Interviews met Qinwen Feng

Ever since my elementary school days, I've been fascinated by how things work - especially when it comes to building and programming LEGO robots. I realized how much I enjoyed creating a blend of creativity and practicality while solving problems with my hands. In high school, I started taking professional drawing classes that helped me build a foundation in art and bring my ideas to life in visually compelling ways.

It wasn't until I made my first product design for the first time as an undergraduate in Taiwan that I knew design was the right path for me. It allowed me to use both my analytical and artistic skills, and I felt a deep sense of accomplishment whenever I turned my initial concept into something concrete. Whether it's experimenting with new materials or sketching out product blueprints, the process of making something that improves people's lives is what drives me - and that excitement has never faded.

Outside of my main role at HP—where I’m part of the Commercial Team in Spring, Texas, working on notebook designs for a global market—I run a small design studio that collaborates with local businesses on brand identity, UI, and UX projects. It’s a great balance because, on one hand, I get to focus on high-level product design and engineering at HP, and on the other, I can explore a more intimate scale of design work—helping local brands define their image and create engaging digital experiences. That variety keeps me inspired and lets me apply insights from one field to the other.

For me, design is all about finding system-level solutions in a way that’s both creative and aesthetically pleasing. It’s a process deeply tied to user experience, where every step—from initial research to final execution—centers on solving real problems for people. I see design as both a means of self-expression and a powerful tool for shaping how we interact with the world. So while there’s definitely an artistic element to it, design also demands strategic thinking and empathy.

I get really excited about projects that take a more holistic, system-level approach to solving real user problems. Don’t get me wrong—I love designing visually appealing products, but what truly motivates me is crafting an entire user experience that simplifies and enriches people’s lives. It’s the thrill of digging into a user’s needs, figuring out their pain points, and then weaving all those insights into an integrated design solution. If there’s an opportunity to create a seamless journey—from the very first moment someone interacts with a product to the final touchpoint—I’m all in. That end-to-end problem-solving aspect is what I find most rewarding.

I have to say the Dyson hairdryer really stands out. It’s not just about its sleek, eye-catching form—it’s a prime example of “form follows function.” Dyson managed to translate its innovative engineering into a distinct design language that extends across multiple products. In doing so, they created a cohesive brand identity powered by genuine functionality, which is something I find incredibly inspiring.

The very first project I worked on in a professional setting was at Volvo, where I helped design a battery health app geared toward their evolving electric vehicle lineup—particularly Polestar and Volvo EVs. It involved visualizing data, converting it into actionable insights, and guiding users to adopt better battery usage habits right on their in-car system. Throughout that process, I learned a lot about collaborating with engineers and translating complex data into a user experience that could genuinely influence behavior change.

Glass, Behance, AI

I’m definitely at my most creative late at night. Once the world quiets down and it’s just me, my computer, and a single light, I can really zone in on my ideas. There’s a calm focus during those hours that lets me explore concepts more freely, without the usual daytime distractions. It’s like my mind hits its stride when everything else is at rest.

Right now, my biggest focus is on making sure I’m tackling the actual problem and meeting genuine user needs. Rather than diving into details like ergonomics at this stage, I’m more concerned with whether I’ve correctly identified the root issue and whether my solution truly helps people solve it in an intuitive way. I want users to naturally “get” what the product is for and how it benefits them, without having to think too hard about it. So I spend a lot of time validating the problem, brainstorming solutions, and testing whether those solutions resonate with people on a deeper level. If it feels seamless, natural, and solves the real pain point, then I know I’m on the right track.

When it comes to my emotional journey during any design process, it tends to shift quite a bit. At the very start, when everything’s still just a topic or a rough idea, I usually feel a bit lost. But as soon as I begin researching and gathering insights, I get more excited, exploring possibilities and directions. Once I move on to iterating and refining the design details, I become calm and methodical, focusing on problem-solving. Finally, when the project is done, there’s this sense of pride and accomplishment that makes all the ups and downs worth it.

I usually go through a whole range of emotions. First, there’s this rush of excitement and a strong sense of accomplishment—seeing something I’ve envisioned finally come to life is incredibly satisfying. At the same time, I often notice tiny details I wish I could have improved, which can be a little frustrating. But that feeling quickly transitions into motivation: I take those small lessons forward and look for ways to refine the design or apply new insights to my next project.

I believe a design is successful if it genuinely adds value to people’s lives and, ideally, has a positive impact on the wider community. If it can truly make daily routines easier or more meaningful, then it’s on the right track. Beyond that, successful design often resonates on a broader scale—when society as a whole recognizes its benefit, that’s a huge milestone. It’s not just about aesthetics or novelty; it’s about fostering real change and offering solutions that help us live better.

As for judging a design’s quality, I like to highlight the positive aspects first—something I picked up at ArtCenter. Acknowledging what’s already working helps maintain a respectful dialogue and ensures everyone feels valued. Then, I’ll discuss what might be improved, aiming to collaborate with the team on refining those weaker points. It’s really about building mutual respect and pushing the design forward together, rather than just criticizing for the sake of it.

Sustainability is at the heart of it. As designers, we can’t just pick eco-friendly materials and call it a day; we have to think about the entire life cycle of a product. How does it get produced? How will it be disposed of or recycled once its lifespan ends? There’s a lot of room for innovation here—from designing more efficient manufacturing processes to planning how products can be dismantled or repurposed down the line. It’s our responsibility to consider these factors so we’re not just creating new things, but doing it in a way that respects the planet and its resources.

I see the future of design as both more interdisciplinary and increasingly shaped by AI. On one hand, designers are collaborating with experts from fields like engineering, psychology, and data science more than ever before, creating solutions that are truly holistic and innovative. On the other hand, AI is changing the way I work on a practical level—everything from early-stage research to brainstorming and even detailed exploration is getting a boost in efficiency. AI tools can generate numerous concepts quickly, so I can make more informed decisions and focus on the human side of design rather than getting bogged down in repetitive tasks. This combination of cross-disciplinary collaboration and AI-driven workflows is speeding up the design process and empowering us to create solutions that genuinely resonate with users.

My most recent exhibition was my graduation show at the Pasadena Convention Center through ArtCenter. As for the next one, I hope it happens soon, but I haven’t pinned down the exact dates or venue yet. I’m really looking forward to showcasing some fresh ideas and prototypes once I have a solid collection of new work ready to go.

I draw inspiration from exploring different cultures, user behaviors, and new technologies. Traveling and engaging with people from diverse backgrounds also boosts my creativity—it helps me see everyday pain points from fresh perspectives. I often keep a sketchbook or use digital mood boards to gather thoughts and references as I go.

I’d say my design style is heavily rooted in “form follows function,” but I’m always open to exploring new possibilities. I constantly refine my work through daily practice—testing out ideas, seeing what works, and pushing myself to iterate. It’s a continuous improvement process that allows me to merge aesthetics with practicality in a way that feels fresh, yet purposeful.

I’m originally from Wuxi, China, but I received my Bachelor’s degree in Taiwan. Currently, I live in Pasadena, California. Having roots in China and an educational background from Taiwan has infused my design approach with a sense of precision, respect for craftsmanship, and emphasis on thoughtful details—key cultural values that shape my work.

On the plus side, blending these influences with the innovation-driven spirit of California has broadened my perspectives and encouraged me to embrace new ideas. It helps me see challenges from different angles and design solutions that balance efficiency with cultural nuance. However, navigating these distinct aesthetic preferences and market expectations can occasionally be challenging—sometimes what resonates in one culture might not translate as smoothly in another. In the end, these differences only enrich my process, giving me a more holistic viewpoint and helping me create designs that can speak to a global audience.

I prioritize active listening and respect, making sure I thoroughly understand the client’s needs before suggesting any solutions. Once I have a clear grasp of their goals, I like to present multiple options—ranging from a minimal, cost-effective approach to a more comprehensive, high-investment solution, with a mid-range option in between. This way, companies can choose an approach that aligns best with their budget and objectives. Throughout the process, I maintain open communication to ensure everyone stays on the same page and feels comfortable providing feedback or asking questions.

First, it’s crucial for a company to understand a designer’s style and approach to see if it matches the project at hand. Beyond that, I recommend looking for genuine curiosity—when designers have a real passion for the problem they’re solving, they bring a different level of energy and creativity to the table. It’s also helpful for companies to keep designers motivated by sharing updates, feedback, and insights throughout the project. Collaboration and transparency help ensure the designer remains fully engaged and excited, which ultimately leads to better results.

I usually start with a broader exploration of big-picture trends to identify potential opportunities. Then, I research what the company is currently doing in that space, as well as the human needs involved—often through a mix of secondary research (articles, reports) and primary research (interviews, surveys). Once I pinpoint the real value proposition, I move on to brainstorming and ideation, refining concepts until they align with both user needs and the company’s goals. Throughout each step, I stay open to feedback and iterate quickly, ensuring the final solution remains user-centered and strategically sound.

My multi-device charging stand – It charges my phone, AirPods, and watch all at once, which is super convenient.

A wireless dimmer and screen light – I love how it’s controlled by a simple knob I can place anywhere on my desk; it’s a Xiaomi screen light that’s both functional and sleek.

Apple’s MagSafe wallet – It attaches neatly to the back of my iPhone and holds my essential cards. It’s minimal, but it saves me a lot of hassle.

OXO’s vegetable peeler – It’s ergonomically designed, easy to hold, and makes peeling vegetables a breeze.

An IKEA desk lamp – It’s affordable, stylish, and gets the job done without any fuss. It proves that great design doesn’t have to cost a fortune.

I usually wake up around 7 or 8 in the morning. After a quick 10-minute workout, I’ll have breakfast and head to work. My workday typically involves project tasks, meetings, and a much-needed cup of coffee to keep me going. Around 5 PM, I try to dodge the evening rush by hitting the gym for about an hour. Once I get home, I’ll cook dinner, relax for a bit, and then spend my late evening working on personal design projects. I usually call it a night around midnight and start all over again the next day.

Design is never truly “done.” Even when you finish a project, there’s always room for improvement. My advice is to give it everything you’ve got within the time constraints you have—strive for your personal best rather than perfection. A “successful” design doesn’t necessarily mean it’s flawless, but that you’ve pushed yourself as far as possible with the resources at hand. Keep learning, keep iterating, and don’t be afraid to revisit ideas with fresh eyes.

On the positive side, I love having the ability to visualize ideas and shape them into compelling stories or products. It’s incredibly satisfying to take a concept and bring it to life in a way that resonates with others. On the flip side, I can get overly picky about the tiniest details—both in my professional work and everyday life. That perfectionist streak can be a double-edged sword: it helps me produce high-quality results, but it can also be mentally exhausting when I fixate on small imperfections.

My golden rule is to design with empathy and intention. Always remember why you’re designing a product in the first place—to serve a need or solve a problem. By keeping the user’s perspective front and center, you can ensure the final product is not just beautiful, but also genuinely useful.

I personally believe that a sharp sense of observation is the key to great design. It starts with noticing the right problems—understanding how and why they occur—and then digging deep into their root causes. From there, you can think about genuine, long-term solutions rather than quick fixes. Even in later stages, like brainstorming and testing, observation helps you spot the really promising ideas (and potential pitfalls) before you commit to them. If you miss something because you weren’t paying attention or because you got stuck in tunnel vision, you risk creating a solution that doesn’t fully address the problem. Having strong observational skills ensures you’re approaching challenges with clarity and depth.

For 3D modeling, I lean heavily on Fusion 360 because it has a comprehensive feature set and free access for students. Plus, its cloud storage makes it easy for me to switch between different computers without missing a beat. When it comes to rendering, I rely on Keyshot to produce high-quality visuals—practicing with different lighting and materials to get the look just right. I also use Figma for designing GUIs or service experiences, as it’s incredibly versatile for wireframing, prototyping, and collaborating with teams in real time.

My approach to time management is pretty straightforward: I list out every task I need to tackle and then build in extra “buffer” time, because design is rarely linear. There’s always a chance you’ll need to pivot, redo certain parts, or explore an unexpected avenue. By setting my own deadlines ahead of the official ones, I give myself room to breathe. That way, if something takes longer than planned, I’m not scrambling at the eleventh hour. It’s all about anticipating the twists and turns so I can finish each phase of a project without feeling rushed.

It really depends on the scope and complexity. A simple project can sometimes come together in about a week if you have clear goals and a streamlined process. But for bigger, more intricate designs—especially those involving multiple stakeholders and heavy research—it can easily take six months or more to fully develop and refine.

I’d say “Why?” is the question I hear the most—why design something this way, why try this approach, why is this idea better than another? Any time you explore new or unconventional ideas, people naturally want to understand the rationale. “Why” is also a great prompt for me to validate and refine my thinking, making sure there’s a solid reason behind every design choice.

My time at Volvo stands out as a pivotal moment. That’s where I really started grasping the essence of user-centered design—learning how to collaborate with people from different backgrounds, conduct thorough user research, and incorporate those insights into a meaningful final product. It was a crash course in teamwork, empathy, and strategic thinking, and it’s influenced the way I approach every project since.

I’ve worked with a range of clients, from local educational institutions to companies in Taiwan that produce barbecue grills and hanging fans, as well as small local businesses here in the U.S. Each collaboration has given me valuable insights into different industries and user needs.

I get the greatest satisfaction from projects with a lot of moving parts—where there’s room to explore UI/UX, hardware, and everything in between. Complex challenges give me the freedom to think broadly, collaborate across disciplines, and craft solutions that truly help users achieve their goals. The more possibilities, the more interesting the process becomes for me.

Over the next four or five years, I plan to continue working in a company setting, building my experience and honing my skills. In parallel, I’d like to explore side projects that stretch my creativity and entrepreneurial mindset. Eventually—maybe around five years from now—I’m considering launching my own studio. It’s a long-term dream that I’m steadily working toward.

Most of my personal projects are done solo, but I do enjoy collaborating with teams. Working alone gives me creative freedom, yet teaming up with others can reveal blind spots I wouldn’t catch on my own. Likewise, I can offer insights they might have overlooked. That mutual feedback loop often leads to stronger, more innovative outcomes.

I’m currently involved in an AI-focused project, but it’s still under wraps, so I can’t share the details just yet. Stay tuned!

You can reach me via email at kevinvon31@gmail.com or kevinvon.com or through Instagram and LinkedIn. I’m always open to new opportunities, collaborations, and conversations about design.

The idea for the B2Q Kit began with my own experiences barbecuing outdoors during Taiwan’s Mid-Autumn Festival. I noticed that people often brought piles of disposable tableware and scattered tools, which disrupted the enjoyable, social atmosphere of the event. This observation inspired me to redesign the entire barbecue experience —from preparation to cleanup— in a more organized and elegant way.I conducted interviews and on-site tests to understand which fuels and barbecue styles people preferred, then built quick prototypes to evaluate folding structures and usability. Through this research-driven process, the concept evolved into a complete system that simplifies cooking, keeps tools organized, and elevates outdoor dining into a clean, social, and convenient experience.

The modular design of the B2Q Kit was inspired by my research into the complexity of the barbecue process. I found that each stage requires different tools, which often creates clutter and inefficiency in a limited space. I wanted to create a system that offers flexibility within a compact structure. The inspiration came from the IKEA SKÅDIS pegboard on my desk, which allows users to organize tools freely on a single panel. This idea sparked the concept of a modular barbecue surface where users can attach or swap different accessories according to their cooking habits, ensuring that the B2Q Kit can adapt to diverse scenarios and personal preferences.

The layered structure of the B2Q Kit posed challenges in balancing space efficiency with heat management. Since the design integrates multiple functions within a compact body, I experimented with laser-cut mockups to test ventilation flow and spacing between layers. I also purchased actual gas components to evaluate safe distances between the burner, grill plate, and internal compartments. These tests helped determine the optimal number and placement of ventilation holes, ensuring sufficient airflow and preventing heat buildup. Through these iterations, I was able to maintain a slim, organized structure without compromising user safety or cooking performance.

The transformation of the B2Q Kit from a sleek suitcase into a fully functional cooking station was guided by simplicity, structure, and user experience. I wanted the unfolding process to feel intuitive—so users could open it and start grilling without extra tools. A major design challenge was the telescopic leg system: it had to be compact enough to fit within the bottom space of the grill, yet extend to a stable, ergonomic height. I spent considerable time refining this mechanism, testing how to minimize the space it occupied while ensuring firmness once deployed. Through multiple mockups and hinge-angle experiments, the legs were optimized to open smoothly to a steady angle, achieving both portability and reliability within a sleek, efficient form.

The multiple height configurations of the B2Q Kit were inspired by observing how people barbecue in different social and cultural settings. In Taiwan, outdoor grilling often happens while standing and moving around, whereas in Western camping culture, people prefer sitting together around the fire. I wanted the product to adapt to both. The adjustable leg system allows for 400mm sitting height and 840mm standing height, accommodating different users, terrains, and group dynamics. This flexibility not only enhances comfort but also supports the social nature of barbecuing—whether it’s a quick lunch by the beach or a long evening gathering.

My experience at Volvo Cars and later as an exchange student at Pforzheim University shaped my understanding of user-centered design from research to storytelling. At Volvo, I learned how to observe user behaviors and translate insights into meaningful design strategies through structured user research and iterative testing. This experience taught me to ground every design decision in real human needs. Later, at Pforzheim University, I refined how form follows function—learning to craft forms that not only serve usability but also communicate a narrative about how people interact with products. It helped me approach design with both emotional sensitivity and practical clarity.

The storage design of the B2Q Kit was inspired by the structure of double-layer toolboxes. I wanted the upper and lower compartments to function separately, allowing users to organize and clean them independently. The two layers are secured with side latches, similar to a compact battle box, giving the structure both stability and flexibility. Research on typical barbecue setups helped identify the most frequently used utensils and condiments, leading to the inclusion of accessory racks for seasoning jars and tongs.

I see the B2Q Kit as more than just a product—it represents a shift in how people experience outdoor dining. I believe future outdoor cooking will focus on compact, modular, and shareable systems that blend functionality with lifestyle. It redefines the barbecue not as a task, but as a complete experience that brings people closer through design and interaction.

Material selection for the B2Q Kit focused on achieving the right balance between heat resistance, strength, and portability. Steel sheet metal was chosen for high-temperature areas to prevent deformation, while aluminum was used where lightness and mobility were priorities. This hybrid structure keeps the grill sturdy yet easy to carry. The entire body is made through sheet-metal fabrication, which also allows for precise ventilation and weight reduction. Rounded edges and chamfers are not purely aesthetic—they strengthen the panels and improve handling. Each material decision supports the goal of creating a lightweight, durable, and elegant product.

The B2Q Kit promotes sustainability by encouraging users to reduce waste and adopt reusable tools. In Taiwan, barbecues often rely on disposable utensils and charcoal, creating significant waste. This design replaces those with durable components and cleaner gas-based fuel. Its reusable structure reduces the need for single-use items and supports long-term use. Beyond materials, the kit also encourages an environmentally conscious mindset—reminding users that convenience and sustainability can coexist, and that thoughtful design can lead to more responsible outdoor experiences.