Interviste con Seyedali Miri

Although my formal education began in civil engineering and later included architectural studies, my true journey as a designer started through lived experience. Working in hospitality in both Iran and Oman gave me direct insight into how spaces shape emotions. I have been independently designing with a focus on lighting and intimate environments for the past few years, especially those that evoke cultural memory and emotional connection. My work reflects a deep respect for craftsmanship and a continuous effort to merge tradition with modern functionality.

Growing up in Iran, I was always fascinated by the beauty of everyday objects, especially those that carried stories, like traditional lamps, intricate tiles, and handcrafted furniture. That curiosity stayed with me as I pursued civil engineering, but it was during my time in the hospitality industry that I truly understood the emotional power of space and design. I transitioned into design organically, seeking to create pieces that not only serve a purpose but also speak to memory and identity. My background, coupled with deep inspiration from Persian and Omani cultures, shaped the designer I’ve become.

My priorities are: Emotional resonance – I design for how it feels first, then how it functions.Then Cultural storytelling – My pieces often reference traditional forms and materials but reinterpret them for today. At the end; Modular function – I like adaptability and seamless transformation, as seen in my lighting designs.

I begin with hand sketches and physical mock-ups before transitioning to digital modeling. I rely on both tactile exploration and iPad-based tools. I believe in letting ideas breathe before finalizing anything. My style leans toward poetic minimalism—quiet, layered, and intentional.

There’s a deep sense of reverence when I design. I often feel like I’m rediscovering something forgotten rather than inventing from scratch. There’s also curiosity, a sense of wonder. I get completely immersed in the rhythm of designing, it’s meditative. Sometimes there’s tension, but it usually leads to clarity. The process is fulfilling in a soulful, human way.

My background in civil engineering gave me a strong foundation in structural logic and proportion, while my experience in hospitality taught me empathy, understanding how design affects behavior and comfort. Growing up in Iran surrounded by rich heritage and symbolism helped shape my sensitivity to form and material. Living in Oman has deepened my appreciation for silence, subtlety, and cultural rootedness. All these aspects shaped a designer who values emotional impact and cultural relevance as much as visual form.

My growth path has always followed curiosity and purpose. In the near future, I aim to expand my design practice into larger spatial and lighting systems inspired by nomadic architecture and sustainable materials. I also hope to collaborate with design-forward hospitality brands to bring storytelling into public experiences. My dream project would be creating a cultural space or a hotel that blends ancient rituals with modern design where light, space, and silence speak louder than ornament.

Trust your intuition. Listen more than you speak. Stay rooted in your identity but remain open to learning. One of the best lessons I’ve learned is that design is not about perfection, it’s about meaning. Don’t be afraid to ask questions, test ideas, or change direction. Success is not a destination; it’s a practice. Always stay curious, kind, and patient with your growth.

Focus on depth, not just aesthetics. Always ask: “Why does this need to exist?” Design should serve, inspire, and endure. There’s always so much to learn don’t stop learning . Share your process, be generous with feedback, and never forget the human element in your work. Great design is never isolated, it’s a dialogue with time, culture, and need.

My day usually begins with a cup of coffee and quiet sketching. I then check correspondence and manage hospitality operations at the Plaza. Midday is often for sourcing materials or reviewing prototypes. Evenings are for reflection, journaling, or working on new ideas. I read design books or listen to Persian classical music to keep inspiration flowing. Weekends are reserved for deeper design work. Every day feels like a blend of purpose and exploration.

I observe trends, but I don’t follow them. I believe in timeless design over seasonal aesthetics. That said, I stay updated with material innovations, sustainability movements, and cultural shifts. My work is more about responding to human needs and emotions than reacting to fashion. A good design should still feel relevant decades later.

Good design feels inevitable as if it was always meant to be that way. It should evoke a quiet “yes” when experienced. I look for coherence between form and function, sensitivity to material, and emotional clarity. A well-designed piece is honest, meaningful, and respectful of context. It doesn’t shout, it whispers and stays with you.

I know a design is ready when I stop editing it in my mind. When every part feels purposeful and nothing feels forced. Sometimes, it takes multiple prototypes; sometimes, it arrives fully formed. I give designs space, let them rest, then revisit. If the idea still resonates after distance, it’s ready.

My lighting piece Aurum is my most meaningful work so far. It began as a reflection on traditional oil lamps from my Iranian heritage and evolved into a contemporary modular light. It bridges past and present, crafted from brass, alabaster, and smoked glass. What makes it special is the quiet elegance, adaptability, and emotional warmth it brings. It taught me the power of subtle storytelling through design.

I don’t have a single favorite designer. I follow many designers from around the world, each offering something deeply personal and unique. What draws me in is not fame or style, but sincerity. I admire those who create with heart, designers who pour their soul into their work and allow emotion, culture, and purpose to guide their process. Whether emerging or established, I’m inspired by anyone who approaches design as an honest dialogue with the world around them.

I live in Muscat, Oman, but I’m originally from Iran. My lifestyle balances structured hospitality work with artistic freedom. I’m inspired by traditional rituals, classical music, and silence. My culture deeply informs my design, through symbolism, storytelling, and emotional nuance. I believe design is a living language, shaped by heritage and daily experience.

I approach design and business with intention and trust. I work independently but collaborate with craftsmen, engineers, and hospitality teams. My focus is on clarity, understanding what people truly need, then designing from that place. Whether in hospitality or design, I prioritize integrity, simplicity, and purpose. I value long-term relationships over fast results.

I believe design has a role in serving community needs. I often mentor young designers informally and contribute to conversations about sustainable design in the region. I’m also developing a lighting project that brings ambient, energy-efficient light systems to remote desert areas, merging aesthetics with accessibility. I try to stay engaged in projects that quietly uplift, rather than just impress. Specially I like attach them to hospitality industry for a better function.

Participating in the A’ Design Award has been a meaningful milestone. It provided visibility for Aurum, introduced me to a network of passionate creatives, and validated my commitment to storytelling through design. The feedback and exposure helped me grow both as a designer and as a thinker. Most importantly, it reaffirmed that quiet, thoughtful design still has a strong place in the world.

My background began in civil engineering, where I learned the importance of structure, balance, and technical precision. Later, I pursued architectural studies, which opened my perspective to form, light, and space. Working in hospitality across Iran and Oman taught me how design affects human emotions and experiences in real time. These combined paths shaped a personal approach to design that blends logic with intuition and tradition with innovation.

I design because I feel deeply connected to the idea of creating something that can move people, even in subtle ways. I was drawn to how objects and spaces can carry emotion, tell stories, and offer comfort. Over time, I realized design is not just a profession for me, it’s a way of understanding the world and contributing something meaningful to it.

It was a personal choice that felt more like a calling than a decision. Even during my time studying civil engineering, I was sketching ideas, observing materials, and paying attention to how spaces make people feel. My transition into design happened gradually but naturally, and it always felt like the right path for me.

I design lighting pieces and objects that bring emotional warmth and calm to a space. I’m especially drawn to designs that combine function with memory, particularly those that reinterpret traditional forms in a modern context. In the future, I would love to design more immersive environments like boutique hotels or modular interiors that bring culture, light, and silence together in a thoughtful experience.

I would tell them to slow down and listen carefully, both to themselves and the world around them. Pay attention to feelings, memories, and context. Study your heritage, your environment, and your craft. True growth in design comes from honesty and patience, not from rushing to keep up with trends. Let your work reflect who you are and what you value.

A good designer solves problems with skill and technique. A great designer does that while also creating something that resonates on a deeper, emotional level. Great designers think about how people live, feel, and remember. Their work often stays with you, not just because it works, but because it feels meaningful.

A really good design feels natural, like it always belonged in that space or context. It serves its purpose clearly, respects the material it’s made from, and carries emotional depth. I evaluate good design by how effortlessly it fits into life, how it makes someone feel, and how long it stays relevant without needing to be loud or trendy.

Good design improves everyday life. It creates comfort, clarity, and connection. Whether in a home, a public space, or an object we use daily, good design brings calm and coherence. Investing in it means investing in people’s well-being, in beauty that lasts, and in stories that can be shared across generations.

If time allowed, I would love to design a retreat in the desert, shaped by light, silence, and cultural memory. It would be a place where people reconnect with stillness and themselves, through architecture that listens to its surroundings. I would design it for anyone looking to step out of speed and into presence.

One dream project I hope to create is a hospitality space inspired by nomadic traditions. A place that feels rooted in history but completely flexible in form. It would feature modular designs, natural materials, and spaces meant for pause, reflection, and connection. The idea is ready in my mind, I’m waiting for the right time to bring it to life.

If I had to name one thing, it would be listening. I listen to the material, to the function, to emotion, and to silence. I try to design without ego, and instead focus on what the piece wants to say. I also allow time to guide the process. I don’t rush design. I let it evolve, reflect, and settle until it feels honest.

I get inspired by designers who work from a place of sincerity and emotion, regardless of their fame or discipline. I admire creators who blend cultural narrative with functional beauty, and who bring sensitivity to the process. What inspires me most is not a name, but a spirit of authenticity and care.

I’m drawn to designs that are quiet, poetic, and rooted in meaning. Whether it’s a simple object or a full space, I appreciate work that respects material and doesn’t scream for attention. I like designs that age gracefully, that carry emotional tone and cultural texture. When a piece feels like a memory, I know it was made with heart.

My lighting piece called Aurum is the one I feel closest to. It was born from a reflection on traditional oil lamps from my heritage and transformed into a modern modular light. What makes it meaningful to me is its balance between simplicity and depth, tradition and adaptability. It doesn’t demand attention, but it quietly shifts the atmosphere of a space.

I believe improvement comes from observation. I pay close attention to everyday rituals, objects, and how people respond to their surroundings. I also stay connected to my roots and let culture inform my decisions. I sketch regularly, write down ideas, and revisit them often. Staying consistent, curious, and humble has helped me evolve as a designer.

I think I would still be doing something connected to people, space, and emotion. Possibly writing, or working in cultural preservation. But even if I had followed another path, design would have found its way back into my life. It’s not just what I do, it’s how I see the world.

Design is the invisible thread that connects form to feeling. It’s how we shape our surroundings, and in return, how they shape us. For me, design is a language made of light, proportion, silence, and memory. It’s not just about what something looks like, it’s about how it lives with people.

There were people along the way who believed in my vision, even when it wasn’t fully formed. Friends, mentors, and collaborators who trusted the process. But perhaps the biggest supporter was the quiet inner voice that kept me grounded, especially in times of doubt. That sense of purpose has always been a steady guide.

Paying attention helped me. Not just to trends or techniques, but to emotions, to how light enters a room, or how a material feels in the hand. I learned to be patient with ideas, to stay close to cultural truth, and to let form follow meaning. I believe greatness comes from doing small things with deep care.

There were many moments of uncertainty, especially transitioning from engineering and hospitality into design. I didn’t follow a conventional creative path, so I often had to carve my own space. But those challenges taught me resilience and helped me develop a voice that is honest and personal. I embraced not fitting into a mold, and that became part of my strength.

Designers should present their work through clarity and intention. Let the concept speak through its process, not just the final product. I believe in showing sketches, prototypes, and stories behind the decisions. It’s not only about aesthetics, but about honesty, reasoning, and emotional depth. A well-presented project should make the viewer feel, not just see.

I’m currently developing a new lighting system inspired by desert life and natural transitions of light. It’s focused on sustainability, modularity, and quiet transformation. The project aims to merge traditional desert living concepts with a contemporary, energy-conscious design suitable for hospitality spaces. I hope it becomes a bridge between cultural memory and modern need.

My ultimate goal is to create designs that endure, emotionally and functionally. I want my work to speak softly but remain meaningful over time. Beyond form, I hope to build experiences that invite people into stillness, memory, and belonging. I want to contribute to a world where design is not decoration, but a deeper kind of connection.

I believe people expect honesty, sensitivity, and originality. They look for work that is not just well made, but also thoughtful. As a designer, there’s a responsibility to care for both the material and the human experience. People expect us to lead with purpose, not just style, and to stay connected to culture and context.

Design has the power to shape behavior, create calm, and inspire empathy. It brings order where there’s chaos, and meaning where things feel empty. In public spaces, in homes, in everyday objects, good design improves how we relate to ourselves and others. It helps us slow down, feel more, and live with greater awareness.

Besides the lighting system mentioned earlier, I’m exploring a collection of interior pieces inspired by nomadic architecture. They are adaptable, easy to move, and designed with a poetic minimalism that respects space and silence. I’m excited because these ideas are not only design concepts, but cultural reflections I deeply care about.

Aurum, my modular lighting piece, gave me a profound sense of fulfillment. It carried emotional memory from my childhood, transformed into a form that feels timeless. The satisfaction came from watching how people interacted with it, how it shifted the mood of a space without needing explanation. It was a quiet success that meant a lot.

I would love to see less focus on speed and more on meaning. The pressure to constantly produce can dilute depth. I hope the industry moves toward slower, more intentional creation, and gives space for cultural narratives to shine. I also hope sustainability becomes more than a trend and turns into a permanent design mindset.

I believe we are moving into a phase where storytelling, adaptability, and emotion will matter more than ever. People are looking for authenticity and presence in what surrounds them. Design is becoming more interdisciplinary, drawing from craft, culture, and even silence. It’s no longer about standing out, but about fitting in gently and purposefully.

It really depends on the project. Some ideas arrive fully formed, others take months of sketching, prototyping, and reflection. Aurum took several months to perfect because of its modular function and locking system. I believe design is not about how fast you finish, but how deeply you understand the need before completing the form.

I start by asking questions, not by drawing. I try to understand the need, the emotion behind it, the context it belongs to. I sit with the idea in silence before jumping into form. I often write, sketch by hand, and explore materials through touch. My process begins in feeling, and only then moves to function.

Let the work speak with quiet honesty. I believe in doing less, but doing it with full presence and care. Design for feeling, not for noise.

I believe honest design always leads, even if trends try to follow. True design comes from observation and timeless needs, not from seasonal aesthetics. Trends may influence some decisions, but lasting design comes from something much deeper, something that does not shift with fashion.

Technology is a helpful companion in my process, not the starting point. I use digital tools to refine ideas, visualize concepts, and build simulations. But the heart of my design process is still analog. I sketch, write, and build models by hand. I let the idea grow naturally before turning to software to bring clarity.

I use a combination of iPad for sketching and modeling software for structure and detail. I also work with physical models and mood boards, especially in the early stages. My favorite tool, however, remains a pen and a quiet space to think. I believe the equipment should support, not dictate, the creative process.

They are the soul of the experience. Color sets the emotional tone, materials bring texture and honesty, and ambient defines how people feel in a space. I choose materials not only for their appearance, but for their memory and symbolism. Together, these elements create atmosphere, and atmosphere is what people remember.

I wish they would ask how it feels, not just how it looks. I hope they’re curious about the story behind the form, the silence between the lines, the reason why something was left simple. These questions open the real conversation between the user and the piece.

I often think, what made the designer choose this path. I look at the emotion in the form, how it serves, how it lives in its environment. If it feels timeless, purposeful, and gentle in its presence, I immediately admire the depth behind it.

Yes, I do. I believe great design often comes from dialogue. My ideal partner would be someone who shares the same values—respect for material, for emotion, and for cultural integrity. Someone who listens, who questions, and who builds ideas slowly and thoughtfully. Co-design is not about compromise, it’s about shared intention.

Many of the most influential people were not designers at all. They were craftsmen, hosts, elders, and guests in the hospitality world. People who live close to tradition and carry deep intuition about comfort and beauty. Their stories, gestures, and ways of living shaped how I understand space and form far more than books or lectures ever did.

Companies should look for designers who care about more than just aesthetics. A good designer listens, observes, and brings emotional depth to the process. When selecting a designer, companies should look beyond portfolios and pay attention to how they think, how they speak about purpose and culture. It’s not only about skill, but about how the designer connects with people and context.

My philosophy is rooted in silence, memory, and clarity. I believe design should feel inevitable, not forced. It should serve life gently and add meaning without shouting. Simplicity, balance, honesty, and cultural respect are at the core of my process. I don’t follow rules rigidly, but I always return to the question: why does this need to exist, and how can it feel true?

First, design is emotional. Second, it is a response to need, not just a creation of beauty. Third, design takes time to mature. Fourth, it should respect culture, place, and people. And fifth, design is not only for the eyes, it is for the soul. The best designs are the ones that leave you with a feeling, not just a visual impression.

Aurum, my modular lighting piece, is the work I feel most connected to. It was created through a process of remembering traditional oil lamps from my Iranian heritage and shaping them into something modern and poetic. It’s a piece that transforms mood through light, while also carrying cultural weight and quiet elegance. For me, it is more than a design—it is a story.

I’m deeply drawn to materials that carry warmth and age gracefully, like brass, alabaster, and smoked glass. These materials hold memory and respond to light in a way that feels alive. I enjoy combining traditional hand-finishing techniques with minimal modern structures, allowing each piece to feel crafted but clean.

Not exactly, but I was always curious about the objects around me. I paid attention to light, texture, and silence. I would often rearrange things, sketch imaginary spaces, or get lost in the details of handmade items. Even though I didn’t call it design back then, the instinct to create was always present.

A thousand years is a long time, but I hope we move toward deeper simplicity. I imagine a future where design is quiet, integrated with nature, and deeply humane. Where we no longer consume rapidly, but live more intentionally. Perhaps people will return to designing for emotion and ritual, not only utility. I hope meaning becomes more valuable than excess.

Design with honesty. Let your work be a reflection of your questions, your culture, and your care. Don’t rush to be seen—focus on seeing. Success comes not only from skill, but from staying connected to your values and your humanity. The world needs more quiet, thoughtful creators.

People often ask how I moved from civil engineering and hospitality into design. My answer is, it wasn’t a leap, it was a natural evolution. I was always observing, sketching, and thinking about spaces emotionally. Once I gave myself permission to follow that feeling, everything began to align. Design was always there, waiting for me to listen.

Design is not about impressing, it’s about expressing. It’s about giving form to feeling, and allowing space for people to connect with themselves and their surroundings. If my work can offer even a moment of calm, memory, or comfort, then it has done its job. I am grateful for every step of this journey, and I look forward to continuing with presence and purpose.

Although I come from a background in civil engineering and Architectural studies, I’ve always been fascinated by the way structures and objects shape our experiences. I was born and raised in Iran, and that rich cultural heritage has deeply influenced me. While working in hospitality industry in Oman, I became even more attuned to how design affects atmosphere, mood, and behavior. Design wasn’t something I chased ,it found me through my love for craftsmanship, storytelling, and human experience.

I currently operate independently, blending my work in hospitality management with my passion for design. While I don’t yet have a formal studio name, I approach each project like a design atelier—deeply intentional, collaborative, and rooted in purpose. My goal is to eventually create a multidisciplinary design space that merges heritage, hospitality, and innovation. There is a company in Oman ICD which they are helping for providing space or they have orders to be built.

Design is the invisible language that connects people, place, and memory. It's where emotion meets logic where even a small object can create a deep impact. For me, design is about telling silent stories through form, material, and interaction.

I love designing objects that are both intimate and transformative. Lighting is especially meaningful to me it can completely shift the mood of a space with elegance and subtlety. Coming from a hospitality background, I see how the smallest design details can deeply affect someone’s experience. I’m also drawn to modular designs, pieces that respond to changing human needs while carrying cultural depth.

Aurum is the closest to my heart. It began as a reflection on traditional oil lamps from my Iranian heritage and evolved into a modern modular lighting piece. The transformation between table and pendant lamp is seamless, requiring no tools. It captures everything I stand for respect for the past, functionality for the present, and elegance for the future.

The first piece I created professionally was a lighting fixture for a boutique hotel lobby. Working in hospitality, I knew firsthand how lighting affects mood and guest experience. That project sparked my obsession with light as both utility and poetry.

Technologically, I’m inspired by subtle LED integrations that don’t compete with the material but enhance it quietly. working on iPad would be good but always feel that my platform for first lines is a paper and pen!

I feel most creative when I step away from routine, traveling, observing details in everyday life, or even listening to classical Persian music. Often, inspiration comes at night, when the world is quiet and ideas can breathe.

I focus most on how the design feels, its emotional tone and the quality of interaction it invites. I care about how it transforms, how it transitions between states, and how materials age and respond to light. Proportions, tactile feedback, and ease of use are central to my process. I want every piece to feel both intuitive and poetic.

A blend of reverence, curiosity, and at times, tension. I feel connected to something older than me, yet completely present. Designing often feels like listening to a story that wants to be told.

Gratitude and quiet fulfillment. Seeing others engage with something I created, whether through light, space, or details, is a deeply human joy. It's like offering part of your soul to the world and watching it resonate.

A design should feel inevitable, like it has always belonged. When it serves its purpose, evokes a feeling, and respects both material and user, I consider it successful.

I always look at the intention behind it first. Was the designer honest and thoughtful? Then I pay attention to how seamlessly form and function work together. I believe good design should feel inevitable, like it belongs, like it was meant to exist in exactly that way. Material choice and sensitivity to context are also key.

Designers are caretakers of culture and stewards of the future. We have the responsibility to minimize waste, honor craftsmanship, and design objects that age with dignity rather than fade with trends.

I believe we are shifting from excess to essence. The future of design is deeply human, it’s about adaptability, sustainability, and emotional resonance. Storytelling and cultural memory will become central pillars.

I have my project Aurum exhibited on A Design Awards which I am thankful for all publishing and supports. for next step I would like to consider opportunities by mentioned platform. But if you mean in person exhibition I would like to be in Dubai or New York for that.

inspired by historical artifacts, traditional crafts, architecture, and everyday rituals. Being Iranian, I carry centuries of culture within me, and living in Oman helps me slow down and observe details more deeply. I feed my creativity through silence, travel, and tactile experiences.

My style is poetic minimalism. It’s quiet, deliberate, and emotionally rooted. I believe in doing more with less, letting form, material, and light speak without noise. My approach begins with understanding the cultural and emotional role of the object.

I live in Oman but I’m originally from Iran. The heritage I carry is full of stories, symbolism, and craft. It’s a source of pride and influence. Living in Oman gives me peace and clarity, but access to niche materials or high-end manufacturing can sometimes be limited.

I take time to understand their brand values and user needs. Whether through design or hospitality, I believe the best outcomes come from co-creation and trust.

Look for someone who listens more than they speak. Someone who asks the right questions before offering solutions. A good designer isn’t just creative, they’re empathetic, adaptive, and thoughtful.

My process begins with a question. Then comes searching and reading, sketching, testing, exploring materials. I build physical prototypes and also simulate digitally. I let ideas breathe, returning with fresh eyes until it feels right.

The Balcony Lamp which is reminding me shell, Living room lamp shade which made of glassy stand, candle holder which I made myself in pottery, craft L shape sofa and Persian carpet.

My mornings start with specialty hot coffee and sketching. Midday is spent either managing operations at the Plaza or finding new materials, correspondence. Evenings are for reading, reflection, and sometimes photography. Weekends are for creative deep work. every day doing an exciting sport has role in addition whenever I find a time happy to explore new designs.

Trust your voice, even when it’s quiet. Learn to edit, not everything needs to be loud. Study history. Honor where you come from, and let your roots grow into new directions.

The joy is creating things that live beyond you. The challenge is staying true to your values in a fast world. But if you keep designing from a place of honesty, the work will always feel worthwhile.

Design with intention, and never forget the human at the center.

Empathy, attention to detail, historical awareness, storytelling, and the ability to work across disciplines, especially in today’s interconnected world.

I use iPad, physical models, and mood boards. Books on Persian art, eastern minimalism, and material science are always within reach. My iPad and notebooks travel with me everywhere.

Time is managed through rhythm. I dedicate undisturbed time blocks to creative work and reserve operational tasks for specific hours. Balance is key, rest is part of the design process too, it will let you to see your design clearly.

It varies. Aurum took several months, especially due to prototyping and testing locking mechanisms. Some ideas form fast, others need slow refinement. I never rush meaning.

People often ask, “How did you think of this?” And the truth is, it’s less about thinking and more about observing, feeling, remembering.

Hospitality management in Middle East, in Oman and Iran gave me great experience that I can use it for the fuel to reach to the best function in design project by me. having the chance to work face to face with guest in hospitality industry specially in rich culture gives you so many opportunity to find best ideas to grow and design.

Currently, I focus on self-initiated projects and select collaborations. I hope to work with design-forward hospitality brands in the near future.

I love designing lighting and intimate furniture, things that quietly change how a space feels. Because I come from hospitality, I know the smallest details create the biggest impact.

I’m exploring a new collection inspired by nomadic architecture and its adaptability. I also plan to formalize my design practice and integrate it more closely with hospitality.

I develop the core ideas independently—through sketches, material studies, and prototypes. But I collaborate with engineers, craftsmen, and sometimes even hotel staff to refine execution.

Yes, I’m working on a lighting system that responds to natural light patterns in desert regions. It’s both an homage to ancient desert living and a nod to sustainable, location-sensitive design. I am thinking to attach this idea to be used widely in hospitality industry in the region.

My direct email address is alimiri200@gmail.com

Thanks to all team members in A design that they are doing all the best for this platform.