Interview with Kewei Zhao

Kewei Zhao ("KZ") interviewed on Sunday, 22 June.

Could you please tell us about your experience as a designer, artist, architect or creator?

KZ : I earned my Bachelor’s degree in Industrial Design from the China Academy of Art, and subsequently completed my Master’s degree in Furniture Design at the Rhode Island School of Design (RISD) in the United States. During my studies, I gained professional experience through internships and junior design roles, working as an intern designer at Hangzhou Wahaha Group Co., Ltd., as a junior designer at Bentu Design, and later as a furniture designer at Sentient Furniture. Continuing to pursue my passion in furniture design, I founded Studio ZKW, where I maintain an active design practice.

How did you become a designer?

KZ : Ever since I was a kid, drawing has been my biggest passion. Early on, though, I discovered I also had a strong interest in design. By the time I was twelve, I had already decided that I wanted to become a designer—it’s actually the first career I ever imagined for myself, and I’ve never changed my mind. I’ve always felt deeply curious about the world around me, constantly exploring and questioning how things work or how they could be improved. To me, that’s exactly what design is all about. So when I first learned that design was something you could actually study in college, I was incredibly excited. It wasn’t an interest only a few people understand—it was a real job, a recognized academic discipline. From that moment on, I knew exactly what I wanted to do: become a designer.

What are your priorities, technique and style when designing?

KZ : For me, the three most important aspects of design are innovation, form and artistic language, and social value. These also represent the evolving focus of my design thinking. In the early phase, I concentrate on finding ways to rethink familiar objects or structures and be innovative. In the middle phase, aesthetics become central. I believe good design is always a seamless integration of function and form—something that feels intuitive, beautiful, and inviting. Toward the end of the design process, what matters most is whether the work resonates with the present social context and deliver the meaningful value. To me, this is where design fundamentally differs from pure art—its social relevance must be timely and tangible. My process often involves hands-on experimentation and physical prototyping. As a furniture designer, I typically start by building prototypes early on, then iterate and refine the design through direct engagement with materials and form.

Which emotions do you feel when designing?

KZ : For me, the beginning of the design process is always the most exciting. And as the project moves forward, that initial excitement often fades. Part of it, I think, comes from becoming more familiar with the concept itself—what once felt full of potential starts to take on a more defined shape. But more importantly, design is inherently a process of solving one problem after another, and that can be incredibly demanding. There are times when the work becomes mentally exhausting. I find myself chasing every possible direction, only to realize that none of them seem to lead anywhere. In those moments, staying calm and holding on to a strong sense of persistence becomes absolutely essential. Of course, there’s joy and a deep sense of accomplishment when a project is finally completed. But what continues to draw me in is the ongoing opportunity to learn, to observe, and to rethink what’s possible. I’m endlessly fascinated by the human capacity to break boundaries, reinvent, and create something entirely new—again and again.

What particular aspects of your background shaped you as a designer?

KZ : One of the most important has been logical thinking and reasoning. These skills help me approach each project with a clear, structured mindset—breaking down complex problems, identifying patterns, and building solutions that are both practical and conceptually sound. Equally important is my personality—I’m a good listener. These qualities have helped me build strong collaborations and truly understand the needs of others, whether I’m working with clients, craftsmen, or within a design team.

What is your growth path? What are your future plans? What is your dream design project?

KZ : My growth path begins with developing my own independent furniture brand, with the goal of exhibiting internationally—particularly in the U.S. and Europe—and collaborating with galleries that support emerging designers. This stage allows me to establish my voice and presence in the collectible design world through thoughtful, material-driven works. Looking further ahead, I hope to gradually expand into design consulting and eventually build a multidisciplinary design studio. I’m especially interested in partnering with other furniture brands to create everyday objects for a wider audience—designs that are not only functional, but also emotionally resonant and accessible in daily life. At the same time, I’m deeply aware of the growing role of artificial intelligence in shaping how we live. Whether AI proves to be one of the greatest achievements of our century or a challenge to the way we exist, it’s clear that its presence will redefine our relationship with everyday objects. I hope to contribute meaningfully to this conversation by exploring the intersection of AI and design—particularly through the creation of intelligent household products that reflect both the possibilities and the ethical considerations of a tech-integrated future.

What are your advices to designers who are at the beginning of their career?

KZ : My biggest advice to young designers is: don’t aim too high too soon—stay grounded. It’s easy to be captivated by grand visions or the idea of becoming a well-known designer overnight, but design is, at its core, a deeply practical discipline. Real growth comes through experience—by working on a wide range of projects, facing constraints, making mistakes, and learning from them. One thing I’ve learned is that there’s often a huge gap between design theory and real-world practice. What works in your sketchbook or portfolio might not hold up in production, or in daily use. That’s why it’s so important to stay humble and open-minded, and to continuously test your ideas against reality. To grow, I focus on hands-on experimentation and close engagement with materials and users. Over time, those experiences accumulate into confidence and intuition, which no textbook can teach. There are no shortcuts—it’s about showing up, doing the work, and learning from the process.

You are truly successful as a designer, what do you suggest to fellow designers, artists and architects?

KZ : If there’s one principle that has guided my path as a designer, it’s this: never repeat what has already been done. My work is driven by a commitment to innovation—I’m always searching for new ways of solving problems or a new perspective of objects and life style. I know many people believe that in today’s world that there are no truly new ideas left. But I don’t agree. I believe that if people want to make a meaningful contribution to their field, they must be something new. Not every idea will be accepted. And that’s okay. Innovation doesn’t always lead to immediate approval or recognition. But over time, persistent exploration in a specific field leads to breakthroughs, and that’s where real growth and distinction come from.

What is your day to day look like?

KZ : I typically take Mondays and Thursdays off, and dedicate the rest of the week to work. When there are no pressing orders or exhibition deadlines, I spend most of my time developing new designs. During those quieter periods, I have the flexibility to manage my own schedule, and I usually don’t work too late into the night. However, when I’m preparing for an exhibition or fulfilling orders, things become much more intensive. It’s not uncommon for me to work overtime during those times. I really enjoy the balance between focused, creative exploration and the fast-paced, deadline-driven energy that comes with preparing for a show. Each brings its own kind of motivation.

How do you keep up with latest design trends? To what extent do design trends matter?

KZ : I tend to focus more on developing my own design language rather than following current trends. My work is primarily centered around furniture, and it’s deeply rooted in a strong personal aesthetic—something that doesn’t rely on market trends to take shape or find relevance. While I stay aware of what’s happening in the design world, I don’t let trends dictate my creative direction. Many of my ideas come from personal reflection and everyday observations. I’m more interested in creating pieces that speak to individual experiences and form a quiet dialogue between the object and its user. For me, design is less about responding to what’s fashionable and more about expressing a point of view that feels honest, thoughtful, and lasting.

How do you know if a product or project is well designed? How do you define good design?

KZ : For me, the first impression often starts with appearance—how the design visually communicates its purpose. A well-designed product should clearly express its function through its form. Beyond that, I look at whether the design is logically aligned with its intended use and context. Does it solve a real problem? Does it offer greater value compared to similar products? I often evaluate it through factors like scale, material choice, and functionality to determine whether it meets the practical demands of good design.

How do you decide if your design is ready?

KZ : For me, a design is considered ready when it realizes the original intent and planning behind it—when the concept has been clearly translated into form, function, and user experience. I tend to work on one project at a time rather than working on multiple ideas simultaneously. Of course, I believe no design is ever truly perfect—there’s always room for improvement. But there’s a point when the core of the idea has been executed as intended, and further adjustments may start to dilute rather than enhance it. That’s usually when I move on. As for success, I define it through public response and relevance. If a project resonates with others—whether through engagement, recognition, or simply how people use and respond to it in everyday life—then I feel it has fulfilled its purpose. That kind of social feedback, to me, is the clearest sign of a successful design.

What is your biggest design work?

KZ : One of the most meaningful works I’ve created is a project titled “Take a Break.” It’s a piece that combines both conceptual thinking and a self-developed wood sewing technique, and I consider it a great progress in my practice. Sewing wood veneer is an innovative technique that redefines the traditional use of veneer in furniture design by introducing textile-based methods such as piercing, folding, and stitching. Unlike conventional practices that rely on gluing flat surfaces, this approach treats veneer as a flexible, fabric-like material, allowing for sculptural forms, layered textures, and seamless transitions. It blurs the line between hard and soft materials, while offering new possibilities in structure, aesthetics in crafts making. And take a break is a two pieces shelf based on this technique.“Take a Break” draws inspiration from the brick façades commonly seen throughout Brooklyn, where I live. The title is a play on words—“break” phonetically echoes “brick,” referencing both the visual and structural origins of the piece. It captures the rhythm and texture of urban architecture, translating it into a compact, functional form. The second meaning of “Take a Break” is more literal—an invitation to pause. The design consists of two parts: when separated, one transforms into a bench for sitting and resting; when combined, it functions as a TV stand.

Who is your favourite designer?

KZ : One designer I deeply admire is Oki Sato, the founder of Nendo. His work consistently strikes a balance between simplicity and playfulness. What amazes me most is his endless creativity—he’s someone who truly knows how to play through design.There’s always a touch of humor or surprise in his projects, yet they remain deeply thoughtful. If I had the chance to speak with any designer, it would be him—not only because of his creativity, but also because of the way he approaches design as storytelling. To me, his practice embodies what good design can be: conceptually strong, emotionally resonant, and beautifully executed.

Would you tell us a bit about your lifestyle and culture?

KZ : I currently live in Brooklyn, and I’ve grown quite accustomed to the rhythm of city life—the energy, the diversity, the constant movement. At the same time, I have a deep appreciation for nature. I often find myself shifting between these two worlds, and in many ways, my lifestyle is about finding balance between the urban and the natural. Spending time in nature gives me a sense of calm and clarity that I can’t always find in the city. Many of my design ideas are directly influenced by these quiet moments—they offer both a physical reset and a source of creative insight.

Would you tell us more about your work culture and business philosophy?

KZ : At the moment, I work independently, which allows me the full creative freedom. However, I’m actively looking to build partnerships with people who share a genuine passion for design and who have a clear vision for their own professional growth. For me, the ideal collaborator is someone who values curiosity, responsibility, and long-term thinking—someone who sees design not just as a job, but as a way of contributing meaningfully to the world. I believe good collaboration comes from mutual respect, open communication, and a shared commitment to thoughtful, high-quality work. As I continue to grow my practice, I’m hoping to build a small but dedicated team with a culture rooted in purpose, experimentation, and mutual learning.

What are your philanthropic contributions to society as a designer, artist and architect?

KZ : As a designer, I believe my contribution to society lies in continually exploring new ideas that shape how we live, think, and support diverse life styles. By introducing fresh perspectives and creating meaningful experiences through design, I aim to rekindle imagination and passion in everyday life.

What positive experiences you had when you attend the A’ Design Award?

KZ : One of the most valuable outcomes was gaining visibility within the industry, which helped introduce my work to a broader international audience. The media coverage and promotional support provided by the award also played a key role in amplifying my design voice and building credibility as an emerging designer. Being selected as Designer of the Day was a great honor. Competitions like the A’ Design Award are important because they celebrate new ideas and provide designers with a platform to be seen, heard, and meaningfully engaged in critical discourse.

Kewei Zhao Profile