Interview with Bahador Kashani Madani

My interest in art from an early age, combined with my father being an architect, naturally led me toward architecture and design.

My priority is to understand the needs of the users and the character of the space. I focus on functionality, natural light, simplicity, and honest use of materials, while combining creative thinking with technical knowledge.

I feel curious and excited when designing. I enjoy exploring different ideas, solving problems, and gradually finding the right solution.

My background in architecture, construction, and interior design has shaped me greatly. Working closely with buildings and craftsmen has taught me to combine creative ideas with practical and technical knowledge.

I want to continue developing my work as an architect and interior designer in London, while learning from new experiences and challenges. My dream is to design meaningful spaces that have a lasting impact on people and their surroundings.

Keep learning and expand your knowledge as much as possible. Look at great work, study different fields of art and design, and most importantly, develop your own way of thinking.

Stay curious, keep learning, and never stop looking at great work. Be honest in your design, develop your own way of thinking, and always try to improve.

My day usually starts with breakfast with my wife and son, followed by some light exercise and stretching. I spend most of the day working on my design projects, then spend the evening with my family. Late at night, when everything is quiet, I often find my best ideas.

I keep up with design through books, exhibitions, projects, and by observing the work of other designers. Trends are useful to understand, but I do not believe good design should simply follow trends. Authenticity and the needs of the project are more important.

For me, good design comes from honest thinking and knowledge. It should respond clearly to the needs of its users while balancing function, aesthetics, and context.

I consider a design ready when the main ideas are clear, the needs of the users are properly addressed, and the design feels complete without unnecessary elements.

One of my most significant design projects is Tamrin Space, the restoration and transformation of an old house in Tehran into a multifunctional space for music and theatre artists.

Peter Zumthor. I admire his approach to material, light, atmosphere, and the way his architecture creates a strong sense of place.

I come from a Persian cultural background, where art, architecture, hospitality, and family have always been important parts of life. My lifestyle is closely connected to my family, my work, and my interest in art and architecture.

I believe good work comes from collaboration, honesty, and attention to detail. I value close communication with clients, designers, and craftsmen, while giving ideas enough time to develop and always keeping the quality of the final result in focus.

I believe that preserving architectural heritage and giving old buildings a new life can be a contribution to society. Through my work, I try to respect existing buildings, preserve their identity, and create useful spaces for future generations.

It has been a valuable experience to share my work with an international audience, receive recognition, and connect with other designers and architects from different backgrounds.

My primary motivation to become a designer was my father—he was a renowned architect in Iran, and growing up around his work had a profound impact on me. Watching his passion, creativity, and the way he could shape the world around him through architecture inspired me from an early age. Beyond that, I’ve always been deeply drawn to the act of creation itself—the process of turning an abstract idea into a tangible form that can affect people’s lives

I primarily focus on architectural design, and one of my core principles is responding thoughtfully to the context and cultural background of each project. I have a deep appreciation for vernacular architecture and how it reflects the identity and traditions of a place. At the same time, I am also strongly drawn to modern, functional architecture—designs where form follows function and unnecessary elements are avoided.

Most of my projects in Iran embody a synthesis of these two values. They represent what I would call a form of contemporary Iranian architecture—modern in expression, yet rooted in local identity and adapted to the environment. I am especially interested in continuing to explore this balance, designing more projects that harmonize contextual sensitivity with modern functionality.

The single most important step is active study through close observation. Spend time with well-designed buildings—walk the city, enter the spaces, linger, sketch, photograph, and ask why every line, joint, or material choice exists. Let the built environment become an open-air classroom where you train your eye for proportion, detail, and context.
Combine this daily field research with reading, drawing, modeling, and hands-on experimentation; theory means little until you verify it against real architecture. Record what you discover, question established solutions, and seek mentors who push you further. Over years, this disciplined curiosity turns raw talent into informed intuition—exactly the quality that elevates a designer from practitioner to legend.

What truly distinguishes a good designer from a great one is attention to detail. While a good designer may solve the overall problem and create a functional and aesthetically pleasing solution, a great designer goes further—carefully considering every small element, every transition, every material joint, and how all parts work together in harmony.

Great design is often invisible at first glance—it’s felt in how natural and effortless the experience is. That level of clarity and refinement comes only from a deep commitment to detail, precision, and craftsmanship. It’s in the quiet discipline of perfecting what others might overlook that a designer becomes truly exceptional.

The value of good design is immense—it directly impacts the quality of life, behavior, and even the emotional well-being of individuals and communities. As designers, we are morally obligated to offer the best possible solutions, because design doesn’t just affect one person—it shapes the lives of many.

A poorly designed building, space, or product can lead to confusion, discomfort, inefficiency, or even harm. In contrast, thoughtful and well-executed design can inspire, heal, and uplift. This is why investing in good design is not a luxury; it is a necessity. The long-term cultural, social, and economic benefits far outweigh the initial cost. In short, good design is not just about beauty—it's about responsibility.

My dream project is to restore and redefine a well-known, historically valuable old building. I am passionate about breathing new life into architecture that holds cultural and historical significance, while adapting it thoughtfully to contemporary needs.
This kind of project offers a unique challenge—balancing preservation with innovation, respecting the past while creating something meaningful for the present and future. I believe such work can deeply connect people to their heritage and inspire new ways of living and experiencing space.

My secret ingredient for success in design is being physically present at the project site—repeatedly and at every key stage of the design process. No amount of drawings, photos, or maps can replace the insights gained from walking the site, feeling its scale, observing its surroundings, and absorbing its atmosphere.

Equally important is the willingness to revisit the design again and again, to question assumptions, refine concepts, and allow the project to evolve naturally. I believe good design is not a straight line—it’s a process of continuous return, reflection, and refinement. That persistence and deep engagement with the place are what give the final design its strength and clarity.

The works of Peter Zumthor have always been a profound source of inspiration for me. His designs embody the full spectrum of what I consider to be the values of great architecture—from the conceptual idea and intellectual depth behind the project, to the emotional atmosphere, material choices, and meticulous attention to detail.

Zumthor’s work doesn’t just look beautiful—it feels meaningful. Every element, every texture, and every spatial transition is deliberate and thoughtfully integrated. He creates buildings that engage the senses and resonate on a human, almost poetic level. That balance of philosophy, function, and feeling is what I deeply admire and aspire to in my own work.

Each of my projects contains elements that I feel personally connected to—details, ideas, or spaces that I deeply care about. But if I had to choose one, the Tamrin Space Cultural Center stands out as the project I feel most emotionally close to.

What makes it special is not just the design itself, but the entire journey: the nature of the project, the unique relationship with the client, and the thoughtful process of redesign and transformation. It was a project where I could truly engage both intellectually and emotionally, and that level of involvement brought out something deeply meaningful. It reflects not only my design values but also my personal growth as a designer.

If I hadn’t become a designer, I would have likely become a filmmaker. In my youth, I was deeply passionate about cinema—I saw filmmaking as a unique, interdisciplinary art form that brings together all the other arts: visual storytelling, music, architecture, writing, rhythm, and emotion.

Later, when I discovered architecture, I realized it shared many of the same qualities: it tells stories through space, it shapes experiences, and it requires a balance of logic, creativity, and emotion. In a way, I feel that both filmmaking and architecture are about directing human experience—one through time and narrative, the other through space and atmosphere.

First and foremost, I owe everything to my family and the environment my parents created for me and my brothers. My father laid the foundation—not just through his profession as an architect, but through the values he instilled in us. After his passing, my mother became both a mother and a father to us. Her strength, support, and unwavering presence were a guiding force in our lives.

My brothers, who have also been my collaborators in various projects, trusted me and stood by me every step of the way. Their belief in my ideas gave me confidence and courage. And finally, my wife, who at different points in my journey, reminded me of my purpose and helped rekindle my motivation when I needed it most.
I’ve never walked this path alone—and for that, I am deeply grateful.

My ultimate goal as a designer is simple yet deeply personal: to be the best version of myself for as long as I can—to keep pushing my limits and dedicating all my energy and creativity to the act of making.

Design, for me, is not just a profession—it’s a lifelong commitment to growth, exploration, and meaningful contribution. As long as I am able, I want to continue creating with purpose, honesty, and care—always striving to offer something valuable, however small, to the world around me.

Design—especially architecture, but not limited to it—plays a vital role in shaping society. Along with other art forms, it has the responsibility to cultivate culture and influence public taste. Good design can uplift everyday life, promote dignity, and foster a sense of identity and belonging.

When we design thoughtfully, we don’t just create objects or buildings—we shape the environment where values are lived and experienced. Design can encourage social interaction, inclusivity, sustainability, and beauty in everyday life. In that sense, designers are cultural contributors and shapers of collective memory. It’s not just about aesthetics—it’s about shaping the way people live, feel, and connect.

It really depends on many factors. Sometimes the core concept reveals itself quickly and the design process flows naturally from that point. Other times, reaching that central idea requires more time, exploration, and iteration.

Each project has its own pace, influenced by the context, complexity, the client’s vision, and even emotional and intuitive responses. I’ve learned not to force a design to “arrive” too quickly. Good ideas often take time to mature, and I value that process just as much as the final outcome.

For me, every design begins with research and site presence. I start by studying the project thoroughly—its function, context, users, and constraints. But most importantly, I try to be physically present at the site early in the process. Walking through the space, observing its atmosphere, light, noise, surroundings, and feeling its energy allows me to connect with the project on a deeper level.

This first-hand experience gives me insights that no drawing or map ever could. I believe that good design starts with listening to the place—and only then can meaningful ideas emerge.

I strongly believe that design sets the trends, not the other way around. It is the work of creative, intelligent, and forward-thinking individuals that defines what’s next. True design doesn't follow—it leads. It challenges conventions, introduces new perspectives, and opens doors to possibilities that people may not have imagined yet.

While trends may reflect popular taste at a given time, meaningful design shapes culture at a deeper level. It anticipates needs before they are voiced and responds with clarity and purpose. In that sense, design is not a reflection of trends—it is the force that creates them.

Technology plays a crucial and transformative role in my design process. It’s one of the primary forces that drives architecture—and all the arts—forward, pushing them into new phases of possibility and expression.

From digital modeling and simulation to material innovation and construction techniques, technology expands our ability to think, visualize, and build in ways that were once unimaginable. But beyond tools and software, technology also influences how people live, interact, and experience space—so as designers, we must understand and engage with it meaningfully.
I see technology not as a substitute for creativity, but as a powerful partner in the creative process.

I currently use a range of traditional and digital design tools, including architectural modeling software, CAD programs, and 3D visualization tools. While I haven’t yet fully integrated AI into my workflow, I strongly believe that its role in design is inevitable and rapidly growing.

I wish people would ask about the details we carefully considered and worked hard to execute in the best possible way. Often, the true value of a design lies in these subtle elements—those thoughtful choices and refinements that may not be immediately visible but greatly influence the experience and functionality.

By asking about these details, people can better understand the depth and intention behind the work, and appreciate the care and dedication invested in creating something meaningful and lasting.

I’m not sure if any specific book has directly influenced my design work, but “The Little Prince” (Le Petit Prince) has had a significant impact on my outlook on life.

Regardless of time and space, I would love to meet, talk, and discuss with the great Persian poets like Saadi and Hafez. I am deeply fascinated by what went on in the minds of these brilliant artists and thinkers—how they were able to create such timeless masterpieces that continue to inspire people across generations.

Their profound understanding of human nature, life, and spirituality would be an incredible source of insight and inspiration for any creative mind.

I believe that media and publicity play the biggest role in gaining fame, and not necessarily the effort and art of the artist alone. While awards and recognition are valuable and encouraging, becoming truly well-known often depends on how effectively the work is communicated and shared with the public.

Fame can be both a blessing and a challenge, but ultimately, I focus more on the quality and sincerity of my work rather than the spotlight it receives.

Favorite color: Green

Favorite place: My homeland, Iran

Favorite food: Kebab

Favorite season: Autumn

The most important source of motivation for me as a designer is music. A great day happens when I’m inspired and energized by the right sounds, which help me focus, spark creativity, and keep my enthusiasm high throughout the design process. Music sets the tone and mood, making even challenging tasks feel more enjoyable and rewarding.

As a child, I was good at drawing and had a strong sense of observation. I paid attention to the details around me and enjoyed expressing ideas visually. Looking back, these were probably early signs that I would pursue a creative path. While it wasn’t certain at the time that I would become a designer, those abilities definitely pointed in that direction.

To be honest, I prefer not to think too much about the distant future. Not just in art, but in many aspects of life and the world, things don’t seem to be heading in a very hopeful direction. The increasing complexity, disconnection from nature, and overwhelming speed of change make it difficult to imagine a thousand years from now with optimism.

I want my fans and others to know that I truly have no special advantage or superiority over anyone else—and I emphasize that. Every person has the potential to be their best in their own field and in their own way.

Our architecture studio is a family-run practice, where my brothers and I have continued the path of our late father, who was also an architect. It is a small but highly creative team, and we focus on thoughtful, context-driven designs.

For me, design is creation—the act of bringing something meaningful into existence. It is about shaping ideas into form, solving problems with beauty and function, and leaving behind something that connects with people.

My dream project is to restore and redefine a well-known, historically valuable old building. I am passionate about breathing new life into architecture that holds cultural and historical significance, while adapting it thoughtfully to contemporary needs.

Each of my projects contains elements that I feel personally connected to—details, ideas, or spaces that I deeply care about. But if I had to choose one, the Tamrin Space Cultural Center stands out as the project I feel most emotionally close to.

The first project I designed entirely on my own, outside of a design team, was a house where my wife and I were going to begin our life together. We designed the house together, with my wife’s input and collaboration, and I personally oversaw and carried out its construction.

I believe every material, platform, or technology can be valuable—when used in the right context. No single material is inherently better than another. What matters is how creatively and appropriately it is applied within a specific project.

All these tools should serve the vision of a thoughtful and creative architect, who selects them based on the unique needs of the site and the essence of the design.

There’s no fixed time when creativity strikes—it can happen at any moment, even in sleep. However, I generally feel most creative during the night. The quiet and stillness of nighttime often allows deeper reflection and freer imagination.

I believe every aspect of a design is important. From concept and functionality to details, materials, and context—each part must be thoughtfully developed.

If even one element is weak or neglected, it can eventually compromise the integrity of the entire project. Design is a holistic process, and excellence requires balance across all layers.

Curiosity and a strong desire to find the right answer. For me, design is a journey of exploring ideas and finding the best solution.

The feeling of being a creator, which is one of the best feelings.

To me, the core of a successful design is honesty—honesty in intention, in process, and in execution. A design should reflect a genuine response to the context, the needs of the users, and the essence of the idea behind it.

When a design is honest, it connects with people on a deeper level, and that authenticity is what gives it lasting value.

The honesty and knowledge behind the design thinking.

A designer holds significant responsibility toward both society and the environment. On one hand, we must be deeply mindful of environmental impact—designing sustainably, minimizing waste, and respecting natural resources.

On the other hand, we carry a cultural responsibility: to elevate public taste, inspire better lifestyles, and contribute to a more thoughtful and humane built environment. This can only be achieved through honest, committed, and meaningful design.

I believe design is undergoing a fundamental transformation, mainly driven by the rapid development of AI.

My design inspiration comes from being constantly exposed to high-quality art and staying immersed in it. This includes everything from music to cinema.

I believe that surrounding myself with diverse and meaningful artistic expressions feeds my creativity and opens new ways of thinking, which then influence my design work.

My design style is a blend of modern functional architecture deeply rooted in local context and culture. I pay close attention to the project’s environment and background, aiming to create works that respect and reflect the native heritage while embracing modernity.

I have been naturally drawn to this style because I believe in form following function—designs should avoid unnecessary elements and focus on purposeful, meaningful solutions. This approach allows me to create architecture that is both practical and emotionally resonant.

I live in Iran, a country with an extraordinary architectural heritage. One of the greatest achievements of Iranian architects has been their deep understanding of the site’s context and climate, and their ability to create designs that harmonize perfectly with these conditions.

This rich cultural background profoundly influences my work. Designing in Iran offers the advantage of drawing inspiration from centuries of architectural wisdom, but it also presents challenges, such as balancing tradition with modern needs and dealing with local regulations and resources.

I always try to build a good relationship with companies, because I believe we can learn a lot from good collaborations.

Choose a designer whose thinking, knowledge, and approach match the company’s values, and give them the freedom to explore and create.

My design process always begins with thorough research and physical presence at the project site. Understanding the context, climate, and cultural background is essential to create a design that truly fits its environment.

I believe that every detail matters, so I constantly revisit the design, reflecting and refining it at different stages. This iterative approach helps me ensure that the form follows function and that no element is unnecessary.

Five of my favorite design items at home are the bathroom, the toilet, the kitchen, the bedroom, and the workspace. These spaces are essential for daily life and offer opportunities to combine functionality with comfort and aesthetic appeal.

My day always starts with breakfast with my wife and son, followed by some light exercise and stretching, which is almost a kind of meditation for me. I spend the day working on my design projects until the afternoon, then pick up my son from school and spend the evening with my family over dinner.

Finally come my favourite few hours of the day—the late hours of the night, when everything is quiet and peaceful. This is when some of my best thoughts and ideas come to me.

Expand your artistic and general knowledge as much as you can. Look at great work, look at great work, and look at great work.

From my perspective, the positive side of being a designer is the joy of creating and being a creator. It’s fulfilling to bring ideas to life and shape environments that impact people’s lives.

On the downside, designers can be very sensitive and emotional, which sometimes makes the process challenging but also deepens the connection with the work.

My secret ingredient for success in design is being physically present at the project site—repeatedly and at every key stage of the design process. No amount of drawings, photos, or maps can replace the insights gained from walking the site, feeling its scale, observing its surroundings, and absorbing its atmosphere.

The most important skills for a designer include attention to detail, creativity, and the ability to deeply understand the context of a project. Being observant and curious helps in discovering what truly works.

Books by great painters, paper, and a pencil.

Designing can indeed be very time-consuming, so I manage my time through careful planning. Breaking the project into stages and setting clear goals for each phase helps me stay organized and focused, ensuring steady progress without losing sight of details.

It really depends on many factors. Sometimes the core concept reveals itself quickly and the design process flows naturally from that point. Other times, reaching that central idea requires more time, exploration, and iteration.

How much do you charge for your design?

Every project is unique and deserves a unique design approach. This perspective has been my most important job experience—understanding that no two projects are the same and that each requires its own careful and thoughtful design process.

Some of my notable clients include Navid Gohari and Mohammad Forghani.

I enjoy working on designs that deeply respect the context and environment of the project. For me, local and modern architecture that combines functionality with meaningful form is very rewarding. Projects like those I have done in Iran, which blend modern architectural principles with local culture and climate, are especially fulfilling because they create spaces that feel authentic and purposeful.

To establish myself as an architect and interior designer in London and continue developing my work here.

Most of the core ideas and the main concept of my designs are developed quietly and individually in my mind. However, as the project progresses, I collaborate closely with my team, including my brothers, to refine and realize the design.

People can contact me through my social media channels. I’m active there and welcome any inquiries or collaborations.