Dongliang Lu

I studied at the Repin Academy of Arts and Saint Petersburg State University of Industrial Technology and Design, where I developed both artistic foundations and design thinking. My background combines fine arts, spatial awareness, and industrial design methodology. I have always been interested in the relationship between creativity and real-world application. Over time, I realized that design could connect artistic expression with business, manufacturing, and daily life, which led me to pursue design as a long-term career.

I currently serve as Design Director at Jiangsu Yiyuan Home Furnishings Manufacturing Co., Ltd., a custom home furnishing enterprise with more than 30 years of industry experience. Founded in Beijing in 1992, the company is now headquartered in Pizhou, Jiangsu Province.

For me, design is a process of creating relationships between people, objects, space, and experience. It is not only about aesthetics, but also about solving problems, organizing systems, and improving the quality of everyday life.

I especially enjoy designing projects that integrate multiple disciplines, such as furniture systems, spatial experiences, and modular living solutions. I am interested in works that combine functionality, emotional connection, and sustainable thinking.

One of my favorite projects is the modular human-pet living system. The project explores how pets and humans can share living environments more harmoniously through modular structures and integrated spatial systems. It reflects my interest in adaptability, coexistence, and contemporary lifestyles.

One of my earliest professional projects involved custom home furniture and showroom systems for manufacturing-oriented home furnishing companies. These projects helped me understand the relationship between design, production, branding, and market strategy.

I enjoy working with wood materials, especially plywood, because of their structural flexibility and warmth. I am also interested in CNC manufacturing technologies, which allow precision, modularity, and scalable customization.

I often feel most creative during observation and research, especially when studying how people interact with space, products, and everyday environments. Traveling, exhibitions, and cross-cultural experiences also inspire new ideas.

I focus strongly on system logic, user experience, spatial relationships, and long-term adaptability. I believe good design should balance function, aesthetics, production feasibility, and emotional value.

Designing gives me a sense of exploration and curiosity. It is a process of continuously discovering new relationships and possibilities between people, materials, and environments.

When a design becomes reality, I feel both satisfaction and responsibility. It is rewarding to see an idea move from concept into actual use and interaction within people’s lives.

A successful design creates meaningful value for users while remaining functional, sustainable, and emotionally engaging. It should also respond effectively to real social or spatial needs.

I first consider whether the design has clear logic and whether it solves a real problem. After that, I look at how effectively aesthetics, function, and experience are integrated.

Designers have a responsibility to create solutions that improve quality of life while reducing unnecessary waste and environmental impact. Design should contribute to more sustainable and balanced living environments.

Design is becoming increasingly interdisciplinary. The future of design will involve greater integration between technology, sustainability, manufacturing, and human-centered systems. Designers will need to think beyond individual products and toward adaptable ecosystems.

One of my recent exhibitions was in Girona, Spain, I hope to continue participating in international exhibitions that encourage cross-cultural dialogue through design.

My inspiration often comes from observing everyday behavior, spatial relationships, and cultural interaction. Architecture, art, manufacturing systems, and urban living environments are all important sources of inspiration for my work.

My design style combines modular thinking, spatial integration, and contemporary minimalism. I am interested in systems that can evolve and adapt over time. My approach focuses on balancing artistic expression with practical implementation.

Living between different cultural environments has strongly influenced my perspective on design. Chinese cultural heritage, especially its emphasis on balance and spatial harmony, continues to shape my work. At the same time, globalization creates opportunities for broader cross-cultural collaboration.

I usually work closely with companies from the early strategy phase through implementation. This includes concept development, system planning, product integration, and spatial presentation.

Companies should see designers not only as visual creators, but also as strategic partners. A good designer should understand users, systems, production, and long-term brand development in addition to aesthetics.

My design process usually begins with observation and research, followed by concept development, system analysis, prototyping, testing, and refinement. I often move back and forth between digital modeling and physical experimentation.

Young designers should remain curious and continue learning across disciplines. It is important to build both creative thinking and practical understanding. Long-term growth often comes from persistence and observation rather than short-term trends.

One positive aspect is the ability to transform ideas into meaningful experiences. One challenge is balancing creativity with technical, commercial, and practical limitations.

Design should create meaningful relationships between people, space, and everyday life.

Observation, communication, system thinking, adaptability, and problem-solving are among the most important skills for designers today.

I use digital modeling software, CAD systems, rendering tools, sketching methods, and physical prototyping. Books on architecture, industrial design, and art history are also important references in my creative process.

I usually divide projects into research, concept, development, and refinement stages. Clear structure and prioritization help maintain both creativity and efficiency.

People often ask how to balance artistic ideas with commercial realities. I believe the key is to create design solutions that are both expressive and practical.

Working within manufacturing-oriented custom home enterprises significantly shaped my understanding of how design connects with production, management, and real market conditions.

My work has involved collaborations with custom home furnishing brands, manufacturing enterprises, and projects related to spatial systems and furniture design.

I most enjoy system-based and cross-disciplinary projects because they allow design to create broader connections between users, products, and environments.

I plan to continue exploring modular living systems, cross-disciplinary design, and sustainable spatial solutions while expanding international collaborations and exhibitions.

I work both independently and collaboratively, depending on the scale of the project. Many projects involve cooperation with engineers, manufacturers, and technical specialists.

People can contact me through professional design platforms, exhibitions, and official communication channels related to my projects and collaborations.

I believe design is ultimately about creating meaningful connections between people and their environments. Through cross-disciplinary exploration, I hope to continue developing design solutions that are adaptable, sustainable, and relevant to evolving contemporary lifestyles.

I have been working in the design industry for more than a decade, focusing on integrated design strategies across furniture, product, branding, interior environments, and manufacturing. Rather than concentrating on a single design discipline, my career has been built around connecting different aspects of the design process into one coherent system. This multidisciplinary perspective has allowed me to collaborate closely with manufacturers, engineers, marketers, and business leaders while maintaining a strong focus on the end user. My educational journey has also shaped this integrated approach. I studied at St. Petersburg State University of Industrial Technologies and Design and the Repin Academy of Fine Arts in Russia. Those experiences taught me to balance artistic sensitivity with rational problem-solving, while exposing me to diverse cultural perspectives on design, architecture, and craftsmanship. Since returning to China, I have worked extensively in the home furnishing industry, where I have led projects ranging from product development and brand identity to exhibition design and spatial experience. Over the years, I have become increasingly interested in how design can connect business strategy with human behavior. This interest ultimately led to projects such as Kaleido Modular Pet Furniture, where product design, manufacturing technology, behavioral research, and emotional experience converge into a unified design solution. For me, design is never limited to creating beautiful products. It is a process of building meaningful relationships between people, objects, spaces, industries, and increasingly, the animals that share our homes.

My interest in design began long before I understood what design actually was. I was always fascinated by the way objects, spaces, and visual culture could quietly influence people's emotions and everyday experiences. What started as an appreciation for drawing and art gradually evolved into a deeper curiosity about how thoughtful design could improve the way people live. Choosing to study design was therefore a natural decision rather than a sudden inspiration. As my professional career developed, I became increasingly aware that successful design extends far beyond aesthetics. A product only creates lasting value when it successfully integrates human behavior, manufacturing feasibility, commercial viability, and emotional experience. This realization gradually shifted my role from being simply a product designer to becoming an integrated design strategist. What continues to motivate me today is the opportunity to solve complex problems that affect everyday life. Whether designing furniture, products, or living environments, I am driven by the belief that thoughtful design should improve relationships—not only between people and products, but also between people, businesses, communities, and the environments they inhabit.

Every project begins with understanding relationships rather than forms. Before considering appearance, I spend time observing how people interact with products, how they move through spaces, and how different stakeholders influence the design process. I believe that meaningful innovation rarely comes from styling alone; it emerges from understanding behavior. Three principles consistently guide my work. The first is empathy. Every design decision should begin with a genuine understanding of the people—or in some cases, animals—who will ultimately use the product. The second is integration. I believe products should never be designed in isolation. Manufacturing, branding, sustainability, business strategy, and user experience should all be considered from the earliest stages of development. The third is adaptability. Good design should remain relevant as technologies, lifestyles, and social needs continue to evolve. My process combines traditional sketching with digital modeling, rapid prototyping, and continuous physical testing. While digital tools allow ideas to evolve efficiently, I still believe that prototypes reveal insights no computer model can fully predict. Observing real interactions often leads to the most valuable design improvements. In terms of style, I intentionally avoid pursuing a recognizable visual signature. Instead, I hope my work is recognized by the quality of the problems it solves and the experiences it creates. To me, successful design is not about expressing the designer's personality—it is about improving everyday life through thoughtful, integrated, and human-centered innovation.

For me, designing is an ongoing process of discovery. The greatest excitement does not come from having an initial idea, but from the moment when scattered observations suddenly connect into a meaningful solution. That moment, when a complex problem becomes clear through design, is what continues to inspire me after many years in the profession. I particularly enjoy the research and exploration stages of a project. Observing how people interact with products, how families live within their homes, or even how pets naturally behave often reveals opportunities that cannot be found through assumptions alone. These discoveries transform design from a purely creative exercise into a process of understanding life itself. As a project develops, my emotions also evolve. Curiosity drives the beginning, patience supports the countless iterations in the middle, and satisfaction comes when the final solution feels both simple and inevitable. The most rewarding moment is not when a product is manufactured or receives recognition, but when I see people naturally incorporating it into their everyday lives without needing to think about it. Design gives me a strong sense of purpose because it allows creativity to create tangible value. Every successful project reminds me that thoughtful design has the power to improve not only products, but also the relationships between people, spaces, and increasingly, the animals that share our homes.

Looking back, I believe my development as a designer has been shaped as much by experiences outside traditional design practice as by formal education. Studying in Russia exposed me to a culture that deeply values artistic expression, historical context, and craftsmanship, while my subsequent career in China's manufacturing industry taught me the importance of efficiency, collaboration, and practical implementation. Experiencing these two very different environments helped me develop a more balanced perspective on design. Equally influential has been my work across multiple disciplines. Throughout my career, I have been involved not only in product design, but also in branding, spatial design, exhibition planning, and business strategy. Each discipline has expanded the way I understand design problems, teaching me that successful solutions rarely exist within a single field. Perhaps the most valuable skills I have developed are observation, communication, and systems thinking. Designers must first become careful listeners before becoming creators. Understanding users, coordinating multidisciplinary teams, and connecting creative ideas with manufacturing realities are all essential parts of the design process. These experiences have gradually shaped my belief that design is not about creating isolated objects. It is about designing relationships within larger systems, where aesthetics, technology, business, culture, and human behavior all influence one another.

My professional journey has gradually evolved from designing individual products to thinking about entire systems. Early in my career, I focused primarily on form, function, and manufacturing. Over time, I became increasingly interested in how design influences business strategy, user behavior, and the broader living environment. Today, I see design as a bridge that connects people, industries, and society through meaningful innovation. Looking ahead, I hope to continue expanding this interdisciplinary approach by exploring projects that integrate furniture, architecture, technology, sustainability, and human-centered research. I am particularly interested in developing design solutions that respond to emerging lifestyles, including shared living, aging populations, flexible work environments, and the evolving relationship between humans and animals. Rather than pursuing a specific product category, my long-term ambition is to create design systems that improve everyday life on a broader scale. I hope my work will demonstrate that thoughtful design can generate social value as well as commercial value, and that the two should never be viewed as opposing goals. If I have a dream project, it is not a single object or building. It is the opportunity to help shape future living environments where design quietly enhances wellbeing, strengthens relationships, and enables people to live more harmoniously with one another and with the world around them. I hope to be remembered not simply for the products I created, but for the positive experiences those designs made possible.

One piece of advice I often share with young designers is to avoid becoming overly attached to creating beautiful objects before understanding the problems they are meant to solve. Design is not only about creativity—it is about responsibility. Every successful project begins with careful observation, genuine curiosity, and a willingness to understand people before proposing solutions. I also encourage young designers to step beyond the boundaries of their own discipline. Learn how products are manufactured, how businesses operate, how users make decisions, and how different cultures influence everyday life. The broader your perspective becomes, the more meaningful your design work will be. Many of the most valuable lessons in my own career came not from the design studio, but from factories, exhibitions, conversations with engineers, and direct interactions with users. Another important lesson is to remain patient. Good design rarely emerges from the first idea. It develops through continuous questioning, testing, refinement, and sometimes failure. Every iteration is an opportunity to learn something that could not have been discovered otherwise. Finally, never stop observing. Technology, tools, and trends will continue to evolve, but the ability to notice how people live, behave, and interact with the world will always remain one of a designer's greatest strengths.

I believe that successful designers share one important habit: they remain learners throughout their careers. Experience is valuable, but it should never become a reason to stop questioning assumptions. Every project presents a new context, and every user brings different expectations. Remaining open to learning is essential for meaningful innovation. Another principle I consider important is to think beyond individual disciplines. Today's design challenges are increasingly complex and interconnected. Designers who understand technology, sustainability, manufacturing, business strategy, and human behavior are often able to create solutions with greater long-term impact than those who focus only on form or aesthetics. I also encourage fellow designers to embrace collaboration. Great projects are rarely created by one person alone. Engineers, manufacturers, clients, marketers, researchers, and users all contribute valuable knowledge that strengthens the final outcome. Listening carefully is often as important as designing well. Most importantly, remember that design is ultimately about improving people's lives. Awards, publications, and recognition are meaningful milestones, but they should never become the destination. They are evidence of good work—not the reason for creating it. The true measure of success is whether a design continues to generate value long after it leaves the designer's studio.

No two days are exactly the same, which is one of the things I enjoy most about my profession. My work often moves between strategic planning, design development, communication with manufacturers, reviewing prototypes, and discussing ideas with colleagues. This constant transition between creative thinking and practical implementation keeps every project engaging. I usually begin my day by reviewing ongoing projects and identifying the decisions that will have the greatest impact rather than simply responding to immediate tasks. Before opening design software, I prefer to spend time thinking, sketching, or revisiting observations collected during previous research. I have found that many good solutions emerge from quiet reflection before detailed execution begins. Throughout the day, I also make time to stay informed about developments in design, architecture, materials, manufacturing technologies, and changing lifestyles. Inspiration often comes from outside the design industry, so I enjoy reading about business innovation, cultural trends, and emerging technologies that may influence how people live in the future. Perhaps the most satisfying part of an ordinary working day is witnessing an idea become progressively more tangible—from a conversation, to a sketch, to a prototype, and eventually to a product that improves someone's everyday experience. That continuous transformation is what keeps me excited about design after all these years.

I pay attention to design trends, but I try to understand the reasons behind them rather than simply following their visual expressions. Trends often reflect broader changes in technology, culture, lifestyles, and social values. By studying these underlying shifts, I can identify which changes are temporary and which may have a lasting impact on the way people live. My inspiration rarely comes from a single source. I regularly explore developments in architecture, industrial design, business innovation, material science, manufacturing technologies, and behavioral research. I also believe that observing everyday life is one of the most valuable forms of design research. Small changes in how people work, communicate, travel, or interact with their homes often reveal opportunities long before they become visible as market trends. Rather than designing products that belong to a particular season, I hope to create solutions that remain meaningful over time. Timelessness does not mean resisting change; it means designing around enduring human needs while remaining adaptable to future lifestyles. In that sense, trends are useful references, but they should never become the primary objective. Good design should outlast trends by responding to deeper human values rather than temporary aesthetics.

For me, good design is not defined by appearance alone, nor by technological complexity. A well-designed product creates clarity where complexity once existed. It solves real problems in a way that feels natural, intuitive, and almost inevitable, allowing people to focus on their experiences rather than the product itself. When evaluating a design, I usually consider three questions. First, does it genuinely improve the user's experience? Second, can it be realistically manufactured, maintained, and sustained over time? Third, does it create lasting value beyond its immediate function—whether emotional, cultural, environmental, or social? When all three dimensions work together, a design has the potential to remain relevant long after its introduction. One common misunderstanding is to assume that innovation must always appear visually dramatic. In reality, many of the most meaningful innovations are subtle. They quietly simplify daily life, strengthen relationships, or remove unnecessary complexity without demanding attention. Ultimately, I believe good design succeeds when people stop noticing the design itself and simply enjoy using it. At that point, the product has become a natural extension of everyday life rather than an object competing for attention.

I do not believe a design is ever absolutely perfect. Every project could continue to evolve as technologies, materials, and user expectations change. The challenge for every designer is knowing when further refinement no longer creates meaningful improvement but instead delays real-world impact. For me, a design is ready when every major decision can be clearly justified rather than merely defended. At that stage, the concept, functionality, manufacturing process, user experience, and business objectives all support one another without unnecessary compromise. The design feels coherent because every element has a purpose. Equally important is validation through real use. Prototypes, testing, observation, and feedback often reveal details that cannot be predicted during the design process. I consider these interactions an essential part of design rather than a final verification step. Users complete the design by showing us how it performs in everyday life. Even after a product enters the market, I continue observing how people interact with it. Commercial success or design awards are certainly encouraging, but they are not the final measure of quality. The greatest confirmation comes when a product continues to serve people naturally over many years, adapting to their lives while remaining relevant, useful, and meaningful.

Among the projects I have developed, Kaleido Modular Pet Furniture holds a particularly meaningful place in my career. While it is recognized as a modular furniture system for pets, I have always regarded it as something much broader. It represents my attempt to rethink how contemporary homes can better accommodate the emotional relationship between humans and animals through integrated design. What makes this project especially important to me is not simply its final appearance or the international recognition it has received, but the journey behind its development. The project required balancing behavioral research, industrial manufacturing, architectural thinking, user experience, commercial feasibility, and emotional value within a single design system. Every decision—from the modular proportions to the circulation paths, material selection, and production strategy—was guided by the same question: how can design improve everyday coexistence? Developing Kaleido also changed the way I think about design itself. It reinforced my belief that successful products should not be viewed as isolated objects but as parts of larger living systems. Good design influences behavior, relationships, and the experience of space over time. Although I continue to explore many different areas of design, I see Kaleido as an important milestone because it brought together everything I had learned throughout my career: artistic thinking, industrial methodology, manufacturing knowledge, and a deep respect for the people—and animals—who ultimately live with the products we create. More importantly, it strengthened my confidence that design can quietly improve everyday life in ways that are both practical and deeply human.

Rather than identifying a single favorite designer, I have always been inspired by individuals whose work reflects clarity of thought, integrity, and lasting influence. Dieter Rams is someone I deeply admire for demonstrating that simplicity is not the absence of complexity but the result of careful decision-making. His principles continue to remind designers that restraint often creates stronger and more enduring solutions. I also appreciate the work of Naoto Fukasawa, whose philosophy of designing around unconscious human behavior has greatly influenced the way I observe everyday life. His ability to transform subtle behavioral insights into intuitive products reinforces my own belief that good design often becomes almost invisible because it fits so naturally into people's routines. Beyond individual designers, I have perhaps been influenced most by the different cultural environments in which I have studied and worked. Together, these influences have encouraged me to pursue a design approach that values observation over assumptions, systems over isolated objects, and long-term human experience over short-term visual impact.

I believe that culture is one of the most powerful sources of creativity because it shapes the way we understand people, relationships, and everyday life. Having studied in Russia and built my professional career in China, I have experienced two very different cultural perspectives, both of which continue to influence my work. Traveling, visiting museums and exhibitions, exploring local architecture, and simply watching how people interact with public spaces often provide ideas that later evolve into design concepts. I enjoy maintaining a lifestyle that encourages continuous learning. Reading across subjects such as business, psychology, technology, history, and material innovation allows me to connect seemingly unrelated ideas in unexpected ways. I believe the future of design belongs to those who are curious beyond the boundaries of their own discipline. Ultimately, design is not separate from life—it is one way of understanding life. The more deeply we observe the world around us, the more meaningful the solutions we create become. That belief continues to guide both my professional work and my everyday life.

I believe the best design is created through collaboration built on mutual respect, openness, and a shared commitment to solving meaningful problems. Whether I am working with manufacturers, engineers, marketers, researchers, or clients, I value honest communication and the willingness to explore ideas from different perspectives. Design is rarely the result of one individual's talent alone; it is the outcome of many people working toward a common vision. My business philosophy is rooted in long-term value rather than short-term success. I look for partners who care about quality, innovation, responsibility, and continuous improvement. A successful collaboration is not measured only by the completion of a project, but by whether trust has been established and whether everyone involved has grown through the process. As a design leader, one of my responsibilities is to create an environment where creativity and practicality can coexist. I encourage open discussion, careful observation, and evidence-based decision-making, while also allowing room for experimentation and unexpected discoveries. The strongest ideas often emerge when different disciplines challenge one another in constructive ways. Above all, I believe that designers should remain humble. Our role is not to impose personal preferences, but to understand people, connect different fields of knowledge, and transform complexity into solutions that genuinely improve everyday life.

I believe that every designer has a responsibility to contribute something meaningful beyond the products they create. While commercial projects are an important part of professional practice, design also has the potential to improve education, encourage cultural exchange, support communities, and inspire future generations of designers. Throughout my career, I have tried to share knowledge through design exhibitions, international competitions, academic exchanges, and professional dialogue. I believe these activities create opportunities not only to present completed work, but also to exchange ideas, learn from different cultures, and encourage broader conversations about the role of design in society. I have also found great value in mentoring, sharing experiences, and supporting younger designers whenever possible, because the future of our profession depends on continuous learning and mutual encouragement. Looking ahead, I hope to become increasingly involved in projects that address broader social challenges through design. Whether improving living environments, supporting sustainable manufacturing, or exploring more inclusive ways of designing for diverse communities—including the growing relationship between humans and animals—I believe design should always seek to create positive and lasting impact. For me, the greatest contribution a designer can make is not simply creating beautiful objects, but helping build a more thoughtful, compassionate, and connected society through the power of good design.

Receiving the Golden A' Design Award has been both an honor and an important milestone in my professional journey. Beyond the recognition itself, the award has given me the opportunity to present my work to an international audience and to engage with designers, architects, and creative professionals from around the world. It reaffirmed my belief that thoughtful design can communicate across cultures when it addresses universal human needs and shared experiences. I believe design awards play three important roles. First, they encourage designers to challenge themselves by evaluating their work against international standards. Second, they create valuable opportunities for global visibility, professional dialogue, and cross-cultural exchange. Third, they inspire continuous growth by motivating designers to refine their thinking, expand their perspectives, and pursue even higher levels of design quality. Being selected as Designer of the Day is especially meaningful because it recognizes not only a single project, but also the ideas, values, and long-term commitment behind my work. It offers an opportunity to reflect on my journey while sharing experiences that may encourage others to explore design with curiosity, responsibility, and optimism. I hope this recognition marks not a destination, but the beginning of a new chapter. My ambition is to continue creating integrated design solutions that strengthen the relationships between people, products, spaces, businesses, and the natural world. If my work can inspire others to think more deeply about how design shapes everyday life, then I believe I have achieved something truly worthwhile.