Sahar Bakhtiari Rad

Becoming a designer was not a random choice for me, but the natural result of a mental and emotional path that formed in me since childhood. Having a supportive family in the fields of art and music, and my older sister’s studies in art, played an important role in my admission to art high school. This path continued with studying Industrial Design at university. My serious entry into the world of design took place immediately after receiving my bachelor’s degree and starting professional work. The constant support and repeated encouragement of my husband, and his continuous presence by my side while being active in the production field, motivated me to continue my studies at the master’s level and establish my professional identity as a designer. I have always pursued the path of being a designer with deep conviction and certainty; and if given the chance to go back in time, I would wholeheartedly choose the same path again.

Our company and factory, with a background of experience and expertise in the field of design and architecture, is currently professionally active in the production of engineered wooden flooring using special types of wood. Alongside the production section, a specialized product design line featuring my own designs is also active, established with the aim of offering and producing unique and innovative designs. Our goal is to create products that, while respecting cultural authenticity, also respond to contemporary needs and technical standards. Our expertise in the wooden flooring industry, along with the sense of a lack of new and authentic designs based on the herringbone pattern but with a fresh and Iranian approach, was the main motivation behind my design of this product.

Design is not just a job for me; it is an inseparable part of my life and identity and who I am. For me, design is not merely about creating beauty and just form; rather, it is a combination of function, authenticity, identity, human experience, and the integration of technical and engineering principles.

I have a deep passion for designing across various fields and constantly strive to become a versatile designer. I enjoy exploring different types of products and prefer not to limit myself to a single category. For me, each project is a new opportunity to learn, create, and expand my design perspective.

Since the beginning of my professional journey, I have worked on various projects in the fields of architecture and interior design. However, my first design as a product designer was an office desk. What makes this project special and memorable for me is that it is not only my first design for a company, but also my very first experience participating in an international design competition—a competition that led to winning the Iron A’ Design Award. Although this award was not particularly remarkable in terms of success for me, it had a significant impact on boosting my self-confidence and provided a strong motivation to pursue a more professional path in product design and to gain expertise in this field, which is my area of interest and my future career goal.

I am interested in all kinds of materials and always eager to gain new experiences with each of them, explore different design possibilities, and discover innovative ways of using them, in order to eventually reach a deep and specialized understanding. However, wood has always been my favorite material. When it comes to technology, I truly value any advancement that facilitates and accelerates the process of turning ideas and designs into final products, and I welcome such progress. That said, using artificial intelligence for generating ideas and concepts is not appealing to me, as I see it as interference in the human and creative nature of design. However, when it comes to aspects that enhance the production process and improve the user experience, I am definitely open to pursuing and utilizing it. In the production phase, using advanced and precise machinery that can professionally improve the quality of a product is very important to me. Of course, this does not mean eliminating the role of humans in the process; rather, the goal is to reduce human error so that the final product can be delivered with the highest possible quality. In my designs, I always strive to preserve the spirit of nature, and in production, I seek to maintain the human touch—because I believe every creation should be alive, soulful, and capable of connecting with the audience.

I usually feel the most creative when I encounter a new product, a unique idea, an unfamiliar material, or an inspiring space. These moments naturally trigger my mind to start imagining, combining, and inventing new forms or solutions. Sometimes, just seeing the texture of a material or the light in a space can spark the beginning of a creative flow for me.

In the design process, my main focus is on the functionality of the form and material. It is important to me that every design, besides having an attractive appearance and form, also has a performance that corresponds to that form, with a clear meaning and reason behind the choice of that form and material. In fact, for me, material and form gain meaning through their functionality.

The challenges of each design are the most enjoyable feeling for me during the design process. These situations make me focus more, live with the challenge day and night, and ultimately find creative solutions.

My goal in seeing my designs realized and produced is to create a positive impact on the environment, inspire a shift in perspective and approach, and encourage a return to authenticity for a better life experience for users. When my ideas and creativity take physical form, I feel a deep sense of pride—and that pride becomes a powerful motivation for me to create even better designs in the future.

The success of a design lies in its ability to make an impact on the user’s life and environment. Since the primary goal of any design is to establish a connection with its audience, even a technically or aesthetically strong design is considered a failure if it fails to communicate with the user. However, this doesn’t mean blindly following the user’s opinion—because every design has the potential to directly influence the social mindset and cultural values of a society. Therefore, the most crucial part of the design process is offering a solution aligned with this perspective—one that addresses user needs while also creating value. Ultimately, a design can be considered truly successful when its impact goes beyond merely fulfilling the immediate needs of its target audience. It should resonate with people who may not directly need or use it, and even inspire future generations to discover deeper meanings of beauty, purpose, and value through it.

When evaluating a design, the most important point for me is how well it achieves maximum functionality through simplicity. By simplicity, I don’t necessarily mean just the form, but rather how effectively the purpose and concept of the design are conveyed to the user without unnecessary complexity. This simplicity can be reflected in various aspects such as technology, form, material, and more—but what truly matters is the innovation in how these elements are used to enhance functionality.

From my perspective, designers—as creators of products, services, and the environments people live in—play a significant role in promoting culture and preserving the environment. A designer’s responsibility is not merely to create new forms or aesthetic appeal, but to generate value and improve functionality in a way that enhances quality of life and cultural awareness, all while maintaining respect for the environment. Every design decision—from the choice of concept and its rationale, to the form and materials, production processes, costs, and ultimately the user experience—undoubtedly impacts people’s lifestyles, their relationship with their surroundings, and how resources are consumed. Beyond innovation, consistent attention to environmental considerations—not only in material selection but throughout every stage of the design process—must be a priority. In fact, the intelligent selection of ideas, as the first step, should be guided by the goal of preserving the environment and advancing culture, society, and behavior.

From my perspective, design is moving toward greater interactivity and a more precise understanding of user behavior, with an increased emphasis on sustainability, smart production, and the application of artificial intelligence across all fields. However, contrary to popular belief, I believe that despite its technological nature, future design will aim for a more human-centered and empathetic experience. Innovation will increasingly focus on responsibility toward environmental and cultural issues. As a result, future designers must be equipped with a deeper understanding of systems, human relationships, and global impacts.

I have participated in various exhibitions and events so far, but my presence in these events has not been specifically focused on showcasing my product designs. Currently, after winning the A’ Design Award, my goal is to organize a specialized event centered around product design, where I can unveil my award-winning piece. However, my ideal goal is to participate in prestigious cultural venues and specialized galleries around the world in order to build deeper connections with professional audiences and design enthusiasts. I see this path as the starting point of a more serious presence in the international design scene.

I always try to observe my surroundings carefully, pay attention to details, and explore various designs on the internet. Each of these can spark a new idea for me. Traveling has also always been a great source of design, as it offers me a fresh perspective on life, materials, culture, and the functions of design.

The world is full of designs, patterns, colors, and forms, but what considered to me as my design style and approach is my belief in the importance of functionality and the rationale behind choosing each idea and all aspects involved in the design process—from idea selection to materials, construction, and the user’s experience with the product. This means that the significance and value of a designer’s role is not merely about changing the lines of past products. The functionality of a chair is not just a place to sit; otherwise, the entire design process would be limited to shaping forms or copying existing designs. My design style focuses on multifunctionality—whether in the idea, form, materials, or production methods—to ultimately create a new and unique experience for the user.

I live in Iran and believe that the historical and cultural background of this country deeply influences my design process. I try to use the symbols and aesthetics rooted in Iranian culture to create a sense of authenticity and a distinct identity in my designs—an identity that can be understood and connected with by diverse audiences, both Iranian and international. One of the advantages of living in Iran is its cultural diversity, different ethnicity, diverse handicrafts, and unique local materials. These factors enable the formation of fresh ideas and their combination with contemporary design language, providing designers with a valuable opportunity to combine them with innovation—an approach I strive to apply in my design process. However, challenges and obstacles such as economic limitations, limited access to materials and modern technologies, and difficulties in international interactions cannot be overlooked. These challenges sometimes slow down or even make the process of designing, producing, and distributing works impossible, but I try to use them as motivation for idea generation.

I work independently under my own brand, focusing on designing, producing, and selling products that reflect my personal design identity and style. Therefore, I typically do not take on project-based collaborations with companies. However, in some cases, I may engage in partnerships related to material sourcing, co-production, or distribution through commercial platforms and companies. Still, the design and development of the products are entirely directed by my brand. My goal is to create a cohesive collection of products with a distinct design language and high-quality execution, which are directly introduced to the market.

I believe that effective collaboration between companies and designers happens when companies develop a deeper understanding of the designer’s role in the product creation process. A designer is not someone who simply executes a company’s ideas; rather, trust in the designer’s expertise is the most crucial element in a successful partnership. Carefully reviewing the designer’s portfolio, understanding their approach, and being transparent about expectations are essential steps that companies should take before starting a collaboration. This ensures that both sides can reach their goals in the best possible way. As someone who has experience working on commissioned designs with companies and now works independently under my own brand, I believe that when a designer is given creative freedom and trusted for their expertise, the outcome will not only be unique, but also more impactful—both functionally and emotionally.