Interviste con Sepehr Mehrdadfar

Been in touch with art and design since childhood. My father was interested in photography and calligraphy, my mother works in the field of fashion, and my older brother was interested in calligraphy and music. I studied architecture and graduated with a master’s degree in interior design.

Initially, I was active in the field of interior design, which sparked my interest in objects. Gradually, I began designing furniture and lighting.

I chose to become a designer out of my passion for it, particularly in the fields of furniture and lighting design.

So far, I've designed furniture and lighting, but recently I've become interested in jewelry and fashion design.

Remain curious, continually practice, and always be willing to learn.

It may be sad that a good designers only looking for a response to the need and function, but a great designer should look for a lasting effect

Creating a word that in addition to satisfying specific need and function creates meaning in life, this approach increases the design value and durability of design

Good design evokes emotions in the audience and enriches their experiences.

These days, I would like to design an earring for my wife.

A pure display of design with an Iranian spirit.

haven't yet reached my desired position or felt true success, but I believe imagination, curiosity, hope, and patience are essential for success.

Charlotte Perriand, Miss Vanderohe, Charles and Ray Eams, and Philippe Starck.

The Eames Lounge Chair, Philippe Starck’s juicy salif, and steel stools by Charlotte Perriand.

Among my works, I am most interested in a chair I designed for my daughter Hana. It is full of personal emotions.

Stay curious, practice diligently, and be patient.

Perhaps I would have become a photographer.

Design is the most genuine form of being alive and the most real way of living.

My friends and colleagues.

A passion for life.

Working in Iran posed several challenges.

I strongly believe in holding exhibitions, as they allow an artist to present themselves and their perspective.

Better chairs, lighting with an Iranian spirit, and seductive jewelry.

To showcase my works all around the world.

You'd have to ask them.

Design is the truth of life and is inherently honest. A society that cares about design cares about the truth and the meaning of life, demonstrating honesty with itself.

I am designing a collection of jewelry.

Many of my projects have filled me with happiness and satisfaction.

The richer and more diverse, the better.

I think that as we progress, design becomes more devoid of feeling, which is not pleasant for me.

Sometimes very quickly, within a few days, and sometimes very slowly, over a few years.

If a topic or project interests me, I think about it constantly, in any situation.

I am still experimenting and do not have a definite philosophy. I watch, learn, and experiment.

Everything definitely starts with design.

Technology is present at all stages, from imagination and ideation to presentation and implementation.

Simulation software.

Sometimes color and material are the main factors in design, but other times I consider them after deciding on form and function.

I’m not particularly interested in questions about my designs.

I wish I had designed it.

I usually prefer designing and ideating on my own.

My friends and close colleagues.

"Emotional Design" by Donald Norman.

I practiced and gave myself time.

Arne Jacobsen.

I see them as valuable achievements.

Red, the Great Mosque of Isfahan, Gis chair, Herman Miller.

A few years ago, I embarked on an ambitious project to design a chair inspired by a mythological hero from ancient Iranian tales—a powerful and majestic commander. I constructed a version of the chair and showcased it at an exhibition that same year. While enthusiastically sharing the concept of the "powerful and mighty Iranian commander" with the attendees, someone asked, "Can you sit on it?"

With confidence, I replied, "Of course you can! This chair is incredibly strong and sturdy." To demonstrate, I sat on the chair, only to hear the sudden, unmistakable sound of wood breaking. In an instant, I found myself on the floor! The room erupted in laughter, and despite my embarrassment and frustration, I joined in. It was a surreal and unforgettable moment.

A day when I have a new dream or idea will always be a good day.

My parents always believed in my potential.

The future is quite scary to me.

I aim for my designs to evoke deep emotions in people, transforming the spaces where they live or work into places filled with lasting memories. I want my creations to leave an indelible mark, creating a "lasting image" that remains in their minds like a cherished "memory."

I was born in a family with artistic backgrounds, my father was interested in calligraphy and my mother worked in clothing design, and my brother was a calligrapher and a musician.

I have a design studio and I have been supervising the group of five architects since 2018 .our group is specialized in designing furniture and lighting. we are among the first designers who design furniture in Iran and have won awards in Iran and abroad.

Design is more than a job for me; it's a lifestyle.

I'm interested in designing furniture.

My favorite fields are interior design, fashion design, jewelry design and furniture design, I think these fields have the most connection with human life.

The first object I designed for a company was a chair called Shahrokh.

I'm not limited to a single material, but I have the most experience working with wood and metal, and I'm familiar with their respective techniques.

When I find the right way to express my mental images and ideas through design.

In the design process, I focus more on maintaining a balance between function and expression in form.

Usually, I am very ambiguous in design, like a person who is looking for something with his eyes closed

Usually, in such a situation, I experience a short and temporary happiness and quickly feel inadequate

Honesty in the design process

The originality of the design and the honesty of the designer in going through the design process.

The designer gives shape and meaning to "life".

These days, I think a lot about the connection and involvement of artificial intelligence in the future of design, I am worried that the future of design will be devoid of human feelings and emotions.

I exhibited my works last year in Tehran, this year I will definitely have an exhibition in Europe (Italy or Spain).

I get inspiration from people, from their character, feelings and memories.

My design style is heavily influenced by Iranian history and culture. My design style is heavily influenced by Iranian history and culture.

As an Iranian living in Iran, I find myself deeply inspired by the collective memories and everyday life of my culture. These elements form the core of my design ideas.

I develop ideas, develop my designs and provide them to companies for production.

I think it is better for companies active in the field of design production to invest more in training, events, exhibitions and design competitions.

I don't use paper and pen to start drawing, I walk to start drawing, create an image in my mind, give details to that image for days and weeks, then develop that image and solve the function in it and in I finally get to the plan.

Dining chair, ground lampshades, ceiling lights, couch, bed.

My day starts with a bathroom ritual, not singing like everyone else, but daydreaming to jumpstart my creativity. Then, it's off to take my daughter to school and head to the studio. A quick coffee break at a nearby cafe fuels me up before I reach the office. The workday is spent collaborating with colleagues until the evening. After picking up my daughter from school, family time takes center stage. However, I stay connected with my colleagues through calls and WhatsApp until the night settles in.

I wish them all success.

In my opinion, "being a designer" is a special kind of lifestyle that you cannot get out of. "Loneliness" may be one of the disadvantages of this lifestyle.

I don't have any golden rules, I just try to be honest in design.

I feel I need more soft skills to design. Such as social skills, management, power of choice, correct criticism and analysis of the situation, etc.

While I often begin with manual sketches to brainstorm ideas, I collaborate with colleagues throughout the design process, utilizing software as needed to bring the project to life.

I am constantly working, I do not allocate a specific time to work, I am working almost all the hours I am awake.

The design process can vary greatly, taking anywhere from a few hours to several months depending on the project's complexity.

common question I receive is why I dedicate so much time to design.

My goal is to create designs that add significant value to a product, enhancing its marketability and user experience.

My clientele includes both established companies and individual design enthusiasts.

I am very interested in chair design.

My colleagues and I are designing a new collection of furniture and lighting. We're also aiming to showcase our work at an upcoming exhibition in Europe.

I work with my colleagues in a team.

Yes, we are currently involved in designing and completing a collection. I'm excited to share more details soon!

My team and I are actively engaged on social media platforms like LinkedIn, Instagram, and YouTube. We also welcome inquiries via email.

This is a thoughtful question. In designing Gis, my goal was to create a form that is both timeless and innovative, familiar yet fresh. Instead of relying on well-known Iranian motifs, I drew from a deep, intuitive connection with my cultural heritage. This intuitive process, influenced by my visual and Iranian subconscious, allowed me to blend traditional beauty with modern functionality seamlessly.

Addressing the ergonomic challenges in Gis was straightforward. The comfort and usability were ensured through the design of the chair's upper surface, the part that directly contacts the body. The sculptural essence of the chair, however, lies in its lower surface and legs, which demanded specific design emphasis. To highlight these areas, I incorporated distinctive curves and, in the final stage, added bronze to the ends of the legs to enhance their brilliance and visual impact.

In my view, the knots and scars in Gis do not signify imperfections; instead, they tell a story of authenticity. These natural elements reveal the true character of the material, contributing to the unique beauty of Gis. Embracing these features allows the wood's inherent narrative to shine, adding depth and personality to the design.

Showcasing "authenticity," "material," and "skill" is central to Gis's beauty. Just as the massive stone sculptures of ancient Greece captivate us, Gis, through its form and meaning, also highlights human craftsmanship. This approach not only honors traditional techniques but also delivers a surprising and enchanting result.

In ancient Iranian literature, a lover's hair often plays a pivotal role in describing beauty and the intensity of affection. This profound cultural connection is deeply embedded in my subconscious. Inspired by my daughter Hana, I designed Gis. When she was three, her mother would tie her wavy hair, and I was mesmerized by the delicate, flowing beauty—a vision that translated into the chair's elegant form.

Gis was unveiled as part of the "Konj-e Hes" collection, where "Konj-e Hes" in Farsi denotes a private, cozy space. This chair, along with other pieces in the collection, was designed to impact its environment, fostering a sense of familiarity and security. These unique aesthetic qualities challenge traditional furniture design while maintaining functionality.

Gis stands at the intersection of art and design. Its meaningful and narrative qualities are so pronounced that one might argue its primary function is to be "viewed" and "discussed." By merging sculptural aesthetics with functional design, Gis redefines what a piece of furniture can be.

As I mentioned earlier, I addressed ergonomic considerations on the upper surface, where the body makes direct contact. However, to achieve aesthetic and meaningful emphasis, my attention was directed towards the lower curves and the form of the legs. This dual focus ensured that Gis remained comfortable while embodying its sculptural essence.

With Gis, I aimed to immortalize a chair form enriched with meaningful characteristics. My goal was to introduce a new representation of functionality. Gis could inspire future design trends by establishing a balance between practical functionality and profound meaning.

Gis continues to inspire me. I strive to maintain the connection between functionality and meaning in all my works. After creating Gis, the significance of traditional craftsmanship became even more inspiring. I believe that the authenticity and reality inherent in traditional production methods forge a deeper bond between humans and objects, transforming ordinary items into cherished, memorable, inspiring, and enduring pieces.