Interviews with Amin Mohammadyari

I initially studied engineering, but at some point I decided to move toward my real passion: design. I chose to pursue it academically as well, and that was really the beginning of my journey as a designer.

Since then, I’ve had the opportunity to work both independently and in collaboration with different companies, exploring different areas of product, furniture, and lighting design.

Looking back, I think what has shaped my experience the most has been the constant process of learning, making, experimenting, and working with different people and perspectives. For me, being a designer has always been an ongoing journey rather than a fixed destination.

As I mentioned, I came into design from an engineering background. It was difficult for me at first, and for a while I felt that coming from a different field was a disadvantage. But now, I’m actually very happy that my journey started that way.

Choosing to leave engineering and follow my personal passion for design was a very important decision for me. It was also a significant risk, because I was stepping into a completely different path. Fortunately, I was able to make it work and build a career around something I genuinely love.

Looking back, I think becoming a designer was less about choosing a profession and more about finally choosing to follow what I was naturally drawn to.

It really depends on the subject and the needs of each project. Sometimes a project requires a strong focus on styling and visual language, while in other cases the main challenge is technical and functional.

I don’t think I have one fixed technique or style that I apply to everything. I think one of the most important skills as a designer is understanding what the game actually is in each project — what the real challenge is, what needs to be solved, and where design can create the most value.

Once you understand that, the right style and technique usually become much clearer.

More than anything, I feel curiosity and uncertainty when I design.

Curiosity gives me the motivation to keep exploring, to understand more, and to move forward. At the same time, there is always a certain sense of ambiguity — it’s like being in a fog where you can’t see the whole path yet.

I actually find the combination of these two feelings fascinating. The curiosity makes me want to move forward, while the uncertainty keeps the process open and unpredictable. I think that tension is one of the things I enjoy most about designing.

One of the biggest influences on my background was my grandfather, who was a carpenter.

I grew up around wood, tools, and the process of making things. As a child, I was always building something with my hands, and I think that environment had a much bigger influence on me than I realized at the time.

It was probably one of the reasons I developed such a strong love for making things from an early age. Looking back, I think that connection between my hands, materials, and the act of creating became one of the foundations of who I am as a designer.

I’m becoming increasingly interested in the relationship between humans and machines, and I think this is where I want to take my work in the coming years.

I’m particularly interested in technology as a medium for creating a deeper relationship between people and products, not simply making technology more functional, but exploring how it can become more intuitive, meaningful, and human.

My dream projects would be somewhere in this space: projects where technology and product design come together to create a completely new kind of interaction between humans and the objects around them. I think there is still a lot to explore in that relationship, and that’s what excites me most about the future.

The beginning of a design career can be difficult and sometimes overwhelming. There are so many different directions, disciplines, and styles that it’s easy to feel lost and wonder which path you should take.

But I think the goal at that stage shouldn’t be to immediately find your final direction. Your goal should be to develop your own taste and personal point of view, while learning as many techniques and skills as you can.

Explore different things, stay curious, and give yourself time. Eventually, your own path will start to take shape naturally. I think the most important thing is to build the tools and the taste that will allow you to recognize your own direction when the right time comes.

I think the key to getting better at anything is quite simple: doing it again and again.

There is no shortcut to mastery. You have to be willing to repeat the process, make mistakes, learn from them, and do it all over again. The more you practice your craft, the more deeply you understand it and the better you become.

So my advice is simple: keep doing the work. Again and again. There is no shortcut.

I have a flexible daily routine rather than a very strict schedule. I prefer to keep some space in my day so I can respond to unexpected things and changes more easily.

Uncertainty is a big part of the design world. Projects change, ideas evolve, and sometimes unexpected opportunities or problems appear. I think our personal routines should leave room for that uncertainty rather than trying to control every hour of the day.

For me, having a flexible structure helps me stay productive while still being open to whatever the day brings.

I believe there are two different kinds of trends in design.

Some trends shape the designs that come after them, while others are actually the result of a collection of good designs that gradually create a new direction. I think the second type tends to be more influential and meaningful because it emerges organically from the quality of the work itself.

The first type, however, can sometimes trap designers in a race to follow a certain visual language. It can push them toward fast and superficial outputs rather than deeper exploration.

So I do pay attention to trends, but I try to understand where they come from rather than simply follow them. For me, understanding the reason behind a trend is much more valuable than just knowing what is currently popular.

For me, good design is about how honestly and effectively it responds to the need it was created for.

I ask myself: How precisely does it answer the need? How much does it claim to be, and how much of that claim does it actually deliver? And ultimately, how honest is it?

I think good design comes from the combination of these things, a clear understanding of the need, an appropriate response to it, and honesty between what the product promises and what it actually delivers.

It depends on the type of project.

If I’m working on furniture or lighting, I usually try to step away from the design for a while. After some time, I come back to it and ask myself whether the answer still feels convincing. If it still satisfies me after some distance, that’s usually a good sign.

For product design, I try to be more systematic. I seek professional feedback, test the design, and use more objective and research-based methods to evaluate whether it actually works.

So for me, knowing when a design is ready is partly about intuition and distance, and partly about feedback, testing, and evidence.

I’ve designed many different types of projects, but the one that remains the most important to me is the Akhal-Teke chair.

The reason is that I tried to look at a very familiar need — sitting — from a completely different perspective. Rather than simply designing another chair, I wanted to question the way we experience sitting and create a new experience around it.

For me, the most valuable part of the project was not just the final form, but the process of looking at an ordinary human need differently and trying to create something genuinely new from it.

Without a doubt, Dieter Rams.

His influence at Braun and the impact his design philosophy later had on Apple make him one of the most important designers for me. What I admire most is not only his visual language, but the way he developed a consistent philosophy around design and carried it across an entire body of work.

His influence shows how one designer’s way of thinking can go far beyond individual products and shape the way people understand design itself.

I’m from Iran and I live in Tehran. My lifestyle is quite closely connected to music. I particularly enjoy a fusion of jazz and traditional Iranian music.

There is almost always music playing at home, and it has become an important part of the atmosphere I live and work in. I think this combination of Iranian musical traditions with jazz reflects something I really enjoy in general — the meeting of different worlds and perspectives.

My philosophy is to always try to create products that are right and honest.

For me, that means understanding the real need and responding to it in the right way, using the right medium. A product shouldn’t try to appear as something more than what it actually is, nor should it hide its real value behind unnecessary claims.

I want my work to be honest about what it is, what it does, and why it exists. Ultimately, my goal as a designer is to create products that have a positive impact on the world around me, even if that impact is small.

One thing I’m particularly interested in is working with young designers and students in small teams, exploring subjects that are genuinely interesting to us.

These projects don’t necessarily have to have commercial potential. I’m much more interested in working on real problems and needs within society — subjects that may not have an obvious market, but still matter to people.

I think some of my best experiences have come from this kind of collaboration. Working with different perspectives around a meaningful problem often leads to stronger and more thoughtful outcomes.

I’m particularly inspired by Victor Papanek’s approach to design in this context. His idea that design should respond to real human and social needs, rather than simply serve the market, is something I deeply believe in.

Participating in design competitions allows your work to be evaluated and presented on an international level. I think this keeps designers sharp and constantly pushes them to improve.

For me, the three main benefits are, international benchmarking, improving the quality of your presentation, and professional recognition. Competitions make you look at your own work more critically and push you to communicate your ideas better.

Regarding the A' Design Award, I don’t see it as just a competition. It is a system that can promote a designer in different ways, from visibility and recognition to new opportunities. I think this is largely because of the credibility and reputation of the A' Design award.

I would be truly honored to be selected as Designer of the Day. It would be a great recognition of my work and something I would be very proud of.

I first studied engineering, but design was always my main interest. That’s why I decided one day to pursue design both academically and professionally.

Because it’s something that when I do it, I feel like I’m doing the right thing. And for me personally, that is enough.

I do choose to become a designer. As I mentioned, I initially studied engineering, but eventually I decided to follow my real passion and move into design. It was a conscious decision, and honestly, it has been the most important and best decision of my life.

don’t really like having a specific title in the design world.

What matters to me is being able to design experiences across different mediums and contexts — and that, for me, holds great value.

I believe every designer, at any level, should be proud of being an amateur. Being an amateur means you are still curious, still questioning, and still willing to learn.

For me, the moment you think you know enough, you stop growing. So I would tell young designers to stay curious, keep experimenting, and never lose the courage to be a beginner again.

What, in my opinion, distinguishes a good designer from a great one is a deep and honest understanding of the problem. Sometimes, good design comes with being unseen, and a great designer is not afraid of not being seen.

In my view, good design is one that has managed to address the problem adequately—within the expected scope, neither less nor more.

Good design, in my view, means improving the quality of time in every moment. And that translates into a deeper, higher-quality way of living.

One of the things that has been fascinating me recently is designing for animals — not necessarily pets, but wildlife.

I’d love to explore how design could interact with the natural world and help animals live, move, adapt, or survive without trying to domesticate or control them. I think there’s a whole unexplored territory there, and if I had the time, that’s where I’d love to experiment.

I’ve always wanted to work on projects that focus on the local issues of different tribes and nations. I’m really drawn to this culture-based context in various design approaches.

Active patience—the idea of living with a subject or problem for a while—is one of the ways that helps ideas and final solutions become more mature and well-developed.

Jonathan Ive and Dieter Rams are, without a doubt, two of the biggest icons and masters of design for me. I admire them not only for what they created, but also for who they are as designers and the character they have built throughout their careers.

At the same time, I always try to look at a wide range of work from different designers, even when their perspectives, philosophies, or design languages are completely different from mine. I believe that inspiration can come from places you don’t necessarily agree with.

I really admire Dieter Rams’ work for Braun, and the influence those designs had on Apple and on Jonathan Ive’s work is fascinating to me. I love how Rams was able to create products that were incredibly simple, functional, and timeless without making them feel cold or boring.

I also admire the design language developed at Apple under Jonathan Ive. What fascinates me is how both Rams and Ive showed that simplicity is not about removing things randomly; it comes from understanding what is essential and giving every detail a reason to exist.

I’ve always loved Akhalteke more than my other works.

It offers an experience, and that’s what matters to me,it goes beyond being just a seating object or a product.

To design better, you just have to design.

In my opinion, to improve in anything, you need to do that same thing repeatedly.

Definitely, a carpenter.

Among all definitions, I really like Victor Papanek’s definition of design,“Design is the conscious and intuitive effort to impose meaningful order.” especially the part where he emphasizes intuition in the process.But I also deeply believe that this question has no fixed answer, and it is a question that remains in every designer’s mind for a lifetime.

First and foremost, I have to mention my family. They have always supported me, trusted my decisions, and done everything they could to help me follow my path.

I’ve also been lucky to have friends who always got excited by my passion and enthusiasm, and encouraged me to keep going.

And finally, I’ve met some incredible people throughout my career, almost by chance, who helped me grow, challenged me, and pushed me to become the best version of myself. I’m really grateful for all of them.

I think one of the things that helped me was the fact that I entered the design world a little later than many others. It made me feel that I had to work harder and catch up.

That mindset pushed me to stay deeply involved in the process every day, learning, experimenting, making mistakes, and trying again. Over time, that daily commitment became a habit, and I think that’s what helped me.

I think one of the biggest obstacles is getting lost in the first few years of the design world. There are so many different processes, trends, and directions that it’s easy to spend too much time trying to figure out what kind of designer you want to be.

For me, the more important question is not necessarily, “What should I design?” or “Which field should I follow?” but rather, “How can I develop a unique taste and perspective that I can carry into any field?”

I believe that when you build your own design language and way of seeing, you’re no longer limited to one specific discipline. You can take that perspective anywhere.

I strongly believe that presenting a design is not a stage outside of the design process; it is an essential part of it.

Design is ultimately about communication with the user, and that is one of the things that distinguishes it from art. So I think we need to understand that a presentation is the beginning of a dialogue with the audience and, eventually, with the user.

It is the product’s first impression on the user. The way you present a design should therefore communicate not only what the product looks like, but also what it means, how it should be understood, and why it deserves the user’s attention.

Experience is still my main concern.

I’m looking to discover new experiences, or perhaps even forgotten ones.

Being present within people’s experiences and the world in general, even in an anonymous way.

I believe designers always have a responsibility to take the side of the human in the trade-off between people and products.

No matter how successful or established a designer becomes, the human should always come first. For me, that is one of the most important responsibilities of being a designer: to understand people, protect their needs, and make sure that design serves them rather than the other way around.

That’s a really good and important question. I think we could talk about it for hours.

Design can contribute to a better society in so many different ways. Sometimes it appears as architecture or a space, creating a safe environment or a hub where people can gather, interact, and form new communities and connections.

Sometimes it takes the form of a medical product that gives someone an ability or independence they didn’t have before. In those moments, design can directly change the quality of a person’s life.

But I think the most fascinating thing is that design didn’t simply appear as a profession. It was born with humans. From the very first tools we created to survive and understand our environment, humans have always been designing. And just as humanity has evolved, design has evolved with it.

So I don’t think design is simply something that can help create a better society. In many ways, design is one of the things through which society has been created and continues to evolve.

Recently, I’ve been working on a few lighting products, as well as some projects in the technology space. I’ve become particularly interested in the relationship between humans and technology through physical products.

I think there is still so much unexplored potential in this relationship. We interact with technology constantly, but the way we physically experience it through products can be much more meaningful, intuitive, and emotional.

That space between the human and the technology, and how design can shape that relationship, is something I find really exciting right now.

Definitely the Akhal-Teke chair, so far.

There’s a personal side to this project. I was actually the audience, the user, and the persona for whom I was designing. I designed it for myself, based on my own interests, needs, and fascination with the subject.

Because of that, I developed a very personal connection with the product. I still have a strong affection for it, and I think that personal relationship is a big part of why this project has given me the most satisfaction so far.

I would like to see the industry move toward a culture where products are given enough time to reach the level of maturity they need before being released.

Sometimes it feels like designers, brands, and companies are caught in a race to be first, faster, or more visible. I would rather see us focus on making better products than simply making more products.

I think good design needs time — time to question, test, fail, refine, and ultimately become mature enough to deserve its place in the world.

I think design is heading toward exploring new relationships that are emerging for humans.

As technology continues to create unfamiliar worlds and new ways of interacting with them, design will increasingly become a way of studying and shaping the relationship between humans and these new environments. I think this can happen on many different levels — from physical products and technology to completely new forms of interaction.

And as these relationships become more complex, I believe designers will become even more important. We have a responsibility to stay on the human side of the relationship between people and products, and to help humans navigate these new worlds without losing sight of what makes us human.

It really depends on the project and the subject. Sometimes a project can take a month, while other times it can take several months.

I don’t really believe there is a fixed timeline for design. Every project has its own challenges, questions, and level of exploration, so the process and the time it takes are different each time.

When I start a new design project, I usually spend some time studying the nature of the need itself — not only from a practical or functional perspective, but also from a humanistic and philosophical one.

I try to understand the problem from different dimensions and perspectives before jumping into solutions. I want to question the need, understand where it comes from, and explore what it really means for the people involved.

For me, this exploration is an important part of the design process, because it helps me discover possibilities that I might not see if I immediately start designing the product.

“Ostinato Rigore.”

It’s an Italian phrase attributed to Leonardo da Vinci, meaning something close to “persistent rigor.” For me, it represents one simple idea: consistency, and consistency again.

I believe that talent or inspiration can start something, but it’s persistence that allows you to keep learning, improving, and eventually turn an idea into something meaningful.

I think it’s a two-way relationship. Design influences trends, and trends influence design — each one can push the other forward.

But personally, I believe that when a trend starts from design rather than simply reacting to an existing trend, it tends to be more mature and authentic. When designers introduce a new way of thinking or seeing, rather than just following what is already popular, the result can become a trend with much more depth and longevity.

For me, technology is more of a tool whose interaction with me is getting stronger every day, which makes the process easier. But that doesn’t mean design itself becomes easier.

The tools and how we work with them become simpler, and that creates an opportunity to focus more on finding and deepening the actual essence of design and responding to real needs.

I use a variety of modeling and rendering software, depending on the requirements and capabilities of each project. I don’t believe in being limited to one specific tool; I choose whatever helps me explore and communicate the idea better.

At the same time, I always try to keep sketching as an important part of my process. I like to develop ideas visually and quickly before becoming too attached to a particular digital workflow. For me, the tools should serve the idea, not define it.

These are all elements of good design, and each one plays an important role. But more important than each individual factor is how they coexist with one another. The analysis and selection of materials, the feeling and final finish, and ultimately how they sit alongside other materials, this harmony is a truly essential part of design.

I would love for people to talk about the experience they had with my designs.

More than asking about the process, the materials, or the technical details, I want to see that moment when someone gets excited because they’ve discovered a new experience through the product, and that they genuinely enjoy it.

I’m always interested in hearing about people’s experiences with my work. For me, that conversation is one of the most rewarding parts of being a designer.

When I see a great new design or product, I immediately start imagining the process behind it.

I try to understand what the designer was thinking, what decisions they made along the way, and then I ask myself, “What would I have done differently?”

For me, seeing the design process is almost like watching a great series. Every decision, failure, and iteration is another episode, and I find that journey just as fascinating as the final product.

Absolutely. I strongly believe in co-design.

My ideal design partner is someone whose presence and dialogue makes your mind fill with ideas — someone who opens your mind to different forms, possibilities, and ways of thinking.

The best collaborators are people who don’t have a “that’s impossible” mindset. They make you feel that there is always another possibility to explore, and that’s when collaboration becomes really exciting for me.

There have been several people in the professional design world who have had a significant influence on the way I work and think as a designer.

But I’ve also been deeply influenced by people outside the professional world, especially some of my friends. Sometimes, conversations with people who aren’t designers can completely change the way you see a problem or approach a project.

Behnaz is one of those people for me. Her influence on my way of thinking and, consequently, on my design has been really meaningful.

One book that has had a significant influence on my design thinking is *In Search of Lost Time* by Marcel Proust.

What fascinates me about Proust is the way he explores memory, perception, time, and the small details of everyday experience. It has influenced the way I look at human experiences and made me more attentive to things that might seem ordinary at first, but can carry a much deeper meaning.

I’ve developed my skills through a combination of continuous practice and staying connected to what is happening in the design and technology world.

Podcasts, design events, and following the trends and visions of major companies have been particularly valuable to me. They give me a sense of where the visions of these global companies are heading, and more importantly, where the world itself might be heading.

I think this perspective helps me understand what skills and knowledge I should be developing next, rather than only focusing on what is relevant today.

If I could meet and have a conversation with anyone, regardless of time or space, I would choose Leonardo da Vinci and Dieter Rams.

They come from completely different eras and backgrounds, but both represent a way of thinking that goes far beyond their specific disciplines. I would love to understand how they observed the world, how they approached problems, and how they developed their ideas.

I think a conversation between the two of them would be fascinating, and I would probably just sit there and listen.

I’ve always believed that design competitions can have a positive role in the industry. They encourage designers to present their work at a high standard and push themselves to become better each year.

That was actually my main reason for participating in competitions. I saw them as a way to challenge myself, measure my progress, and keep improving rather than simply collecting awards.

Of course, the recognition that comes with awards is valuable too. It gives credibility to the work and, in a broader sense, helps bring more attention and recognition to design itself.

As for being famous, I don’t really see myself that way. I think the recognition is a byproduct of the work, rather than the reason behind it.

I don’t really have one favorite color. I find all colors interesting, depending on where and when they are used. For me, context can completely change the way a color feels.

My favorite place is probably home — but more importantly, the people who are there. I care more about who I share a place with than the place itself.

When it comes to food, I’m fascinated by its nature as an experience. Food is one of the closest and simplest ways we have to experience new things, memories, cultures, and sensations.

I definitely prefer the colder seasons. There’s something about cold weather that I really enjoy.

And my favorite brand is NOMOS Glashütte. I really admire their approach to watchmaking, their precision, and the character of their designs.

One funny thing I’ve experienced as a designer is realizing that you can talk to a client for hours, using exactly the same words, and still be talking about completely different things.

We might both say “simple,” “premium,” or “comfortable,” but the meaning behind those words can be completely different for each of us. Sometimes you only realize this after a very long conversation, or even after you’ve already started designing.

It taught me that before starting a project, it’s really important to agree on what we actually mean by the words we’re using. Sometimes defining the vocabulary is the first step of the design process.

Creating. Creating, and creating again.

That’s what makes my day great as a designer. I don’t really need to motivate myself to create — creating itself gives me energy. Whether I’m sketching, developing an idea, making a model, or simply exploring a possibility, the act of creating genuinely boosts me.

For me, the best days are the ones where I make something that didn’t exist before.

I was always making something when I was a child.

Sometimes I was building things with wood, and sometimes I was playing with electronic kits and trying to make something work. I don’t think I knew I would become a designer back then, but looking back, I think the process of creating started there.

I was always curious about how things worked and what I could make with my own hands. In a way, I think I was already designing — I just didn’t have the word for it yet.

With all the worrying things happening around us, I can only hope that design plays its true and proper role in this journey.

Not just as a way of creating beautiful things, but as a form of care for people’s lives and their freedom, rather than violating it.

I would just like to repeat one thing:"Ostinato Rigore'

Keep creating, keep learning, and never get tired of creating.

I think the moment we stop being curious and stop making things, we stop growing. So whatever you do, keep creating, again and again.

I was studying engineering, but later I decided to pursue design as my professional path. It was something I'd been doing ever since I was a kid. I've always loved both the analytical, engineering side of things and the process of bringing ideas to life right after planning and designing them.

I'm still figuring out my own path. I enjoy exploring different areas of design and treating this stage as an adventure. One of the best things about being a student is having the freedom to try different directions before settling into one.

I think this is the kind of question that designers can only answer after a lifetime of designing. Maybe I'll only be able to give my own definition of design on the last day of my life. I think about it a lot, but the only thing I know for sure is that this is what I love doing.

Chairs have always fascinated me, but I'm interested in creating something beyond a specific object or product. What really excites me is designing experiences. Sometimes that experience is about sitting; other times it's about using an industrial tool. For me, creating a meaningful experience is just as important as solving a practical need.

I could give you a long list of designs I admire, but the ones that stay with me are those that do their job so well you almost don't notice they're there. I find these quiet, humble products incredibly inspiring. They don't demand attention; they simply make life better in the most natural way.

My first professional experience was in detail design at a lighting company. As I gained more experience, I became involved in developing ideas and working on design concepts.

Material selection is one of the most important and challenging parts of design. I think it depends entirely on the project. every product and every context calls for different materials. Rather than having one favorite material, I'm more fascinated by the quality of a material's finish and the way two different materials can complement each other when they're thoughtfully combined.

Sometimes when I'm doing something completely ordinary, sometimes just before I fall asleep, and sometimes even when I'm under the pressure of a deadline.

Just like the experience I'm creating for the user, its quality is what matters most to me. Sometimes the form becomes the priority, and other times it's ergonomics. It always depends on what will create the best possible experience. For me, achieving that experience is more important than focusing on any single aspect of the design.

Curiosity!!!! I think it’s the same feeling that made us a tool-making species. From a simple stone that served as an axe or a knife, we eventually reached a point where we could explore other worlds.

I really like seeing other people enjoy the final result, especially the people who are close to me and the ones I love.

It really depends on the medium and the type of product. But I believe that having a genuine and deep understanding of people and their real needs is one of the most important things in creating successful design.

The first thing I look at is how well the design understands its users and how much respect it shows for their experience. If a design truly considers the people it's made for and improves their experience in a meaningful way, I believe it's already on the right path.

Making life easier is definitely one of the main goals of design. Beyond that, I believe design should improve people's quality of life by creating better experiences throughout their everyday lives. Even small improvements in the way people interact with products can make a meaningful difference over time.

I believe design will continue to play a more important role in people's lives. As the world becomes more complex, design will go beyond creating products and focus more on understanding deeper human needs. I think the future of design is about creating more meaningful experiences that improve not only how we use things, but also how we live.

My most recent exhibitions were at Tehran Design Week and Milan Design Week, through my collaboration with the company I was working with. It was a very special experience for me. I’m also trying to have an individual presence at an exhibition this year.

Most of my inspiration comes from everyday life. I believe daily life is the best place to discover real human needs and the best starting point for creating meaningful designs.

I’m looking to create experiences, and these can be created through different mediums and styles. But personally, I like works that take one step beyond minimalism and seek the character and individual personality of the object itself, rather than a universal approach.

I’m from Iran. The idea and inspiration for this design came from the Akhal-Teke horses of the Turkmen people in northern Iran.

Currently, I’m studying and designing for a lighting company. I’m trying to create a good level of diversity within the company’s product portfolio, while at the same time maintaining consistency and harmony with the company’s design language and identity.

I think this relationship should be seen as something beyond a simple professional relationship, especially when the field combines art and design. The designer and the company should be able to reach a level of communication where a meaningful dialogue can develop based on the needs and expectations of both sides, so they can bring the best products to the market at the right time.

Currently, I’m studying and designing for a lighting company. I’m trying to create a good level of diversity within the company’s product portfolio, while at the same time maintaining consistency and harmony with the company’s design language and identity.

In the field of tech, I love Nothing and CMF products. I have a lot of respect for Apple’s design language. In the field of timepieces, which is one of my personal interests, Nomos from Germany and Seiko from Japan have always been inspiring to me. And finally, I’ve always wanted to have an Eames Lounge Chair!

It’s a difficult question because I try to keep a flexible schedule. Given my current circumstances, and I think the design profession in general, you have to be prepared for a lot of uncertainty in your daily schedule.

One thing I always remind myself of is that, to get better at something, you have to practice it by doing the same thing over and over again. There are no shortcuts.

I came from an engineering background into the world of design. In the design world, life feels more dynamic because every project is a new world, from zero to one hundred, whereas in other fields, you often work with a defined procedure. I love this aspect of design, even though it can be frustrating for many people.

I don’t have a golden rule for design yet. But perhaps my silver rule is to always consider what position the work ultimately takes when it encounters its audience. I strongly believe that design is not just art. It’s very important that the audience, as users, can engage with the work on different layers and at different levels.

The ability to tolerate ambiguity and uncertainty. Being comfortable taking small steps forward in a foggy and unclear space, and being prepared for the possibility that even after reaching a result, it may not work out and you may have to start again.

For modeling, I try to use Blender and Rhino, and for rendering, I mostly use KeyShot. But I also try to develop the process through hand sketching, research, and benchmarking. However, if the project is more concept-driven, I definitely rely on my own imagination and ideas.

This is one of the biggest challenges in this field. The only solution I’ve found is to prioritize my tasks and start with the most important ones.

It really depends on the project itself. Sometimes a project can be completed from start to finish in one month, while other times we can be involved in a project for months. It depends on the field I’m working in and on the level and depth at which the need needs to be addressed.

Engineers think we’re artists, so they approach us like artists and ask us the same kinds of questions. And artists think we’re engineers, so they approach us like engineers!

Teamwork and understanding the importance of every single member of a team. This has been my biggest achievement over the past few years. Truly, moving forward as a team can have a very profound impact on projects.

I’ve worked with a number of private clients on individual projects, as well as with companies. I also collaborate with research centers on R&D and research projects, mainly focusing on human-centered design.

Honestly, I find every type of project interesting in its own way. From the making process and the technical side of design to form development and finding inspiration through experiences and nature, I enjoy all of these aspects of design.

Exploration and traveling through the world of design. I’d really like to be a voyager in the design world, constantly discovering and learning more and more, especially about local and regional design.

In the early years, due to the limitations I had, I mostly worked on my own and followed a trial-and-error approach. These days, I’m part of a team of people with both similar and even opposing interests and perspectives.

I’m starting to explore the world of tech and products that have a direct relationship with humans and technology. I’m becoming more and more interested in this field and in exploring the relationship between the two.

You can find me on Instagram and LinkedIn as Amin Mohammadyari. You can also reach me by email at a.mohammadyari01@gmail.com

Everything was great. I would just like to take this opportunity to thank the influential people I’ve had in my life and throughout this journey so far. I think this is the least I can do to acknowledge their impact and to remind myself how valuable their presence has been in my journey.

First of all, I just want to say how happy I am that the life of Akhalteke has started and keeps growing, bringing along lovely conversations and real friendships that mean a lot to me.I’ve always wondered: why do certain specific ways of sitting become the “standard”? Why don’t we treat sitting, like any other human behavior, as something with many possibilities? This thought got me digging into my own memories of how I’ve sat in different moments of life. And the one that stood out the most was sitting in full contact and rhythm with a living, breathing creature, the horse. That deep, instinctive connection was unlike anything else. It was the seed that eventually grew into the Akhalteke.

As I mentioned, in the design of Akhalteke, sitting is approached as an experience, not as a simple act.For me, experience is a continuous and dialectical interaction between the user and the environment (everything that is not the user).It is within this dynamic that each user forms a unique relationship with the object, and new postures of sitting emerge, postures that are directly shaped by this interaction with the object. Ultimately, a new experience is created.

I believe a designer’s honesty is most clearly reflected in their choice of materials.In the case of Akhalteke, without this specific type of material, a significant part of its identity would be compromised, for very clear, tangible reasons. That’s wh, the object itself demands the use of these materials as an essential part of what defines it.

When we speak of sitting as an experience, a continuous and dialectical interaction between subject and object, sitting transforms from a simple act into a moment of pause.It is in this pause that the seat (the object) becomes part of the quality and depth of this stillness within the user’s (the subject’s) everyday flow.And this is precisely the point where a mutual relationship begins, one that leads to a unique experience of pausing, embodied in a particular posture and form.

I believe that part of experiencing something is intuitive.The main goal and function of the Akhalteke was to create a new sitting experience for the user. As a result, I had to arrive at a form that also gave importance to each user’s intuitive perception.To reach the final form, I tried to express the abstraction that had taken shape in my mind in the simplest way possible.

The horse was one of the first animals that humans were able to domesticate during their evolutionary journey.Domesticating the horse played an indirect yet significant role in the emergence of civilizations. But what’s particularly noteworthy is that humans spent long periods of time on horseback, in different postures and with various experiences.And I believe that’s precisely what led me to rediscover this way of sitting, in a new form.

These dimensions, considering the limitations of the conceptual form and experience-based design, were not derived from anthropometric studies. Instead, they were achieved through trial and error, using prototypes at different scales and ultimately constructing a one-to-one model to attain the best possible expression of the final intended feel of the work.

Akhalteke is the name of one of the Turkmen horse breeds, known for its beauty and delicate anatomy.However, the reason for choosing this name was seeing the deep and meaningful connection between the Turkmen people and their horses.The horse plays an important role in their lives, and I was seeking that same depth of presence in the experience.

As a design student, one of my greatest wishes is to be able to provide a meaningful solution through the design process, rather than becoming part of the problem itself!I hope that instead of offering merely superficial, trend-driven forms in response to needs, we can give authenticity to the act of experiencing.

Sustainability can be found in the relationship between design and the user.I deeply believe that the deeper this connection is, the more successful the design will be in rising above being just a consumer product and gaining a longer lifespan.Therefore, I believe time can be the final element of design that exists outside the designer’s process.The longer a design can live based on a meaningful relationship with its user, the more sustainable it is.