Interviews med Mehrnaz Zarrin Hadid

I have a background in architecture and have led the design of a wide range of projects, from product design to master planning. I’ve always been passionate about design at all scales because it allows for self-expression and unleashes the imagination. For me, design is a practice that encourages exploring new perspectives and stepping beyond the constraints of conventional reality—before reconnecting with it through a critical and imaginative lens, ultimately reflecting a reality uniquely interpreted through one’s own vision.________________________________________

Recently, I have been concentrating on advancing my personal jewelry design projects, with concepts currently in development and scheduled for completion in the near future. These projects are interconnected in various ways. Generally, my design approach focuses on experimental work that challenges conventional norms and avoids repetition. Such projects require extensive trial and error to uncover their full potential and possibilities, opening new creative pathways. I appreciate the dynamic, reciprocal nature of the process—sometimes you navigate the project, and sometimes the project navigates you. I try not to fix parameters when facing unpredictability, instead exploring their possibilities.________________________________________

For me, design represents the intersection of imagination, fiction, and reality. It is a deliberate and transformative process that integrates interconnected layers—including technique, concept, intuition, and experimentation. Design fosters a dialogue between existing conditions and potential possibilities, critically questioning established norms and providing a framework through which reality can be reinterpreted. Moreover, it reflects the prevailing context of its era, influenced by factors such as technological advancement and shaped by the designer’s unique approach.________________________________________

To me, design transcends scale; it’s about exploration and innovation. I’m particularly drawn to experimental projects that challenge conventional norms and open new creative pathways. Whether working on jewelry, furniture, or architectural projects, I focus on developing strong concepts and clear visions. I enjoy navigating unpredictability and uncovering hidden potentials through trial and error. The most rewarding designs are those that offer fresh perspectives and reflect a unique interpretation of reality shaped by imagination and critical thinking.

My favorite designs are those that emerge from interconnected processes rather than isolated efforts. I’m passionate about the seamless integration of technique, design, and the body, where each factor informs and enhances the others. I thrive on challenges that push beyond historical conventions, redefining concepts through contemporary technology. One project that stands out for me is my latest work, which uses the body as its context. This piece resonates deeply with my architectural background, offering a unique opportunity to explore the dynamic relationship between technique, design, and the body in a meaningful and innovative way.________________________________________

The first design I created was a 3D-printed resin jewelry ring. My objective was to explore emerging technologies, innovative materials, and geometric forms, while maintaining a contemporary aesthetic.

It really depends on the project, but I’m particularly drawn to technologies that offer precision, flexibility, and support experimentation. I’ve been exploring various advanced 3D printing methods and innovative materials that enable complex forms and refined surface quality. Alongside these, I often integrate techniques like laser cutting and parametric modeling, which foster an iterative and exploratory design process. My focus is on uncovering new possibilities through materials and methods, rather than adhering to fixed outcomes.

I feel the most creative when I intentionally set up the atmosphere of my workspace. This includes playing music, surrounding myself with greenery and fresh flowers, and filling the space with a pleasant scent. For deep focus, I often listen to classical music, and when I need more energy or excitement, I choose rock or more dynamic classical pieces. Sometimes, I prefer to work in spaces surrounded by gardens or water features, or even in natural settings where I can feel more connected to nature. I also find that I feel especially creative after physical activity or sports, as it helps clear my mind and boost my energy.

I focus on how various factors and layers are interconnected, and how they work together as a cohesive whole. I don’t see design solely as problem-solving; for me, it’s also about defining a vision and exploring new possibilities—directions and outcomes that may not be visible through conventional approaches.

When I design, I feel alive, free, and liberated. It gives me the space to imagine whatever I want and to explore new worlds and opportunities without limitation. It’s also a powerful form of self-expression—that’s why I love design.

It’s one of the most exciting and fulfilling sensations to see my creation come to life. Each design feels like my own child, and I experience a deep sense of excitement and pride for it. It’s a profoundly personal experience that is difficult to fully capture in words.

I believe that having a clear vision and a main concept that guides all design decisions is essential for a successful design. It’s important to note that design is not just about solving problems or meeting needs; it’s about redefining, reimagining, and recreating—continually exploring new possibilities to create something meaningful and visionary, seen through your own creative filter.

When it comes to judging a design, the vision and main concept, along with the design process, are the most important factors to me. A strong vision provides clear direction, and the main concept ensures the design carries meaningful purpose. The design process demonstrates how thoughtfully the idea has been developed and refined. Together, these elements determine whether a design achieves success and innovation.

Design isn’t just about solving problems—it’s about breaking boundaries, creating fresh opportunities, and delivering experiences no one has seen before. That’s the real difference between designers and builders: designers imagine beyond needs and bring bold new ideas to life.”

— Great for written answers or formal interviews. It’s concise and polished.

Design is constantly evolving with technology and cultural shifts. The future will see closer integration with AI, robotics, and augmented reality—tools that enhance prototyping, fabrication, and immersive visualization. Ultimately, design’s future depends on the collaboration between human creativity and technological innovation to create meaningful solutions.

Currently, I am focused on developing new and exciting projects. I’m open to opportunities for future exhibitions and look forward to sharing my work. One of my pieces will soon be featured in the MOOD – Museum of Outstanding Design Exhibition as a winner.

My sources of inspiration vary depending on the project. I actively observe my surroundings, drawing inspiration from nature and a variety of fields beyond design. My background in architecture, along with exploring material properties, craftsmanship techniques, and innovative technologies, all play a crucial role in shaping my ideas.

I think design isn’t about following a fixed style — it starts with a vision, a concept, and grows through the process. It’s about staying sharp, staying open. I observe, adjust, decide what to highlight, what to strip away, and when to change course. I welcome trial and error, and I don’t cling to a single idea. That freedom — to observe, respond, and refine — is what keeps the work alive: thoughtful, flexible, and pure.

country affects your designs? What are the pros and cons during designing as a result of living in your country?

I live in Iran. While my cultural background is rich, I find that my design work is more shaped by contemporary ideas than by local heritage directly. Living here brings both inspiration and obstacles.

One of the main challenges is limited access to advanced technology and a shortage of specialists willing to move beyond routine practices. This doesn’t stop the work — but it definitely makes it more challenging. You can’t always do exactly what you envision, and you often have to find creative workarounds. It takes more patience, independence, and persistence to bring ideas to life — especially when trying to work on unconventional designs.

I work with companies by leading a wide range of projects, from product and furniture design to master planning and architecture. I collaborate closely with different teams, balancing creative vision with practical needs.

Choosing a designer isn’t just about creativity or ambition—it’s about knowing when to bend the rules. The best designers bring bold ideas and the flexibility to translate a company’s vision into reality.

As I mentioned earlier when asked about style, design isn’t a fixed look—it’s a process. It is shaped by exploring different alternatives, building prototypes, and embracing experimentation and trial and error. It’s not a linear path; it moves forward and back, shifts direction, and evolves over time. I stay receptive to unexpected possibilities, constantly observing what works, what stands out, what should be stripped away, and when a new direction is needed. Through this process, the core concept becomes clearer and begins to guide every decision. That openness—to observe, respond, and refine—is what keeps the work focused, dynamic, and inspiring.

Lighting, sofa, coffee table, my worktable, and lampshade.

I always make a point to start my day with a cup of coffee. Sometimes, if I’m in the mood, I begin with light exercise, a walk, or even hiking—physical activity helps me feel more energized and mentally clear. Once I start working, I choose music based on the stage of the design process: classical when I need deep focus, or rock and more dynamic classical pieces when I need creative energy. At the end of the day, I set aside time to recharge and wind down, often through exercise and by listening to podcasts or watching YouTube.

I believe all designers should stay receptive and not treat norms or trends as fixed rules. Design is not just about meeting needs—it goes beyond that and is rarely a straightforward path. Embracing experimentation and trial and error is essential to the creative process.

Being a designer offers a unique chance to express yourself through your work and let your imagination run wild. However, it can also lead to perfectionism, where you constantly want to improve your work. Balancing all important factors can be tough at times, and managing external pressures—like tight deadlines, limited budgets, available technology, and client demands—adds to the challenge. But overall, the advantages far outweigh the disadvantages.

Design is the meeting point of reality and imagination, thriving on the freedom to break rules and redefine them.

From software proficiency and knowledge of craftsmanship techniques and methods, to staying up-to-date with the latest technologies and applying critical design thinking—these are key skills for any designer, along with staying curious about the world around them."

I use software like Rhino and Grasshopper, along with fabrication technologies such as laser cutters and 3D printers. My toolbox also includes sketching, physical prototyping, and a range of material references. I often draw inspiration from my architectural background, natural geometry, contemporary design discourse, and various fields of science that offer new perspectives.

Yes, it’s important to know when to stop. A design is never truly finished—it can always be improved. As designers, we often fall into the trap of perfectionism, endlessly refining our work. Setting clear deadlines helps me stay focused, make decisions, and move forward.

It really depends on the design—how experimental it is and how many prototypes are involved. I personally enjoy projects that are more challenging and embrace trial and error, as they often reveal unpredictable insights. Naturally, these projects tend to take longer than usual.

How did you get this idea?

One of my most meaningful experiences was witnessing the moment when a concept turns into a physical presence.

My early projects have been self-initiated, giving me the freedom to explore ideas and shape my design vision. This independence has established a strong foundation for future collaborations with clients and organizations that share my curiosity and commitment to experimentation.

I enjoy design that involves experimentation and grows through trial and error, offering more space for exploration.

I am currently expanding my recent collection, further exploring its direction and potential. At the same time, I am pursuing collaboration opportunities that can enhance the creative process, technical execution, and facilitate the effective use of the latest technology.

I generally lead the design development independently, collaborating closely with specialists for technical execution—such as 3D printing and laser cutting—to ensure precision and quality.

Yes, I’m currently developing the Kerf Collection, an ongoing project of body jewelry that explores the body as a context, inspired by my background in architecture. It integrates experimental and technical aspects, treating design, technique, material properties, and craftsmanship as a unified process.

Through mehrnazhadid@gmail.com.

Well, thanks! I think that covers everything.”

The technique and geometry of the cuts, along with the choice of material, work hand in hand to create a design that feels almost like a living creature. The curvature of the kerf cuts—especially the gradient transition from soft, smooth curves to sharper radii—plays a crucial role in achieving this effect. This gradual shift generates a dynamic surface that catches and reflects light in constantly changing ways.As the jewelry moves with the body—or as the viewer moves around it—it creates real-time shifts in light, shadow, and even perceived color. One of the most important aspects is how the piece reveals the full natural spectrum of silver’s grayscale—from luminous highlights to deep, rich shadows. These tonal variations are not painted on or added as ornament; they emerge purely from the interaction between light, geometry, material, and technique. The color is a result of design precision, not surface treatment or additive color.Because the jewelry is made from polished silver, it also behaves like a subtle mirror, reflecting its surroundings. In a green-toned space, for instance, you might see a greenish reflection ripple across the surface—amplifying the impression that the object is alive and deeply responsive to its environment. It’s this combination of parameters—technique, material, geometry, light, and movement—that brings the piece to life and gives it the presence of a living creature.

As an architect, I like to explore pure and coherent approaches to design—I don’t see design as a fragmented process. In the Kerf Collection, I focus on approaches that emerge from the interplay between technique and material behavior.The Squama piece is part of this collection, turning material constraints into expressive opportunities through technique and design.In this experiment, drawing on my background in architecture, I view the body as a context for design exploration.I’m curious about how materials can be subtly manipulated to produce complex geometries, and how their transformation is guided by both design intention and fabrication processes. I experiment with kerf cut geometry and its effects on design, investigating the transition from a flat, rigid surface into a flexible, body-conforming form. This transformation is made possible through strategic kerf cuts, which allow rigid material to bend, articulate, and adapt to different parts of the body.

Working with limited access to advanced 3D printing and laser cutting technologies in Iran—especially across diverse materials—was both challenging and time-consuming. This was particularly true during the experimental phase, where trial and error and prototype testing are essential. Testing specific design parameters on various materials often became a slow process, as certain 3D-printed materials I needed weren’t available locally and had to be sourced from abroad, which delayed iterations.Another major obstacle was the mindset of local machine operators, who typically focus on commercial mass production and are often reluctant to engage with experimental or unconventional projects. I spent considerable time meeting with operators, explaining my concept in detail, until I found a few professionals willing to collaborate despite the risks and limitations.These constraints forced me to be resourceful—sometimes adapting the design to available technologies, and other times finding unconventional workarounds. In the end, I aimed to balance the core design ideas with the available techniques. It is worth mentioning that despite these challenges, there are some well-educated and professional academic experts in Iran who provide valuable consultation on devices and techniques, helping to bridge communication with local operators.Looking ahead, I plan to collaborate with international companies to gain access to a broader range of technical resources and material options, which will open up more possibilities for design exploration.

My experimental process centered on prototyping—testing various design parameters and material properties to refine what truly aligned with my conceptual vision. For me, aesthetics are not superficial or ornamental additions; they can emerge through design technique and are inseparable from structure, fabrication, and material performance.During material properties exploration, I first noticed a reflective quality in steel, but it was in silver that this characteristic fully revealed itself. Its luminous nature became essential to the piece—adding a pure, shifting visual depth.Precise kerf cuts and the geometry of these cuts allow the silver to articulate and adapt, producing a dynamic surface that interacts with light and its surroundings in real time. As the piece bends around the neck or hand, it catches light and shadow, generating subtle gradients that feel almost alive.This dynamic quality isn’t about decorative color—it’s fundamentally woven into the design.

I see the body as a landscape—its geometry and curvature changing from one area to another. This perspective directly informs how I design with kerf cuts. The kerfs allow the rigid material to adapt—not just to sit on the body, but to conform to it.But flexibility alone isn’t the goal. What truly interests me is the interaction—the way the piece and the body influence each other. A necklace, for example, bends differently than a hand piece or something worn along the spine. Each area of the body presents a unique structural context, and I design the geometry in dialogue with that.This reciprocal relationship—between geometry, the body’s landscape, and material—is central to my approach. The jewelry doesn’t just reflect the body; it transforms how the body is perceived, becoming a structural extension of it.

The name Squama—which refers to small, overlapping scales—was chosen because of the structural and visual behaviors that emerge once the piece is bent. While the design wasn’t directly inspired by biological forms, the term perfectly captures how the surface begins to shift and overlap, engaging with light and shadow in a way that echoes natural scales.Through kerf-cut geometry, a rigid sheet transforms into a flexible surface. As it curves, the cut patterns allow parts of the material to lift and flex, creating subtle overlaps that enable the form to articulate. This overlapping visual effect doesn’t exist in the flat state—it only emerges through bending, becoming essential to both the structure and the visual rhythm of the piece.The result is a surface in constant flux—alive with light and shadow. In polished silver, this effect becomes especially dynamic, as reflections ripple across the piece in real time. The piece doesn’t rely on ornamentation; instead, it reveals its own nature and surroundings.

My background in architecture shapes my approach to design as a coherent, integrated process—not a fragmented one. As I mentioned before, I don’t treat design and technique as separate; instead, I follow a process where geometry, fabrication, and material behavior evolve together.Squama Body Jewelry is not conceived as a fixed object but as a flexible system with extendable parameters. The kerf-cut geometry allows the piece to extend because it follows a continuous curved logic—convex and concave geometries mapped across a 2D surface. This geometric and material logic is inherently scalable, allowing the piece to grow seamlessly from wrist to elbow or adapt to other parts of the body by modifying just a few key variables.Importantly, this transformation doesn’t rely on adding discrete segments. Instead, it maintains structural continuity and a coherent visual rhythm as it evolves. The way the piece bends, adapts, and extends responds intuitively to the contours of the body.This capacity for transformation—its ability to bend, adapt, and extend—is inspired from my architectural experience, especially in fabrication-based design.

One of the key discoveries during the research phase was recognizing the power of an interconnected design and fabrication process — realizing that I could achieve complex geometries purely through the manipulation of a single surface, without relying on secondary joints or added components. It was important to me not to treat joints as separate or attached mechanical elements, or to resolve structure as something secondary. Instead, I aimed to embed flexibility directly into the material and technique, treating them as an integrated system with full formal and structural potential.Through an in-depth study of kerf cutting techniques, I found that specific patterns and curvature transitions could enable a rigid sheet to bend with distinct geometric characteristics. It’s not just about allowing the material to bend and transform — it’s about designing the geometry of bending itself. This led to a self-sufficient design system, where the material becomes both structure and aesthetic.This approach feels honest — to the material, to the technique, and to the design itself — resulting in a kind of elegance that’s grounded in constraint, not excess.

Looking ahead, I’m continuing to explore how the kerf cutting technique and its geometry can unlock new design possibilities. I am developing new body jewelry pieces tailored to different parts of the body—each with its own unique curvature and structural logic. This approach requires rethinking the geometry and parameters of the cuts according to the body’s landscape.What excites me most is how sensitive the system is to small changes. Even subtle adjustments in cut spacing, angle, or curvature can lead to entirely new behaviors and visual effects. As a result, the technique itself becomes an open-ended tool for experimentation—capable of generating a wide range of outcomes. I see this evolving not only in scale and placement on the body, but also through exploring new materials and fabrication technologies.

In my opinion, the world is constantly changing, and so is the definition of jewelry. The traditional focus on ornamentation is no longer the only path in design. Today, technology offers an expanded set of tools and possibilities that can be just as expressive as form or material.For emerging designers, it’s important to stay curious about the evolving environment and available technologies, exploring their creative potential—not just as production tools, but as sources of inspiration. Personally, I approach technology and technique not merely as tools for execution, but as opportunities to rethink what design can generate—its movement, interaction, and presence.Balancing technical innovation and artistic expression isn’t about choosing one over the other. It’s about understanding how they inform and elevate each other—so that technique becomes concept, and aesthetics emerge naturally from structure.Definitions are never fixed; they evolve over time. We shouldn’t feel confined by conventional frameworks. Just because something has traditionally been seen one way doesn’t mean it must remain so. As designers, we have the freedom—and responsibility—to redefine it with fresh perspectives.In a shifting world, design must remain open, curious, and fluid. That’s where true innovation begins.