Shayan Ramesht

Specialized in Furniture Design.

Shayan Ramesht

About Shayan Ramesht

I am a young product designer and architect in Iran who aims to create a new perspective for my audience by using recycled materials and redefining them in my designs. Therefore, most of my use of recycled materials has been in their raw form to emphasize the aesthetics of these materials. In line with promoting the culture of recycling in Iranian society, several installations have been carried out in various locations in the city of Shiraz so far, and I have received very positive feedback from the community and even other city designers.

  • Winner of the A' Design Award.
  • Specialized in Furniture Design.
  • Original Design.
  • Creative, Diligent and Innovative.
  • All Designs
  • Furniture
4x4 Bench

4x4 Bench

Furniture Design

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Interview with Shayan Ramesht

Could you please tell us more about your art and design background? What made you become an artist/designer? Have you always wanted to be a designer?
My design journey began with a fascination for materials and an urge to rethink how we interact with everyday objects. As I became more aware of global waste issues and overproduction, I felt compelled to use design as a tool for reflection and responsibility. Over the years, I’ve focused on sustainable approaches, minimalist aesthetics, and experimental processes—values that have become central to my identity as a designer. Creating objects that are both functional and conceptually thoughtful has always driven my practice.
Can you tell us more about your company / design studio?
I am the founder of Studio Unspace, an independent design studio with a clear philosophy: to strip design to its essential qualities while maintaining clarity of function and form. We focus on native perspectives, recycled materials, and minimal resources. Our work integrates digital planning with sustainable production, and we maintain a completely paperless, digital archive. Unspace is driven by a belief in clarity, transparency, and the intelligent use of what already exists—turning constraints into creativity.
What is "design" for you?
Design, to me, is a silent dialogue between need and possibility. It’s about eliminating the unnecessary to amplify meaning. I see it not just as problem-solving, but as a conscious effort to shift perspectives—especially when it comes to consumption, waste, and aesthetics. Design should not only look good but think responsibly.
What kinds of works do you like designing most?
I enjoy creating minimal, modular objects that challenge material conventions. Projects that explore recycled components, question traditional assembly, or provoke a subtle shift in user behavior are the ones I find most fulfilling. I'm especially passionate about furniture and public-use objects that blur the lines between industrial and sculptural design.
What is your most favorite design, could you please tell more about it?
The 4X4 Bench is a personal milestone. It was designed using sixteen recycled paper tubes, originally used for carpet rolls, combined with repurposed plastic fittings. The design maximizes function with minimal intervention—its modular system is scalable and adaptable for different indoor contexts. By preventing sliding and overlap with custom-fitted parts, the bench gains structural integrity while staying honest in material language. It reflects the ethos of Unspace: doing more with less, and rethinking waste as design opportunity.
What was the first thing you designed for a company?
Early in my career, I was commissioned to design a simple but flexible furniture set for a co-working space. It helped me understand how design interacts with flow, users, and evolving needs. It also set the foundation for my focus on modularity and flat-pack systems.
What is your favorite material / platform / technology?
I’m most inspired by recycled materials, particularly paper tubes and reclaimed plastics. These materials hold both symbolic and practical value: they speak to today’s environmental concerns while allowing for innovative design thinking. My workflow combines traditional physical prototyping with digital simulation platforms, keeping things agile, precise, and adaptable.
When do you feel the most creative?
When constraints are present—limited materials, defined functions, or a reuse challenge—that’s when my creativity thrives. The less I start with, the more ideas emerge. I also find creative energy in working digitally while staying grounded in hands-on experiments, especially during late hours when the world quiets down and ideas take shape more intuitively.
Which aspects of a design do you focus more during designing?
I focus primarily on functionality, material honesty, and modular clarity. Each design decision must serve a purpose—either structurally, spatially, or emotionally. I avoid superficial elements and instead invest time in refining proportions, assembly logic, and interaction details that give the object long-term value and intuitive usability.
What kind of emotions do you feel when you design?
Designing gives me a sense of quiet concentration and clarity. There’s a meditative quality to working through problems and arriving at elegant solutions. I also feel a kind of urgency—especially when working with waste materials—because the design process becomes an act of reclaiming and reinterpreting what’s been discarded.
What kind of emotions do you feel when your designs are realized?
When a design becomes tangible, it’s a mix of gratification and humility. Seeing people interact with an object the way I envisioned—or even in ways I didn’t expect—is incredibly fulfilling. It also reminds me that design doesn’t end in the workshop or studio, but lives on in users' hands and spaces.
What makes a design successful?
A successful design is one that feels inevitable in its context—nothing more, nothing less. It solves a real problem, uses materials responsibly, and creates a lasting emotional or practical connection with the user. Success also lies in whether the design can quietly improve its environment without demanding attention.
When judging a design as good or bad, which aspects do you consider first?
The first thing I look at is clarity of intention. Does the design know what it’s trying to do? Then I consider material appropriateness, usability, sustainability, and emotional impact. Even the simplest object should have an inner logic and integrity.
From your point of view, what are the responsibilities of a designer for society and environment?
Designers are no longer just creators of form—we are mediators of impact. We have a duty to think beyond aesthetics and address systemic issues like waste, overproduction, and disconnection from material origins. Our responsibility is to design with empathy, use resources wisely, and question whether something really needs to be made in the first place.
How do you think the "design field" is evolving? What is the future of design?
Design is shifting from object-making to system-thinking. The future of design lies in interdisciplinary collaboration, circular systems, and digital-physical hybrids. As AI and automation rise, human-centered design will become more important than ever—to keep ethics, emotion, and material consciousness at the heart of innovation.
When was your last exhibition and where was it? And when do you want to hold your next exhibition?
My last exhibition was held during Tehran Design Week 2024, where I showcased selected works focused on sustainability and material reuse. My upcoming exhibition will be a solo installation titled “Az No” (meaning “From Scratch”), scheduled for next month. It explores the transformative potential of waste through a series of experimental objects, reflecting on how sustainable approaches can reshape our design language and material culture.
Where does the design inspiration for your works come from? How do you feed your creativity? What are your sources of inspirations?
My inspirations often emerge from neglected materials, forgotten functions, and silent systems—objects and ideas that exist in the background of everyday life. I’m fascinated by the invisible stories behind industrial waste, urban decay, and modular architecture. To feed my creativity, I spend time researching vernacular crafts, material reuse practices, and minimalist art. I also document textures, joineries, and found objects that may seem mundane but hold immense design potential.
How would you describe your design style? What made you explore more this style and what are the main characteristics of your style? What's your approach to design?
My design style is structurally minimal and materially raw. I seek simplicity not as a trend, but as a tool to emphasize essential qualities. This style developed out of both ethical intent and practical curiosity: How can we do more with less? My approach often begins with constraints—whether of material, space, or function—and grows into clean, repeatable forms that respect both user and environment.
Where do you live? Do you feel the cultural heritage of your country affects your designs? What are the pros and cons during designing as a result of living in your country?
I live in Iran, a country with deep cultural layers and resourceful craft traditions. While the global infrastructure for design may be limited, the local ingenuity and adaptive reuse culture strongly influence my work. We’ve historically embraced “making do” with what’s available, which resonates deeply with sustainable thinking. The challenges lie in limited access to new materials and platforms, but the advantages are a rich history of form, rhythm, and material wisdom to draw from.
How do you work with companies?
I usually collaborate with companies on a project-based or consultancy model, offering design services that align with their sustainability goals or spatial identity. My role is often to introduce new material strategies, help them rethink form/function relationships, and guide them through prototyping phases. Flexibility, communication, and a shared commitment to responsible design are key to these collaborations.
What are your suggestions to companies for working with a designer? How can companies select a good designer?
Companies should look for designers who are not only skilled in aesthetics but also in systems thinking—someone who asks “why” before jumping into “how.” The best collaborations happen when companies respect the designer’s process and are open to experimentation. Clear goals, mutual respect, and curiosity are what drive innovation. I’d advise companies to select designers based on mindset and values, not just portfolios.
Can you talk a little about your design process?
My process often starts with a material prompt or structural curiosity. I spend time prototyping in analog or digital form, testing spatial behavior, and challenging assumptions. Research plays a major role—whether technical specs or historical use. Then I move into sketching and CAD modeling, keeping the iterations light and quick. The final phase always includes hands-on testing, as I believe objects must be felt, not just seen, before they're resolved.
What are 5 of your favorite design items at home?
1.A foldable aluminum chair from the 70s—simple, precise, durable. 2.A modular ceramic vase made by a local artisan. 3.My self-built, flat-pack side table made from reclaimed plywood. 4.An old tape recorder—both a sculptural object and a memory machine. 5.A Japanese cast iron teapot—timeless in form and function.
Can you describe a day in your life?
My day usually starts with quiet time—reading or note-taking over coffee. Then I move into sketching or workshop work, depending on what phase I'm in. Midday is for digital modeling, emails, or material sourcing. Afternoons often involve prototyping or photographing new pieces. Evenings are more reflective—I revisit old ideas, document progress, or simply observe objects around me to stay attuned to form and proportion. It’s a balance between action and stillness.
Could you please share some pearls of wisdom for young designers? What are your suggestions to young, up and coming designers?
Design is not about trends—it’s about clarity, context, and care. I’d tell young designers to explore materials hands-on, to question their assumptions, and to work with constraints, not against them. Stay curious, but be selective with what you absorb. The most important thing is to find your own rhythm rather than chasing external validation.
From your perspective, what would you say are some positives and negatives of being a designer?
The positive is that you can bring change to physical reality—you translate thoughts into things. Design gives you a way to communicate without words. The downside is that it’s often underappreciated or misunderstood as merely decorative, especially in environments where design is not yet fully valued. It requires resilience and patience.
What is your "golden rule" in design?
Nothing should exist without reason. Every form, joint, texture, and proportion must be justified—functionally, structurally, or conceptually. Simplicity is not emptiness; it’s precision.
What skills are most important for a designer?
Beyond technical skills, the most important are observation, material sensitivity, and critical thinking. Being able to ask the right questions, understand context, and adapt quickly is what sets a designer apart. Tools can be learned—awareness must be cultivated.
Which tools do you use during design? What is inside your toolbox? Such as software, application, hardware, books, sources of inspiration etc.?
My toolbox includes both digital and analog tools: - Software: Rhino, Illustrator, occasionally Fusion 360. - Hardware: Hand saws, sanding tools, recycled components, clamps. - Books: “Cradle to Cradle,” “Design as Art” by Bruno Munari, vernacular architecture references. - Inspiration: Abandoned structures, old industrial tools, nature’s modular patterns, and Japanese design philosophy.
Designing can sometimes be a really time consuming task, how do you manage your time?
I embrace the slow rhythm of design. Still, I manage time by working in layers: starting broad, narrowing in stages, and setting decision deadlines. I alternate between thinking and doing—research, sketching, prototyping. Time blocks with purpose help keep the process moving without losing depth.
How long does it take to design an object from beginning to end?
It varies, but generally anywhere from 2 weeks to 3 months depending on complexity and fabrication. Some ideas take time to mature in silence before they’re built. The 4X4 Bench, for example, evolved over several cycles of testing, adjusting, and reconsidering both materials and joinery.
What is the most frequently asked question to you, as a designer?
"Where do you get your materials from?" I’m often asked how I find, select, and repurpose recycled components. And my answer is: by observing, collecting, and listening to what materials offer—even if they come from unexpected sources.
What was your most important job experience?
The most meaningful experience has been developing the 4X4 Bench—from concept to recognition. It taught me how to push through constraints, navigate sourcing recycled materials, and prototype iteratively while staying true to both sustainability and design integrity. The process was a turning point in defining my voice as a designer.
Who are some of your clients?
I collaborate primarily with local design-forward businesses, private clients, and interior studios, especially those interested in sustainable material strategies. I also engage in self-initiated, research-based projects through my studio Unspace, sometimes extending into public showcases and curated exhibitions.
What type of design work do you enjoy the most and why?
I most enjoy experimental furniture and spatial objects that explore modularity, reusability, and emotional resonance. These projects give me room to prototype, rethink purpose, and connect form with deeper material narratives. I find joy in uncovering the hidden value of discarded items.
What are your future plans? What is next for you?
I’m currently preparing for a solo installation titled “Az No”, which will open next month and explore how discarded materials can be transformed into poetic yet utilitarian objects. Looking forward, I aim to expand the Unspace design language into micro-interventions for urban and semi-public spaces, combining installation and function in new ways.
Do you work as a team, or do you develop your designs yourself?
Most of my projects are self-initiated and independently developed, but I frequently collaborate with craftspeople, engineers, or technical fabricators depending on the scale and complexity. While the design intent and direction remain personal, execution often becomes collaborative.
Do you have any works-in-progress being designed that you would like to talk about?
Yes, aside from “Az No,” I’m working on a stackable seating system using reclaimed sheet metal and textile offcuts. It’s designed for adaptable layouts in communal spaces and challenges the idea of fixed furniture by allowing reconfiguration based on user behavior and context.
How can people contact you?
I can be reached via email at: shaianramesht@gmail.com Or through Instagram: @shaianramesht
Any other things you would like to cover that have not been covered in these questions?
I’d like to emphasize that design is not just an act of making, but an act of listening—to materials, to spaces, to silence, and to waste. My hope is that more designers, producers, and users embrace the beauty of imperfection and the necessity of reuse—not just as a constraint, but as a philosophy of care.

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