Interviews with Maryam Asadi

My main focus was to create a lighting experience beyond pure function; an experience based on soft light, fluid form, and a modular, flexible structure that creates a sense of calm and adaptability in space and harmonizes with different spatial needs.

This concept was developed over approximately three months through an iterative process of ideation, development, and refinement, leading to its final form.

This design was not commissioned; it emerged from a personal exploration of light, nature, and spatial experience. I developed this concept with the intention of translating the fluid movement of natural phenomena into a modular lighting system that creates a calm and atmospheric presence in space.

This design is currently in a conceptual and development stage. I am exploring opportunities for its further refinement, optimization, and potential production in the future, either independently or in collaboration.

What led me to design this work was an effort to translate the behavior of light in nature into a lighting system. The jellyfish, with its unique luminous quality, inspired me to redefine light as a medium for expressing emotion and spatial quality.

This design is adaptable to various contexts, from residential to exhibition spaces, and is not limited to a specific use. Its audience consists of individuals who perceive design as part of a spatial and sensory experience.

This design considers light not merely as a functional element, but as part of spatial expression. At the same time, its modular structure enables variability and adaptability in limited spaces.

The name “Jelly” is derived from the design’s source of inspiration and its formal and conceptual relationship with the work, reflecting its organic and minimalist nature.

Initial ideas were developed through hand sketching, and the design process was then further developed using AutoCAD, 3ds Max, Revit, and Photoshop.

The most unique aspect of this design is its attempt to dissolve the boundary between an object and a spatial element, where light is not merely a source, but a presence within space that shapes spatial perception.

In this project, I collaborated with two contributors in modeling and image production, while the overall design direction and final decisions remained under my supervision.

One of the main challenges was translating a conceptual idea into a functional lighting form while maintaining its atmospheric quality. Balancing visual expression, lighting performance, and structural clarity required continuous refinement throughout the process.

I submitted this project to an international design competition in order to present it within a broader international context and evaluate it against global design standards. It was also an opportunity to share the concept with a wider professional audience.

Thank you for the time you dedicated to reviewing this project. I am glad to have had the opportunity to present and share this work.

What excites me most about design is the act of creating. I love turning an idea into something real that can be used, experienced, and appreciated. For me, the most rewarding part is finding the balance between function and beauty, and creating something that has both purpose and character.

I chose to become a designer, and it has always felt like a natural part of who I am. I am deeply passionate about my work; when I become immersed in a project, I often lose track of time.For me, design is not simply a profession—it is something I genuinely love doing.

I design architectural spaces and the elements that shape them. I’m particularly interested in projects where architecture, art, and the objects within a space come together as one. Nature is also an important source of inspiration for me, especially its forms and patterns.

For me, what distinguishes a great designer is the ability to think beyond familiar ideas and avoid clichés.Originality, creativity,and the courage to keep exploring rather than repeating what has already been done are what make a designer truly stand out.

For me, good design is where functionality and beauty come together naturally. It should work well,look right,and create a positive feeling in the space.I believe the quality of a design can be felt as much as it can be seen.

Good design has a direct impact on human experience and quality of life. It can make everyday interactions more comfortable,meaningful and enjoyable. For me investing in good design means investing in the way people experience their lives.

I haven’t thought about it in a very specific way yet, but I’m drawn to the idea of bringing art more deeply into architecture and design.I would love to explore this through a project of my own someday and see where that combination could lead.

I would say my main ingredients are curiosity and persistence. I like to follow an idea,explore it from different angles, and keep working on it until I reach a result that feels right.

I really admire the work of architects such as Le Corbusier, Frank Lloyd Wright, Louis Kahn, and Houshang Seyhoun, as well as designers like Philippe Starck. Artists such as Richard Serra are also a source of inspiration for me, along with many others whose names would make the list quite long. What I value most is the unique way each of them approaches space form and creativity.

I believe becoming a better designer comes from continuous learning and staying curious. I try to expose myself to new experiences stay focused and explore different areas of design and art. For me, every new experience can change the way I see and create.

I have always had a deep connection with art and I dedicate time every day to painting or sculpture. But honestly,I cannot imagine my life without design and architecture.They are such an essential part of me that I don’t think I could ever truly separate myself from them.

For me, design means creating something valuable, meaningful and useful. It is about turning an idea into something that has a purpose and can become part of people’s everyday lives.

I believe design can improve quality of life by creating spaces that are more human, comfortable and responsive to people’s needs. When a space is thoughtfully designed, it can positively influence the way people live and interact with their surroundings.

The time varies depending on the type and scale of the project. I don’t like to rush the process; I usually take the time needed to develop the idea and refine the details until I feel the design is complete.

I usually start by understanding the problem and researching the project carefully.Once I have a clear understanding of what is needed, I begin developing the initial idea and exploring different possibilities.

My motto is simple: simplicity with meaning.I believe every element should have a reason to exist, while the whole design remains clear, balanced, and meaningful.

My first reaction is usually admiration. Then I become curious about the idea behind the work and start thinking about what inspired it and how the designer arrived at the final result.

If I could meet anyone, regardless of time or place,I would choose Le Corbusier. I would love to talk with him about his ideas, his approach to architecture, and the way he saw the relationship between people and space.

I enjoy seeing an idea become real but the process of developing it is even more exciting for me. Seeing good work and discovering new ideas also keeps me inspired.

For me, design is a language for understanding and reinterpreting the world around us. It means transforming feelings and experiences into form. Design is not merely about solving a problem; it is a language for expressing the relationship between humans and their environment.

I am mostly drawn to designing works that convey a sense of calmness, emotion, and sensory experience to the audience. For me, design becomes meaningful when it goes beyond appearance and creates a lasting feeling in the viewer’s mind, even if that feeling is simple and unspoken.

I feel most creative when I am in a calm state and can observe carefully. This observation can come from nature or even a momentary perception. Many of my ideas are shaped by simple details, light, nature, or simple everyday moments. Usually, in silence and focus, my mind becomes freer and more creative.

‏More than anything, I pay attention to the feeling that a space or an object conveys. For me, the relationship between form, light, materials, and the audience’s experience of a space is very important.
‏I always try to create a balance between simplicity, function, and emotion, so that the design is not only visually appealing, but also capable of creating a lasting experience.

‏For me, design is an inner and intuitive process. When I design, I usually enter a state of deep focus and calm, especially when ideas slowly begin to take shape and turn into something tangible.
‏In these moments, design feels more like a discovery than a decision; and I see each project as an opportunity to experience something new and to gain a fresh perspective on the surrounding world.

‏In my opinion, a designer should be aware of the impact their work has on people and on the quality of life. For me, design is not only about creating an object, but also a responsibility toward the experience that is shaped for the audience.
‏The choice of materials, the durability of the work, and the type of experience a piece creates are important to me, and I try to make design evolve into a more balanced relationship between humans and their environment.

‏A large part of my inspiration comes from nature, light, and observing spaces and everyday details. For me, natural forms and their behavior have always been a source of inspiration, as they carry an inherent balance between movement, function, and beauty.
‏To maintain my creativity, I try to stay in constant contact with art, spaces, and new experiences. Sometimes a simple texture, a shadow, or even a shift in light can be the beginning of a new idea.

‏My design style is a combination of minimalism, organic forms, and an experience-driven approach. I aim to create works that appear simple, yet carry a strong sensory and emotional quality.
‏My approach to design is intuitive and observational. I usually start from a feeling or a spatial idea and develop it through form and material. My goal is to create a balance between emotion and function in every work.

I live and work in Iran, and without a doubt, the architecture and art of this land have influenced my perspective on design. The attention to light, details, and the sense of space in Iranian art and architecture has always inspired me, and I hope to create works that reflect this rich identity.
Although certain limitations can sometimes make the design process challenging, these conditions have encouraged me to rely more on creativity and personal solutions.

My design process usually begins with observation and the formation of an idea and an initial feeling from my surroundings. First, I try to understand the mental and emotional space of the project and what kind of feeling it is meant to convey.
Then, ideas gradually take shape through sketching and exploring form and material. For me, design is not a linear process; it is a gradual flow that evolves throughout the work until it reaches its final outcome.

My golden rule in design is simplicity with meaning; every element should have a reason to exist and play a role in shaping the overall feeling of the work.

From my perspective, the most important skill for a designer is the ability to observe and have a deep understanding. It goes beyond technical skills; it is about being able to understand human behavior, space, and materials, and to generate ideas from them.
Curiosity and the ability to connect ideas play an important role in shaping my design process.

My toolbox is a combination of digital tools and hands-on processes. I use software such as AutoCAD, Revit, 3ds Max, and Photoshop to develop and refine ideas, but a significant part of my work still involves hand drawing and physical exploration of form.
Beyond tools, I rely on observing, architecture and art magazines and journals, studying contemporary art history, and my own art practice experiences. These sources and experiences usually play a role in forming the initial ideas in my mind.

I try to stay flexible with time and not get too strict with fixed schedules. At the beginning of each project, I usually set a general direction for myself, and then I allow the process to develop gradually.

This depends on the project, but it can sometimes take several months from the initial idea to the final outcome. I prefer to let the process develop naturally rather than rush it.

I enjoy working on projects that focus on sensory experience and atmosphere. These types of projects allow me to explore emotion, material, and form in a more intuitive way.

I always develop the design concepts myself, especially in the early stages. However, depending on the project, I sometimes collaborate with others during development and execution to help refine the final outcome.

Available on email (asadi.maryam6363@gmail.com) or Instagram (@maryasadi_studio) for collaborations.

Thank you for giving me this opportunity to talk about my work and my ideas. I truly appreciate the time and effort you’ve put into this interview.

The Jelly system is based on a modular structure with adjustable joints, enabling seamless transformation between floor, table, and pendant configurations, while maintaining a unified formal identity across all states.The core idea in this design is a shift from a multi-mode lamp to a reconfigurable lighting system, where light is not defined as a fixed state but is shaped according to user needs and spatial conditions.Jelly moves modular lighting beyond a simple change of form and turns it into an experience of interaction between the user and light in space. This approach may lead, in the future, to systems in which light is not a fixed entity, but is continuously reconfigured in response to lifestyle and spatial conditions.

Parametric modeling in Jelly allowed me to design the glass forms in a way that variations in curvature and proportion are distributed continuously and according to a unified logic throughout the structure; an approach that provides greater control over continuity and fluidity compared to conventional methods.Within this framework, form is defined not as an independent volume, but as the result of relationships between components; therefore, any small change in one part directly affects the overall behavior and expression of the structure, ultimately shaping the project’s visual language.

I believe approaches like Jelly aim to shift the presence of nature from direct representation to lived experience, where instead of imitating natural forms, qualities such as light and spatial perception become the basis of design.In this context, the role of the designer is defined through selecting, simplifying, and organizing these qualities into an experiential system that can create a sensory connection with nature in interior spaces, without relying on its direct visual representation.Within this framework, Jelly defines light as a perceptible presence in space that can alter how an environment is experienced and interpreted, without depending on a literal representation of nature.

The most challenging aspect in developing Jelly was achieving a balance between structural stability and the ability to disassemble and reconfigure the system across different states, allowing it to transition between floor, table, and pendant configurations without compromising overall strength.This challenge made the connection system design and the organization of components a central element of the project; a part that carries both a functional role and directly influences the formation of the form and the overall behavior of the structure.Ultimately, structural constraints became part of the design logic and guided the visual language and final geometry of Jelly.

The design process in Jelly began with the simultaneous understanding of form and light within a natural organism, where shape and light were not separate, and the behavior of light was directly dependent on surface and volume. This initial perception guided the design toward establishing a direct relationship between form and the way light is distributed within the structure.In the next stage, design decisions became more focused on how the form responds to light; in a way that changes in angle, orientation, and the combination of elements directly affect the quality of the emitted light and define the logic of the system’s formation.For me, this process was not a linear movement from idea to execution, but rather a continuous back-and-forth between observation, analysis, and decision-making; where every small change in the understanding of light behavior led to a reconsideration of form and structure, and this gradual interaction shaped the final nature of the project.

I think Jelly marks the beginning of a design approach in which form and spatial experience are seen as a unified system. The principles developed in this project will not necessarily be repeated in the same form in the future, but they continue to inform the way I think about the relationship between form, use, and experience.In future projects, this approach will adapt according to each context, but the core idea—the direct relationship between the user and the quality of space—will remain.For me, what matters more than maintaining a fixed design language is continuing this way of thinking across different design contexts.

One aspect of Jelly that is less visible is the distance between its source of inspiration and the final outcome. Although the project is inspired by a jellyfish, the intention was not to directly replicate or imitate it.The focus was on translating certain visual and luminous qualities of this organism into a usable spatial experience. Rather than emphasizing formal resemblance, the design seeks to express qualities such as the soft presence of light, the relationship between form and illumination, and a sense of fluidity.This aspect may not be immediately visible, but it forms an important part of the core idea behind Jelly.

The selected color temperature range was defined to produce a warm light with controlled intensity, aiming to guide the space toward a calmer atmosphere. A color rendering index of 90 was also used to preserve a natural and accurate perception of colors within the space.The gradient-tinted glass surface plays an active role in shaping the light, allowing it to shift from a concentrated state into a gradual distribution, while its intensity continuously varies along the body.As a result, rather than a uniform or point-like presence, light moves along the form and creates a soft, continuous quality throughout the space that evokes a sense of flowing motion.

The shaping of the glass in this project is considered as part of defining the behavior of light, where the goal is to achieve a continuous surface that diffuses light without unwanted concentrations.In this process, controlling surface transitions and avoiding abrupt changes in curvature plays a key role, as this determines how light is read and distributed along the form.As a result, precision in shaping the surface directly affects the final quality of the light and defines its visual behavior.