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Editor Frank Scott (FS) from DesignPRWire has interviewed designer Nima Keivani (NK) for A’ Design Award and Competition. You can access the full profile of Nima Keivani by clicking here. |
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Interview with Nima Keivani at Friday 13th of December 2024 ![]() FS: 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? NK: I have been immersed in the world of art and architecture from a very young age. Growing up in Iran, I was constantly surrounded by a rich cultural heritage, historic architectural marvels, and a profound visual language that influenced my understanding of spatial aesthetics and materiality. From as far back as I can remember, I was sketching forms, exploring patterns, and attempting to understand how spaces influence human experience. Even as a child, I found myself fascinated by how certain buildings evoked calmness, while others felt vibrant and energetic. This curiosity naturally led me to pursue architecture and design as my life’s work. I always had a deep desire to shape environments—whether through simple sketches or conceptual models—and to solve problems in creative ways. Early on, I realized that architecture could be a powerful medium to merge art, culture, technology, and society, and that realization solidified my path. So, yes, I have always wanted to be a designer in some form. The decision was less a career choice and more a calling—a natural extension of my curiosity and passion. FS: Can you tell us more about your company / design studio? NK: Keivani Architects is a design studio I co-founded with my brother, Sina, with a primary focus on architecture and interior design. Based in Tehran, our practice is dedicated to exploring how traditional Iranian architectural principles can be thoughtfully reinterpreted in a contemporary context. Over time, we have developed a body of work that is both distinctly rooted in our cultural heritage and forward-looking in its use of materials, technology, and form. Our firm is a collaborative environment where architects, designers, engineers, and craftsmen work together. We emphasize sustainable design, context-driven solutions, and an architectural language that balances innovation with respect for local culture and the environment. Our projects range from residential and commercial buildings to cultural and educational spaces, each approached with sensitivity to site, climate, and cultural narrative. We’ve received international recognition for our designs, which often feature a seamless integration of traditional craftsmanship, geometric exploration, and state-of-the-art technology. FS: What is "design" for you? NK: To me, design is a thoughtful and compassionate problem-solving process. It’s about creating environments that resonate with the human spirit, respond to practical needs, and engage with their cultural and ecological context. Design is not merely about aesthetics; it’s also about utility, sustainability, and meaning. A well-designed space should enhance human well being, foster connections, and inspire people. Ultimately, design is a bridge between imagination and reality—a way to shape the world so it better aligns with our aspirations and values. FS: What kinds of works do you like designing most? NK: I find the most joy in designing projects that allow for a deep dialogue with their surroundings—works that integrate natural elements, cultural references, and a strong narrative. Whether it’s a private residence that embodies a family’s heritage or a public building that aims to inspire a community, I gravitate toward projects with meaningful context. Designing spaces where tradition meets innovation and where people can truly feel at home—both emotionally and physically—is what I find most fulfilling. FS: What is your most favorite design, could you please tell more about it? NK: While I have been fortunate to work on many projects that are close to my heart, one standout is the “Orsi Residential Building” in Tehran. This project is a manifestation of our approach: blending Iranian architectural elements—like screens, geometry, and spatial layering—with contemporary functional demands. The façade’s interplay of solids and voids, the use of natural light, and the balance between privacy and openness create an environment that feels at once modern and deeply rooted in local traditions. The Orsi Building symbolizes the synthesis of past and future, form and function, and remains a personal milestone in our architectural journey. FS: What was the first thing you designed for a company? NK: Early in my career, I contributed to the interior layout for a small office space. Although modest in scale, it taught me the importance of understanding user needs, optimizing workflows, and considering how lighting, color, and material choice influence morale and productivity. That first corporate design experience underscored the power of design to transform even the most basic interior into an environment where people feel valued and motivated. FS: What is your favorite material / platform / technology? NK: I am drawn to natural materials like wood and brick due to their tactile qualities, cultural resonance, and versatility. Brick, in particular, is very common in Iranian architecture and can be adapted into intricate patterns that filter light and air. I also value new technologies—such as parametric design tools and sustainable building systems—that allow us to push the boundaries of what’s possible. The combination of traditional materials and advanced digital modeling or fabrication methods can yield truly unique, contextually rich solutions. FS: When do you feel the most creative? NK: I feel most creative when I’m fully engaged with a context—visiting a site at different times of day, absorbing the local atmosphere, or discussing user needs with a client. Creativity often emerges at the intersection of constraints and possibilities. Also, having quiet moments, perhaps early in the morning or late at night, helps me channel fresh ideas. Travel, art exhibits, and reading about history or philosophy can also trigger bursts of inspiration. FS: Which aspects of a design do you focus more during designing? NK: I focus first on spatial organization, how people will move through and interact with the environment. This includes the interplay of light, ventilation, and the relationship between indoor and outdoor spaces. Once I have a strong spatial concept, I delve into materials, details, and the finer aesthetic choices. In other words, I start with the ‘soul’ of the project—its conceptual foundation—before fine-tuning its personality. FS: What kind of emotions do you feel when you design? NK: Designing often evokes a sense of curiosity, excitement, and optimism. There’s also a reverence for the responsibility I hold—knowing that my decisions can affect how people live, work, and experience their daily lives. Sometimes I feel the tension of balancing various constraints—budget, regulations, client requests—but the overarching feeling is one of possibility and hope. FS: What kind of emotions do you feel when your designs are realized? NK: Seeing a completed project evokes pride, relief, and gratitude. Pride in the collaborative effort, relief that the concept has successfully become reality, and gratitude for everyone—clients, colleagues, craftsmen—who contributed to bringing it to life. It’s deeply rewarding to witness people occupying and enjoying a space you’ve envisioned. At those moments, architecture becomes more than sketches and renderings; it becomes part of people’s lived experience. FS: What makes a design successful? NK: A successful design resonates with users, respects its context, and endures both functionally and aesthetically over time. It addresses practical needs—comfort, safety, efficiency—while also uplifting the human spirit. If it can adapt to changing conditions, age gracefully, and continue to inspire, then it has truly succeeded. FS: When judging a design as good or bad, which aspects do you consider first? NK: My initial assessment focuses on the fundamentals: Does the design serve its intended purpose? Is it sensitive to its environment? Is it constructed responsibly and ethically, and does it improve the user’s quality of life? These core questions guide my evaluation before I consider stylistic choices or decorative elements. FS: From your point of view, what are the responsibilities of a designer for society and environment? NK: Designers hold a crucial role as stewards of cultural legacy and environmental sustainability. We must create buildings and products that not only look beautiful but also conserve resources, minimize environmental impact, and contribute positively to communities. This includes using sustainable materials, embracing energy-efficient solutions, supporting local craftsmanship, and designing inclusive, accessible spaces. Our responsibility extends beyond aesthetics; we are shaping the future of the planet and its societies through the spaces we create. FS: How do you think the "design field" is evolving? What is the future of design? NK: Design is becoming more interdisciplinary, collaborative, and technologically driven. We are witnessing the integration of artificial intelligence, parametric modeling, virtual reality, and sustainable innovations into the design process. The future lies in intelligent, responsive environments that adapt to changing needs, and in a heightened global awareness of environmental responsibility. I believe we will also see a renaissance of cultural specificity—designers revisiting traditions and local vernaculars, blending them seamlessly with contemporary methods to create meaningful, future-proof spaces. FS: When was your last exhibition and where was it? And when do you want to hold your next exhibition? NK: We’ve presented our work through various architectural forums and exhibitions over the years, both in Iran and internationally. For instance, our works have been featured in exhibitions and design conferences that highlight contemporary Iranian architecture. While I have a specific recent public exhibition to mention here in Venice, we’re always exploring opportunities to showcase our projects—whether through galleries, architecture biennales, or academic talks. I hope to participate in another international exhibition soon, where we can share our recent projects and engage in meaningful dialogue with the global design community. FS: Where does the design inspiration for your works come from? How do you feed your creativity? What are your sources of inspirations? NK: My inspirations come from a variety of sources: the intricate geometry of historic Persian architecture, the warm textures of local materials, global architectural discourse, and the natural landscape—mountains, deserts, and gardens. I feed my creativity by traveling, reading extensively about art, philosophy, and history, and staying updated with emerging technologies and design trends. Conversations with clients, craftsmen, and fellow architects also spark new ideas. It’s a continuous cycle of observation, reflection, experimentation, and learning. And also, Iran's rich literature, historical stories, and the roots of local and indigenous architecture are inspiring to me at many times. FS: 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? NK: My design style is a contemporary interpretation of Iranian architectural vocabulary, blending minimalist forms with culturally significant motifs and materials. I value simplicity, elegance, and spaces that feel both timeless and current. What led me down this path was the desire to create a language that pays homage to my cultural roots while embracing modern needs. The main characteristics are sensitive contextual response, geometric clarity, interplay of light and shadow, and the balanced use of materials like brick and wood. My approach is holistic—combining conceptual thinking, cultural referencing, technical rigor, and a human-centered focus. FS: 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? NK: I live and work primarily in Tehran, Iran. Iranian architecture is steeped in a millennia-old tradition of craftsmanship, geometric patterns, and poetic spatial concepts, and this cultural heritage deeply influences my designs. The advantage is having a wealth of historical precedents and artisanal skill sets to draw upon. There’s a rich narrative to explore and reinterpret. On the other hand, economic and regulatory challenges, evolving urban conditions, and resource constraints can sometimes limit design freedom. Still, these constraints often inspire more inventive solutions. FS: How do you work with companies? NK: When collaborating with companies—whether as clients or partners—we begin with extensive dialogue to understand their brand values, operational needs, and objectives. We then develop conceptual proposals, refine them through iterative feedback, and guide the project from design through construction and completion. Regular communication, transparency, and mutual respect define these relationships. We aim to become partners in their success, offering solutions that enhance both their physical environment and their identity. FS: What are your suggestions to companies for working with a designer? How can companies select a good designer? NK: Companies should seek designers who are good listeners, open-minded, and aligned with their values. Look for a portfolio that demonstrates not just beauty but also thoughtful problem-solving and consistency. Communication skills are crucial—designers who can articulate their vision and incorporate feedback effectively are more likely to deliver successful results. Finally, consider a designer’s understanding of sustainability, cultural context, and long-term adaptability. Trust and chemistry between the company and the designer are essential for a truly fruitful collaboration. FS: Can you talk a little about your design process? NK: My design process starts with understanding context: site conditions, cultural and historical background, user needs, and environmental factors. I then brainstorm concepts, sketch ideas, and refine these into more concrete proposals using digital modeling tools. Collaboration with my team and consultants ensures practicality. We test materials, lighting conditions, and structural systems. The process is iterative, balancing conceptual vision with real-world constraints. Finally, we detail every aspect and guide the project through execution, making adjustments as needed to maintain design integrity. FS: What are 5 of your favorite design items at home? NK: A handcrafted ceramic vase made by a local artisan—it embodies traditional craftsmanship and personal history. A classic Persian carpet with intricate geometric patterns that inspire my architectural details. A well-designed reading chair—ergonomic yet elegant, encouraging quiet reflection. A minimalistic floor lamp with a warm LED light that enhances mood and ambiance. A set of custom-designed shelves that blend form and function, showcasing books, art, and personal mementos. and some antique objects. FS: Can you describe a day in your life? NK: My typical day begins early, often with a morning walk to clear my mind before heading to the studio. The first part of the workday involves reviewing ongoing projects with my team, discussing design challenges, and coordinating with engineers or consultants. Later, I may meet clients or visit construction sites to oversee progress. Afternoons often include creative sessions—sketching, model-making, or exploring new materials. Evenings are for catching up on emails, reading architectural journals, or researching inspiration for future projects. I strive to maintain a balance—time for intense focus, for collaboration, and for personal enrichment. FS: Could you please share some pearls of wisdom for young designers? What are your suggestions to young, up and coming designers? NK: First, embrace your cultural roots and personal experiences—they can become a powerful source of uniqueness. Stay curious; never stop learning about art, technology, history, and human behavior. Practice empathy and always consider how your designs will affect the people who use them. Learn to communicate your ideas clearly, both visually and verbally. Don’t shy away from challenges or constraints; use them as catalysts for innovation. Finally, understand that good design is a process, not just a product. Patience, persistence, and humility will guide you to excel over time. And be like a crazy about your ideas. FS: From your perspective, what would you say are some positives and negatives of being a designer? NK: On the positive side, being a designer allows you to shape the world in tangible, meaningful ways. You get to combine creative thinking with real-world impact and see your visions improve lives. It’s deeply fulfilling to turn abstract ideas into built realities. On the negative side, design can be demanding, requiring long hours, patience with constraints, and the delicate juggling of client expectations, budgets, and timelines. There’s also the emotional toll of seeing brilliant concepts sometimes compromised due to external factors. But these challenges often fuel resilience and creativity. FS: What is your "golden rule" in design? NK: My golden rule is to design with integrity and empathy. Every decision—whether spatial, material, or aesthetic—should serve the people who will inhabit the space and respect the environment it occupies. If you remain true to this principle, your designs will naturally be more meaningful, enduring, and impactful. FS: What skills are most important for a designer? NK: A designer needs a balanced set of skills: creative vision, technical proficiency, and strong communication abilities. Understanding materials, construction methods, and sustainable principles is essential. Equally important is empathy—truly grasping user needs—and adaptability, allowing you to evolve as new technologies and social conditions arise. Strategic thinking, time management, and the capacity to work collaboratively are also crucial. FS: Which tools do you use during design? What is inside your toolbox? Such as software, application, hardware, books, sources of inspiration etc.? NK: My toolbox is multifaceted. It includes traditional tools like sketchbooks, pens, and physical models to quickly test ideas. On the digital side, we use CAD software, BIM platforms, parametric design tools like Grasshopper, and rendering applications for visualization. I maintain a personal library of architecture and art books, as well as journals on philosophy, history, and culture. Inspiration also comes from online archives, architectural databases, and visits to museums and historical sites. Finally, collaboration with artisans and material suppliers provides hands-on knowledge that shapes design decisions. FS: Designing can sometimes be a really time consuming task, how do you manage your time? NK: I prioritize tasks, break them down into manageable segments, and set clear milestones. Effective delegation within my team ensures that everyone contributes their expertise. I also schedule regular reviews and deadlines to keep projects on track. I believe in maintaining a healthy work-life balance because stepping away from work momentarily can renew creativity. Good time management is as much about efficiency as it is about preserving your mental and emotional well-being. FS: How long does it take to design an object from beginning to end? NK: The time frame varies greatly depending on the scale and complexity of the project. A small piece of furniture or a single-family home might take a few weeks to conceptualize and detail, while a larger building could span months or even years from initial sketches to final construction documents. We tailor our process and timeline to the project’s needs, complexities, and the pace of our collaborators. FS: What is the most frequently asked question to you, as a designer? NK: Clients and students often ask, “How do you balance creativity with practicality?” or “How can we ensure that our project remains true to the initial concept when confronted with real-world challenges?” This is a core inquiry, touching on the heart of architectural practice—the delicate dance between imagination, constraints, and execution. And another most repeated question is, how we can win international awards! FS: What was your most important job experience? NK: One of the most pivotal experiences was working on projects that required integrating traditional Iranian building techniques with modern construction methods. This experience taught me the value of cultural continuity and how technical innovation can enhance, rather than overshadow, vernacular wisdom. Such projects refined my approach and solidified the core philosophy of Keivani Architects. FS: Who are some of your clients? NK: Our clients range from private homeowners and entrepreneurs to corporations and cultural institutions. We work with individuals and organizations who appreciate culturally resonant, sustainable, and innovative designs. Our portfolio includes both local Iranian clients and international collaborations, all seeking a unique architectural identity that reflects their values and aspirations. FS: What type of design work do you enjoy the most and why? NK: I particularly enjoy projects that challenge conventions and invite a deeper cultural or environmental narrative. Whether that’s a civic building that engages the community, a residence that reinterprets traditional courtyard typologies, or a workspace that promotes well-being through biophilic design elements—I relish opportunities to push boundaries. Such projects often bring out the best in our team and yield richer, more meaningful outcomes. FS: What are your future plans? What is next for you? NK: I aim to continue refining our firm’s architectural language, deepening our approach to sustainable design, and exploring new materials and technologies. I’m also interested in more international collaborations, exhibitions, and academic engagements to share insights and learn from a global community. The future involves expanding our repertoire—designing more public spaces and cultural projects that foster dialogue, well-being, and environmental stewardship. FS: Do you work as a team, or do you develop your designs yourself? NK: While I provide creative direction and maintain a strong personal vision, our designs are ultimately a team effort. Architects, engineers, designers, interns, and consultants all contribute their expertise. I believe in a collaborative studio culture where ideas can flow freely, be debated, refined, and improved. This synergy leads to better, more holistic design solutions. FS: Do you have any works-in-progress being designed that you would like to talk about? NK: Yes, we are currently working on a few projects that embody our core philosophies—most notably, a residential complex that integrates green terraces, traditional Iranian courtyard principles, and contemporary energy-efficient systems. We are also designing an educational facility that aims to create inspiring, flexible learning environments infused with natural light and local craftsmanship. Though still in development, these projects represent exciting milestones as we continue to bridge heritage, innovation, and sustainability. FS: How can people contact you? NK: I’m always open to discussing potential collaborations, sharing insights, and engaging in conversations about architecture and design. You can reach out to me and my team in the following ways: Website: www.keivani-architects.com Email: keivani.architects@gmail.com Cell Phone (Iran): +98 912 183 4347 Whether you’re a fellow designer looking to exchange ideas, a potential client with a new project in mind, or a student seeking mentorship, I welcome you to get in touch. My team and I value constructive dialogue and look forward to building relationships that foster innovation and creativity. FS: Any other things you would like to cover that have not been covered in these questions? NK: One area I am passionate about—and would like to emphasize—is the educational and community impact of architecture. Beyond the aesthetics, I believe architects can play a key role in shaping public awareness about sustainability, cultural heritage, and social responsibility. This goes beyond our day-to-day practice and touches on: Mentorship & Education: I often engage with universities, design workshops, and community programs, offering lectures and critique sessions. Encouraging the next generation of architects and designers is essential for the continued evolution of our field. Sharing knowledge and experiences not only benefits students but also enriches my own perspective. Cultural Diplomacy: As an Iranian architectural firm, our works serve as a bridge between local traditions and international conversations. I see architecture as a form of cultural diplomacy—each building or project communicates aspects of our heritage while engaging global design trends. This enriches the world’s architectural tapestry and helps promote mutual understanding. Research & Publication: At Keivani Architects, we strive to create dialogues within the architectural community through research papers, articles, and exhibitions. Documenting traditional Iranian design principles and examining how they intersect with modern technologies can serve as valuable resources for others. I’m always exploring ways to contribute to global design discourse. Social & Environmental Advocacy: Architecture has a profound impact on communities and ecosystems. We continually seek more environmentally responsible solutions—from energy-efficient facades to locally sourced materials. We also advocate for inclusive design, aiming to create spaces that welcome diverse populations, regardless of age, ability, or cultural background. Awards & Recognition: While we appreciate the acknowledgments we’ve received—such as various architecture awards and features in design magazines—our focus remains on the integrity and purpose of each project. Still, these accolades do help us connect with a broader audience and initiate more impactful collaborations. All of these elements collectively inform who we are as designers, as teachers, and as community members. I believe it’s important to highlight that our mission goes beyond just creating buildings; it’s about fostering human connection, cultural identity, and ecological balance through the built environment.
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