Interview with Peyman Kiani Falavarjani

I have loved knowing details since I was a child. I would open all my toys to see how they were made and how these pieces and details work together to create a single function. During school, I loved solving mathematical equations and drawing mathematical formulas. At the age of 11, I was also involuntarily attracted to half-finished buildings, and if a building was being built near us, I would follow its progress every day. I was very attracted to construction machinery. In the meantime, little by little, the details used in nature blurred my attention, which made me follow the genre of macro nature photography as a teenager. I was and am a very curious person. During my studies, I tried to understand nature more consciously and use it in my work.
In the second year of university, I came up with the idea of a bean sprout and its growth movement, to design in the universal jumping style of the Faculty of Architecture, and I could get full score. How much importance is given to design and formulation in nature with unparalleled proportions and colors, gives me a double motivation to go as deep as possible in the path of design. According to the first human encounter with any object, building, space, or environment through the eyes and the sense of sight, I think appearance is the most important influential part in relation to anything.

The first point when facing a new project is to know it completely. This knowledge includes the type of use, the study of the culture, climate, history, natural infrastructure, and architecture of the area and the needs of the project and the demands of the employer. And most of all, let the project itself tell us which way to go. By spending hours on the project site and visualizing the space, we basically achieve it. We try to use every tool that can make us do better. We have even made a mock-up of a project with clay due to its complex size. And there have been projects that we have worked with VR technology.

The best part of the design is the idea generation phase. Of course, I must say that the most complicated part is this stage. In ideation, you will enter into another world,
Something like meditation. You think of nothing but a subject. It is a matter of beauty, proportions, color, and form. Of course, one should not neglect the joy of finishing work and the final output. Even the present moment of the design has a unique atmosphere. But in any case, in the space of ideation, the laws of time and space reach zero and the mind takes you to your goal by flying. It is a sense of lightness, timelessness, and placelessness that many people do not experience.

Honestly, during school and high school, I had to work in my father's industrial factory during the summer holidays. It certainly could not have been a more enjoyable vacation for a teenager. But in order to gain skills in industrial work and snakes with heavy industrial machines, today all those skills and knowledge of materials and execution of details have been used a lot in my design path. If we design a project, it will definitely be the executive, and I attend project construction meetings and suggest appropriate implementation ideas to the project.
Another skill that helped me a lot in the design path is photography. I am also very interested in it and it also opens my eyes to my surroundings and makes me look more closely at my surroundings.
The details, the frames, and the combination of colors in nature have always had the greatest impact on me.
And that I think I am at the beginning of the road and far from my ideals.

The concept of a complex with the idea of wavy patterns thrown by the wind on the beach sand is a project that I am very interested in building on one of the tourist beaches of the world. This project consists of 7 towers. Its design style is parametric. These 7 towers, which vary from 11 floors to 21 floors, are discrete in structure and continuous in shell, and together provide an integrated wind. All the plans of this tower are on different floors and there is no type of plan in this work.

Young designers need to know that if they have ideas that go unnoticed, it does not mean that they are weak. Continuing in the career path they have chosen is more important than talent. Early in their careers, they have to work with a lot of excitement and motivation to be involved in executive projects to gain experience. Never be afraid of not understanding or making a mistake. Try to ask anything that is vague to them without embarrassment.

To answer this question, we must first examine the meaning of success. I am still learning and pursuing experienced designers. But if I have any advice so far, it is the designers' more knowledge of nature and its preservation. The way designers pay attention to nature is different from ordinary people. They pay attention to proportions, formatting, change and reproduction, coloring, and so on. Ordinary people enjoy nature, but designers learn.

Usually, after waking up in the morning, I stay in bed for half an hour, looking out the window and thinking about the great day ahead. I meditate a bit, taking a look at the notifications of the design and monitoring groups. I take a warm shower and go to the back of the table. I check all my messages and emails and reply one by one. Then I review the programs I have written in TimeTable since the day before and do them according to priority. The most enjoyable part of the day is visiting projects and brainstorming a new concept. And we are in touch with projects and supervisors until about 9 pm, and with 3D and design teams until about 2 am. At the end of the night in bed before reading a book or watching a movie is almost a fixed program. After reading the book, meditating, and reviewing the great events of the day I had, I fall asleep.

We are aware of the trend by studying and seeing the latest projects in the world. But we never made the design space trendy or fashionable. In my opinion, dependence on fashion or even the use of materials used by most designers can only visually reduce the life of a project. When a design goes out of fashion, it is no longer beautiful to anyone. So we always go to the source of the idea, nature. We use nature in the plan, object, lighting, coloring, facade, and whatever we can. We recently designed a tropical garden for a five-star hotel on Kish Island, the idea of which was inspired by the twisting of shapes on corals.

Technically, the project or product in my opinion is well designed that all the parameters of proportions, color, use of appropriate materials and practicality are observed. But the mechanism of the human brain is very intelligent. The human brain is a skilled engineer, regardless of the interests, talents, or disciplines that each individual pursues. Our brain can tell if proportions are observed in an effect. Our brain has the power to recognize the right color. Our brain has a high ability to recognize beauty. Therefore, before technical inspections by experts, if you are in front of a product and a project and its beauty fades, you should know that the product or project has been working with quality and it can be said that it has had a successful design. The human brain examines millions of parameters in what you are seeing in a matter of seconds, and if it is up to its own standards, it follows it further, in which case you have lost its effect.

When an output excites our design. This is exactly the moment that we have to deal with the design process very strictly and impartially. No one in our group is allowed to praise something that looks good. The design process must go so far as not to get tired of seeing it ourselves. Then we can say that this work is almost ready.

Next work. We will focus all our experiences, worldviews, and studies on the next work. A new project has always been very attractive to us. Everything we have done before is also valuable to us. But the next job is like a new hope in the future.

I try to follow most designers and enjoy and learn from their new work. But my favorite designers are Sanjay Puri, Zaha Hadid, and Frank Gehry. If I want to talk to a deceased designer, it's Zaha Hadid. Zaha Hadid and Frank Gehry have had a great impact on the formation of contemporary and future design.

I try to enjoy every moment of life. I enjoy drawing and listening to my favorite music the most. In general, I feel that there was no creativity before music. I have always tried to make the most of the culture, history, nature and climate of the project location in my designs. But I also use the materials and skills that are my architectural heritage and culture of my projects. We are currently designing a 5-star hotel. If a community is design-friendly in its day-to-day encounters with high-quality products and buildings and spaces, its people will certainly have a better behavioral balance. The main part of our comprehensive study is psychology. The greatest impact this discipline has had on my life is looking at and recognizing the beauties around me and the universe. In order to be a creator of beauty, I must first know beauty. What better chance than to have to study and visit the beauties of the world to progress on the career? whether man-made beauties or beauties of nature.

Primarily love. We are a team working together (before Corona, of course). At present, we do our work online and short sessions remotely. Every year, many people ask us to join our team. In this regard, we take some tests from them. There are challenges in all the tests that will not continue if they do not love it. Architecture is as delicate and enjoyable as it is for those who love it, it is also a harsh discipline for those who just want to do it and do not love it. In my opinion, the biggest responsibility of any individual or design team is to provide the best quality. If he does not reach the desired result, he should not present it. There is a perfect design of nature around us that we will destroy with human handiwork if we do not do it right.

I always help in the growth path. And I strongly believe in the philosophy of growth. We help charities that help children and teens develop their talents. And I personally give the opportunity to interest and passionate students who need guidance and experience to be with us as interns or answer their questions patiently and completely and guide them as much as I can.

In my opinion, participating in such prestigious competitions can motivate designers a lot. I believe that we need to judge through experts and take part in such a challenge globally so that we can realize that we are on the right path of thinking and skill. Also, after receiving the award, we gained more credibility in the community and among our colleagues. Our employers were also impressed by these awards and today they have more confidence in us. I am very happy that my designs were considered by the judges and I hope that in the near future I can do something that promotes design thinking in the world and is effective in the lifestyle of the people of the world.

In our world, the first encounter with everything such as object, element, device, building, or anything else is to encounter its appearance, and nature has shown us how powerful it is in this. Also, if the object or building has a beautiful appearance and excellent proportions, it is likely to have good quality and performance. And finally, beauty is my first priority in choosing anything. All of this encouraged me to be an effective part of the body of the man-made design. And I hope I can do it as well as I can.

My father was an artisan and he insisted that I become an artisan, and take over the management of his factory. The day we went to enroll in the conservatory, on the way home to the conservatory, he did his best to change my mind. And I was just waiting to get to the conservatory and enroll.

We work in the field of hosting spaces such as hotels, bars, restaurants, and cafes, and in this way, we design plans, interiors, exteriors, facades and landscapes, lighting, and sometimes objects. In my opinion, hotels are the most attractive design spaces.

Just be aware of their surroundings. The best way to learn is to see, and the best inspiring elements are found in abundance in nature. And finally, have big dreams and walk in its path.

The look and ideals of one person distinguish from others. A designer has to take the design to a place where he is not satisfied with seeing it. Sometimes the thriving market for ordinary work diverts people with very strong minds from their intended path.

A good to excellent ratio depends on the details of a design. The more you study and think about work, the more accurate and detailed it becomes. The obsession that the designer spends in this field will have a great impact.

A good design, in addition to creating beauty, enhances human facilities and well-being. And it can have a profound effect on our souls, bodies and lives. A design that works well both aesthetically and functionally cannot be priced.

I am working on a complex for tourism, commercial, recreational and residential use, the concept of which was previously inspired by the effect of wind on the sands of the beach and built in the parametric style of its wind replica. I am planning this project for a sandy tourist beach, I do not know in which country it will be. Maybe the beaches of Spain or Qatar.

The complex that I mentioned, wind effect, as well as a project called Bean Sprout, which is designed in a universal jumping style, following the bean sprouting movement.

I am never easily satisfied. I do not present it without feeling like an exciting project. I think the distance between nice and excellent is very short and can be achieved with a little more patience.

Frank Gehry, Zaha Hadid, Norman Foster

Walt Disney Hall of Fame and Heydar Aliyev Cultural Center. Both have used curved lines to create intricate spaces. By being present in these spaces, human beings can have new experiences.

Next project. It can be said that we, like all our projects, but with the effort we make, we use all our experience and studies to date to make the next project the best project.

Travel is the best way to learn. Seeing new perspectives, new cultures, and the nature of different parts of the world, our perspectives on everything we thought before will be different.

I became a cinema director.

Drawing is the boundary between thought and identity, in which the audience becomes aware of both by encountering them in the first place.

My wife and my mother

Effort and continuity.

Many did not understand what I was saying. Sometimes I would ask myself, 'Am I doing well?' Many of my professors did not understand my work. Today, as I review them and share them with other professors, I see that they have been great work.

Ordinary people do not have the power of visualization like designers. Therefore, designers should present their work to the general public in the simplest way. In this way, many people will be attracted to the designer's thinking.

We are currently designing several hotels on a coral island, hoping to create beautiful spaces and great objects and lighting along the design path.

I have always wanted people who are involved in our projects to have different experiences. And our works should be considered by future generations and preserved as heritage works. And finally, receive the Pritzker Prize.

I think designers always have fans who are waiting to see the creation of a new masterpiece from their favorite designer, so we must do our best to improve the quality of our work every day.

A design is a combination of proportions, colors, geometric volumes, and form. When used well, it creates an effect that will have a direct positive effect on the conscious, subconscious, and the human spirit. So it can create a community with energetic, happy, positive, and healthy people.

We are designing a hall concert.

Roble Restaurant & Cafe Project. All the elements used in it are custom and handmade, and we also became very well known through this project.

Make more use of natural forms and assimilate buildings with the nature around them.

I really have no idea. I just hope technology does not dominate the design.

It depends on the scale of the project and its style. If we consider a restaurant & cafe with an area of 500 square meters, about 40 days. But if we consider a complete hotel with an area of 40,000 square meters, between 6 and 15 months.

From related studies. We listen to the demands of the employer, consider the use of the project, and focus on its climatic, cultural, sociological, psychological, and anthropological studies.

Be idealistic in life.

In my opinion, trends are caused by a cross-sectional wave in time, which is derived from style or design thinking.

It is very effective. The higher the manufacturing technology, the less limitation the designer has to offer a design.

3Dmax, corona, vray, rhino, grasshopper, AutoCAD, photoshop

After formulating the space, the right color and material can create the feeling that the designer intends for the audience's experience. The less artificial elements are used, the longer the design will last.

I always like people to be fascinated by my designs and to be asked how such thoughts work in a person's head.

I admire her/his designer and try to find her/his website or page and see all her/his flaws.

My wife, who of course is also an architect. Definitely, using different thoughts and skills in any work will lead to a brighter result. I always believe in teamwork and I have achieved great results in this field.

Sanja Puri

Combining elements and architecture of universal jumping

By seeing and searching. I always get the most impact from going deeper into the details in nature.

Frank Gehry and Zaha Hadid.

I feel very good. Awards encourage me to keep going and try to do better every day. It is very enjoyable to be famous. I dreamed of becoming famous as a child.

I cannot choose the color. I really love all colors. I love Barbie. I would love to see America. I love spring. And love the car. And of all the cars, I like Rolls-Royce the most. I think Rolls-Royce is more of a school of thought and an idea than a car.

In one of the projects, we designed a series of frames with silk fabrics for the wall. Since it has the best variety in the design and color of women's scarves, we decided to use silk scarves. The day we told the employer that he had to come with us to buy a scarf, he was very surprised and thought that I wanted to buy a silk scarf for my wife. When he found out that it was in the wall of his own restaurant, he told us that he was very surprised. For almost 4 years now, silk scarves have been displayed at the entrance of the restaurant and no one knows what they are.

By dreaming about my goals when I wake up before I get out of bed. And a lukewarm shower, light exercises, and meditation.

Well, nothing is obvious in childhood, but since elementary school, I have been very interested in drawing geometric shapes and stationery, and I have enjoyed working with pencils and pencils. After receiving my first prize, my mother said that as a child, a family friend who had seen my drawings told my mother that this child had a good design talent.

I have no idea about the future too far away. But I think virtual reality technology is very advanced, and anyone anywhere can create the space they want, in fact, see it that way. For example, if you go to a hotel and you want the design of the hotel to be classic or modern, it will be exactly what you want.

I would love to know that all the things we do are with love and the main condition for working with us is that they love design. We love our work and we enjoy it every day.

I founded Peyman Kiani Architects (PKA) to create meaningful architecture, interiors and hospitality projects that combine strong concepts with practical solutions. Alongside architecture, I also established a product design practice focused on furniture and industrial design. My studio believes that every project should have its own identity rather than following trends. We work across different scales, from furniture to hotels and public spaces, always aiming to create timeless, human-centered and emotionally engaging designs.

For me, design is the pursuit of timelessness. I believe the best designs are born by carefully observing nature, because nature has already solved countless structural, functional and aesthetic challenges through millions of years of evolution. My goal is not to imitate nature, but to understand its geometry, logic and efficiency, then reinterpret those principles into architecture and products. At the same time, I try to remove the labels of fashion and expiration dates from my work. A successful design should not belong to a trend or a specific era; it should remain meaningful, functional and emotionally engaging for decades. When beauty, function, human emotion and nature come together, design becomes timeless.

I enjoy designing projects that directly influence people's daily lives and emotions. Hospitality architecture, boutique hotels, restaurants, cafés, public spaces and furniture design are among my favorite fields because they allow me to shape memorable experiences through space, light, materials and human interaction. I also enjoy creating products that combine craftsmanship, innovation and simplicity.

Every project represents a different stage of my professional journey, but the Mercure Hotel project marked a significant turning point in my design thinking. It challenged me to work at a much larger scale while balancing architecture, hospitality, user experience and operational requirements. This project changed the way I approach design, teaching me to think beyond aesthetics and to create environments that offer memorable experiences. It became a milestone that influenced many of my later projects and strengthened my belief that architecture should create emotional and lasting connections with people.

The first project I designed for a company was a 50-square-meter branch of the Jiliz Viliz fast-food restaurant. Although it was a relatively small project, it gave me my first opportunity to work with a real client, understand operational requirements and translate a brand identity into a functional and attractive space. Looking back, that project became the foundation of my professional career and taught me that the scale of a project does not determine its impact on a designer's growth.

My favorite materials are natural and timeless materials such as wood, stone, metal and fabric, because they age beautifully and create an emotional connection with people. In terms of technology, I am interested in digital design tools, 3D visualization and artificial intelligence, as they allow designers to explore ideas faster and communicate concepts more clearly.

I feel the most creative when I am observing nature, traveling, walking through public spaces or watching how people interact with their environment. Creativity often comes to me when I am not forcing an idea, but allowing my mind to connect memories, emotions, materials and forms naturally.

During the design process, I focus first on the concept, the emotional experience and the relationship between people and space. After that, I pay close attention to functionality, ergonomics, materiality, proportions, light and long-term usability. I believe a strong design should work both emotionally and practically.

When I design, I feel curiosity, excitement and responsibility. There is always a moment of discovery, where an idea begins to take shape and becomes something meaningful. At the same time, I feel responsible for creating something that can positively affect people's lives and emotions.

When my designs are realized, I feel gratitude and a deep sense of connection. Seeing people use, enjoy and emotionally respond to a space or object is one of the most rewarding parts of being a designer. It turns an idea into a living experience.

A design becomes successful when it creates value beyond appearance. It should be functional, meaningful, emotionally engaging and timeless. A successful design serves people well, respects its context and remains relevant even after trends have changed.

When judging a design, I first consider its originality, concept and emotional impact. Then I look at functionality, ergonomics, material choices, sustainability, feasibility and attention to detail. A good design should not only look beautiful; it should solve a problem, create an experience and remain meaningful over time.

A designer has a responsibility far beyond creating beautiful objects or spaces. Every design influences people's behavior, emotions and quality of life, while also affecting the environment through material choices, production methods and longevity. I believe designers should create solutions that are sustainable, emotionally meaningful and timeless. Designing products and buildings with long life cycles is one of the most effective ways to reduce waste and protect our environment.

Design is becoming increasingly interdisciplinary. Artificial intelligence, digital technologies and advanced manufacturing will transform the way designers work, but they will never replace human creativity, empathy and intuition. I believe the future of design lies in combining technology with nature, creating sustainable solutions and designing experiences rather than simply objects. The best designs of the future will be intelligent, adaptable and emotionally meaningful.

My recent works have been presented through international exhibitions, design awards and publications, allowing them to reach audiences worldwide. Looking ahead, I would like to organize a solo exhibition that presents architecture, furniture and product design together as parts of one unified design philosophy, preferably in Milan or Dubai, where innovation and international design culture meet.

Nature is my greatest teacher. I constantly observe natural geometries, structures and patterns because they represent millions of years of evolution and optimization. Beyond nature, I find inspiration by observing people in public spaces, watching how children interact with their surroundings, traveling, studying different cultures and exploring art, music and cinema. Creativity grows through curiosity and careful observation rather than searching for trends.

I would describe my design style as timeless, human-centered and inspired by nature. Rather than following temporary trends, I try to understand the underlying logic and geometry of natural systems and reinterpret them into architecture and products. My approach always begins with the emotional experience of the user, followed by functionality, proportion, material honesty and sustainability. I believe a successful design should remain relevant long after trends have disappeared.

I currently live and work in Dubai, while my cultural roots are in Iran. Both environments have shaped my perspective in different ways. Iran has given me a deep appreciation for history, craftsmanship, traditional architecture and human-scale spaces, while Dubai constantly challenges me to think globally, embrace innovation and explore new technologies. Combining these two perspectives allows me to create designs that respect cultural identity while looking confidently toward the future.

I see every client as a long-term partner rather than a customer. I begin by understanding their vision, values, business goals and the people they want to serve. Through open communication and collaboration, we develop solutions that are both creative and practical. I believe the best projects are created when designers and clients trust each other and work toward the same vision.

Companies should choose designers based on their way of thinking rather than simply their portfolio. A strong designer asks the right questions, understands the brand and creates long-term value instead of following short-lived trends. Trust, clear communication and allowing enough creative freedom are essential for achieving outstanding results.

Every project begins with observation and research. I try to understand people, culture, nature and the context before drawing the first sketch. Then I develop concepts, test different possibilities and refine the design through continuous evaluation. Throughout the process I balance emotion, functionality, sustainability and technical feasibility. I believe good design is the result of curiosity, patience and constant refinement.

My five favorite design items at home are my Harman Kardon speaker, a rugby ball, handcrafted ceramic vases and candle holders, orchids, and a collection of beautifully designed drinking glasses. Each of these objects reminds me that good design can be found in everyday life—from technology and sports to nature and handcrafted objects.

I cannot truly describe a fixed daily routine, because my days are never exactly the same. Sometimes I sleep at 4 a.m., sometimes at 10 p.m., and sometimes at 2 a.m., but usually I do not sleep before midnight. What matters to me is how I begin the day whenever I wake up. I like to start by greeting the universe and life, taking a shower, having my drink, stretching my body and then choosing the tasks that feel right for that day. Depending on my mood and energy, I may design, attend meetings, visit galleries, meet friends, walk through the city or simply observe life around me. Most of my days end with exercise at night, another shower and then returning to bed, where my design thoughts continue during the quiet, mysterious and beautiful hours of the night.

Don't chase trends—understand people and observe nature. Build your own way of thinking instead of copying others. Be patient, because meaningful design takes time. Learn from every project, especially the unsuccessful ones, and never stop being curious. Technology will continue to evolve, but imagination, empathy and integrity will always be the most valuable tools a designer can have.

Being a designer allows me to imagine something that does not yet exist and transform it into reality. It is incredibly rewarding to see an idea improve people's lives or create lasting memories. The most challenging part is that design is never truly finished; every project can always be refined. Designers also carry a great responsibility because every decision influences people, culture and the environment.

Observe nature, not trends. Nature has spent millions of years perfecting geometry, structure and function. I believe designers should learn from these principles instead of following temporary fashions. My goal is always to create timeless designs that people can emotionally connect with for many years.

Curiosity is the most important skill. Technical knowledge can be learned, but curiosity drives observation, innovation and continuous growth. Beyond that, empathy, problem-solving, communication, patience and the ability to understand both people and nature are essential qualities for every designer.

My toolbox combines traditional and digital methods. I still begin many ideas with sketches on paper before moving to digital modeling and visualization. I use software such as Rhino, 3ds Max, AutoCAD, Photoshop and AI-assisted design tools when appropriate. Beyond software, my most valuable tools are observation, travel, books, photography, conversations with people and, above all, nature.

I do not manage my time through a strict schedule; I manage it through energy and focus. Every day is different, so I organize my work according to the kind of creativity or concentration I have that day. When I am deeply inspired, I may work for many hours without interruption. I believe creative work should respect natural rhythms rather than forcing productivity at specific hours.

There is no fixed timeline. Some ideas appear within minutes but require months to refine, while others take weeks to discover but develop quickly afterward. A successful design is ready not when time runs out, but when concept, function and emotion reach the right balance.

The question I hear most often is, "Where did this idea come from?" People are usually curious about the origin of my concepts. My answer is always the same: ideas rarely come from a single moment of inspiration; they grow from years of observing nature, people, cultures and everyday life.

One of the most important experiences in my career was designing and supervising large-scale hospitality projects, particularly the Mercure Hotel. It taught me how to balance creativity, technical requirements, construction realities and user experience. That project fundamentally changed the way I think about architecture and design.

My clients include private developers, hospitality brands, real estate companies, restaurant and café owners, residential clients and furniture manufacturers. Over the years I have designed hotels, resorts, restaurants, villas, public spaces and product collections for clients in several countries.

I enjoy hospitality design the most because it brings together architecture, interior design, furniture, lighting and human experience in one project. Designing hotels, restaurants and cafés allows me to create spaces that people remember emotionally, not just visually. I also enjoy furniture design because it allows architectural ideas to exist at a human scale.

My goal is to continue expanding my work internationally through architecture, product design and collaborations with global brands. I also plan to develop more original furniture collections, explore AI-assisted design technologies and create projects that merge nature, innovation and timeless design. Ultimately, I hope to create works that remain meaningful for generations.

Every project begins with my own ideas, sketches and conceptual thinking because I believe the original vision should have a clear author. As projects grow, I collaborate with talented architects, designers, engineers and specialists to develop and realize the work. I see design as a balance between individual creativity and teamwork.

Yes. I am currently working on several projects in architecture, hospitality and product design, including new furniture collections and conceptual architectural projects inspired by nature. While I cannot share all the details yet, they continue my exploration of timeless design, emotional experience and the relationship between nature, technology and human life. I enjoy allowing projects to mature before introducing them to the public.

People can contact me through my official email, professional website and social media channels, particularly Instagram and LinkedIn. I am always open to meaningful collaborations, international projects and conversations about architecture, design and innovation.

peymankianiarchitects@gmail.com
www.instagram.com/peymankianiarchitects

I believe good design should make people feel something before they understand it. Throughout my career, I have tried to create works that remain meaningful long after trends disappear. My greatest ambition is not simply to design beautiful buildings or products, but to create experiences that become part of people's memories. If one day someone remembers a place I designed without remembering my name, I will consider that one of my greatest achievements.