs to know exactly what a material will withstand.

We built the navigation around that. Opening Filaments drops a full menu of material types, and choosing one narrows the products underneath, each labelled with the single thing that matters most about it. A buyer reaches the right spool from anywhere on the site. Underneath, products are stored as data, so Polymaker's team adds a new material once and it turns up everywhere it should.

The catalogue kept growing on that structure for years, with their own team adding the materials, and the site ran until the company rebuilt it.

Fiberon is Polymaker's range for factories and workshops, where a printed part has to survive heat and load. Buyers here want numbers before pictures, so every product page opens with them, and a comparison tool lets someone check a material against their own printer before ordering.

It runs on the same product data as the main Polymaker site, which meant Fiberon could launch as its own brand without a second team behind it. Because both sites read from one source, their spec sheets have never disagreed in front of a customer.

Mimosa Productions develops Asian-led film and television content across Asia and the US. The site exists to be opened in a meeting, by a co-production partner, a financier, or a festival programmer who has ten minutes.

So everything lives on one page: what the studio does, the projects, the team. Full biographies open in place rather than on separate pages, so a reader can check a producer's credits without losing their place, and each one links out to IMDb, where the credits are listed in full.

The project grid is built to be reordered quickly, because what a studio leads with changes depending on who is in the room and what is currently in development.

The studio can send one link into a meeting and reorder what it leads with beforehand, without asking anyone to rebuild a page. The site is still in service.

Cages is an American-style bar and sports venue with rooms in two Chinese cities. Batting cages, basketball, bar games, food and corporate buy-outs, in two cities that share a brand but not a menu, a phone number or a WeChat account.

Both venues live on one site. Each has its own page carrying its own menu, activities, address and event booking, while the brand story stays shared. A visitor picks a city once and everything below follows.

This one is built for the mainland specifically: a full Chinese edition, WeChat QR codes and app download placed where people actually scan them, local phone numbers, and the ICP filing displayed in the footer as required.

Two venues run from one site, so a menu change or a new event goes up once and the brand stays consistent across both cities. It has been live inside mainland China, ICP filing in place, since launch.

Before the studio took its current shape we built and ran The Unity House, a mobile bidding and pledging platform for charity fundraisers. Guests bid from their own phones, which removed the cost of renting hardware and let supporters who couldn't attend take part from anywhere.

Running it taught us things a client project would not have. Identity was verified by one-time password, because a disputed bid at the end of a gala night is a collections problem for the charity. Bidders could stay anonymous or appear under a nickname on the projection screen. Outbid alerts went out by SMS, which is what actually pushes a price up. Payments linked directly to the organiser's own Stripe or PayPal account, so we never touched a guest's card details, and guest data was deleted after a year unless the client asked otherwise.

A technician and an event manager were on site for every event, because there is no second attempt at a live auction. The company is still a registered auctioneer in Hong Kong, though the platform is no longer our main work.

Charities kept everything raised on the night. The fee was a one-off cost and we never took a percentage of the proceeds, which is unusual for the category and was the main reason organisers came back.