Interviews met Ilana Seleznev

2009, Industrial design, DA , Avni Design Center, Tel-Aviv/Israel

2013, Marketing, MBA, The Open University, , Ra'anana/Israel

2016 ,SIT, Course, IDC, Herzeliya/Israel

2016 - 2018 Master

The truth is that I have been hesitated for a long time and during the traveling in another country, a random conversation on the bar whit some guy I spoke to said to me: "What are you doing?" Wait a minute.. do not tell me .. you're a designer?"

And that's how it solved my dilemma :)- because I always thought study design or psychology and to this day I know I'll learn psychology later, these areas overlap in my eyes

For me, the part of the research and systematic work is very important at first. Then I move to form and then to the function, I work backwards and my whole process is different and based on the tools that I developed for myself at first (now I am teaching others)

I am happy to work in my work and I am usually happy to design but its depends on the project to. on it content also, becouse it affects the awareness and thought.

I think that I love to cleanliness, the fact that I had play whit broken engines when I was little and that I am practical and technical as well.

My dream is to finish my methodology, to prove that it is good/ necessary

and that people around the world will use it. In addition I want to exhibit all over the world and stand on my TED world stage

Work hard, persistence and Never give up

Work hard, persistence and Never give up dreaming

My routine looks like this: wakes up early in the morning, e-mails, uploads something to the social network, goes out to meetings with customers (design) lectures with students and late end in the studio.

A long day, varied and different

Trend is something temporary in my oppinion, I'm updated but less connect to it (just the minimla style).

In my opinion, the product has two aspects: emotion and function.

When they exist in the design product its good and not measured by taste, this design is clear to everyone and has a need in the world.

I ask questions and by responses I understand where the design stands

The methodology that I developed and the products developed following the development of my method - Thinking inside the box"

I dont have one thing I love, I love a lot of things, I need variety :)

But I have some like - Dor Carmon - Israeli designer

Zaha Hadid

Tom Hancock

Tom Dixon

Haim Hayon

Everything is very fast and changing.

For me is the combining maths and design.

In my opinion, creative and innovative development and design should be based on clear tools and formulas, in other words, on systematic progress and traceable patterns. Our brain relies on patterns in order to make sense of our surroundings and save energy, so why not use these existing tools to make sense of the chaos?” Ilana’s trust ( and develop some method) in mathematical structures also gives her a more relaxed approach to design, as she tells me: “Many professionals go out of their way to find that epiphany moment, that a-ha-moment.

There is a lot of pressure on finding the next big thing and having to think outside of the box, but instead, we can use our existing toolbox and take inspiration from the methods and patterns of mathematical and logic rules.”

Who said thinking inside the box is bad? Using the right tools, e.g. our brain, is just as inspiring!

I wish that designers would use the tools that I develop and shape a better world

The help and support

The main focus in designing modular calendars typically revolves around the following principles:

Flexibility: Ensuring that the calendar can adapt to different needs, such as varying work schedules, tasks, and project timelines. Modular pieces allow users to arrange and customize layouts to fit their workflow.

Aesthetic Appeal: Creating a visually engaging design that complements the studio's identity. This often involves thoughtful typography, color schemes, and layouts to make the calendar functional and decorative.

Functionality: Balancing style with usability. Key features include clear visibility, space for notes, and easy interaction, often with options like erasable surfaces or interchangeable components.

Sustainability: Employing eco-friendly materials and practices, such as recyclable components or reusable boards, aligns with modern design ethics.

User-Centric Design: Focusing on the user’s experience by providing intuitive and simple tools for organizing tasks, deadlines, and milestones efficiently.

Collaboration-Friendly Features: Modular calendars often support team collaboration with sections for shared tasks, group projects, and customizable formats to accommodate multiple users.

Self method - Thinking inside the box

The main focus in designing modular calendars for a studio like RDD would be to enhance efficiency, adaptability, and creativity within the workspace. Here's a detailed breakdown of the key goals and achievements typically aimed for:

1. Organizational Clarity

Goal: Simplify planning and task tracking for individuals and teams.

Achievement: A modular calendar enables easy visualization of schedules, deadlines, and priorities at a glance, reducing confusion and improving workflow efficiency.

2. Flexibility & Customization

Goal: Create a system that adapts to various workflows, team sizes, and project complexities.

Achievement: Modular components allow users to reconfigure the layout as needed, whether for daily tasks, weekly sprints, or long-term goals.

3. Aesthetic Integration

Goal: Design a tool that enhances the studio's interior while maintaining functionality.

Achievement: The calendar doubles as a design element, incorporating modern aesthetics, colors, and textures to blend seamlessly into creative environments.

4. Enhanced Collaboration

Goal: Foster teamwork and shared accountability.

Achievement: Sections for group tasks, team milestones, and updates make it easier to align everyone’s efforts and track progress collectively.

5. Sustainability & Longevity

Goal: Design with eco-consciousness and durability in mind.

Achievement: Using reusable, recyclable materials (like magnetic boards, dry-erase surfaces, or modular tiles) ensures the product lasts and minimizes waste.

6. Inspiration & Engagement

Goal: Motivate users to engage more with planning and organizing.

Achievement: The modular system adds a tactile, interactive element, making organizazion feel less like a chore and more like a creative process.

Overall Vision:

The aim is to empower users by providing a versatile tool that enhances productivity while supporting creativity, collaboration, and sustainability—key values in any dynamic studio like RDD.

To produce more products that will win world awards with a unique method that I created

With the help of my methodology, times are shortened and this is another reason to work in this way. Around one and a half months I knew I had a finished and working product.

The product arrived following a customer's request

The product and designed and purchased by a large company in my country

Customer's request

Nope.

Not in this case :)

Cell phone company for a company event

Simplicity, sustainability and the method "mathe of design - thinking inside the box".

The function defines everything by itself

A self method "mathe of design - thinking inside the box".

The method.

I worked with external supplier

Sustainability, cycle

My methodology is years of research - this is the Ph.D and this is the analytical research as well.

In every concept has challenges, here specifically was the budget and the critical recycled material was the challeng.

I gathered courage :)

A manufactured product at the lowest possible cost at the highest possible level

The main idea behind the design was the method. The inspiration is the Mathematics and one of my projects that called "Body story". In my opinion, creative and innovative development and design should be based on clear tools and formulas, in other words, working systematically and in patterns.

I what achieve systematic work. I want to prove my methodology - “the math of design”, that based on " thinking and working inside the box". I think that is makes it more effective and useful to create innovative ideas. Instead of being pressured by finding the next best thing and racking our brains on thinking outside of box, we can apply the same methods and patterns-just like mathematics. Using simple math-like tools, we can create innovative and extraordinary products in a fast and efficient way. Looking deeper in our daily environment (like offices) and surroundings in a methodological way can enlighten us and open new ways of thinking and using materials we have never thought of before.

To make a lot of smart, good and meaningful products with huge budgets that change the world.

From the moment that I control the tools from the "thinking inside the box", its take a few months (a normal and even shorter process from product design development).

I decide to pursuit an inspiration, my body projects and my Methodology.

I am happy and honor to answer yet on this question, My product being used.

I dealt with similar things earlier and a similar work environment

Minimalist and FFF designers.

Minimalism, feminine and mathematical visibility.

The function that the product does.

Method of thinking.

Cleanliness and softness work.

No :) There's only the photographer and the workshop

The technology and the material of the product selected by the magical and the psychological feelings - the product is for home or work environment. p.S - But The product can be produced in many technologies (also for mass and quantitative production)

Of course! Mathematical thinking and the research of all my method

1. The new thinking 2. Materials - in my country good materials are very expensive. It was important for me that the price has to be comfortable that people could buy beautiful, quality and practical products.

I feel more ready for some kind of exposure

Learning the method better

The main idea behind the design was the method.

The inspiration is the Mathematics. In my opinion, creative and innovative development and design should be based on clear tools and formulas, in other words, working systematically and in patterns.

I what achieve systematic work.

I want to prove my methodology - “the math of design”, that based on " thinking and working inside the box".

I think that is makes it more effective and useful to create innovative ideas. Instead of being pressured by finding the next best thing and racking our brains on thinking outside of box, we can apply the same methods and patterns-just like mathematics. Using simple math-like tools, we can create innovative and extraordinary products in a fast and efficient way.Looking deeper in our daily environment and surroundings in a methodological way can enlighten us and open new ways of thinking and using materials we have never thought of before.

To make a lot of smart, good and meaningful products with huge budgets that change the world

From the moment that I control the tools from the "thinking inside the box", its take a few months (a normal and even shorter process from product design development)

I decide to pursuit an inspiration and my Methodology

I dont know yet, its depends, I can the rights or produce it by myself

I dealt with similar things earlier and a similar work environment

Minimalist designers

Minimalism and mathematical visibility

The function that the product does

Method of thinking

Cleanliness and softness

No :)

There's only the photographer and the workshop

The technology and the material of the product selected by the warm feeling and the psychological feelings - the product is for home or work environment.

p.S - But The product can be produced in many technologies (also for mass and quantitative production)

Of course! Mathematical thinking and the research of all my method

1. The new thinking

2. Materials - in my country good materials are very expensive. It was important for me that the price has to be comfortable that people could buy beautiful, quality and practical products.

I feel more ready for some kind of exposure

Learning the method better

A bit about my design education:

2009, Industrial design, DA, Avni Design Center, Tel-Aviv/Israel

2013, Marketing, MBA, The Open University, Ra'anana/Israel

2016, SIT, Course, IDC, Herzeliya/Israel

2016 - 2018 Master

2020 - New inspiration class open by me

My profession is basically everything - anything that has a three dimensional.

I want to change the world with products that can help people even on a daily level and health stature.

I choose to become a designer.

I love my work and a lot of topics but mostly enjoyed working on projects that help or solve some kind of problems and make people live in a more convenient way.

Work really hard and believe in themselves in difficult times without budgets :)

In my opinion, is the perseverance and the desire to leave something new to this world + Consider the small details.

Smart product with meaning + research + combine emotions whit function.

Good design remains forever compared to bad design that more expensive and disappears

I would be happy to design more products for people with disabilities, some categories that I like are:

Products for the environment,

Medical products,

Merchandise - Smart Gifts.

I have many dreams :)

Thinking inside the box - a combination of mathematics and design.

For me, successful design is FFF (form, fit, function) combined with human and design emotions.

Some other design masters:

Dor Carmon - Israeli designer

Zaha Hadid

Haim Hayon

Each of them with a unique style... I like too many designs and things, not something specific.

For me, a good design it means that: smart design, a design that has a function and an existential need, a product that solves a problem in the world and does not answer only an individual taste.

successful design is FFF (form, fit, function) combined with human and design emotions.

To be a good designer you have to know how to learn and listen to others.

For me, I had to develop a set of systematic. working. tools. I'm develop a new methodology for the world and for designers, something that we all can work with. A tool for the world called "Mathematics of Design Thinking inside the box.

I was going to study psychology, and become one :) and then I would go to study design

For me, Design is everything that has three dimensions.

In my case design have one dimension that includes research and thinking inside the box process.

MOM and my man :)

Support and human capital (good people)

I think there are many more obstacles ahead of me and they never finish in any profession and certainly not in design. But so far I have encountered mostly in: the customers, budget problems, lack of materials and unclear and work methods.

At first, I think that designers need to understand their methods and ways of work, and then we can talk about the presentation of the things.

Unfortunately, at the moment I can not talk about them. I'll be happy to do so in the future.

The ultimate goal is that the whole world will work according to my method and the designers will design new and innovative and creative products :)

Quality and reason for everything

Good design creates an easier and comfortable life, it is timeless!

My new exhibition that related to my methodology

The design projects that give me the most satisfaction was a belt for a pregnant woman, where I started my research on the project I find out my closed world and from there I came to develop my entire methodology

I would like to see the Minimalism style change.

I think that the design field is moving fast, the adoption of new technologies, new and smart materials, 4 dimensions (not 3) and a new visual style "Maximalism" - the modern Art Nevo.

It is a very complex question, it is depending on the project itself and the nature of the work, everything is very different. The duration of the process changes by the complexity of the project.

In a new design project, I start from the project's research (the closed world) and then proceed to form and then function. I believe in systematic and innovative thinking. That means that I have developed a different process that starts from form to the function, "Thinking Inside The Box", Method of triangles that are lean on mind templates (scientifically proven).

Through all this entire process that every designer familiar with that includes handmade sketches, 3d modeling, prototypes and so on, I stick to "Thinking Inside The Box" and separate my intuition from it.

My life motto is - Think Inside The Box

Good taste helps but it's not really important, it's something very individual..

I have no rules, I am in favor of adopting them, and everything depends on the project itself, as long as it supports the idea.

During my design, I use the method "The Math Of Design - Thinking Inside The Box" as the thinking method.

I also read mostly about creative thinking, listen to TED and other podcasts.

For software, I use Adobe sweat and 3D programs.

For modeling, I use our 3D printers and other materials.

The role is that everything must support the idea and have the same saturation, I have no limit whit the quantity or the color... In my opinion, everything is in the secret of saturation :)

What inspired me and how I design it... That's I can explain my method more :)

Hmmm... why I did not think about it myself?! Well done to the designers :)

My ideal design partner is the music but I definitely believe in sharing ideas from the moment that the things are clearer as a concept (the main thing is that there is no fixation in thought thinking)

The most influential businessmen and companies for me are:

IBM

Steve Jobs

Bill Gates

Zaza Hadid

Google

I read mostly about creative thinking

I develope my skills whit hard work and lots of reading and perseverance.

Martin Luther King, Jr.

It still does not recognize (in my head) that I have won ( I am a few steps before

the famous recognation xaxa)

I dont have one thing I love, I love a lot of things, I need variety :)

For example: I love blue and very brown.

I like Italian and French cuisine

I look young and sometimes do not get into big meetings because they think I was wrong..

I laugh on one side and of course on the other hand I take it as an advantage :)

Positive feedback from a client or a student's success

Obvious probably not (even now I am not a great one... there is always more to learn) I prefer that people teal things like this about me :)

I think that a thousand years from now the Artific Thinking & Age of machines waiting for us.

I like to drive sports cars and racing for a hobby:)

Since day one I was attracted to cars and vehicles. The mechanism inside of them and the outstanding shapes and contours are the perfect combinations between design and engineering. Those emotions and functions help me become the industrial designer that I am today.

My name is Ilana and my profession is an industrial designer, I am the owner and founder of Studio RDD and the inventor of the 'Math Of Design - Thinking Inside The Box' methodology. My award-winning design firm creates quality promotional merchandise from a wide array of materials custom made to suit every budget and need.

I have made it my mission to build a product design studio unlike any other by placing an emphasis on highly-personalized customer service. I work side-by-side with my customers from our first meeting through the roll-out of the product, ensuring that our shared vision is met or exceeded.

I will be there at every turn with you – making your dreams reality. I have made it my mission to build a product design studio unlike any other by placing an emphasis on highly-personalized customer service. I and my team of designers will work side-by-side with our customers from our first meeting through the roll-out of the product, ensuring that our shared vision is met or exceeded.

We will be there at every turn with you – making your dreams reality.

For me, design is everything that has three dimensions.

In my case design have one dimension that includes research and thinking inside the box process.

I like to desgin everything, this is the reason I choose my profession.

Some categories that I like are:

Products for people with disabilities,

Products for the environment,

Medical products,

Merchandise - Smart Gifts,

I like too many designs and things, not something specific.

The first product that I designed was a baby carrier that transforms into portable swaddle pad

My favorite material is wood.

When I think inside the box because it helps me to solve the problems faster for my clients.

The design aspects that I focus the most are:

Quality Research ("The Math Of Design - Thinking Inside The Box"), function, emotions.

I feel good to solve problems through design, it is fun and happy.

It is very fulfilling to help the world to become a better place.

The closest for me to Sherlock :)

It is very fulfilling like a proud mommy.

For me, successful design is FFF (form, fit, function) combined with human and design emotions.

First of all, I separate my emotions from it and check if the function is working, then I move the visual aspect.

Solve problems and help the world to become a better place.

I think that the design field is moving fast, the adoption of new technologies, new and smart materials, 4 dimensions (not 3), and a new visual style "Maximalism" - the modern Art Nevo. Plus, Covid19 will change the world!

My last exhibition was in New York City and France :)

My next exhibition will hopefully be soon in Israel (it is not up to me, it's up the Covid19).

In my opinion, in order to be creative, I need to limit my resources and think the closest to the problem (this id the reason that I create my methodology "The Math Of Design - Thinking Inside The Box").

My design style is mostly minimal that is why I like the quote "Less Is More". Recently, I'm interested in something new and different, it basically the opposite. I call this design style "Maximalizem".

I live in Israel and there are definitely influences from it. The resources are limited and some of them are expensive and barely available. Those limitations force me to be creative and innovative in the way I design and think.

Usually, companies contacting me with a problem or a design request and I help them create the product or the solution they need. Starting from the research stage to the final product.

My suggestions to companies are first to understand the importance of the designer in it and to give him or her the freedom to do his work. If a company truly believes in innovation, they have to be willing to invest in design.

I believe in systematic and innovative thinking. That means that I have developed a different process that starts from form to the function, "Thinking Inside The Box", Method of triangles that are lean on mind templates (scientifically proven).

Through all this entire process that every designer familiar with that includes handmade sketches, 3d modeling, prototypes and so on, I stick to "Thinking Inside The Box" and separate my intuition from it.

My favorite 5 are:

1. Logitech MX Vertical Mouse

2. Google Home

3. Norman Duck

4. Vitra Mirrors

5. Nespresso Products

My day starts early in the morning, some of them include yoga and sports. I arrive at the office or to a client or to University to learn or to teach. Every day includes different topics and subjects. The end of the day depends on it's intense.

My pearls to the young designers are to work hard and believe in themselves. The sky is not the limit but your mind can be ...

Let's start with the negative. They are a lot of people that, unfortunately, still don't understand and appreciate this important profession.

Let's finish with the positive. My profession, industrial design, is everything. I have a lot of diversity in my work and some of them can make the world become a better and helpful place.

My "golden rule" is "Think Inside The Box".

The skills that are most important for a designer is to be open for criticism and to be able to absorb and to be an autodidact, all the rest he can learn.

During my design, I use the method "The Math Of Design - Thinking Inside The Box" as the thinking method.

I also read mostly about creative thinking, listen to TED and other podcasts.

For software, I use Adobe sweat and 3D programs.

For modeling, I use our 3D printers and other materials.

As someone who grew up to Russian Doctors time managing was something that I familiar with and today I manage it very carefully and treat it with huge respect.

The duration of the process changes by the complexity of the project.

The most frequently asked question to me is: Can you quickly sketch me a concept?

After a few years of job experience, there was a specific moment that changed my life and made me realized that there are problems in the designer's work process and we have to involve mathematics and systematic work in our design methods. This made me invent my own method and believe that maybe I have something to offer this world.

Among my not classified clients are:

Jaguar Israel,

Land Rover Israel,

Epoch Times,

and more

I enjoyed working on projects that help or solve some kind of problems and make people live in a more convenient way.

I will continue to develop my own thinking method and use it to create more innovative and creative products.

Mostly, I work as a team.

Yes, I do, but unfortunately, at the moment I can not talk about them. I'll be happy to do so in the future.

People can find me on social media and by the website in the following links:

Web- http://www.studio-rdd.com/

Insta - https://www.instagram.com/studio_rdd/

Facebook - https://www.facebook.com/StudioRDD

Linkedin - https://www.linkedin.com/in/ilana-seleznev-86552b4b/

My methodology The Math of Design Thinking Inside the Box is the absolute foundation of every project I undertake. For the Rack For Glasses Table Stand this systematic approach influenced the final design by treating the object as a pure geometric problem. Instead of starting with an aesthetic hunch I defined the functional requirements as mathematical constraints which allowed the form to emerge as a logical solution rather than a decorative choice. By imposing these strict parameters I was able to optimize the structural nodes and ensure that the final result was a direct manifestation of its own logic. This process is what distinguishes my practice as an industrial designer because it removes the subjective noise and leaves only the functional truth of the object.

I am driven by the fundamental need to resolve the tension between industrial utility and domestic beauty. The Rack For Glasses Table Stand was born from a desire to transform a mundane storage task into a deliberate design statement. By bridging this gap I ensure that office and home environments are not just organized but are elevated by objects that possess both structural integrity and visual clarity. My inspiration comes from the belief that even the most simple household items should reflect a sophisticated understanding of space and form. This project represents my commitment to bringing high level design principles into the everyday life of the user by creating a product that functions as both a tool and a quiet sculpture within the living environment.

The exploration of materials like rope versus three dimensional printing was a strategic exercise in scalability and adaptability. My goal was to create an affordable yet design forward solution for the Israeli market that respects both high end manufacturing precision and accessible craftsmanship. This duality is a hallmark of my work where the material selection serves the geometry rather than the other way around. By testing these different production paths I was able to demonstrate that the underlying mathematical core of the design remains consistent regardless of the material used. It allows the studio to cater to different segments of the market while maintaining the same rigorous standards of structural excellence and aesthetic minimalism that define my professional identity.

The distinctive mathematical and minimal appearance is the direct result of my Thinking Inside the Box methodology. I applied specific principles of geometric reduction to strip away everything that did not serve the primary function of holding eyewear. By isolating the essential structural nodes I arrived at an aesthetic that feels inevitable and precise which is the core goal of my design practice. Every curve and connection point is a result of a calculation rather than a stylistic whim. This adherence to geometric principles ensures that the product remains timeless and functional. It proves that when you work within a self imposed set of mathematical constraints you do not limit your creativity but rather you sharpen it to reach a higher level of clarity.

During the year long development process I discovered that the most complex design challenges are often solved through extreme simplicity. The insight that emerged was that the interaction between the object and the user is a dynamic force that must be accounted for mathematically. I learned that even the smallest dimension shift can completely redefine how a user experiences an everyday object. I also found that the transition from a digital model to a physical prototype requires a deep understanding of material properties and forces. This period of testing taught me that the marriage between digital precision and physical reality is where true innovation resides. It reinforced my commitment to the iterative process as the only way to reach a truly refined and perfect final design.

The international recognition from the A Design Award has validated my belief that rigorous industrial design is a universal language. This acknowledgment has encouraged me to push the boundaries of my mathematical approach even further as I now see how my specific methodology resonates with global audiences who value both technical depth and artistic vision. It has provided a platform to showcase that industrial design is a serious discipline that requires both analytical thinking and a deep understanding of human needs. Being part of this professional community motivates me to continue developing products that do not just fill space but actively improve the user experience through thoughtful engineering and a disciplined approach to form and function.

The versatile production methods I developed for this stand reflect the core philosophy of Studio RDD which is that design must be adaptable to its context. Whether through the manual application of rope or the high precision of three dimensional printing the underlying geometric logic remains consistent. This ensures that the design is not just a static object but a scalable solution that can live in different production realities. My commitment to adaptable design is about respecting the user and the environment where the object will be placed. It shows that good design should be resilient and capable of evolving without losing its essential character or its functional purpose which is a key tenet of my professional practice.

The choice of a 17 centimeter height was determined by a strict analysis of ergonomic reach and spatial efficiency on a standard tabletop. I did not want the object to dominate the environment but rather to exist as a focused structural element. These specific dimensions were calculated to balance optimal functionality with the visual weight of the eyewear it holds. By determining these parameters through mathematical modeling I ensured that the product maintains a perfect harmony with its surroundings. Every millimeter was considered to ensure that the stand provides a stable and secure home for delicate eyewear while simultaneously taking up the minimum amount of footprint on a desk or a nightstand.

Customer feedback has confirmed that people crave objects that bring order to their space without cluttering it. Understanding how users interact with the stand in their daily routines has informed my understanding of design as a transformative power. It has shown me that when a storage solution is designed with mathematical intent it naturally becomes a compelling decorative piece that users value. Users have noted that the clarity of the design helps them feel more organized and at ease in their workspace. This confirms my theory that good design is a quiet partner in our lives. It provides the necessary structure for our items while enhancing the visual quality of the interior space through its deliberate and measured geometry.

I envision evolving these principles by applying my mathematical design approach to increasingly complex organizational challenges in public and private spaces. I want to continue stripping away the noise of modern consumption to reveal the simple elegant and structural truths that make our everyday lives better. My mission is to show that industrial design is at its best when it is quiet precise and perfectly calculated. As I advance in my research and my professional practice I plan to use these same geometric foundations to address larger scale problems. I believe that by thinking within the right box we can solve the most difficult problems of modern living with elegance and total functional clarity.

My 3D Plate Food Separation was born from my personal design philosophy, which I call the Math of Design | Thinking Inside the Box. This methodology transforms limitations into structure, encouraging designers to harness constraint rather than resist it. The genesis of this plate was the idea that a dining surface could actively guide the chef’s composition, creating clear spatial hierarchies on the plate itself. I wanted to break the flatness of traditional plates and instead introduce a layered system that supports precise, aesthetic food placement. This systematic thinking turns plating into a deliberate act of organized beauty.

During my research, I spent time speaking directly with chefs and observing the practical stress of busy kitchens. I realized that plating must be fast yet visually refined — two goals often at odds. My Math of Design approach guided me to create physical surface “landmarks” that naturally direct food placement without the chef needing to measure or adjust multiple times. By dividing the plate into distinct levels and zones, the plate itself creates a hierarchy for proteins, sides, sauces, and garnishes. This system saves time, reduces plating errors, and standardizes visual presentation — all while supporting culinary creativity.

Clay presents challenges like shrinkage and warping during firing, especially in multi-level structures. To maintain precision, I collaborated closely with local ceramic artisans in Israel. We developed customized molds and firing protocols that stabilize the clay’s form. My Thinking Inside the Box method focuses on embracing constraints — here, the clay’s limits defined the maximum height and slope angles for the layers. We also tested different glazes for durability and easy cleaning. Each adaptation ensured the plates remain functional under restaurant conditions, handling repeated washing and heavy use without losing their geometric integrity.

For me, design always starts with structure — that’s the core of the Math of Design | Thinking Inside the Box. I believe true creativity happens when you operate within constraints. The 3D Plate turns this philosophy into reality: it gives chefs a structured ‘canvas’ with embedded guidelines. Each level, angle, and curve is calculated to hold food elements in place while emphasizing contrast and flow. The result is an intuitive plating tool that naturally shapes the dish’s final look. This layered architecture ensures that aesthetics and efficiency do not compete but support each other in daily restaurant life.

Talking to chefs made me see how much mental energy they invest in every detail of a dish — from balance to portion control to visual drama. Many expressed a desire for more reliable plating tools that wouldn’t limit creativity. These insights led me to design the plate’s layers to function like built-in ‘guides’ that still allow freedom. The zones are subtle enough for chefs to interpret them differently every time, yet clear enough to bring order to the plate. This dialogue between structure and freedom is the heart of my Math of Design thinking — control inside a clear box that invites new expression.

I developed a modular set based on feedback from restaurants with diverse menus. The Thinking Inside the Box approach helped me identify recurring plating needs: tasting menus, à la carte dishes, large shareable plates. Using a systematic process, I mapped standard portion sizes and service styles and translated them into practical surface areas and heights. Each size variation keeps the same proportional relationships between levels to maintain visual harmony. This modularity allows chefs to scale their plating style from an intimate dinner to a busy service without sacrificing the design’s structural clarity.

I’ve loved seeing how chefs, caterers, and even home cooks reinterpret the plates in ways I didn’t expect. Some use the layers for tasting flights, dessert samplers, or even creative sushi sets. This adaptability aligns perfectly with my Math of Design ethos — the structure is fixed, but the interpretation is limitless inside the ‘box’. Seeing how chefs use the same plate for fusion concepts or traditional dishes inspires me to refine edge angles, adjust heights, and expand the range with new geometries that preserve the layered logic while embracing cultural diversity in presentation.

Black and white are timeless, neutral, and they elevate food by creating contrast that highlights colors and textures. My Thinking Inside the Box approach treats the plate as a stage — the food is the main actor. White brings purity and clarity for vibrant dishes; black adds drama and depth for fine dining. These shades also hide wear and tear better than brighter glazes. Most importantly, they reinforce the systematic feel of the layered surface: clear, minimal, functional. The monochrome palette lets the hierarchy of the plate shine without visual noise.

I believe the Math of Design | Thinking Inside the Box will encourage future chefs to see plating as a structured art. These plates are not just serving tools — they’re teaching devices that demonstrate how spatial logic can enhance aesthetics. Culinary schools can use them to train students in portion control, visual balance, and efficient workflow. In restaurants, the plates support consistency without stifling creativity. I hope this design sparks a shift where operational efficiency and artistic vision work hand in hand, helping kitchens run smoother while elevating the dining experience for guests.

My best advice is to embrace the power of deliberate constraints — that’s the essence of my Math of Design | Thinking Inside the Box. Instead of fighting limitations, use them as a framework for invention. Talk directly to the professionals who’ll use your design — chefs in my case — and listen to their frustrations and dreams. Translate those needs into clear structures that solve real problems. And never lose sight of beauty. A truly valuable design balances rigor with poetry — practical enough for daily life, yet inspiring enough to make people feel something new each time they use it.

The "Math of Design" methodology employs a systematic and analytical approach to creating objects that balance form, function, and aesthetics. In the context of a decorative stand, here's how this methodology might shape its geometric form:1. Identifying Functional Needs:The design process begins by defining the stand's purpose—whether to display objects, provide storage, or act as a sculptural piece. For example, the dimensions and weight distribution are mathematically calculated to ensure stability and support.2. Determining Proportional Relationships:The proportions of the stand are guided by mathematical principles such as the golden ratio, Fibonacci sequence, or symmetry. This ensures the design is visually pleasing while maintaining structural integrity.3. Material Optimization:Geometry plays a key role in determining how materials can be cut, bent, or assembled most efficiently. For instance, triangular or hexagonal forms might be used for their inherent strength and minimal material waste.4. Exploring Modularity and Patterns:Patterns derived from tessellations or fractals could inspire the stand's surface decoration or structure. These patterns not only add an aesthetic appeal but also serve as structural reinforcements in many cases.5. Iterative Refinement with Computational Tools:Using tools like parametric modeling software, multiple iterations of the design are created. The software allows the designer to manipulate variables like angles, lengths, and curves systematically to explore various geometric possibilities.6. Aesthetic Harmonization:The final form integrates all these considerations, creating a stand that appears harmonious and thoughtfully designed. The geometric form might include clean lines, dynamic shapes, or a rhythmic flow, depending on the intended design narrative.For example, a decorative stand might feature a spiraling helix structure derived from a logarithmic spiral, optimized for stability and crafted from interlocking polygons. This approach ensures the stand isn't just functional but also a conversation piece, reflecting a blend of art, mathematics, and engineering.

This statement reflects a thoughtful appreciation for the design. If I were to explore this intersection of form and purpose, I’d emphasize how blending aesthetics and functionality often stems from a desire to create objects that are not only visually appealing but also enhance daily living. The inspiration might come from observing natural harmony, where beauty and practicality coexist effortlessly, or from understanding the modern need for objects that serve a purpose while complementing diverse interior spaces.Designers like those at Studio RDD likely consider how users interact with the piece, striving to create a design that’s versatile yet unobtrusive. Balancing form and function also challenges designers to innovate—refining materials, proportions, and textures until the design feels intuitive and elegant.

Material Optimization: Geometry plays a key role in determining how materials can be cut, bent, or assembled most efficiently. For instance, triangular or hexagonal forms might be used for their inherent strength and minimal material waste.Iterative Refinement with Computational Tools:Using tools like parametric modeling software, multiple iterations of the design are created. The software allows the designer to manipulate variables like angles, lengths, and curves systematically to explore various geometric possibilities.Aesthetic Harmonization:The final form integrates all these considerations, creating a stand that appears harmonious and thoughtfully designed. The geometric form might include clean lines, dynamic shapes, or a rhythmic flow, depending on the intended design narrative.

For the material selection of the Elegant Flower Vase Decorative Stand, the decision to use affordable wood in Israel would have been guided by a balance of sustainability, cost, and quality. By sourcing locally, the design can reduce transportation costs and support regional craftsmanship, while also ensuring the material meets both aesthetic and durability standards. The selection process would also involve exploring various types of wood that are both accessible and capable of maintaining the clean, minimalist lines of the design. This balance ensures that the piece remains cost-effective without compromising the vision for elegance and functionality. A focus on natural textures, wood finishes, and simplicity likely also aligns with the broader design ethos.As for the versatility in materials, colors, and production technologies, it’s likely driven by a desire to reach a broader audience while keeping the design fresh and adaptable to various interior styles. Allowing for color and material customization offers customers a chance to make the design their own, while embracing different production technologies ensures efficiency and sustainability in manufacturing. By combining traditional techniques with modern innovations, the design becomes more accessible and flexible for diverse markets, without losing its original vision of timeless elegance.

Gave me the motivation to continue :)Receiving a prestigious accolade like the Bronze A' Design Award for the Elegant Flower Vase Decorative Stand would certainly have a profound impact on the designer's approach. The international recognition not only validates the thoughtfulness and innovation behind the design but also encourages a deeper exploration of systematic design thinking. It provides the designer with a platform to reflect on how functional, aesthetic, and user-centered elements can be further refined and scaled.This acknowledgment likely inspires a more strategic approach to future projects, with an emphasis on marrying creativity with practical, real-world solutions. The process might now involve more detailed research into global design trends, material innovation, and user feedback, ensuring each new project addresses the evolving needs and expectations of the customer. Furthermore, such recognition can open doors to collaborating with new industries or platforms, allowing the designer to push boundaries even further in future creative endeavors.In essence, the award could serve as both a validation of the designer's current path and a motivator for pushing the limits of design excellence, blending systematic thinking with creative ambition.

Merging natural and geometric elements in the Elegant Flower Vase Decorative Stand represents an intentional and harmonious blend of two seemingly contrasting design languages. The thought process behind this fusion likely begins with a desire to create a piece that resonates with both the organic beauty of nature and the precision of modern geometry.The natural elements, like wood, evoke a sense of warmth and connection to the earth, offering an organic, tactile experience. These materials are chosen for their unique grains and textures, bringing life and authenticity to the design. The geometric aspects, on the other hand, represent clarity, structure, and elegance. Clean lines, balanced proportions, and simple yet bold forms provide a modern contrast to the softness of natural materials.This contrast is intentional, as it aims to symbolize the balance between nature and human intervention. By combining the free-flowing, irregular qualities of natural elements with the precision of geometric shapes, the stand creates a dynamic visual dialogue that feels both grounded and contemporary. The final result is a design that is timeless yet forward-thinking, one that bridges tradition and innovation in a subtle, refined way.Do you see this fusion of natural and geometric design as a way to appeal to both classic and modern tastes?

The Elegant Flower Vase Decorative Stand aligns with my studio's mission by offering highly-personalized customer service through extensive customization options and material choices. Customers can select from a variety of materials such as wood, metal, or ceramics, ensuring that the stand complements their unique aesthetic preferences. Additionally, the design can be tailored in terms of size, color, and finish to match the specific décor of the customer's space. This approach enables clients to create a piece that not only serves a functional purpose but also enhances the personal style and ambiance of their home or office, demonstrating a commitment to meeting individual needs with exceptional attention to detail.

The development of the Elegant Flower Vase Decorative Stand between January 2017 and January 2018 likely involved several key moments that influenced its final design. Although specifics about the product's development are not available, general stages in such a design journey could include:Initial Concept and Ideation (Jan–Mar 2017): Early brainstorming and sketching phases, where designers explored different materials, shapes, and functions for the stand. Focus may have been on determining its aesthetic style (elegant, modern, vintage) and functionality (size, stability, ease of use).Material Selection (Apr–Jun 2017): The choice of materials—whether ceramic, metal, glass, wood, or a combination—would have been pivotal in setting the tone for elegance. This stage often involves balancing aesthetics with practicality (e.g., durability, weight).Prototyping and Refinement (Jul–Sep 2017): Designers likely created early prototypes to test how the vase stand worked in real-world conditions. Feedback from these prototypes could have led to refinement of proportions, height, or stand design to improve balance and visual appeal.User Testing and Feedback (Oct–Nov 2017): The stand may have gone through a testing phase where real users assessed its stability, style, and ease of use. Adjustments might have been made based on this feedback, such as adding anti-slip features or modifying the design for better compatibility with different vase shapes.Final Adjustments and Launch Preparation (Dec 2017–Jan 2018): In the final phase, any last-minute adjustments were likely made to perfect the product for mass production. This could involve final tweaks to aesthetics, colors, finishes, or packaging.These key moments would have contributed to a balanced, elegant design, blending functionality with sophisticated style.

The "Thinking Inside the Box" tool method encourages creative solutions by focusing on the limitations of a particular form or structure rather than thinking beyond them. In the case of the Elegant Flower Vase Decorative Stand, this method likely contributed to its distinctive silhouette by focusing on the use of geometric shapes, symmetry, and a clean, minimalist approach.By working within a boxy or structural framework, designers would have emphasized functional design elements such as stability, proportions, and balance, while maintaining a sense of elegance. The result is a refined and intentional silhouette, where every curve or angle serves both form and function. The box, or defined boundary, helped shape a distinctive look without excess, showcasing the beauty of simplicity and subtlety.In this context, the method directs attention to the essentials of the design, allowing for a unique and bold yet restrained shape, perfect for enhancing the aesthetic of an elegant setting while supporting the vase's function.This tool helps designers to think in a different way from others and guarantees a unique and innovative result with the possibility to reproduce the design.

The principles behind the Elegant Flower Vase Decorative Stand offer valuable insights into how aesthetic design and functionality can seamlessly blend. By focusing on a minimalist yet expressive approach, the design showcases the potential for furniture to be both an art piece and a practical object. Here are a few ways these principles could influence future projects:1. Emphasis on Form and Function: The Elegant Flower Vase Stand highlights the idea of creating pieces that are not only visually appealing but also serve a practical purpose. This balance can lead to designs that are both beautiful and functional, encouraging furniture creators to rethink the multi-dimensional uses of everyday items.2. Material Innovation: The use of materials that allow for a fluid, modern look can be extended to other furniture designs. By experimenting with new materials or combining traditional and contemporary ones, designs can become more sustainable while maintaining aesthetic appeal.3. Modular and Adaptable Design: In line with the elegant yet versatile nature of the vase stand, future furniture designs could focus on modularity, allowing users to adapt pieces to different spaces and functions, fostering customization and flexibility.4. Cultural Sensitivity: The vase stand’s elegance draws inspiration from both modern and classical elements. Integrating cultural references in furniture can help designers build more inclusive, globally-conscious products.5. Sustainability and Craftsmanship: The care and attention to craftsmanship reflected in the vase stand can inspire a return to quality, artisanal methods while promoting sustainability, encouraging a shift towards eco-friendly materials in future furniture design.This design philosophy different way of thinking can push the boundaries of furniture to become not only functional but an experience that adds to the aesthetic narrative of a space.