Interview with Pooya Zoiee
Seyedpooya Zoiee is a mechanical engineer and researcher working in advanced manufacturing and physical product development.
Interview about Lupax Rotating Lighting Design Interview
Design Legend Interview
25 May 2026
My background is in mechanical engineering, but my interest in design started much earlier through studying forms, automotive surfaces, and complex geometries. Over time, I discovered that industrial and technical products could also carry strong emotional and visual qualities, which led me toward industrial and product design.
What motivates me most is the process of turning an abstract idea into a real object that people can experience physically. I enjoy the connection between creativity, engineering, and problem-solving, especially when a design can improve both function and user experience.
I believe design naturally became part of my path because I was always curious about forms, structures, and the logic behind objects. It was never a forced decision; it grew gradually from personal interest and exploration.
I mostly work on industrial and product design projects, especially products that combine engineering functionality with a strong visual identity. I would like to work more in advanced lighting and computational design fields in the future.
I think young designers should remain curious and adaptable rather than trying to follow fixed formulas. At the same time, I still believe traditional skills such as hand sketching and observation are essential for developing strong creative thinking.
In my opinion, a great designer is someone who can balance creativity, functionality, manufacturability, and user experience simultaneously. Great design is not only about appearance, but about understanding deeper problems and solving them meaningfully.
I evaluate design by understanding the logic behind it. A truly good design creates a natural relationship between form, function, and user interaction while solving a real challenge clearly and honestly.
Good design improves everyday experiences in ways people may not always consciously notice. It creates better usability, emotional connection, efficiency, and long-term value while making products feel more intuitive and meaningful.
I would love to design more experimental products that combine computational design methods, lighting, and advanced manufacturing technologies for people who appreciate both innovation and emotional experience.
One of my dream projects is developing a lighting collection that fully combines implicit modeling, advanced manufacturing, and architectural atmosphere into a cohesive product experience.
I think curiosity is my most important ingredient. I constantly try to understand how forms, materials, engineering, and user interaction can work together more intelligently and beautifully.
I am often inspired more by design philosophies and engineering approaches than by individual names. I especially admire creators who combine minimalism, functionality, and advanced technical thinking naturally.
I enjoy designs where complexity exists beneath a calm and minimal appearance. Products that reveal deeper engineering logic and thoughtful detailing over time are usually the most inspiring to me. For instance, in Auto motive industries I admire Nader Faghihzadeh as a designer and for sure Nima Bavardi as a Lighting designer.
One of my most meaningful projects is Lupax, because it successfully combined atmosphere, functionality, and visual identity while also becoming a collaborative experience between design and lighting expertise.
I believe designers improve through observation, experimentation, and continuous curiosity. Personally, I spent a lot of time studying forms, sketching, learning 3D tools, and analyzing how products are manufactured and experienced.
I probably would still have worked in a field connected to engineering, form development, or manufacturing because I’ve always been fascinated by how things are built and function.
For me, design is a process of exploration rather than only a method of creating objects. It is about discovering meaningful relationships between people, function, form, and technology.
The people who believed in my ideas and encouraged experimentation played an important role in my growth. Collaborations with creative individuals also helped me see projects from different perspectives.
I think combining engineering thinking with curiosity toward form and aesthetics helped shape my design approach. Constant learning and exploring new technologies also played a major role.
One of the biggest challenges was balancing ambitious ideas with real-world production limitations and available resources. Learning how to adapt creativity to reality was an important process.
I think designers should present not only the final appearance of a project, but also the thinking process, functionality, and reasoning behind the design decisions.
I am currently focusing on new lighting projects and exploring deeper integration between implicit modeling, computational design, and physical product development.
My goal is to create products that combine emotional experience, engineering intelligence, and advanced manufacturing in a meaningful and lasting way.
I think people expect honesty in the design process products that are not only visually interesting but also thoughtful, functional, and realistic.
Good design improves the way people interact with products, spaces, and technology. It can simplify experiences, reduce waste, and create more human-centered solutions for everyday life that can create better ways to engage with society.
I’m especially excited about ongoing lighting projects that explore atmosphere, material behavior, and advanced form development through computational design methods.
Projects that successfully balance engineering, manufacturability, and emotional quality are usually the most satisfying for me because they feel complete on multiple levels.
I would like to see stronger connections between sustainability, advanced manufacturing, and meaningful product experiences instead of purely trend-driven design approaches.
I believe design will increasingly merge with artificial intelligence, computational tools, and adaptive manufacturing methods while human creativity continues defining direction and meaning.
Simple projects can sometimes be completed within a few weeks, while more technically complex and engineering-focused projects may take several months of refinement and development.
I usually start by thinking about the user experience and interaction first. After understanding the problem and product behavior, I move into sketching and early form exploration.
A product should first function correctly for the user, and then beauty and detail should elevate the experience to another level.
I think strong design can influence trends, but truly meaningful design usually goes beyond temporary trends and focuses on long-term value and relevance.
Technology is a powerful tool that expands creative possibilities and allows designers to solve problems more intelligently, especially in areas such as computational design and advanced manufacturing.
My workflow usually includes sketching, idea boards, CAD software, 3D modeling tools, and rendering software to develop and communicate products from concept to visualization.
Materials, lighting, and atmosphere strongly influence how people emotionally experience a product. They help communicate character, quality, and the overall feeling of the design.
I enjoy when people ask about the logic and thought process behind a design rather than only its appearance, because that is usually where the real value exists.
I immediately try to understand the thinking behind it why certain decisions were made and how the relationship between form, function, and engineering was achieved.
I enjoy collaborating with people who bring expertise from different disciplines while still sharing a similar curiosity toward innovation and detail-oriented design.
People from both engineering and creative fields influenced me strongly because they helped me see design from both technical and emotional perspectives simultaneously.
I am often influenced more by visual research, engineering references, architecture, and observation of real products than by one specific book alone.
Through continuous practice, curiosity, sketching, digital modeling, and analyzing how products are designed, manufactured, and experienced in reality.
I would enjoy speaking with people who combine engineering intelligence with artistic thinking and who changed the way we understand form and production.
Recognition is meaningful because it validates the design journey and motivates further growth. For me, awards are less about fame and more about becoming part of a professional creative community.
I’m generally attracted to minimal and calm color palettes, architectural spaces, simple but well-crafted objects, and brands that combine engineering precision with emotional simplicity.
One interesting aspect of design is realizing how much time can be spent adjusting details that most people may never consciously notice, yet those small refinements often completely change the feeling of a product.
The best moments are when an idea suddenly becomes clearer through modeling or sketching and starts feeling real. That sense of progress naturally motivates me.
I always had a strong curiosity toward forms, objects, and visual structures, although at that time I probably didn’t yet understand that it would eventually lead me toward design.
I think technology and design will become increasingly integrated, creating products and systems that are more adaptive, intelligent, and responsive to both human and environmental needs.
For me, design is a continuous journey of curiosity, learning, and experimentation. I believe the most meaningful products are the ones where engineering, functionality, and emotional experience come together naturally.
Designer Interview
26 May 2026
I think my relationship with design started long before I understood what “design” actually meant. As a teenager, I was constantly curious about forms especially complex ones. I would spend hours looking at car bodies, concept sketches, and surfaces, trying to understand why some shapes felt alive while others felt ordinary. There was something emotional automotive forms that attracted me deeply.
At that time, I imagined myself becoming a car designer. But instead of studying industrial design directly, I chose mechanical engineering at university. It may sound like an unusual path, but for me it felt practical and honest. I wanted to understand not only how things look, but also how they exist in the real world how they are built, manufactured, and function under real constraints.
Interestingly, university changed my perspective completely. I discovered that industrial products and engineering systems could also carry beauty. I became fascinated by the tension between function and form the idea that even a highly technical object can still feel elegant, precise, and emotionally engaging.
That was also when I started learning CAD. At first, it was simply a tool for student projects, but very quickly it became much more personal. I started using it almost like a sketchbook, exploring surfaces, experimenting with geometries, and building forms just out of curiosity. I remember spending long nights trying to recreate shapes from images or imagining forms that didn’t yet exist physically.
Looking back, I don’t think I always knew I wanted to become a designer in the traditional sense. What I always had was a strong desire to understand form why certain shapes create emotion, movement, or identity. Design became the natural language for that curiosity.
At that time, I imagined myself becoming a car designer. But instead of studying industrial design directly, I chose mechanical engineering at university. It may sound like an unusual path, but for me it felt practical and honest. I wanted to understand not only how things look, but also how they exist in the real world how they are built, manufactured, and function under real constraints.
Interestingly, university changed my perspective completely. I discovered that industrial products and engineering systems could also carry beauty. I became fascinated by the tension between function and form the idea that even a highly technical object can still feel elegant, precise, and emotionally engaging.
That was also when I started learning CAD. At first, it was simply a tool for student projects, but very quickly it became much more personal. I started using it almost like a sketchbook, exploring surfaces, experimenting with geometries, and building forms just out of curiosity. I remember spending long nights trying to recreate shapes from images or imagining forms that didn’t yet exist physically.
Looking back, I don’t think I always knew I wanted to become a designer in the traditional sense. What I always had was a strong desire to understand form why certain shapes create emotion, movement, or identity. Design became the natural language for that curiosity.
So far, I have mostly worked independently and collaborated with companies as an external designer rather than building a traditional studio structure. In many ways, this way of working reflects my personality. I have always been curious about different industries, different production methods, and different ways people approach design problems.
Working independently gave me the freedom to move between projects with completely different scales and purposes — from technical and industrial products to more form-driven explorations. Instead of staying inside one narrow field, I preferred to experience different environments and understand how design thinking changes from one industry to another.
For me, this journey has never only been about creating objects. It has also been about discovering where my curiosity naturally grows stronger. Every collaboration taught me something different: sometimes about manufacturing, sometimes about user behavior, and sometimes simply about how people emotionally connect with products.
I think this flexible structure helped me develop a more open and adaptive design mindset. Rather than following a fixed visual style, I became more interested in understanding the character and logic behind each project and allowing the design language to emerge from that process naturally.
Working independently gave me the freedom to move between projects with completely different scales and purposes — from technical and industrial products to more form-driven explorations. Instead of staying inside one narrow field, I preferred to experience different environments and understand how design thinking changes from one industry to another.
For me, this journey has never only been about creating objects. It has also been about discovering where my curiosity naturally grows stronger. Every collaboration taught me something different: sometimes about manufacturing, sometimes about user behavior, and sometimes simply about how people emotionally connect with products.
I think this flexible structure helped me develop a more open and adaptive design mindset. Rather than following a fixed visual style, I became more interested in understanding the character and logic behind each project and allowing the design language to emerge from that process naturally.
For me, design is not simply a profession or a process for creating products. It feels more like a path of exploration. I rarely begin a project with the idea that I already know exactly what the final outcome should look like. In fact, the most exciting part for me is discovering something unexpected during the journey.
Each project has its own personality, rhythm, and logic. Because of that, I try not to force the same method or visual language onto every design. Instead, I prefer to follow the project carefully and allow the direction to reveal itself gradually through experimentation, mistakes, and curiosity.
I think the best designs are the ones that still contain a sense of discovery — even for the designer who created them. If a project no longer surprises me during the process, I usually feel that something important is missing.
So in many ways, design for me is less about controlling every detail from the beginning and more about creating the conditions for something meaningful to emerge naturally.
Each project has its own personality, rhythm, and logic. Because of that, I try not to force the same method or visual language onto every design. Instead, I prefer to follow the project carefully and allow the direction to reveal itself gradually through experimentation, mistakes, and curiosity.
I think the best designs are the ones that still contain a sense of discovery — even for the designer who created them. If a project no longer surprises me during the process, I usually feel that something important is missing.
So in many ways, design for me is less about controlling every detail from the beginning and more about creating the conditions for something meaningful to emerge naturally.
I’m usually most attracted to projects that challenge me on multiple levels at the same time. Not only visually, but also technically and functionally. I enjoy situations where the product cannot rely only on appearance, and where every design decision has to respond to a real purpose or performance requirement.
For me, the most satisfying projects are the ones where beauty and function grow together instead of competing with each other. I like products that have engineering complexity behind them but still feel simple, clear, and emotionally engaging when someone interacts with them.
I think the real excitement happens when a project pushes me out of my comfort zone when I need to solve functional limitations, manufacturing constraints, or technical problems while still trying to preserve a strong visual identity. That balance is what makes the process meaningful for me.
In a way, I enjoy projects that feel a little difficult at first. Those are usually the ones that teach me the most and lead to the most rewarding outcomes.
For me, the most satisfying projects are the ones where beauty and function grow together instead of competing with each other. I like products that have engineering complexity behind them but still feel simple, clear, and emotionally engaging when someone interacts with them.
I think the real excitement happens when a project pushes me out of my comfort zone when I need to solve functional limitations, manufacturing constraints, or technical problems while still trying to preserve a strong visual identity. That balance is what makes the process meaningful for me.
In a way, I enjoy projects that feel a little difficult at first. Those are usually the ones that teach me the most and lead to the most rewarding outcomes.
Lately, I’ve become increasingly interested in designs that look complex but are actually driven by a very rational and meaningful logic underneath. Especially systems and forms that emerge from performance requirements rather than purely aesthetic decisions.
One area that fascinates me a lot is generative design. I enjoy the idea that a form can evolve naturally from constraints such as weight reduction, material efficiency, structural performance, or manufacturability. In these processes, the final geometry often feels less like something “drawn” by a designer and more like something discovered through collaboration between engineering, computation, and creativity.
What attracts me most is that these forms are not complex just for visual impact. Their complexity usually has a purpose. In many cases, they can lead to lighter structures, lower material consumption, better performance, and more sustainable production approaches. I find that balance between advanced technology and organic visual language extremely inspiring.
I think my favorite designs are the ones that make people curious forms that initially feel unusual or unfamiliar, but once you understand the logic behind them, they suddenly feel inevitable and natural.
One area that fascinates me a lot is generative design. I enjoy the idea that a form can evolve naturally from constraints such as weight reduction, material efficiency, structural performance, or manufacturability. In these processes, the final geometry often feels less like something “drawn” by a designer and more like something discovered through collaboration between engineering, computation, and creativity.
What attracts me most is that these forms are not complex just for visual impact. Their complexity usually has a purpose. In many cases, they can lead to lighter structures, lower material consumption, better performance, and more sustainable production approaches. I find that balance between advanced technology and organic visual language extremely inspiring.
I think my favorite designs are the ones that make people curious forms that initially feel unusual or unfamiliar, but once you understand the logic behind them, they suddenly feel inevitable and natural.
The first product I designed for a company was actually a enclouser box for an electrical control board developed by a startup. It was not a glamorous or highly expressive project from a visual standpoint, but for me it was a very important experience because it changed the way I looked at design in the real world.
The project was relatively simple, yet I remember spending a lot of time thinking about small functional details how the parts would be assembled, how the user would interact with it, how the structure could remain clean and practical without unnecessary complexity.
What I enjoyed most was realizing that even a very technical and ordinary product still contains opportunities for thoughtful design decisions. It taught me that good design is not always about creating something visually dramatic. Sometimes it is about improving usability, clarity, and functionality in subtle ways that people may not immediately notice, but definitely feel when using the product.
Looking back, I think that project gave me my first real understanding of the relationship between engineering limitations and design thinking.
The project was relatively simple, yet I remember spending a lot of time thinking about small functional details how the parts would be assembled, how the user would interact with it, how the structure could remain clean and practical without unnecessary complexity.
What I enjoyed most was realizing that even a very technical and ordinary product still contains opportunities for thoughtful design decisions. It taught me that good design is not always about creating something visually dramatic. Sometimes it is about improving usability, clarity, and functionality in subtle ways that people may not immediately notice, but definitely feel when using the product.
Looking back, I think that project gave me my first real understanding of the relationship between engineering limitations and design thinking.
I’m usually more interested in materials and technologies where design decisions can directly influence performance in a meaningful way. Materials like plastics, rubber, and in some cases even metals, become much more interesting to me when their behavior can be improved through geometry, structure, or manufacturing strategy rather than only changing the material itself.
For example, I enjoy situations where a small change in surface structure, wall thickness, internal geometry, or pattern design can completely change how a product feels, performs, or responds mechanically. That relationship between form and performance is something I find very exciting.
This is also one of the reasons why I’m highly interested in advanced manufacturing methods and computational design approaches. Technologies such as generative design, implicit modeling, and additive manufacturing open possibilities that were difficult or impossible to achieve with traditional design methods. They allow designers to think less in terms of fixed shapes and more in terms of systems and behaviors.
For me, the technology itself is never the final goal. What matters more is how it expands the designer’s ability to create smarter, lighter, more adaptive, and sometimes even more human-centered solutions.
For example, I enjoy situations where a small change in surface structure, wall thickness, internal geometry, or pattern design can completely change how a product feels, performs, or responds mechanically. That relationship between form and performance is something I find very exciting.
This is also one of the reasons why I’m highly interested in advanced manufacturing methods and computational design approaches. Technologies such as generative design, implicit modeling, and additive manufacturing open possibilities that were difficult or impossible to achieve with traditional design methods. They allow designers to think less in terms of fixed shapes and more in terms of systems and behaviors.
For me, the technology itself is never the final goal. What matters more is how it expands the designer’s ability to create smarter, lighter, more adaptive, and sometimes even more human-centered solutions.
Interestingly, I feel most creative not at the very beginning of a project, but near the moment when an idea becomes real. The feeling of holding a final product in my hands something that once existed only in my imagination is incredibly inspiring for me.
There is something special about seeing a form, detail, or proportion translate successfully from a digital model or sketch into a physical object with the same precision and feeling I originally envisioned. That moment gives me energy and usually opens the door to new ideas immediately afterward.
I think creativity for me is strongly connected to realization. I enjoy the process of turning abstract thoughts into tangible experiences. When a product finally reaches the point where function, form, material, and manufacturing quality all come together harmoniously, it feels less like the end of a project and more like the beginning of new possibilities.
There is something special about seeing a form, detail, or proportion translate successfully from a digital model or sketch into a physical object with the same precision and feeling I originally envisioned. That moment gives me energy and usually opens the door to new ideas immediately afterward.
I think creativity for me is strongly connected to realization. I enjoy the process of turning abstract thoughts into tangible experiences. When a product finally reaches the point where function, form, material, and manufacturing quality all come together harmoniously, it feels less like the end of a project and more like the beginning of new possibilities.
The first thing I focus on is whether the product truly responds to the user’s needs in a clear and meaningful way. For me, design should first create a good experience something intuitive, functional, and comfortable to interact with. If a product looks interesting but fails to communicate properly with the user, I feel that an important part of the design is missing.
I spend a lot of time thinking about how people will physically and emotionally interact with a product. Sometimes very small decisions can completely change the user experience, so I try to pay close attention to usability, clarity, and the natural behavior of the object.
After that foundation is established, I move toward refinement and visual detailing. This is usually the stage where the character of the product becomes stronger — through proportions, surfaces, transitions, materials, and subtle details that may not immediately stand out individually, but together create a more complete and memorable feeling.
I believe good design happens when functionality and visual quality support each other naturally instead of competing for attention.
I spend a lot of time thinking about how people will physically and emotionally interact with a product. Sometimes very small decisions can completely change the user experience, so I try to pay close attention to usability, clarity, and the natural behavior of the object.
After that foundation is established, I move toward refinement and visual detailing. This is usually the stage where the character of the product becomes stronger — through proportions, surfaces, transitions, materials, and subtle details that may not immediately stand out individually, but together create a more complete and memorable feeling.
I believe good design happens when functionality and visual quality support each other naturally instead of competing for attention.
For me, the most exciting part of design begins after the initial concept stage. Once the overall direction and form are established, the project starts to feel alive, and that is when I become emotionally connected to the process.
As I continue shaping the product adjusting surfaces, refining proportions, changing details, improving transitions even small modifications can create a real sense of excitement for me. Sometimes a tiny change suddenly makes the whole object feel more balanced, more expressive, or more natural, and those moments are incredibly satisfying.
I think design is a very emotional process, even when working on highly technical products. There is always a continuous dialogue between intuition and logic. You analyze, refine, question, and then suddenly a form reaches a point where it simply feels right. That feeling is difficult to describe precisely, but it is one of the main reasons I enjoy designing so much.
As I continue shaping the product adjusting surfaces, refining proportions, changing details, improving transitions even small modifications can create a real sense of excitement for me. Sometimes a tiny change suddenly makes the whole object feel more balanced, more expressive, or more natural, and those moments are incredibly satisfying.
I think design is a very emotional process, even when working on highly technical products. There is always a continuous dialogue between intuition and logic. You analyze, refine, question, and then suddenly a form reaches a point where it simply feels right. That feeling is difficult to describe precisely, but it is one of the main reasons I enjoy designing so much.
I think seeing a design become real is one of the most meaningful experiences a designer can have. There is something very special about watching an idea that once existed only in your mind slowly turn into a physical object that people can actually see, touch, and interact with.
For me, it creates a deep sense of excitement, satisfaction, and sometimes even disbelief. During the design process, you spend so much time imagining proportions, materials, details, and behaviors internally that finally seeing them exist in reality feels almost surreal.
More than anything, I think it is connected to the feeling of creation itself. Not simply making an object, but bringing something into existence that did not exist before. That moment reminds me why I became interested in design in the first place.
For me, it creates a deep sense of excitement, satisfaction, and sometimes even disbelief. During the design process, you spend so much time imagining proportions, materials, details, and behaviors internally that finally seeing them exist in reality feels almost surreal.
More than anything, I think it is connected to the feeling of creation itself. Not simply making an object, but bringing something into existence that did not exist before. That moment reminds me why I became interested in design in the first place.
In my opinion, a design becomes successful when it creates the right experience for the user. Even if a product is visually impressive or technically advanced, it only truly succeeds when people can naturally connect with it, understand it, and benefit from it in a meaningful way.
No product is ever completely perfect. Every design has strengths, limitations, and compromises. But what matters most is whether the product can solve a real problem clearly and honestly while creating a smooth and intuitive interaction for the user.
I think successful design is often less about attracting attention and more about creating understanding and trust. When a user feels comfortable with a product when the interaction feels natural instead of forced that is usually a sign that the design is working properly.
For me, good design should not only exist beautifully; it should also improve an experience in a real and practical way.
No product is ever completely perfect. Every design has strengths, limitations, and compromises. But what matters most is whether the product can solve a real problem clearly and honestly while creating a smooth and intuitive interaction for the user.
I think successful design is often less about attracting attention and more about creating understanding and trust. When a user feels comfortable with a product when the interaction feels natural instead of forced that is usually a sign that the design is working properly.
For me, good design should not only exist beautifully; it should also improve an experience in a real and practical way.
When I see a design for the first time, I usually try to understand the thinking behind it before judging its appearance. I ask myself questions like: Why was this designed this way? What problem was the designer trying to solve? What kind of logic or intention shaped these decisions?
For me, every good design carries a certain internal consistency. Even if the form is minimal, experimental, or unconventional, I want to feel that there is a clear relationship between the product’s purpose, its structure, and its visual language.
I think I’m often more interested in the reasoning behind a design than in the design itself at first glance. Sometimes a product may look simple visually, but once you understand the thought process behind it, it becomes much more impressive. On the other hand, some designs may appear attractive initially but lose their value when there is no real logic supporting them.
So, when judging a design, I naturally search for intention, clarity, and honesty in the process behind the final form.
For me, every good design carries a certain internal consistency. Even if the form is minimal, experimental, or unconventional, I want to feel that there is a clear relationship between the product’s purpose, its structure, and its visual language.
I think I’m often more interested in the reasoning behind a design than in the design itself at first glance. Sometimes a product may look simple visually, but once you understand the thought process behind it, it becomes much more impressive. On the other hand, some designs may appear attractive initially but lose their value when there is no real logic supporting them.
So, when judging a design, I naturally search for intention, clarity, and honesty in the process behind the final form.
In my opinion, one of the most important responsibilities of a designer is to remain aware and informed about new production methods, materials, and technologies. Design today is not only about creating functional or visually attractive products anymore; it is also about understanding the broader impact that products can have on people and the environment.
I believe a designer should try to create solutions that improve the user’s experience without creating new problems somewhere else in the process. This can include reducing unnecessary material usage, thinking about manufacturability, improving product lifespan, or choosing approaches that are more environmentally responsible.
At the same time, I think sustainability in design is a very honest challenge. It is easy to talk about environmentally friendly design in theory, but in reality, every project comes with limitations, compromises, and production constraints. Because of that, I see sustainability less as a perfect achievement and more as a continuous direction that designers should actively move toward.
For me, a responsible designer is someone who stays curious, keeps learning, and tries to make more thoughtful decisions with every new project.
I believe a designer should try to create solutions that improve the user’s experience without creating new problems somewhere else in the process. This can include reducing unnecessary material usage, thinking about manufacturability, improving product lifespan, or choosing approaches that are more environmentally responsible.
At the same time, I think sustainability in design is a very honest challenge. It is easy to talk about environmentally friendly design in theory, but in reality, every project comes with limitations, compromises, and production constraints. Because of that, I see sustainability less as a perfect achievement and more as a continuous direction that designers should actively move toward.
For me, a responsible designer is someone who stays curious, keeps learning, and tries to make more thoughtful decisions with every new project.
I think design is entering a very interesting period, especially with the rapid development of artificial intelligence and computational tools. Unlike some fields that may struggle against these technologies, I believe design can evolve alongside them in a very natural way.
In my opinion, AI will become a powerful assistant in the design process rather than a replacement for human creativity. It can accelerate workflows, generate variations, optimize structures, and help designers explore possibilities much faster than before. But I still believe that the deeper parts of design intuition, emotional understanding, cultural awareness, and genuine ideation remain strongly human.
Good design is not only about producing forms quickly. It is about asking the right questions, understanding human behavior, identifying meaningful problems, and making thoughtful decisions within complex realities. Those aspects still require human sensitivity and judgment.
At the same time, I think this acceleration will create new challenges as well. When generating visual ideas becomes extremely easy, there is a risk that products may become visually excessive, temporary, or disconnected from real purpose. Because of that, I believe the future value of designers may not come from simply creating more forms, but from creating more meaningful and honest ones.
So overall, I see the future of design as a collaboration between human creativity and intelligent tools where technology expands possibilities, but human thinking continues to define direction and meaning.
In my opinion, AI will become a powerful assistant in the design process rather than a replacement for human creativity. It can accelerate workflows, generate variations, optimize structures, and help designers explore possibilities much faster than before. But I still believe that the deeper parts of design intuition, emotional understanding, cultural awareness, and genuine ideation remain strongly human.
Good design is not only about producing forms quickly. It is about asking the right questions, understanding human behavior, identifying meaningful problems, and making thoughtful decisions within complex realities. Those aspects still require human sensitivity and judgment.
At the same time, I think this acceleration will create new challenges as well. When generating visual ideas becomes extremely easy, there is a risk that products may become visually excessive, temporary, or disconnected from real purpose. Because of that, I believe the future value of designers may not come from simply creating more forms, but from creating more meaningful and honest ones.
So overall, I see the future of design as a collaboration between human creativity and intelligent tools where technology expands possibilities, but human thinking continues to define direction and meaning.
I actually have not had the experience of presenting my work in an exhibition yet. Most of the products and projects I have designed so far were developed in more specialized or individual industrial fields, where the focus was mainly on the product itself and its practical application rather than public presentation.
However, in recent years I have become increasingly interested in lighting design, and I feel this field has a different relationship with exhibitions and physical experience. Lighting products are not only functional objects; they also create atmosphere, emotion, and interaction within a space. Because of that, I think they can communicate very naturally with people in an exhibition environment.
I would genuinely like to experience presenting these kinds of works in an exhibition in the future. I think seeing people interact with a product directly, especially in the field of lighting, can reveal dimensions of the design that are difficult to communicate through images alone.
However, in recent years I have become increasingly interested in lighting design, and I feel this field has a different relationship with exhibitions and physical experience. Lighting products are not only functional objects; they also create atmosphere, emotion, and interaction within a space. Because of that, I think they can communicate very naturally with people in an exhibition environment.
I would genuinely like to experience presenting these kinds of works in an exhibition in the future. I think seeing people interact with a product directly, especially in the field of lighting, can reveal dimensions of the design that are difficult to communicate through images alone.
A large part of my inspiration comes from nature. I think nature is one of the most intelligent and honest sources of inspiration both in engineering and in design. When you observe natural systems closely, you realize that many forms, structures, and patterns are not only visually beautiful, but also highly efficient and purposeful.
I’m especially interested in the relationship between organic forms and performance how structures in nature evolve because they respond perfectly to forces, movement, growth, or environmental conditions. This way of thinking influences the way I look at design problems as well.
At the same time, I try to feed my creativity through curiosity rather than following a fixed routine. Sometimes inspiration comes from architecture, industrial systems, manufacturing processes, scientific images, or even small unnoticed details in everyday objects. I often spend time simply observing forms and trying to understand the logic behind them.
For me, creativity usually grows when I discover connections between different worlds between engineering and art, between function and emotion, or between technology and nature. Those intersections are often where the most interesting ideas begin to appear.
I’m especially interested in the relationship between organic forms and performance how structures in nature evolve because they respond perfectly to forces, movement, growth, or environmental conditions. This way of thinking influences the way I look at design problems as well.
At the same time, I try to feed my creativity through curiosity rather than following a fixed routine. Sometimes inspiration comes from architecture, industrial systems, manufacturing processes, scientific images, or even small unnoticed details in everyday objects. I often spend time simply observing forms and trying to understand the logic behind them.
For me, creativity usually grows when I discover connections between different worlds between engineering and art, between function and emotion, or between technology and nature. Those intersections are often where the most interesting ideas begin to appear.
I would describe my design style as a balance between minimalism and engineering complexity. Visually, I’m usually attracted to clean, calm, and simple forms, but at the same time I enjoy integrating deeper technical or structural complexity beneath that simplicity.
I think what interests me most is creating products that feel visually effortless while actually containing a strong layer of engineering thinking behind them. In many cases, the challenge is not adding more elements, but simplifying a product without losing its character or functionality.
This approach probably comes from my background in mechanical engineering and my interest in advanced forms and manufacturing methods. Over time, I became more fascinated by designs where complexity exists in the logic, structure, or performance of the product rather than only in its appearance.
In my process, I usually begin by understanding the purpose and behavior of the product first. Then I gradually try to remove unnecessary visual noise and refine the form until the object feels both functional and emotionally balanced.
I like designs that do not try too hard to attract attention immediately, but reveal more depth the longer you look at them.
I think what interests me most is creating products that feel visually effortless while actually containing a strong layer of engineering thinking behind them. In many cases, the challenge is not adding more elements, but simplifying a product without losing its character or functionality.
This approach probably comes from my background in mechanical engineering and my interest in advanced forms and manufacturing methods. Over time, I became more fascinated by designs where complexity exists in the logic, structure, or performance of the product rather than only in its appearance.
In my process, I usually begin by understanding the purpose and behavior of the product first. Then I gradually try to remove unnecessary visual noise and refine the form until the object feels both functional and emotionally balanced.
I like designs that do not try too hard to attract attention immediately, but reveal more depth the longer you look at them.
I live in Iran, and yes, I think the cultural and historical heritage of my country naturally influences the way I look at design. Iran has a very deep visual culture from architecture and geometry to craftsmanship, materials, patterns, and the relationship between light and space. Even when these elements are not directly visible in a project, I think they remain somewhere in the designer’s subconscious.
What inspires me most is the intelligence behind many traditional Iranian forms. In historical architecture and objects, beauty was often connected to logic, proportion, climate, material limitations, and human experience at the same time. That balance is something I deeply admire and try to understand in my own way.
At the same time, designing in Iran comes with both opportunities and challenges. One advantage is that limitations often force designers to become more adaptive, resourceful, and creative in solving problems. You learn to think carefully about production methods, materials, and practical solutions instead of depending only on ideal conditions.
I think living in a place with such a rich cultural background while also facing modern challenges creates an interesting tension and that tension can sometimes become a powerful source of creativity.
What inspires me most is the intelligence behind many traditional Iranian forms. In historical architecture and objects, beauty was often connected to logic, proportion, climate, material limitations, and human experience at the same time. That balance is something I deeply admire and try to understand in my own way.
At the same time, designing in Iran comes with both opportunities and challenges. One advantage is that limitations often force designers to become more adaptive, resourceful, and creative in solving problems. You learn to think carefully about production methods, materials, and practical solutions instead of depending only on ideal conditions.
I think living in a place with such a rich cultural background while also facing modern challenges creates an interesting tension and that tension can sometimes become a powerful source of creativity.
I usually collaborate with companies independently rather than through a large studio structure. I prefer working closely and directly with teams, because it creates a more flexible and focused design process.
One of the things I appreciate about this way of working is the opportunity to experience different industries and different types of products. Each company has its own challenges, priorities, and way of thinking, and moving between these environments keeps the design process dynamic and continuously educational for me.
I also think working independently allows me to stay closely connected to both the conceptual and technical sides of a project. I enjoy being involved not only in the visual development of a product, but also in discussions about functionality, manufacturing, and problem-solving throughout the process.
For me, collaboration works best when it feels open and exploratory when both sides are trying to build something meaningful rather than simply following a fixed formula.
One of the things I appreciate about this way of working is the opportunity to experience different industries and different types of products. Each company has its own challenges, priorities, and way of thinking, and moving between these environments keeps the design process dynamic and continuously educational for me.
I also think working independently allows me to stay closely connected to both the conceptual and technical sides of a project. I enjoy being involved not only in the visual development of a product, but also in discussions about functionality, manufacturing, and problem-solving throughout the process.
For me, collaboration works best when it feels open and exploratory when both sides are trying to build something meaningful rather than simply following a fixed formula.
In my opinion, one of the most important things companies can do is allow enough creative flexibility during the early stages of a project. If a design process becomes too restricted from the beginning whether technically, visually, or strategically it can limit exploration and prevent stronger ideas from emerging naturally.
I think the early phase of design should remain open enough for experimentation, discussion, and even unexpected directions. Sometimes the most valuable solutions appear during this exploratory stage, not from the initial assumptions.
When selecting a designer, I believe companies should look beyond only visual style or portfolio aesthetics. A good designer is someone who can understand problems deeply, adapt to different challenges, communicate ideas clearly, and create a meaningful balance between creativity, functionality, and real-world limitations.
For me, successful collaboration happens when there is mutual trust. When companies allow designers enough freedom to think creatively while designers also remain realistic about technical and production constraints, the final result usually becomes much stronger and more authentic.
I think the early phase of design should remain open enough for experimentation, discussion, and even unexpected directions. Sometimes the most valuable solutions appear during this exploratory stage, not from the initial assumptions.
When selecting a designer, I believe companies should look beyond only visual style or portfolio aesthetics. A good designer is someone who can understand problems deeply, adapt to different challenges, communicate ideas clearly, and create a meaningful balance between creativity, functionality, and real-world limitations.
For me, successful collaboration happens when there is mutual trust. When companies allow designers enough freedom to think creatively while designers also remain realistic about technical and production constraints, the final result usually becomes much stronger and more authentic.
My design process usually begins with a kind of mental challenge. After the project is defined, I spend time thinking about the product before I start designing anything visually. I try to imagine how the user will interact with it, what kind of experience the product should create, and what problem it truly needs to solve.
At this stage, I'm less focused on appearance and more focused on behavior and interaction. I think understanding the logic of the product is very important before shaping its form.
After that, I usually move to pencil and paper. Even though I work a lot with digital tools and 3D software, I still enjoy sketching by hand in the early stages because it allows ideas to flow more naturally and freely. It's often during these rough sketches that unexpected directions begin to appear.
Once the main idea starts becoming clearer, I gradually move into digital modeling and refinement. That is where I start exploring proportions, surfaces, details, and technical feasibility more precisely.
For me, design is rarely a completely linear process. It's more like a continuous dialogue between function, form, engineering, and intuition.
At this stage, I'm less focused on appearance and more focused on behavior and interaction. I think understanding the logic of the product is very important before shaping its form.
After that, I usually move to pencil and paper. Even though I work a lot with digital tools and 3D software, I still enjoy sketching by hand in the early stages because it allows ideas to flow more naturally and freely. It's often during these rough sketches that unexpected directions begin to appear.
Once the main idea starts becoming clearer, I gradually move into digital modeling and refinement. That is where I start exploring proportions, surfaces, details, and technical feasibility more precisely.
For me, design is rarely a completely linear process. It's more like a continuous dialogue between function, form, engineering, and intuition.
Some of my favorite designed objects at home are actually the ones I interact with almost every day. I enjoy products that combine function, atmosphere, and thoughtful detailing in a subtle way.
Lighting fixtures and chandeliers are probably at the top of the list for me. I’m very interested in how light can completely change the feeling of a space, and I often pay attention to the balance between the light source itself and the form surrounding it.
I also really like lampshades because they sit somewhere between product design and interior atmosphere. Even very simple lighting objects can create a strong emotional presence when designed carefully.
Coffee makers are another favorite of mine. I think they are great examples of products where ritual, usability, engineering, and aesthetics all come together in a very human way.
Chairs also fascinate me because they are deceptively difficult to design well. A good chair has to solve ergonomics, structure, comfort, material behavior, and visual identity all at once.
And finally, sound bars and audio products. I appreciate how these devices often try to integrate technology into living spaces in a visually calm and minimal way while still delivering a strong sensory experience.
Lighting fixtures and chandeliers are probably at the top of the list for me. I’m very interested in how light can completely change the feeling of a space, and I often pay attention to the balance between the light source itself and the form surrounding it.
I also really like lampshades because they sit somewhere between product design and interior atmosphere. Even very simple lighting objects can create a strong emotional presence when designed carefully.
Coffee makers are another favorite of mine. I think they are great examples of products where ritual, usability, engineering, and aesthetics all come together in a very human way.
Chairs also fascinate me because they are deceptively difficult to design well. A good chair has to solve ergonomics, structure, comfort, material behavior, and visual identity all at once.
And finally, sound bars and audio products. I appreciate how these devices often try to integrate technology into living spaces in a visually calm and minimal way while still delivering a strong sensory experience.
I can’t say that every day follows exactly the same routine, but when I’m actively involved in a project, my days usually begin very quietly and mentally focused.
At the start of the day before distractions and daily responsibilities build up I like to spend time thinking about the core idea of the project. Sometimes this means reviewing sketches, analyzing forms, or simply reflecting on the direction of the design and the feeling I want the product to create. I find that the early hours of the day are usually when my mind is the clearest creatively.
After that, I gradually move into the more technical side of the process and begin developing the overall form in 3D. This stage is very important for me because it is where abstract ideas start becoming tangible. I spend a lot of time adjusting proportions, refining surfaces, and testing how the design behaves from different angles and scales.
Throughout the day, the process often moves back and forth between engineering thinking and creative intuition. Sometimes a technical limitation changes the form completely, and sometimes a visual idea leads to a new functional solution. That dialogue is actually one of my favorite parts of design.
At the start of the day before distractions and daily responsibilities build up I like to spend time thinking about the core idea of the project. Sometimes this means reviewing sketches, analyzing forms, or simply reflecting on the direction of the design and the feeling I want the product to create. I find that the early hours of the day are usually when my mind is the clearest creatively.
After that, I gradually move into the more technical side of the process and begin developing the overall form in 3D. This stage is very important for me because it is where abstract ideas start becoming tangible. I spend a lot of time adjusting proportions, refining surfaces, and testing how the design behaves from different angles and scales.
Throughout the day, the process often moves back and forth between engineering thinking and creative intuition. Sometimes a technical limitation changes the form completely, and sometimes a visual idea leads to a new functional solution. That dialogue is actually one of my favorite parts of design.
I honestly think it is becoming harder and harder to give fixed advice to young designers because the design world is evolving very quickly. New technologies, new tools, and new ways of working are constantly changing the process, and in many ways, it is the younger generation that will define how design moves forward in the future.
Because of that, I don’t think young designers should simply follow old formulas or try to imitate a single path. I think it is important for them to stay curious, adaptable, and open to experimentation.
At the same time, there is one thing I still strongly believe in: maintaining a direct connection with creativity before entering the digital world. Even today, with all the advanced software and AI tools available, I think hand sketching and drawing remain incredibly valuable. Sketching by hand creates a very immediate and honest relationship between thought and form. It allows ideas to develop more freely, without the pressure of perfection or technical limitations.
For me, traditional methods like sketching are not outdated at all. They are more like a foundation a way of training observation, imagination, and visual thinking. Digital tools are extremely powerful, but creativity usually begins long before the computer screen.
I think the most important thing for young designers is not to rush only toward producing polished results, but to spend time developing the way they think and observe the world around them.
Because of that, I don’t think young designers should simply follow old formulas or try to imitate a single path. I think it is important for them to stay curious, adaptable, and open to experimentation.
At the same time, there is one thing I still strongly believe in: maintaining a direct connection with creativity before entering the digital world. Even today, with all the advanced software and AI tools available, I think hand sketching and drawing remain incredibly valuable. Sketching by hand creates a very immediate and honest relationship between thought and form. It allows ideas to develop more freely, without the pressure of perfection or technical limitations.
For me, traditional methods like sketching are not outdated at all. They are more like a foundation a way of training observation, imagination, and visual thinking. Digital tools are extremely powerful, but creativity usually begins long before the computer screen.
I think the most important thing for young designers is not to rush only toward producing polished results, but to spend time developing the way they think and observe the world around them.
For me, being a designer is fundamentally a positive experience because it allows you to transform ideas into something real. I think one of the most rewarding moments in design is the birth of an idea that moment when a vague thought suddenly becomes clear and you realize there is something meaningful worth developing further. That feeling never becomes repetitive for me.
Design also gives you the opportunity to constantly learn. Every project introduces new materials, technologies, industries, or ways of thinking, so the process rarely feels static.
As for the difficult side of design, I would describe it more as a challenge than a negative aspect. Sometimes you discover an idea that feels very strong creatively, but due to manufacturing limitations, budget constraints, technical realities, or other external factors, it cannot be realized in the way you originally imagined. Those moments can be frustrating because you feel the gap between imagination and reality very clearly.
At the same time, I think those limitations are also part of what shapes designers. They force you to adapt, rethink, and search for alternative solutions. In a strange way, some of the best creative decisions are born precisely because of those constraints.
Design also gives you the opportunity to constantly learn. Every project introduces new materials, technologies, industries, or ways of thinking, so the process rarely feels static.
As for the difficult side of design, I would describe it more as a challenge than a negative aspect. Sometimes you discover an idea that feels very strong creatively, but due to manufacturing limitations, budget constraints, technical realities, or other external factors, it cannot be realized in the way you originally imagined. Those moments can be frustrating because you feel the gap between imagination and reality very clearly.
At the same time, I think those limitations are also part of what shapes designers. They force you to adapt, rethink, and search for alternative solutions. In a strange way, some of the best creative decisions are born precisely because of those constraints.
My golden rule in design is that the product must first work correctly for the user before anything else. I always begin by thinking about interaction how the user experiences the product, how naturally they understand it, and how effectively the product performs its purpose.
For me, functionality and user experience are the foundation of good design. If those elements are weak, even the most visually attractive product can feel incomplete.
After that foundation is established, I focus heavily on refinement and detail. This is the stage where beauty becomes important to me not only in an obvious visual sense, but also in the precision of surfaces, transitions, proportions, textures, and small details that create a richer emotional connection with the product.
I enjoy designs where functionality feels effortless and where the visual quality continues to reveal itself gradually the more you observe the object.
For me, functionality and user experience are the foundation of good design. If those elements are weak, even the most visually attractive product can feel incomplete.
After that foundation is established, I focus heavily on refinement and detail. This is the stage where beauty becomes important to me not only in an obvious visual sense, but also in the precision of surfaces, transitions, proportions, textures, and small details that create a richer emotional connection with the product.
I enjoy designs where functionality feels effortless and where the visual quality continues to reveal itself gradually the more you observe the object.
I think the most important skill for a designer is design thinking — the ability to analyze a problem, understand user needs, and develop meaningful ideas instead of only creating visually attractive forms. Good design usually begins with the quality of thinking behind it.
After that, I believe the ability to communicate ideas clearly is extremely important. For me, hand sketching is still one of the most valuable skills because it creates a direct connection between imagination and form. Sketching allows ideas to develop quickly, freely, and intuitively before becoming limited by technical details.
Then comes 3D modeling, which is essential for transforming concepts into something more precise and realistic. It allows designers to study proportions, surfaces, structure, and manufacturability in a much deeper way.
And finally, rendering and visualization are important because they help communicate the atmosphere, material qualities, and emotional feeling of a design to others. A strong idea deserves to be presented clearly and convincingly.
But overall, I think tools can always evolve and change. The real long-term skill is learning how to think creatively and critically as a designer.
After that, I believe the ability to communicate ideas clearly is extremely important. For me, hand sketching is still one of the most valuable skills because it creates a direct connection between imagination and form. Sketching allows ideas to develop quickly, freely, and intuitively before becoming limited by technical details.
Then comes 3D modeling, which is essential for transforming concepts into something more precise and realistic. It allows designers to study proportions, surfaces, structure, and manufacturability in a much deeper way.
And finally, rendering and visualization are important because they help communicate the atmosphere, material qualities, and emotional feeling of a design to others. A strong idea deserves to be presented clearly and convincingly.
But overall, I think tools can always evolve and change. The real long-term skill is learning how to think creatively and critically as a designer.
At the beginning of a project, especially during the ideation phase, I usually use web-based platforms and visual boards to collect, organize, and categorize references and ideas. I like building a visual environment around a project before moving into the actual design process because it helps me better understand the mood, direction, and possible design language of the product.
After that stage, I move into sketching and digital modeling. Most of my workflow then shifts toward CAD and 3D modeling software, where I begin developing the form, proportions, surfaces, and technical structure of the product more precisely. Rendering software also becomes an important part of the process because it helps me visualize materials, lighting, and the emotional atmosphere of the final design.
Beyond software, I think observation itself is one of the most important tools for a designer. I spend a lot of time studying products, engineering structures, nature, architecture, manufacturing methods, and even small details in everyday objects. Many ideas come from simply paying attention to how things are built and why they feel the way they do.
So, my toolbox is really a combination of digital tools, sketching, research, curiosity, and continuous observation.
After that stage, I move into sketching and digital modeling. Most of my workflow then shifts toward CAD and 3D modeling software, where I begin developing the form, proportions, surfaces, and technical structure of the product more precisely. Rendering software also becomes an important part of the process because it helps me visualize materials, lighting, and the emotional atmosphere of the final design.
Beyond software, I think observation itself is one of the most important tools for a designer. I spend a lot of time studying products, engineering structures, nature, architecture, manufacturing methods, and even small details in everyday objects. Many ideas come from simply paying attention to how things are built and why they feel the way they do.
So, my toolbox is really a combination of digital tools, sketching, research, curiosity, and continuous observation.
I think good design naturally needs time, and I try not to see that as a negative thing. In many cases, time is actually part of the design process itself. Ideas evolve, forms mature, and details become clearer when a project is given enough space to develop properly.
Sometimes the best decisions happen after stepping away from a project for a short time and returning to it with a fresh perspective. Because of that, I don’t always believe in rushing the creative process only to reach a result faster.
Of course, managing time is still important, especially when working with real deadlines and production schedules. I usually try to divide the process into clear stages research, ideation, modeling, refinement, and presentation so that the project continues moving forward steadily without losing creative quality.
But overall, I think patience is an important part of design. Time is not only something we spend on a project; in many ways, it is also what helps a project grow into a stronger and more thoughtful result.
Sometimes the best decisions happen after stepping away from a project for a short time and returning to it with a fresh perspective. Because of that, I don’t always believe in rushing the creative process only to reach a result faster.
Of course, managing time is still important, especially when working with real deadlines and production schedules. I usually try to divide the process into clear stages research, ideation, modeling, refinement, and presentation so that the project continues moving forward steadily without losing creative quality.
But overall, I think patience is an important part of design. Time is not only something we spend on a project; in many ways, it is also what helps a project grow into a stronger and more thoughtful result.
It really depends on the complexity of the project and the level of engineering involved. Simpler products or concepts can sometimes be developed within one or two weeks, especially if the requirements and direction are already clear.
But for more complex projects particularly designs that involve deeper engineering considerations, technical problem-solving, or advanced form development the process can take several months. In those cases, the work is not only about appearance; it also includes research, testing, refinement, manufacturability, and many rounds of adjustment.
I think design is rarely a completely predictable process. Sometimes an idea appears very quickly, while refining it into something realistic and balanced takes much longer. Other times, the challenge is not creating the form itself, but finding the right relationship between function, structure, and user experience.
For me, the timeline of a project is closely connected to how much exploration and precision the product truly requires.
But for more complex projects particularly designs that involve deeper engineering considerations, technical problem-solving, or advanced form development the process can take several months. In those cases, the work is not only about appearance; it also includes research, testing, refinement, manufacturability, and many rounds of adjustment.
I think design is rarely a completely predictable process. Sometimes an idea appears very quickly, while refining it into something realistic and balanced takes much longer. Other times, the challenge is not creating the form itself, but finding the right relationship between function, structure, and user experience.
For me, the timeline of a project is closely connected to how much exploration and precision the product truly requires.
Most of the questions I receive are actually related to the practical and engineering side of design rather than only the visual aspect. People are usually curious about how the product will function in reality and whether the idea can truly be implemented successfully.
Some of the most common questions are:
How does this product work?
Is the design functionally correct?
How long will it take to develop?
Can this product actually be manufactured?
I find these questions very interesting because they show that people increasingly expect design to be more than appearance alone. Especially in industrial and technical products, there is a growing awareness that good design must also be realistic, manufacturable, and capable of solving problems effectively.
In many ways, I enjoy these conversations because they push the discussion beyond aesthetics and into the deeper relationship between creativity, engineering, and real-world production.
Some of the most common questions are:
How does this product work?
Is the design functionally correct?
How long will it take to develop?
Can this product actually be manufactured?
I find these questions very interesting because they show that people increasingly expect design to be more than appearance alone. Especially in industrial and technical products, there is a growing awareness that good design must also be realistic, manufacturable, and capable of solving problems effectively.
In many ways, I enjoy these conversations because they push the discussion beyond aesthetics and into the deeper relationship between creativity, engineering, and real-world production.
One of the most important lessons I’ve learned through my work experience is the importance of balancing beauty with manufacturability. In the beginning, it is easy to focus mainly on the visual side of a concept, but real-world projects gradually teach you that a successful product must also respect production realities, engineering limitations, costs, and usability.
I think the real challenge of design begins when you try to preserve the emotional and visual quality of an idea while making it practical and achievable in manufacturing. That balance is often much more difficult than creating the initial concept itself.
Over time, I realized that good design is not about sacrificing creativity for engineering, or engineering for aesthetics. The most meaningful projects are usually the ones where both sides strengthen each other naturally.
This understanding has probably shaped my approach to design more than anything else in my professional experience.
I think the real challenge of design begins when you try to preserve the emotional and visual quality of an idea while making it practical and achievable in manufacturing. That balance is often much more difficult than creating the initial concept itself.
Over time, I realized that good design is not about sacrificing creativity for engineering, or engineering for aesthetics. The most meaningful projects are usually the ones where both sides strengthen each other naturally.
This understanding has probably shaped my approach to design more than anything else in my professional experience.
Most of my clients have been startups and small to medium-sized companies. I really enjoy working with these kinds of teams because the design process often feels more dynamic, collaborative, and open to experimentation.
In many startups and growing companies, there is usually a stronger willingness to explore new ideas and take creative risks. Decisions can move faster, communication is often more direct, and design has the opportunity to play a more meaningful role in shaping the identity of the product from the beginning.
I also find these environments very inspiring because the challenges are often real and immediate. The product is not only being designed visually; it is usually part of building an entire vision, experience, or new direction for the company itself.
For me, this kind of collaboration creates more space for creativity, problem-solving, and genuine innovation.
In many startups and growing companies, there is usually a stronger willingness to explore new ideas and take creative risks. Decisions can move faster, communication is often more direct, and design has the opportunity to play a more meaningful role in shaping the identity of the product from the beginning.
I also find these environments very inspiring because the challenges are often real and immediate. The product is not only being designed visually; it is usually part of building an entire vision, experience, or new direction for the company itself.
For me, this kind of collaboration creates more space for creativity, problem-solving, and genuine innovation.
I’m most interested in projects where aesthetics and engineering work together toward solving a real problem for the user. I enjoy designs that are not only visually appealing, but also technically meaningful and functional at the same time.
For me, the most satisfying kind of design is when an engineering solution itself becomes part of the beauty of the product. I like objects where the structure, functionality, and form feel connected rather than separated.
I’m especially attracted to projects that involve a challenge whether it is related to usability, manufacturing, material behavior, or technical limitations because those constraints often lead to more thoughtful and innovative outcomes.
I think the strongest designs are the ones where the user may first notice the visual quality, but over time begins to appreciate the intelligence and functionality behind the design as well.
For me, the most satisfying kind of design is when an engineering solution itself becomes part of the beauty of the product. I like objects where the structure, functionality, and form feel connected rather than separated.
I’m especially attracted to projects that involve a challenge whether it is related to usability, manufacturing, material behavior, or technical limitations because those constraints often lead to more thoughtful and innovative outcomes.
I think the strongest designs are the ones where the user may first notice the visual quality, but over time begins to appreciate the intelligence and functionality behind the design as well.
Over the past two years, I have been increasingly focused on exploring new possibilities in the world of design, especially at the intersection of computational methods, advanced manufacturing, and product development.
One area that interests me deeply is implicit modeling and how it can influence the future of product design. I think this newer design approaches open completely different ways of thinking about form, structure, and functionality. Instead of designing products only through traditional geometric methods, it becomes possible to create systems, behaviors, and highly adaptive forms that respond more intelligently to performance requirements.
What excites me most is the idea that many existing design and engineering challenges could eventually be solved through these methods especially in areas related to lightweight structures, material optimization, manufacturability, and complex geometries.
In the future, I would really like to combine the world of implicit modeling with industrial and product design in a more integrated way. I think there is still a huge unexplored space between advanced computational design tools and everyday physical products, and I’m very interested in being part of that evolution.
One area that interests me deeply is implicit modeling and how it can influence the future of product design. I think this newer design approaches open completely different ways of thinking about form, structure, and functionality. Instead of designing products only through traditional geometric methods, it becomes possible to create systems, behaviors, and highly adaptive forms that respond more intelligently to performance requirements.
What excites me most is the idea that many existing design and engineering challenges could eventually be solved through these methods especially in areas related to lightweight structures, material optimization, manufacturability, and complex geometries.
In the future, I would really like to combine the world of implicit modeling with industrial and product design in a more integrated way. I think there is still a huge unexplored space between advanced computational design tools and everyday physical products, and I’m very interested in being part of that evolution.
I mostly develop my projects individually, especially when it comes to the core design direction and form development. I enjoy having full control over the process in the early stages, as it helps me maintain a clear and consistent vision throughout the project.
However, when a project requires specific expertise, I really value collaboration with specialists in that field. I see it as a very natural and important part of the design process rather than something separate from it.
For example, in the Lupax project, which was submitted to a competition and received a Bronze Award, I had the opportunity to collaborate with Zohreh Fallah, an architect and lighting specialist. She played a key role in developing the conceptual direction of the project and also created all the environmental visualizations and renderings.
For me, collaborations like this are very meaningful because they bring different perspectives into the process and help elevate the final outcome in a more complete and professional way.
However, when a project requires specific expertise, I really value collaboration with specialists in that field. I see it as a very natural and important part of the design process rather than something separate from it.
For example, in the Lupax project, which was submitted to a competition and received a Bronze Award, I had the opportunity to collaborate with Zohreh Fallah, an architect and lighting specialist. She played a key role in developing the conceptual direction of the project and also created all the environmental visualizations and renderings.
For me, collaborations like this are very meaningful because they bring different perspectives into the process and help elevate the final outcome in a more complete and professional way.
At the moment, I’m working on several ongoing projects, but the one I’m most focused on is a new collaboration in the field of lighting with Zohreh Fallah.
This project feels especially meaningful to me because it continues a successful collaboration we previously had on the Lupax project. This time, we are exploring new ideas and pushing the concept further, both in terms of form development and lighting experience.
Lighting design is a field I find very interesting because it sits between product design, atmosphere creation, and user experience. It allows for a very direct emotional connection with space and people, which makes the design process more sensitive and engaging.
Our goal is to develop a project that is not only technically and visually strong, but also conceptually refined enough to be presented in next year’s competition.
This project feels especially meaningful to me because it continues a successful collaboration we previously had on the Lupax project. This time, we are exploring new ideas and pushing the concept further, both in terms of form development and lighting experience.
Lighting design is a field I find very interesting because it sits between product design, atmosphere creation, and user experience. It allows for a very direct emotional connection with space and people, which makes the design process more sensitive and engaging.
Our goal is to develop a project that is not only technically and visually strong, but also conceptually refined enough to be presented in next year’s competition.
The easiest way to reach me is via email (zoiee.pooya@gmail.com). I also use LinkedIn, which is a good alternative for connections.
I would like to sincerely thank you for this thoughtful and well-structured competition. It has been a very valuable and inspiring experience for both me and Zohreh Fallah. The process itself was motivating, and it encouraged us to continue developing new ideas and pursuing more projects with greater depth and ambition.
More than anything, this experience felt meaningful because it created a sense of connection with the wider professional design community. Being part of this design ecosystem and engaging with such a platform has been one of the most rewarding aspects of the journey so far.
Overall, I see this not only as a competition result, but as an important step in a longer creative path, and I truly appreciate the opportunity to be part of it.
More than anything, this experience felt meaningful because it created a sense of connection with the wider professional design community. Being part of this design ecosystem and engaging with such a platform has been one of the most rewarding aspects of the journey so far.
Overall, I see this not only as a competition result, but as an important step in a longer creative path, and I truly appreciate the opportunity to be part of it.