Ngā Uiuinga me Parham Elahi Doust

Its my 8th year that i’m working as a designer, started to be a designer in a architecture company and shortly after i’ve joined the company as a partner to focus on designing villa homes. I studied architecture for my bachelor degree. In completion of my background studies in liberal arts as a hobby i found that design could start from people so i studied anthropology for my master. 4 years ago i started my own design studio MODAM section, an human-center design studio that focuses on nothing in particular but creating a narration behind everything

Making something from nothin or changing things to be more suitable and more accurate to its purpose and user’s requirement was a passion that i always had, i used to customize everything that i had to be more mine. Studiyni architecture made an opportunity for me to work on real world as a designer and it started a way of thinking in me that never stopped until now. It becomes my passion because designing process makes you know how to live and deal with life and other things in and around it

Getting deep in the main need and requirement of the user of the project or product, the reason of choosing it or its lacuna.

I should confess that in each project that i starting to design i’m getting confused and nervous because i don’t know when where and how should i start the project, but starting the process and thinking and knowing the main need will change the whole emotion to an active and joyful feel like a rush of blood. This is the moment that you can say yourself that ok, it’s started, just guide the boat to its destination

The main principle was to create a design that connects deeply with nature and evokes a sense of calm and balance, like holding a river stone in your hand. The inspiration came from natural forms and the idea of creating a sustainable product that feels organic yet modern.

My focus was on blending sustainability with functionality, ensuring that every element—from materials to form—resonates with the user’s values. I wanted to achieve a packaging design that feels personal, elegant, and rooted in environmental responsibility.

I hope this design inspires others in the industry to adopt sustainable practices. I also plan to explore similar concepts for other products, expanding the approach of combining reclaimed materials with thoughtful design.

The concept evolved over several months, balancing research, prototyping, and refining the form to achieve the final product.

This design was commissioned, but it aligned perfectly with my own passion for creating sustainable and meaningful designs. The client’s vision and my inspiration came together seamlessly.

Currently, the design is produced by small workshops using reclaimed wood. There are no plans to lease production rights, as the focus is on maintaining quality and sustainability.

The challenge of creating packaging that reflects both beauty and environmental responsibility drove me. It was an opportunity to showcase how materials and form can convey a story.

The natural forms found in Japanese and Scandinavian design inspired me, as they emphasize simplicity, functionality, and a deep connection to nature.

The target customers are eco-conscious individuals who value beauty products that align with their ethical and aesthetic values.

Its use of reclaimed hardwood, seamless integration of form and function, and a tactile user experience—enhanced by the magnetic closure—make it truly unique.

The name “Sorkhab” evokes a connection to the natural world and traditional aesthetics, blending cultural significance with modern design.

I used sketching, CAD software like Rhino, and prototyping with CNC milling to bring the concept to life.

The continuous line of the form, inspired by river stones, combined with its sustainable material and the magnetic closure, makes it both visually and functionally unique.

I collaborated with small woodworking workshops specializing in reclaimed materials and CNC operators for precise manufacturing.

Technology played a crucial role in achieving precision and optimizing material use through CNC milling while maintaining the natural aesthetic.

Yes, research into consumer preferences for eco-friendly packaging and the properties of reclaimed wood informed the material and design decisions.

Balancing sustainability with manufacturing costs was a significant challenge. I also had to ensure that the design retained its artistic integrity while being practical for production.

I felt that Sorkhab Packaging represented a unique approach to sustainable design, and sharing it internationally could inspire others and bring attention to eco-conscious practices.

I deepened my understanding of sustainable materials and learned to balance creative freedom with practical constraints. The project also enhanced my collaboration skills with small workshops.

I’d like to emphasize the importance of storytelling in design. Every element of Sorkhab Packaging—from material to form—conveys a narrative about sustainability, beauty, and respect for nature.

The main idea was to bring new life to a discarded Vespa steering wheel by transforming it into a functional and emotional object. The inspiration came from the Vespa’s iconic design and the memories it carries for its owners.

The focus was to merge the past and present by creating a piece that preserves the Vespa’s history while fitting seamlessly into modern interiors. I wanted to make something sustainable, meaningful, and personal.

I aim to expand the concept by exploring other iconic objects for upcycling and storytelling. I also hope to collaborate with collectors and enthusiasts to preserve more unique pieces.

The entire process took about 6 months, from initial research and sketching to final production and detailing.

It was a personal project born from inspiration. I’ve always been fascinated by the Vespa’s design and wanted to honor its legacy in a new way.

I currently produce it myself, ensuring each piece is unique. However, I’m open to collaborations or limited editions with like-minded companies.

The Vespa’s timeless appeal and emotional connection with its owners inspired me. I wanted to create something that keeps those stories alive.

While the project was primarily personal, the broader philosophy of upcycling and sustainable design deeply influenced my approach.

The target audience includes design enthusiasts, Vespa lovers, and people who value sustainable, story-driven products.

Each piece is unique, crafted from authentic Vespa parts. It’s not just a lamp—it’s a story of transformation and connection.

The name Hypnoss comes from the mythological god Hypnos, who is associated with sleep and dreams. In mythology, Hypnos is depicted with a light on his forehead, symbolizing awakening and clarity. This felt fitting for the lamp, as it carries forward the idea of illuminating both spaces and memories, bringing something forgotten into a new, vibrant life.

I used a mix of hand sketches, digital modeling tools like Rhino, and CNC milling for precision manufacturing.

The odometer and steering wheel from a Vespa remain intact, preserving the history and memories tied to the object.

I collaborated with mechanics for restoring Vespa parts and carpenters for crafting the wooden tripod base. Their expertise added depth to the project.

Technology, particularly CNC milling, helped replicate the Vespa’s contours precisely, bridging its industrial heritage with modern craftsmanship.

The design was influenced by cultural and emotional research, focusing on the Vespa’s significance in people’s lives and how to best preserve that in a new form.

One challenge was rewiring the Vespa switch for modern lighting while maintaining its original feel. Finding authentic parts and engaging experienced craftsmen also required effort.

It was a combination of my belief in the unique story of the Hypnoss Floor Lamp and my friend’s consistent encouragement and suggestion. Their support motivated me to showcase the design on a global platform, highlighting its blend of upcycling, storytelling, and craftsmanship.

I learned how to balance technical precision with emotional storytelling. Collaborating with specialists also deepened my appreciation for craftsmanship.

The Hypnoss Floor Lamp is more than a product; it’s a statement about sustainability, connection, and honoring the past while creating something new. It’s a call to rethink how we see everyday objects and their potential.

I studied architecture for my bachelor and anthropology for my master, in the way of knowing design i realize that design could start from the people

Inquiry and horizon that design could answer, and in the way of it you will find your way of thinking in life

Maybe both, because i chose to be but in continue you can feel a inside a craving and force that lead you to stay designer

I used to be focused on architecture especially villa houses but in my last 3 years i’m focused on nothing special but creating narrative behind everything

To not stop the monkey side of their brain, you should be always ready to gain from everything you are living with

The way that they think about design is the difference

It’s a moment in the process that you can feel it from inside

Good design means good answer, answering to a need or a requirement

Magic, design is about a moment that happens when you are passing a process and then TA-DAA!

Always, when i want to start designing i feel an emptiness, like that it’s my first time to design in my life, so i will look for inspiration and learn from design masters on that moment. Each time something in between of my way of thinking and the design purpose catch my attention.

To try not to be just a good designer, and try to exercise their mind to stay as curious as a child

Design means answering to me

Anthropology and liberal arts study, it changed my aspect and POV of the design

I’m working on a furniture collection inspired from dinosaurs, they are the most illusionistic real animals that lived here before us and i want to bring their proportion and singularity to home funitur

Always i’ve got nervous in the first steps of designing every single project that i had, because i feel that i know nothing, not to know when, where and what should i start from? But starting the process will change it, always

Technology is a tool that it can enhance your design, you should subdue it

Colors are the missing part of the design these days, after the modern era and minimalism design focused on functionality and we lost the soul of colors in our belongings, it makes us a conservative person in our decision makings, choosing colorful clothes and furniture needs courage that we need in our every moments of our life, coloris the game changers

making something from nothing is a passion that can lead you to be a designer

MODAM section in a human-center design studio that focused on emotional relations between users and the products. We think that the economical aspect of modern industry made us be a consumer. Consumers are full of diversity. We think about emotional bonding with our daily use products.

Design means to answer, answer to the needs

I like to answer every question that appears in my way

Hypnoss floor lamp is lighting made from scarped Vespas found in the repair shops. I bring them back to life in another serving form. As they lit up our way home now they can light up our home

I designed a showcase display for a pet food company

I love material's touch feeling. the coldness of steel, the warmness of wood, and the sharpness of colors on everything

When I find the first real question about the projects

I focus on the user experience during design, I always imagine the design on the use position and how people think/feel/act with them, It is my unit.

I have a rule, I will continue designing until I feel an increasing heartbeat or excitement about the result

Of course, it is an exciting moment when you see your design in real life

good feedback

Its character, if it is designed for its function you need to judge it in this way and so many other reasons

A designer could help the improvement procedure

Design is the future, you cannot predict its future because it is the future

I haven't had an exhibition before but I think the next one is my design in the A'design award exhibition 2021

It depends on the design's questions. some answers are from my scattered studies but I always dive into the images of the keyword that I write about each project

Emotional bonding with the products. I like to see the people selecting my design because they got different feelings in their interaction with them.

I live in Tehran, Iran. As living in an underdeveloped country you always face too many unanswered questions and uncertain problems that you should find your answer to it. It can develop your will to find the best answers for yourself and others if you could switch your viewing angle.

First I will read their documents about the project then I think about the whole thing from first, the reason th

I think they should select a designer by the designer aspect and let him/her think on their side. They should see the designer on the same side.

I always use A5 papers and write down everything that comes to my mind on them and show their connections and add details to them in the design process

Mostly I live over the night, I need my solitude to focus on subjects. Over the night you can feel free from ordinary daily communications and social life.

As I said the golden rule is to continue designing until you feel your heartbeat

Changing view angle and perspective, a designer should look at the subject from many different aspects

I develop my design myself but at some checkpoints, I ask my friends (designers and non-designers) to give me a feedback on them

On my email: Parhamelahi@gmail.com

and my WhatsApp number 00989352227257

The Industrial Revolution marked a turning point in how we interact with our belongings and tools. Over time, it cultivated a culture of consumption where we became increasingly detached from the objects we use daily. This shift wasn’t just about efficiency; it was about creating a market where things could be easily replaced. As a result, we’ve lost the emotional connection to our tools and belongings, making it easier for industries to sell us new products and encourage us to discard the old, regardless of the memories or experiences tied to them.For me, this detachment feels like a missed opportunity. Many of these objects have been with us through significant moments—both good and bad—and have become silent witnesses to our lives. With the Hypnoss Floor Lamp, I wanted to challenge this culture of disposability. By repurposing a Vespa steering wheel, I aimed to restore the sense of belonging and history we once had with the tools and objects we used. It’s not just about nostalgia; it’s about recognizing the stories these items carry and giving them a meaningful new purpose in our lives.

The odometer in the Hypnoss Floor Lamp serves as a tangible connection between its past life and its new journey. It’s a moment where both the lamp and its owner come together, carrying their histories—scratches, imperfections, and memories—into a shared future. Just as we all have past experiences that shape who we are, these objects, particularly those reborn from discarded materials, bring their stories with them, making them distinct from something entirely new.For an emotional object like Hypnoss, the decision to own it often stems from a deep, personal connection. This connection might come from having owned a similar object in the past, dreaming of having one, or cherishing the memory of a loved one who did. In the case of motorcycles, the numerical memory on the odometer becomes a symbolic reminder of journeys taken, places visited, and moments lived. It’s not just a number—it’s a piece of history that creates an emotional bridge between the object and its new owner.

It had to be original because we’re talking about creating emotional bonds. The feeling had to remain authentic, as it was with the Vespa itself. This was a crucial element of the project—it had to strongly convey its story and essence.To use the original buttons, I visited old repair shops that still had these parts and spoke with experienced repairmen who had worked on Vespas for decades. I chose to share the story of the project with them, inviting them to be part of this rebirth process. It was more than just a technical task; it was about creating a shared moment of delight. Engaging them in this way not only preserved the authenticity of the parts but also honored their lifelong connection to these iconic machines.Interestingly, reengineering the internal connections to make them compatible with a standard electrical grid turned out to be the easiest part of the process. I often call it the “must but side”—a necessary technical step, but not the most challenging or rewarding part of the journey. The real complexity lay in preserving the original tactile and emotional experience of the switch.This approach also reflects the deeper philosophy of the project—to challenge the way we think about the past and show that something discarded can be reborn with meaning. These efforts and collaborations are embedded in every piece of the Hypnoss Floor Lamp. It wasn’t a one-time challenge; each lamp carries the essence of its own unique journey, making it truly special.

When designing objects for home interiors, it’s essential to honor the warmth and presence that domestic spaces embody. Wood, especially high-grade beech wood, is one of the calmest and warmest materials, making it the perfect bridge between the industrial origins of the Hypnoss Floor Lamp and the intimacy of a home environment.The lamp’s industrial elements, like the Vespa steering wheel, were originally designed for the streets, embodying a rugged and utilitarian aesthetic. To integrate these elements into a domestic setting, I needed a material that could provide a sense of balance and connection. Beech wood, with its natural texture and timeless appeal, serves as that link. It softens the lamp’s overall design and ties it to other home furnishings, making it feel like it truly belongs in a living space.This contrast between the industrial and the organic not only enhances the visual appeal of the lamp but also reinforces its narrative of transformation—taking something from the streets and seamlessly integrating it into the warmth of a home.

With Hypnoss, I wanted to emphasize that this is not just a lamp; it’s an object with a story. Stories have always been told through books, which is why we designed an image-based storytelling book to accompany each lamp. This book conveys the emotional journey the lamp carries with it—its past life as part of a Vespa and its new role in someone’s home. It allows owners to connect more deeply with the piece by understanding the narrative behind its creation.As for the identity card, it serves to personalize each Hypnoss Floor Lamp. Since every lamp is made from the unique metal parts of a real Vespa steering wheel, with its own color and a handcrafted wooden tripod, we reflect these details in the identity card. The card features:A Carved Steel Plate: Displaying the lamp’s unique identification number and technical details.Colored Leather: Matched to the lamp’s color, adding a tactile and visual connection.A Wooden Backing: Mirroring the warmth of the tripod and providing a cohesive design element.These materials tie the identity card directly to the lamp itself, making it a meaningful keepsake. Together, the book and identity card enhance the connection between the lamp’s past and its new purpose, turning it into a piece that tells a story every time you interact with it.

The CNC milling process was key to keeping the original spirit of the Vespa steering wheel alive while transforming it into something new. It allowed us to replicate the curves and details of the steering wheel with precision, making sure the lamp still carried the essence of its automotive heritage.At the same time, the clean and accurate finish that CNC milling provides gave the lamp a modern look. This balance between the original design and contemporary manufacturing helped create a piece that feels both nostalgic and fresh—bridging the gap between the Vespa’s legacy and its new role as a floor lamp.

Collaborating with specialists like mechanics and carpenters brought so much depth to the project. The mechanics helped me understand and preserve the original Vespa parts, ensuring their authenticity. Their expertise gave the lamp its soul by keeping the mechanical details true to their origin.The carpenters, on the other hand, brought warmth and craftsmanship to the design. Their work with the beech wood tripod made the lamp feel like it belonged in a home, balancing the industrial elements.This interdisciplinary approach made the final design more thoughtful and complete. Each specialist’s input added a layer of expertise, turning the Hypnoss Floor Lamp into a true blend of craft, function, and emotion.

It validated the idea that upcycling can be more than just reusing old parts—it can create something meaningful and emotionally powerful. The recognition reinforced my belief in storytelling through design, especially when working with discarded objects.This achievement pushed me to think deeper about sustainable design. It’s not just about the materials; it’s about honoring the history of those materials and giving them a new purpose. With Hypnoss, I saw how much people connected to the story of the Vespa and its transformation into a lamp. Now, I focus even more on designs that merge sustainability with emotional connection, making products that people don’t just use but truly value.

My background in architecture taught me to think about space and how objects interact with it, while anthropology gave me a deeper understanding of the emotional and cultural connections people have with things. These two perspectives were at the core of designing the Hypnoss Floor Lamp.From an architectural point of view, I wanted the lamp to not just light a room but also fit harmoniously into a home, balancing its industrial origins with warmth and functionality. Anthropology helped me focus on the story behind the lamp—how the Vespa, as a cultural icon, carries memories and meaning for so many people. This shaped my decision to preserve key details, like the steering wheel and odometer, and to create elements like the identity card and storytelling book, which help new owners connect emotionally to the lamp.Ultimately, the combination of these disciplines made the lamp more than just an upcycled object—it became a meaningful piece that speaks to people’s experiences and stories.

I see the Hypnoss Floor Lamp as a reminder that everyday objects, even those we think are obsolete, still have stories to tell and value to offer. It challenges the idea that something is only worth keeping as long as it serves its original purpose. By transforming a Vespa steering wheel into a lamp, I wanted to show how design can give a second life to objects we might otherwise discard.Looking ahead, I hope Hypnoss inspires designers to think differently about materials and objects. It’s not just about upcycling; it’s about creating emotional connections and finding ways to bring history and function together. I envision more designs that make us rethink what we throw away, turning “waste” into pieces that are meaningful, beautiful, and timeless. This approach not only challenges our relationship with objects but also encourages more sustainable and thoughtful living.

When you choose to care deeply about animal lives and the environment, it transforms the way you connect with nature. Designing a product with this sense of compassion means that every element should reflect that commitment. By using reclaimed hardwoods, Sorkhab Packaging not only reduces waste but also respects life by avoiding materials that may involve harm or exploitation. This approach embodies a cruelty-free, vegan ethos, creating a product that resonates with ethical values in every part of its design.

Holding a stone between your fingers that you’ve found in a river, lifting it out of the water—this moment captures the feeling of connecting with something that truly belongs to nature. This experience inspired me to create a form with solid proportions, a natural bond, and a shape that rests comfortably in the hand. I aimed to recreate this sense of connection using a natural material like wood, allowing Sorkhab Packaging to resonate with the calm, grounded essence of nature.

Sorkhab is a small business, and this packaging marked its debut. From the beginning, the client was concerned about costs, so I had to find a balance between quality and affordability. With a limited production run, it was essential to choose methods that allowed for artisanal quality but were still semi-industrial. For this product, an 8-head CNC milling machine was used, optimizing efficiency while preserving artistic integrity.I collaborated with small workshops that specialize in crafting wooden furniture legs, as they often have reclaimed wood available. By using their wood waste, I reduced several costs—such as material transport and intermediary fees—to almost zero. This approach benefited both sides: the workshops could generate revenue from materials that would otherwise go to waste, and Sorkhab achieved a sustainable, cost-effective solution.

Sorkhab contains brow soap that needs to be stored in a closed space, though not airtight. Since wood is a breathable material, the cap naturally integrates with the form without requiring an external mechanism, enhancing the seamless, stone-like shape that fits comfortably in the hand. On the other hand, the magnetic closure adds a sensory layer to the experience. Each time it clicks shut, it produces a satisfying sound, and the feel of wood clicking into place creates a uniquely pleasing tactile and auditory interaction.

In architecture, I learned that understanding the client’s perspective is essential to designing a space they’ll feel at home in. It’s about guiding their way of living to harmonize with the solid walls and materials surrounding them. Anthropology, on the other hand, taught me to think from the viewpoint of a community—not by imposing a perspective, but by living with and empathizing with them to truly understand their needs.For Sorkhab Packaging, I approached the design with a similar mindset. I aimed to connect with individuals who care about their beauty but also prioritize natural materials that are gentle on both nature and their skin. The brow soap within holds brows in the desired position, and it’s easy to rinse off, preventing any potential damage to the brows. This thoughtful combination of form, function, and empathy brings a deeper emotional connection to the product, aligning with users’ values and desires.

For me, the ‘wow’ moment of Sorkhab lies in the continuous line that connects every element—from the initial concept to the form, material, and production method. This seamless integration reflects a clear commitment to sustainable luxury, aligning aesthetics with eco-conscious choices, which I believe strongly resonated with the jury’s evaluation criteria.

When we talk about environmental responsibility in a product, it’s essential to create something familiar, recognizable, and approachable. Traditional materials, with their long-standing history, naturally carry this sense of familiarity. By pairing them with modern manufacturing techniques, we can adapt these materials for contemporary users, addressing current packaging needs while honoring environmental values.

When aiming to evoke the feeling of a river stone in hand, the product’s proportions naturally revealed themselves. My role was simply to refine these dimensions to create a calm and coquettish form that would comfortably rest in the hands of beauty enthusiasts.

When we reach a core idea that truly embodies the design, the journey becomes about nurturing and guiding this idea to its fullest potential. With Sorkhab, I simply observed and supported its evolution, allowing it to shape itself into what it is today. In contemporary design, there’s a mutual respect for the presence of both the object and the creator, fostering a relationship that values sustainability as an integral part of the creative process. I hope Sorkhab serves as an example in the cosmetic packaging industry, showing how deep-rooted, meaningful concepts can inspire sustainable practices.

The research highlighting consumer interest in eco-friendly materials was a pivotal influence on Sorkhab Packaging’s design. Beyond simply choosing wood, I aimed to make each material decision resonate with sustainable values and enhance the product’s natural feel. I selected reclaimed hardwoods to reduce environmental impact, emphasizing a connection to nature that users could feel in the texture and weight of the packaging. I also incorporated modern production techniques, like CNC milling, to optimize efficiency and minimize waste, creating a piece that not only meets eco-friendly expectations but also embodies a timeless, organic aesthetic that aligns with users’ values.