PI & V

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I am a product designer specialising in the interaction design of transport vehicles and smart cockpits. I undertook a Bachelor’s degree in Product Design, and during my undergraduate studies, I discovered that I was particularly drawn to design projects that directly impact the human experience—facilities and software serving diverse user groups, as well as the conception and organisation of varied services—all of which inspire me far more than mere aesthetic design. In my second year of university, I joined the Smart Mobility Studio, where I was first introduced to the design of vehicle interiors. It was through this experience that I discovered ‘human-computer interaction’—a sub-field that aligns perfectly with my interests.

In my view, human-computer interaction design is not limited to screen interfaces; it encompasses the design of service systems linking vehicles and cities, in-vehicle human-computer interface design, user experience design for the interaction between vehicles and people, as well as the product design of supporting infrastructure. It is a comprehensive design discipline that connects vehicles with cities, vehicles with other vehicles, and vehicles with people. This is precisely the field in which I hope to specialise.

My design philosophy can be summed up in a single sentence: design should be centred on the human experience, rather than on form or technology. This philosophy stems from my experience of taking part in a Formula F0 racing car design workshop during my third year of university. During that international workshop, whilst most students focused their efforts on the aerodynamics and styling of the car’s exterior, I remained consistently focused on the interior of the cockpit—how the driver perceives information, how they build trust with the vehicle, and how they switch seamlessly between autonomous and manual driving modes. At the time, I realised that interior design was not merely about the layout of seats and instruments, but rather a ‘subtle language of interaction’. However, the workshop and studio at that time were more focused on visual concepts and form refinement, rather than the interactive experience between people and space that I had anticipated. This discrepancy left me feeling lost for a time, but it also prompted me to actively seek a change—I found a supervisor specialising in interaction design research and established human–computer interaction as my primary research direction.

This conviction has also shaped my design values: good design should not be a vehicle for the designer’s self-expression, but rather a catalyst for users’ behaviour and emotions. In the projects I have since been involved in—whether the ‘Dansplaat’, a dance-initiation device designed for people with dementia, or ‘Reliv’, a grip extension designed to alleviate discomfort for passengers in autonomous vehicles—I have consistently prioritised users’ actual needs and emotions over technical feasibility or aesthetic trends. I believe that design can only generate lasting social value when it truly serves the human experience.

Based on the framework of the five expertise areas within the Department of Industrial Design at TU/e, I have systematically analysed my own skills:

User and Society: This is my area of strength. I excel at designing questionnaires, conducting interviews, carrying out field research and devising user journeys. In the Dansplaat project, I used empathy tools to gain a deep understanding of the functional limitations and emotional needs of people with dementia; in the Reliv project, I used body-mapping and real-world in-car testing to capture passengers’ instinctive reactions during emergency braking. However, my spoken English still needs improvement, which has, to some extent, limited my ability to engage in in-depth communication with users from different cultural backgrounds.

The following projects illustrate my growth trajectory across different stages:

In the field of automotive lighting, I completed three progressive studies. In Project 2, I expanded the lighting approach to the sunroof domain, utilizing PDLC glass and projection technology to achieve contextual ambiance creation. In the PFMP, I explored the foundational framework of using in-vehicle lighting as an information cue medium through the RTDP design process (Conceive—Integrate—Make—Verify—Reflect). In the FMP, I further validated the effects of color semantics (red/blue), spatial positioning, and dynamic patterns on driver reaction time through two rounds of user testing. These three studies have equipped me with a systematic grasp of design methods for using light as an interactive medium, and have cultivated my practical ability to integrate technical research, user testing, and design iteration.

In user experience and emotional design, I have participated in multiple interdisciplinary team projects. In Reliv, we designed a portable grip extender for autonomous vehicle passengers, combining the tactile properties of non-Newtonian fluid with blue LED breathing light, validating the effectiveness of a dual-modal intervention of "tactile release + visual anticipation." In Dansplaat, we designed a vinyl record player-inspired smart dance initiation device for dementia patients, leveraging the familiarity of nostalgic objects to evoke spontaneous participation. In Lumi Alarm, we validated the behavioral guiding effect of light feedback in reducing non-sleep activities in bed through two rounds of data-driven probe iteration. These projects have deeply instilled in me the principle that "design not only solves functional problems but also responds to emotional needs."

In AI and data-driven design exploration, I served as the front-end interface designer and testing analyst in the A/Muse project, progressing from rapid prototyping in Gradio to high-fidelity interfaces in Figma, and learning how to translate AI model capabilities into perceptible interactive experiences for users. In the Sunday Blues project, we explored the emotional regulatory function of planning behavior from a first-person perspective through Studio methodology and autoethnography, which made me realize the value of design research methodologies in uncovering implicit user needs.

At present, China has elevated the development of new energy vehicles and intelligent connected vehicles to a national strategic level and has proposed the top-level design of "Smart City New Infrastructure." Within the framework of smart cities, intelligent transportation is a top priority, and the coordinated development of vehicles, roads, and the cloud is rapidly becoming a reality. In cities such as Beijing, Shanghai, and Shenzhen, L4-level autonomous driving test vehicles have already been deployed on roads at scale; at the policy level, L3-level products have been approved for market pilot programs. This trend is rapidly reshaping the landscape of transportation systems. The future transportation system will be a connected, diversified, and multidimensional holographic data perception system, where the convergence of physical, digital, and biotechnologies provides the foundation for ubiquitous connectivity. As a designer, I aspire to proactively seize this opportunity, devote myself to the development of future intelligent mobility, and become a design practitioner who bridges vehicles with cities, vehicles with vehicles, and vehicles with people.

My career goal is to become a human-computer interaction and intelligent cockpit designer, encompassing comprehensive competencies in HMI interface design, CMF design, user experience design, and more. In the future transportation system, designers will not only shape aesthetics and functionality but also act as guides for user experience, sustainable development, and social behavior. Through experience design and interaction design, we can create better and safer experiences for every individual within the future transportation system—this is the fundamental principle of human-centered design. We can also drive progress in automotive materials and powertrain technologies from a green and sustainable perspective. Furthermore, through standardized data and visual elements, we can build a communication network connecting vehicles, cities, and people, better guiding human behavior and providing improved communication channels for vulnerable groups.

To realize this vision, I have developed a clear short-term plan: In the M11 phase, I have enrolled in courses such as User Experience Theory and Practice and Advanced AI Design to address my gaps in data and computing, while also accumulating team collaboration experience through Squad projects. In the M12 phase, I plan to intensively learn Unity/Unreal Engine skills, refine my job-seeking portfolio, and seek part-time work in user experience design to gain practical experience. In the M21 phase, I plan to find a summer internship in HCI-related fields in China (or alternatively, participate in university-industry collaborative projects if unsuccessful). Finally, in the M22 phase, I will complete my graduation thesis project, fully preparing myself for entry into the industry.

I am fully aware that becoming an excellent HCI designer requires not only technical competence and aesthetic sensibility but also a sustained focus on "people"—this is the core of my design philosophy and will guide every design decision I make in the future.