Interviews met Wenxi Qi

The core idea behind Panini101 is to challenge the growing “black-box” nature of modern technology. As devices become more powerful, they also become more opaque—users interact with them daily, yet understand them less and trust them less.

Panini101 reimagines a common everyday object—a desktop charger—as a transparent and culturally resonant artifact. The inspiration comes from 1990s computer towers, an era when technology felt more tangible, understandable, and emotionally engaging. By exposing internal components through a viewing window and referencing nostalgic design language, the product aims to rebuild a sense of trust, curiosity, and emotional connection between people and technology.

My main focus was to go beyond pure functionality and explore how consumer electronics can carry emotional and cultural meaning.

Technically, the goal was to deliver a reliable 100W GaN fast-charging experience across multiple devices. But more importantly, I wanted to transform a charger—typically an invisible, purely utilitarian object—into something that users would notice, appreciate, and even display.

The ultimate goal was to create a product that not only powers devices but also reshapes how people perceive and emotionally relate to everyday technology.

Panini101 has already moved into mass production, and we recently introduced a limited edition featuring colored transparent CMF variations to further explore its collectible and cultural appeal.

In the United States, the product is currently sold through a direct-to-consumer (D2C) online model. This allows us to maintain a close relationship with our users and better communicate the design story behind the product.

On the retail side, we have established a partnership with DrivePro, a premium consumer electronics retail chain with over 20 stores across China, where Panini101 will be introduced into offline channels.

Looking ahead, we plan to expand into globally recognized design and cultural retail platforms such as MoMA Design Store, as well as curated lifestyle and street culture retailers like KITH.

Our broader goal is to take Panini101 from a design-driven product into a globally distributed cultural object, bridging consumer electronics with design, fashion, and contemporary culture.

The initial idea came together very quickly. From concept to the first visualized design, it took only about two weeks.

However, turning that idea into a real product was a much longer process. We conducted extensive user research, manufacturing feasibility studies, and charging technology validation, which led to multiple iterations and significant refinements of the original design.

By the end of 2023, we developed three engineering prototypes. In April 2024, we launched an independent crowdfunding campaign under our brand, and by October 2024, we completed the first batch of mass production.

The colored limited edition was developed later and entered R&D in fall 2025. An engineering prototype of this version was first presented at ComplexCon in 2025.

Because this is not just a design concept but a product built from the ground up, the journey spans multiple years. It reflects the full process from idea to engineering, manufacturing, and market validation.

This was not a commissioned project. It originated from my own long-term interest in how design can rebuild human relationships with technology.

I have been exploring themes around transparency, emotional engagement, and human-centered technology systems for years. Panini101 became a natural extension of this exploration—applying those ideas to a highly standardized and overlooked product category.

Panini101 is being produced and distributed under my own brand, PaniniClub. We manage the design, production, and go-to-market strategy directly, allowing us to maintain consistency between design vision and user experience.

I was drawn to this category because of how overlooked it is.

Chargers are among the most essential consumer electronics products, yet they are typically treated as invisible infrastructure. People use them every day, but rarely think about them, notice them, or form any emotional connection with them.

This disconnect made the category particularly interesting to me. It represents a broader condition in modern technology, where products become more powerful but also more distant and less meaningful to users.

Designing Panini101 was an opportunity to challenge that norm. I wanted to explore whether even the most ordinary, standardized object could be reimagined as something visible, expressive, and culturally relevant.

Panini101 is influenced more by a cultural and technological era than by a specific designer.

The form and visual language draw inspiration from the 1990s and early 2000s, particularly from computer towers that were once a common presence in households but gradually disappeared as technology became more compact and opaque.

Those objects carried a sense of physicality and transparency. You could often see or imagine how they worked, and they became part of people’s everyday environments and memories. Panini101 reinterprets that familiar form in a contemporary context, bringing back a sense of tangibility and emotional connection that has been largely lost in modern consumer electronics.

The target users are design-conscious consumers, tech enthusiasts, and culturally aware individuals who value both functionality and meaning in the products they use.

It also appeals to a younger generation that is increasingly interested in objects that reflect identity, nostalgia, and personal taste.

Most chargers compete purely on technical specifications—power output, size, and efficiency.

Panini101 introduces a different dimension: cultural and emotional value. By combining high-performance GaN technology with a transparent and nostalgic design language, it transforms a purely functional device into a conversation piece.

The name Panini101 comes from the story behind our brand, PaniniClub.

One morning, my co-founder Sam had his favorite breakfast, a panini, and proposed the idea of building a brand together. He described a vision where every product we create would be like a delicious panini—simple, satisfying, and capable of bringing a small moment of joy into everyday life.

That idea resonated with me immediately. We named the brand PaniniClub, and since then, we have thought of each product as an “electronic panini” we contribute to the world.

Panini101, as our first product, naturally carries the “101” designation. It represents both a starting point and an introduction—the first expression of what PaniniClub stands for.

The project involved a combination of industrial design, visualization, and content production tools.

For product development, I used SolidWorks for 3D modeling and structural design, and KeyShot for rendering and visual validation. Cinema 4D was used to create animations that helped communicate the form and internal structure of the product.

For storytelling and content creation, I used Adobe After Effects for video editing and motion design. I also incorporated AI-based tools such as Nanobanana for image enhancement and Sora for video enhancement, which helped refine visual quality and accelerate the production of marketing assets.

This combination of traditional design tools and emerging AI workflows allowed us to maintain both technical precision and strong visual storytelling throughout the project.

The most unique aspect is the integration of physical transparency with emotional storytelling.

Instead of hiding complexity, the design reveals it—turning internal circuitry into part of the visual experience. This shifts the product from a black box into something users can observe, understand, and connect with.

This project was a close collaboration between me and my two co-founders, Sam and Hunter.

Sam is based in the city where our manufacturing partners are located and has been leading supply chain management and quality control. His role has been critical in ensuring that the design can be translated into a reliable, manufacturable product at scale.

Hunter focuses on brand building, visual identity, and the design of many of our creative assets. He also manages fulfillment operations in the United States, helping us connect the product with our customers.

Beyond our core team, we worked closely with engineers and manufacturing specialists throughout the development process. Their expertise in power electronics, production processes, and compliance was essential in bringing the product from concept to reality.

This combination of design, engineering, supply chain, and branding allowed us to build not just a product, but a complete system from idea to market.

Technology is both the foundation and the subject of the design.

The product uses GaN fast-charging technology to deliver high efficiency and a compact form. At the same time, the design deliberately exposes parts of this technology, making it visible and understandable rather than hidden.

The design is informed by both qualitative and contextual research.

I looked into user behavior around everyday electronics, especially the growing sense of detachment and lack of trust toward increasingly complex devices. Observations around nostalgia, collectibility, and emotional attachment to objects also played an important role.

One of the main challenges was balancing aesthetics with engineering constraints.

A transparent structure introduces challenges in heat dissipation, safety certification, and internal layout. Ensuring that the product meets strict safety standards while maintaining the intended visual experience required multiple iterations and close coordination with engineers.

Submitting to an international design competition was a way to validate the broader relevance of the idea.

Panini101 is not only a product, but also a statement about how we can rethink everyday technology. Competitions provide a platform to communicate that perspective to a global audience.

This project strengthened my ability to integrate design thinking with engineering realities.

It reinforced the importance of designing not just for function, but for meaning—while still delivering a viable, manufacturable product.

Panini101 is not just a product. It is a statement about what consumer electronics could become.

In today’s industry, most brands optimize for performance, efficiency, and distribution. That is why events like CES are often centered around technology showcases and channel expansion. Our approach with PaniniClub is fundamentally different. We treat consumer electronics as cultural artifacts rather than purely functional tools.

This perspective was validated in the real world. Instead of only appearing in traditional tech environments, PaniniClub was invited for two consecutive years to ComplexCon, one of the most influential cultural festivals in the United States. We were not there because we are a charger brand. We were there because the product carries cultural meaning.

At ComplexCon, Panini101 existed alongside fashion, music, and street culture. It attracted celebrity buyers and inspired creators and influencers to organically produce content. This led to strong digital visibility and engagement across platforms. The product was not only used. It was interpreted, shared, and talked about.

For me, this was a clear validation. Consumer electronics do not have to remain invisible infrastructure. They can become visible, expressive, and emotionally resonant objects.

Panini101 is only a starting point, but it suggests a shift from devices people simply use to objects they relate to, and from technology as utility to technology as culture.

I was formally trained in industrial design, and my academic experience spans both product design and system-level thinking. My early work began in research environments where design intersected with engineering and large-scale systems, including industrial AI and infrastructure projects. This foundation shaped my approach: I do not see design as isolated objects, but as part of broader product ecosystems that connect technology with human behavior.

What motivates me is the gap between technological capability and human understanding. Many technologies today are powerful but inaccessible or emotionally distant. I design to translate complexity into something people can understand, trust, and adopt.

For me, becoming a designer was not a forced decision, nor a single moment of choice. It felt as if all paths eventually led me to the same destination.

Design was the place where everything I was drawn to—systems, people, technology, and meaning—came together. In that sense, it was a mutual choice. I chose design, and design, in its own way, chose me.

I design technology-driven product systems—especially consumer electronics that carry emotional and cultural value.

I want to design more products that reconnect people with technology in a meaningful way.

Focus less on style and more on impact.

Great designers solve problems that matter at scale.

A good designer improves products.

A great designer changes how people interact with technology.

A really good design achieves three things:

1. Functional clarity

2. Emotional resonance

3. Real-world impact

Good design increases adoption.

Without design, even great technology fails to reach people.

I would design public-facing systems that help people better understand and manage their daily lives—especially in areas like emotional well-being and technology literacy.

A global-scale system of “emotional first aid” tools integrated into everyday environments is not a project I have yet to realize—it is a long-term endeavor I am actively building. The ambition is to reshape how a generation approaches emotional and mental well-being through accessible, everyday design. I have been developing this work continuously alongside my professional practice, and, given its scale and societal implications, it requires sustained time, research, and resources to fully implement it.

My approach to design is grounded in three core principles.

The first is open-mindedness. I constantly learn from disciplines beyond design, including technology, psychology, and culture, because meaningful design rarely exists within a single field. The ability to understand and synthesize knowledge across domains is essential to addressing complex problems.

The second is clarity. A central part of my work is translating technical complexity into forms that people can easily understand, trust, and adopt. If a design does not make something clearer, then it has not fully achieved its purpose.

The third is resonance. Beyond functionality, I aim to create designs that connect with people on a deeper, more universal level. The most enduring designs are those that transcend language, culture, and background, and can be intuitively understood and appreciated by a wide range of people.

Together, these principles shape how I approach design, not just as the creation of objects, but as a way to bridge complexity and human experience.

Designers and thinkers who work across disciplines—those who shape systems, not just objects.

I admire Le Corbusier, Jony Ive, and Dieter Rams. What unites them is that they operate far beyond design itself. Design, for them, is not the destination, but the medium—a way to interpret the world, shape culture, and influence how people live.

That is what I aspire to. Not just to design products, but to use design as a language to create meaning and leave a lasting impact on how people experience technology and everyday life.

I do not define my greatest design as a single product, but as a series of works that create measurable impact in the real world.

These projects have contributed to changing decades-old operational models in industrial systems such as railway inspection, improving efficiency and usability at scale. They have explored new ways for individuals to understand and manage everyday emotional experiences through design-led frameworks. They have also redefined how people relate to consumer electronics, moving from opaque “black box” devices toward more transparent and culturally resonant interactions.

What makes these designs significant is their ability to operate beyond aesthetics and function. They influence behavior, reshape systems, and shift perception at scale. In my view, that is what elevates design from being good to being truly meaningful.

Work on real systems, not hypothetical concepts.

Entrepreneur, and I'm already one, I call myself a "designpreneur."

Design, to me, is the translation layer between technology and human behavior.

It is not primarily about self-expression, but about solving problems for others. The value of design lies in its ability to take complex, often invisible systems and make them understandable, usable, and meaningful in everyday life.

At its best, design bridges the gap between what technology can do and how people actually live. It transforms capability into adoption, and complexity into clarity.

I have received support from many people along the way, and I deeply value the mentors and collaborators who have influenced my journey.

But if I had to name the most consistent supporter, it would be myself. I have always taken full ownership of my path, making decisions independently and taking responsibility for every outcome. That mindset has been critical in navigating uncertainty and building something meaningful over time.

I believe that ultimately, growth comes from the ability to lead your own direction while remaining open to learning from others.

I see myself not as a self-centered creator, but as a mediator, a translator, and a listener.

My role is to understand complexity from different perspectives and translate it into something meaningful for people. Design, to me, is less about expressing myself and more about interpreting and making sense of the world for others.

One of the most significant challenges I faced was establishing the value of design in contexts where it was not immediately recognized.

In many environments, especially those driven by engineering or operational priorities, design is often seen as secondary. Early in my career, I had to prove that design is not just about form, but about shaping how systems are understood, adopted, and used.

I learned that value is built through impact. By consistently delivering work that improved efficiency, clarified complexity, and influenced user behavior, I was able to shift how design was perceived—from an aesthetic layer to a strategic function.

This process of establishing the role and value of design has been one of the most important parts of my development as a designer.

Show decision-making, real-world or projected impacts, not just visual outcomes.

My next work is focused in three directions.

I am currently developing Panini202 for PaniniClub, continuing my exploration of how consumer electronics can move beyond pure function and become culturally meaningful, human-centered products.

In parallel, I am advancing a long-term system in emotional well-being design, building tools that help people better understand and respond to their everyday emotional states. This work aims to shape how emotional awareness can be integrated into daily life through design.

At the same time, I will continue working with startups, helping translate emerging technologies into usable, human-centered product systems. My focus remains on turning technical innovation into real-world adoption and impact.

My ultimate goal as a designer is to ensure that technology genuinely serves people.

Clarity, depth, and meaningful impact.

Design enables access.

It makes innovation usable.

Beyond my own design practice, I have been actively engaged in international design award juries and in building design communities.

What I find most exciting is not the personal recognition but the opportunity to contribute to the infrastructure of the global design ecosystem. Through jury work and community initiatives, I am able to support emerging designers, influence how design is evaluated, and participate in shaping the standards and discourse of the field.

For me, this represents a shift from creating individual work to contributing to the systems that enable and elevate the design community at scale.

One of the projects that brought me the most satisfaction is Ayama.

It was my first project recognized by the iF Design Award, and it marked the beginning of my work in emotional well-being design and tangible interaction. It was not only a design project, but an early exploration of how physical interfaces could support everyday emotional regulation.

What makes it particularly meaningful is that its influence extended beyond the project itself. The concept contributed to inspiring entrepreneurs to develop and commercialize meditation-focused products, transforming an early design exploration into solutions that are now used globally.

I would like to see the design industry move beyond treating consumer electronics as purely functional, efficiency-driven products.

Many technologies today are designed as opaque systems, creating a sense of distance and even anxiety for users. This has contributed to a growing disconnect between people and the technologies they rely on.

Through my work with PaniniClub, I am exploring an alternative approach—one where consumer electronics carry cultural meaning and emotional value, and where design actively works to reduce fear and rebuild trust. By making technology more transparent and relatable, design can transform how people perceive and engage with it.

The design field is moving toward an AI-augmented future, where the relationship between human creativity and machine capability will be fundamentally redefined.

AI will lower the barrier of execution, making it easier to generate forms, variations, and solutions. As a result, the value of designers will shift away from technical skill and tool proficiency, and toward higher-level thinking—problem framing, system design, and human understanding.

The key question is not whether AI will be used, but how designers maintain authorship, intention, and meaning within AI-assisted processes. The most important work will be finding a balance where AI amplifies creativity without replacing the human perspective that gives design its purpose.

From months to years, depending on system complexity and clients' needs.

With the problem

Design shapes long-term behavior; trends are temporary.

Technology is the material of modern design.

I look for clarity and intent.

I was trained in industrial design, but my practice has always extended beyond traditional product design. Over the past decade, I have been working at the intersection of technology, culture, and human experience, focusing on translating complex technical systems such as AI, hardware, and data infrastructures into products people can understand and use.

My journey did not start from a single moment of deciding to become a designer. It felt more like all paths gradually led here. I have always been curious about how things work and how people feel about them. Design became the field where these two interests could meet.

An early defining experience was working on large-scale industrial systems such as railway inspection platforms. That project shaped my perspective. Design is not only about form. It is about making complex systems understandable and usable at a human level.

I am the design director of Aproject Factory, a product design and innovation studio, and the co-founder of PaniniClub, a culture-driven consumer electronics brand.

Aproject Factory focuses on early-stage product systems, helping startups and emerging companies translate technically complex ideas into real, market-ready products. Our work spans AI software, hardware systems, and integrated product ecosystems.

PaniniClub explores a more cultural dimension of technology. Our first product, Panini101, reimagines everyday electronics as emotionally resonant objects. It reflects our belief that technology should not feel distant or opaque. It should feel understandable and even personal.

Design, for me, is a form of translation.

It translates complexity into clarity, and abstraction into experience. As technologies such as AI become more powerful yet more difficult to understand, design becomes essential in making them accessible and trustworthy.

At the same time, design is also a cultural medium. It allows us to embed meaning, memory, and emotional value into everyday objects.

I enjoy designing product systems that sit between technology and human behavior. This includes AI-powered products, consumer electronics, emotional well-being tools, and hardware-software integrated systems.

I am particularly interested in projects where the challenge is how people understand and relate to technology.

One of my favorite designs is the LC4 Chaise Lounge by Le Corbusier, created in collaboration with Charlotte Perriand and Pierre Jeanneret.

What I admire most about the LC4 is how it embodies a deep understanding of the human body. Its form follows the natural curve of the body in an intuitive way, creating a sense of effortless comfort while maintaining a precise and rational structure.

I see it as a perfect expression of timelessness, elegance, and adaptability. The balance between material and form feels resolved in a way that is both simple and enduring. I also appreciate its naming logic. The clarity and system behind the name influenced how I think about naming in my own work, including products at PaniniClub.

One of the first projects I designed for a company was a railway inspection system in 2018, developed in collaboration with Seer Big Data.

The project focused on modernizing non-destructive railway testing by translating complex engineering and data systems into interfaces and physical forms that operators could understand and use in real-world conditions. It involved both system-level thinking and practical constraints from industrial environments.

This experience had a lasting impact on how I approach design. It taught me that design is not only about individual objects, but about making large-scale technical systems accessible, usable, and reliable for people operating them.

I am currently most interested in AI as a design material. It is not only a tool but also something that shapes interaction, behavior, and emotional relationships.

I feel most creative when I am connecting different domains, especially when technical systems meet human behavior or emotion. That moment of translation often leads to new ideas.

I focus on system logic, user understanding, and emotional response. A design must be functional, but also intuitive and trustworthy.

Designing often feels like a process of exploration. There is curiosity in the beginning, tension during problem-solving, and clarity when things start to align.

When a design becomes real, I feel a sense of grounding. It is rewarding to see something move from an idea into something people can interact with in everyday life.

A successful design is one that people can understand, adopt, and build a relationship with over time.

I first consider clarity and usability. If people cannot understand how to use it, the design is not successful.

Designers have a responsibility to make complex systems understandable and to reduce the gap between technology and people. We should also consider long-term impact, including emotional well-being and sustainability.

Design is evolving from object creation toward system creation. The future will involve AI-driven products, human-centered technology adoption, and interdisciplinary collaboration.

My most recent exhibition was on May 6 in Austin, where PaniniClub was selected as a startup to showcase at the iFly.vc Consumer Summit. It was a great opportunity to present our work in a context that brings together investors, founders, and emerging consumer technology brands.

For my next exhibition, I am looking forward to participating in the A' Design Award Exhibition as part of the award winners’ showcase. It would be meaningful to present the work in a more design-focused and international context.

My inspiration comes from both emerging technologies and human behavior. I observe how people interact with systems and where confusion or friction happens, and I explore how design can improve that.

My design style focuses on translating technology into human experience. It emphasizes clarity, emotional resonance, and systems thinking.

I am currently based in the United States. My cross-cultural background has a strong influence on my work, allowing me to approach design from multiple perspectives and connect different contexts.

I work closely with companies at early stages, helping define product direction, system structure, and user experience. I often act as a bridge between technical teams and users.

Companies should involve designers early in the process and look for designers who understand both technical systems and human behavior.

My process begins with understanding the system and constraints, followed by defining the problem from a human perspective, and then iterating through design and testing.

At home, I am surrounded by objects that reflect both my personal interests and my design philosophy.

I have a replica of a sculpture by Alexander Calder, which I appreciate for its balance, movement, and sense of lightness. It constantly reminds me how form can create emotion.

I also keep an iMac G3 in my personal collection. It represents a moment in history when technology was expressive, approachable, and full of character.

My own product, Panini101, is part of my daily life both on my desk and by my bedside. It reflects my ongoing exploration of making everyday technology more emotionally engaging.

In my office, I designed a small bar cabinet that combines functionality with atmosphere. It is a space where design meets lifestyle and social interaction.

Finally, I designed a tatami-style tea room for my home. It is a quiet, intentional space that contrasts with the fast pace of technology, allowing for reflection and balance.

My day usually involves a mix of design work, meetings, and strategic thinking. I often move between product development, team collaboration, and exploring new ideas.

Focus on understanding systems, not just visuals. The ability to translate complexity into usability is one of the most valuable skills.

Being a designer allows you to shape how people experience the world. At the same time, it requires constant problem-solving and adapting to changing technologies.

If people cannot understand it, it does not matter how advanced it is.

Systematic thinking, communication, and the ability to understand both technology and human behavior.

I use a combination of digital tools, prototyping methods, and research. This includes design software, AI tools, and physical prototyping processes.

I focus on prioritizing key decisions early and iterating efficiently rather than over-polishing in the beginning.

It varies depending on the project. Some concepts can be developed quickly, while others require extended research, testing, and refinement.

People often ask how design can make complex technology easier to use and understand.

Working on large-scale industrial systems had a lasting impact on my approach to design, especially in understanding systems at scale.

I have worked with startups and technology companies across different industries, including AI, healthcare, and consumer electronics.

I enjoy work that involves translating complex systems into products people can use and relate to.

I plan to continue building human-centered product systems, especially in AI-driven products and emotional well-being tools.

I work both independently and collaboratively, depending on the project. Most large projects involve cross-disciplinary teams.

I am currently exploring new product systems that combine AI and emotional interaction, focusing on how technology can better support human well-being.

LinkedIn: Wenxi Qi , E-mail:vincy@paniniclub.io, or Instagram: @vincy9410

We are entering a time when technology is becoming more powerful but also less visible. Design plays an important role in making technology understandable again, both functionally and emotionally.