Honesty in Design: Zhang Fei and the Original Wood Philosophy in Design
When Zhang Fei gave two handmade wooden desk lamps as gifts to his friends and family in 2011, he did not anticipate that this accidental creation from life would embark on a journey of original design. The unexpected attention caused by these desk lamps on social media not only led this industrial designer who originally focused on medical equipment design to turn to the home furnishing field, but also gave birth to the internationally award-winning original brand - BelaDesign. As an associate professor and brand founder of the Industrial Design major at the School of Science and Technology of Zhejiang University of Technology, Zhang Fei has built a unique design philosophy between the natural texture of natural wood materials and the functional aesthetics of minimalist forms, based on the belief that "design requires honesty". This article will analyze how this' wooden poet 'makes every work a living emotional carrier from three dimensions: material narrative, design methodology, and identity empowerment.
The Narrative of Material Life: Wood as an Emotional Medium
In the originally designed Hangzhou studio, neatly arranged American white wax wood, black walnut wood, and German beech wood emit a warm luster. These high-quality FSC certified logs are not only the materials for the design, but also the "immortal carriers of life" in Zhang Fei's eyes. Each type of wood has its own characteristics, giving people different visual and tactile sensations. "This designer's obsession with wood stems from a genuine reverence for nature. After trying dozens of types of wood, the original design ultimately chose imported hardwood as the main material, not pursuing scarcity, but the dense texture and stable characteristics of these woods, which can carry the designer's pursuit of "product vitality".
Zhang Fei's understanding of wood goes far beyond the physical properties. In his view, natural wood grain makes every piece of wood a unique existence, and this irreplicability is the most precious design language of the industrial era. In order to better master the "temperament" of wood, he once went to Japan specifically to learn traditional woodworking techniques. The patience and respect of the craftsmen there towards wood deeply influenced his design philosophy. This influence is directly reflected in the production concept of the original design - when most enterprises pursue large-scale production, Zhang Fei insists on integrating design and production, because "many times we need to 'slow down'". The characteristics of wood determine that it cannot be treated roughly and must be enhanced by manual skills to show its best state.
The design of the 'lighthouse desk lamp' perfectly interprets the emotional narrative ability of the natural wood material. This work, which won the 2018 China Design Intelligence Award, is inspired by Shakespeare's poem "Love is a lighthouse that lasts forever". Zhang Fei incorporates collective memories of family warmth into the design, making the lighting fixtures go beyond simple lighting functions and become carriers of emotional sustenance. The American black walnut wood used for the lamp body gradually presents a deep and warm color over time, like the texture of memories accumulated in time. The carefully polished curved lines dissolve the stiffness of the wood, allowing light to pass through the cotton and linen lampshade to form a soft diffuse reflection, creating a warm atmosphere like a silhouette in front of the window when returning at night.
The originally designed products were all engraved with the invisible declaration of "Touch Me". Zhang Fei encourages users to touch the texture of wood and feel the transmission of temperature, which is particularly valuable in the digital age. In the early days of the brand, the "Man" and "Woman" series of desk lamps distinguished "gender" through the hardness of wood and the flexibility of lines, giving lifeless products a personalized feature. This design is not deliberately anthropomorphic, but stems from Zhang Fei's profound understanding of material properties - the toughness of hardwood and the warmth of cork already contain natural gender metaphors, and the designer only extracts and presents them through minimalist form language.
In today's increasingly deepening concept of sustainable development, Zhang Fei's insistence on logs is more forward-looking. Unlike the disposable consumption logic of fast-moving consumer goods, the originally designed product was coated with biodegradable wood wax oil, which retains the breathability of the wood while avoiding chemical pollution. In recent years, the brand has launched the "Cycle of Everything, Original Reconstruction" campaign, which redesigns the scraps generated in the production process into small cultural and creative products. This "cradle to cradle" circular thinking allows the life of wood to continue in another form. For Zhang Fei, environmental protection is not a marketing concept, but a necessary requirement for "honest design" at the material level.
The Poetics of Detail in Minimalism: The Practice of Honesty in Design
The seven words' design with details is as simple as possible 'condense Zhang Fei's design methodology. In his opinion, good design should be like clear water, seemingly plain but containing rich layers, and simplicity is not simple, but achieves a balance between functionality and aesthetics through precise detail processing. This concept is directly inspired by the German industrial design master Dieter Rams' "Ten Principles of Design", especially the belief that "good design is as little design as possible", which is fully reflected in the originally designed products.
The "Work Solid Wood Desk Lamp" can be regarded as a model of minimalist design. This product achieves visual lightweight with an I-shaped thin bottom structure, and its height of 48 centimeters has been repeatedly tested to accurately adapt to the needs of multiple scenarios such as desks and bedside tables. Zhang Fei abandons redundant decorations, but puts his heart into details: the German beech lamp body has undergone 16 manual polishing processes, with a touch as delicate as baby skin; the lampshade and lamp post are tilted at a 45 degree angle, which not only ensures uniform light projection, but also forms a playful image like a "tilted little person"; even the length of the power cord has been optimized to avoid dragging and ensure flexibility in use. These details are not ostentatious but just right, as Zhang Fei said: The product should be as simple as possible, and with details, the product can come to life. "
The honesty of the design is particularly evident in the "Wooden Music Box" series. This product originated from Zhang Fei's accidental life experience: on a tired night, the crisp sound of an old music box at home unexpectedly calmed his restless emotions. This genuine emotional touch gave birth to design inspiration. Instead of using complex mechanical structures, he focused on the complete and continuous wood grain as the design focal point, allowing users to feel the natural flow of wood texture when rotating the mainspring. The melody selection of the music box is also quite ingenious. Zhang Fei personally selected classic songs such as "Canon" because "the clear and transparent sound quality can make modern people quiet down". This kind of design that transforms personal real experiences into universal emotional resonance is the essence of "honest design".
Zhang Fei's design process is full of artisan style persistence. He rejects excessive reliance on computer renderings and prefers to use real materials for one-to-one sampling. "Inspiration does not come from a single drawing, but from constant sampling, comparison, and selection. Although this working method is not efficient, it allows designers to directly perceive the characteristics of materials and the rationality of structures. When developing the "Balance Lamp", in order to achieve stable balance of the solid wood bracket, the team made over 30 samples and achieved a perfect unity of visual lightness and structural stability by fine-tuning the center of gravity position and wood moisture content. This attitude of "slow work, fine work" is in sharp contrast to the current trend of pursuing rapid iteration in design, but it also contributes to the durability of the originally designed product - as Zhang Fei expected: "When users come back to see it after using it for a long time, do they still like it
The consideration of details extends to every stage of the product lifecycle. In order to solve the transportation problem of wooden lamps, Zhang Fei's team has put as much effort into packaging design as the product itself: the lamp posts, lampshades, and accessories are scientifically partitioned to avoid collision damage and allow users to experience the ritual of unpacking; The product manual is printed on recycled paper, with concise and easy to understand text, and even includes tips for wood maintenance; Each product comes with an "ID card" that records the source of the wood, the designer's philosophy, and production number, giving industrialized products a handmade and customized feel. These seemingly small actions are actually a comprehensive respect for user experience.
In the wave of intelligence, Zhang Fei's attitude towards technology also reflects the honesty of design. The Bluetooth speakers, wireless charging desk lamps, and other products that were originally designed to be launched in recent years have always adhered to the principle of "technology for experiential service". The intelligent module is cleverly hidden in the wooden structure, and users cannot see abrupt interfaces or buttons, but can naturally enjoy the convenience brought by technology. This design concept of "hidden technology" avoids the gimmick of being intelligent for the sake of intelligence, maintains the purity of product form, and also practices Dieter Rams' philosophy that "good design is humble".
The Empowerment Effect of Dual Identity: Symbiosis between Designers and Educators
The podium of the School of Science and Technology at Zhejiang University of Technology and the originally designed studio form the two poles of Zhang Fei's design life. Since teaching in 2008, this associate professor of industrial design has maintained a dual identity as a designer and educator. These two roles not only do not conflict, but also form a mutually nourishing virtuous cycle. In class, he brings real cases from brand practice into teaching; In the studio, he also crystallized educational thinking into design concepts, and this cross-border experience allowed the originally designed products to take root in the market soil while possessing academic depth in design thinking.
If you really like design, then be down-to-earth and slowly delve deeper. "This message to students is also a reflection of Zhang Fei himself. In the teaching of science and art at Zhejiang University of Technology, he particularly emphasizes the practicality and sincerity of design, encouraging students to draw inspiration from life experiences rather than working in isolation. This teaching philosophy directly influenced the original design of the brand gene - the early "Brother" and "Sister" series desk lamps of the brand started from the emotional experience of interpersonal relationships, using the texture of wood to convey warmth and affection. Zhang Fei believes that "the purpose of design is to serve life, so design ultimately revolves around life or people." This people-oriented design concept has formed a unique design ethics through the dual transmission of teaching and practice.
As an educator, Zhang Fei pays more attention to the long-term value of design. Unlike commercial designs that pursue short-term hot topics, the originally designed products often have timeless classics, which is closely related to his emphasis on the concept of "durable design" in teaching. I hope to look back years later and see that many of my 100 works are still recognized by the times. This pursuit of lasting value makes the brand particularly valuable in the current era of fast-moving consumer culture. He transformed the classroom discussion on "design ethics" into brand practice, refused to use inferior wood to reduce costs, and insisted on disclosing the material sources and manufacturing processes of products. This transparent approach has won the long-term trust of consumers.
The recognition of international design awards has become the best footnote to the win-win situation between teaching and practice. Since its establishment in 2012, the original design has won multiple international awards such as the iF Design Award in Germany, the Asia Pacific Peak Design Award in the United States, and the Red Star Design Award in China. Among them, the "Lighthouse Desk Lamp" won the 2018 China Design Intelligent Manufacturing Award. These honors not only enhance the international influence of the brand, but also become vivid examples in Zhang Fei's teaching. He walked into the classroom with award-winning works, not to show off, but to help students understand the evaluation criteria of design - real design awards not only focus on aesthetic performance, but also value innovation and social significance. This cognition helps young designers establish the correct professional values.
The cross-border perspective brought by dual identity gives the original design a unique advantage in the integration of tradition and modernity. As a scholar, Zhang Fei has conducted in-depth research on the aesthetics of traditional Chinese crafts; As a designer, he is also proficient in modern industrial production processes. This knowledge structure enables his works to contain both the implicit artistic conception of Eastern aesthetics and the practical functions of modern products. The "Star River Series" floor lamp is a typical case. Its radial solid wood bracket not only draws on the mechanical wisdom of traditional mortise and tenon structures, but also achieves industrial production through CNC precision machining. This "new Chinese style" is not a collage of surface elements, but a modern translation of traditional spirit.
The process of mutual growth between teaching and learning continues to nourish design innovation. Zhang Fei admitted that students' fresh perspectives often inspire him, and some design experiments in the classroom eventually evolve into innovative products for the brand. The popular "wabi sabi style" wooden lighting fixtures in recent years originated from an exploration of a classroom assignment - showcasing the "perfection in imperfection" by preserving the natural scars and cracks of wood. This ability to transform educational exploration into business practice keeps the original design dynamic and closely connects the teaching content with the forefront of the industry.
As a designer and educator, Zhang Fei is committed to promoting the development of the original design ecosystem. At the brand level, the original design adheres to originality and refuses plagiarism, and has never wavered even in the face of counterfeit troubles; At the educational level, he encourages students to establish awareness of intellectual property rights and cultivate independent thinking abilities. This dual adherence to the spirit of originality holds special significance in the current design environment. 16 works of the brand have been permanently collected by the Copenhagen Chinese Cultural Center, which is not only a recognition of individual brands, but also an affirmation of China's original design power by the international community.
Conclusion: The Slow Design Philosophy of a Century Old Store
In the originally designed exhibition hall in Hangzhou, the wooden lamps emit a soft light one by one. They do not have exaggerated shapes, but highlight the warmth of the design in the details. Zhang Fei stands among these works, like a patient gardener, guarding the seedlings he has personally cultivated. From a serendipitous attempt in 2011 to today's international brand, this designer has spent over a decade proving that good design does not require noise, just as the texture of wood does not require decoration, time will give the most fair judgment.
The concept of "honest design" runs through every aspect of the original design: honesty with materials - not hiding the natural defects of wood, but seeing it as a unique imprint; Honesty towards functionality - not pursuing flashy but impractical designs, every line serves the user experience; Honesty with emotions - do not fabricate false design stories, every inspiration comes from real life experiences. This trinity of honesty constitutes the core competitiveness of the brand. When asked about his future vision, Zhang Fei's answer was simple yet firm: "Design with an honest attitude and gradually build a century old store that is not too large in scale
In today's world where digitization and intelligence are increasingly permeating our lives, the originally designed wooden products appear particularly precious. They remind us that the ultimate goal of design is not the display of technology, but the transmission of humanistic care; The value of a product lies not only in its functionality, but also in its emotional companionship. From the warm halo of the "lighthouse desk lamp" to the clear melody of the "wooden music box", Zhang Fei has built a spiritual habitat for urbanites with the most authentic materials and minimalist language.
As a designer and educator, Zhang Fei's dual practice provides valuable inspiration for Chinese original design: design education should be closely integrated with industrial practice in order to cultivate designers who understand both aesthetics and down-to-earth qualities; Only by rooting themselves in cultural soil can design brands make a unique voice on the international stage. The success of the original design was not accidental, it was the inevitable result of "down-to-earth and gradual deepening", a vivid interpretation of "design with details is simple", and the best proof of "design needs honesty".
When the last ray of sunlight passes through the window and casts mottled light and shadow on the wooden lamp, we seem to see the traces of time flowing in the wood. This may be the realm that Zhang Fei pursues - allowing design to grow naturally like trees, without haste, yet possessing the vitality to resist the erosion of time. In this era of pursuing quick success, the language of wood used in design tells us that true classics are friends of time.
