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Interview with Hamed Mahzoon |
Home > Designer Interviews > Hamed Mahzoon |
Editor Frank Scott (FS) from DesignPRWire has interviewed designer Hamed Mahzoon (HM) for A’ Design Award and Competition. You can access the full profile of Hamed Mahzoon by clicking here.
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?
HM: My background is in industrial design, with a long-term focus on furniture and lighting. From the beginning, I was less interested in decoration and more interested in understanding how objects influence human behavior, perception, and emotion. I did not grow up dreaming of becoming “a designer” as a label, but I was always driven by curiosity toward form, structure, and meaning. Design became the most precise way for me to translate observation into something tangible and useful.
FS: Can you tell us more about your company / design studio?
HM: Rodis Design is a product-oriented design studio where I serve as Creative Director. The studio focuses on furniture and lighting design, working closely with manufacturers and brands to develop products that balance concept, production realities, and long-term relevance. We are not interested in fast trends; our approach emphasizes clarity, material honesty, and designs that can age with dignity.
FS: What is "design" for you?
HM: Design, for me, is a structured way of thinking rather than a visual outcome. It is the act of making conscious decisions under constraints. Good design is not about adding more, but about deciding what is necessary and what should be removed. It sits between logic and emotion.
FS: What kinds of works do you like designing most?
HM: I am most engaged when designing furniture and lighting because these objects exist in constant dialogue with the human body and space. They are used daily, often unconsciously, which gives them a strong psychological and emotional impact. This responsibility makes the design process more meaningful to me.
FS: What is your most favorite design, could you please tell more about it?
HM: One of the projects that best represents my design philosophy is Crown Shell. This sofa was conceived as an exploration of balance between strength and comfort, presence and intimacy. The form draws inspiration from the natural geometry of a seashell and the symbolic notion of a crown, not as decoration, but as structure and meaning. The circular black anodized metal frame acts as a continuous backbone, defining both stability and movement, while the upholstered shell embraces the body in a calm, protective gesture. The choice of materials was deliberate: metal for structural clarity and longevity, and velvet for tactile warmth and emotional contrast. What makes Crown Shell particularly significant to me is not only its sculptural identity, but the way it negotiates ergonomics, rotation, and spatial presence without becoming visually aggressive. Every detail, from the curvature to the stitching and proportions, was refined to ensure that the object communicates quietly yet confidently. Its international recognition confirmed that the project resonated beyond aesthetics, addressing comfort, symbolism, and function as a cohesive whole. For me, Crown Shell is less about being a statement piece and more about demonstrating how concept, material logic, and user experience can coexist without compromise.
FS: What was the first thing you designed for a company?
HM: My first professional project was a product developed under strict technical and budget limitations. It was an important lesson in understanding that design is not about ideal conditions, but about intelligent compromises.
FS: What is your favorite material / platform / technology?
HM: I am drawn to materials that reveal their nature honestly and age gracefully. In lighting, I am particularly interested in technologies that allow precise control of light quality without overpowering the form or experience.
FS: When do you feel the most creative?
HM: Creativity usually comes after periods of deep observation and research. I feel most creative when I have mental space, when there is time to think slowly and without constant external noise.
FS: Which aspects of a design do you focus more during designing?
HM: I focus heavily on proportion, material logic, and intention. If these elements are resolved properly, aesthetics emerge naturally instead of being imposed.
FS: What kind of emotions do you feel when you design?
HM: Designing is more analytical than emotional for me. It involves concentration, doubt, and continuous questioning. Satisfaction comes later, often very quietly.
FS: What kind of emotions do you feel when your designs are realized?
HM: Designing is more analytical than emotional for me. It involves concentration, doubt, and continuous questioning. Satisfaction comes later, often very quietly.
FS: What makes a design successful?
HM: A successful design functions effortlessly, communicates without explanation, and remains relevant over time. If it does not demand attention, but still holds presence, it has succeeded.
FS: When judging a design as good or bad, which aspects do you consider first?
HM: I first look at intention and honesty. Does the design truly serve its purpose? Is it pretending to be something it’s not? If those fail, appearance becomes irrelevant.
FS: From your point of view, what are the responsibilities of a designer for society and environment?
HM: Designers are responsible for minimizing waste, questioning unnecessary production, and improving daily life instead of contributing to visual and material pollution. Every object introduced into the world carries responsibility.
FS: How do you think the "design field" is evolving? What is the future of design?
HM: The design field is moving toward accountability. Sustainability, transparency, and ethical production are no longer optional. The future of design will favor depth over speed and responsibility over spectacle.
FS: When was your last exhibition and where was it? And when do you want to hold your next exhibition?
HM: Recently, my focus has been more on product launches and curated design presentations rather than traditional exhibitions. Future exhibitions, if held, will likely be concept-driven rather than retrospective showcases.
FS: Where does the design inspiration for your works come from? How do you feed your creativity? What are your sources of inspirations?
HM: Inspiration comes from architecture, visual culture, everyday rituals, and critical writing. Writing and editing for Designooor has also become an essential way for me to sharpen my thinking and feed my creativity.
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?
HM: My style is restrained, material-focused, and conceptually grounded. I avoid decorative gestures and focus on clarity, balance, and emotional calm. My approach is analytical first, visual second.
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?
HM: Yes, cultural context inevitably shapes perspective. Living in a place where tradition and modernity constantly intersect has made me sensitive to continuity, restraint, and meaning. The challenge is limitation; the advantage is depth.
FS: How do you work with companies?
HM: Through structured collaboration, clear communication, and shared responsibility. A successful partnership depends on mutual trust and aligned values.
FS: What are your suggestions to companies for working with a designer? How can companies select a good designer?
HM: Companies should approach design not as a service to be bought, but as a strategic partnership. A good company frames design briefs in terms of real insight into user behaviors, context, and long-term value, rather than superficial aesthetic lists. Selecting a good designer isn’t about portfolio shine or trendy visuals; it’s about understanding how that designer thinks. A strong candidate explains not only what they made, but why they made it, what constraints shaped their decisions, and how they measured success. Designers who can articulate intentions, limitations, and alternatives demonstrate maturity. Companies that invest time in clear briefs and open collaboration often see smarter outcomes, because design is fundamentally an iterative process of questioning and refinement, not a once-off execution.
FS: Can you talk a little about your design process?
HM: My design process begins with questions, not sketches. I start by defining the problem, identifying stakeholders, and understanding context deeply. After that, extensive research — visual, material, cultural — lays the groundwork. Prototyping is never an afterthought; it’s a core part of refinement, allowing ideas to be tested materially and spatially. Each iteration is evaluated against clarity of intention, functional logic, emotional resonance, and long-term relevance. I see every stage as a conversation between constraints and possibilities — design is about negotiation, not imposition. While tools change, this mindset remains constant.
FS: What are 5 of your favorite design items at home?
HM: My home collection reflects the same values I pursue professionally: pieces that feel quiet yet purposeful. I gravitate toward furniture that speaks through proportion and material integrity rather than ornamentation; lighting that subtly shapes atmosphere; objects that reveal character as they age. Among these, a modular seating piece that adapts to changing living patterns; a task lamp that balances direct function with calm ambient glow; a hand-thrown ceramic vessel; a chair shaped by human scale rather than stylistic trend; and a bookstand that invites touch and reflection. Each embodies restraint, utility, and a quiet emotional clarity.
FS: Can you describe a day in your life?
HM: My days are structured around thinking blocks, not tasks. I begin with reading and writing — both essential for sharpening perception and language. Mornings are often dedicated to design development, sketching, modeling, or critiquing ongoing work. Afternoons involve collaboration: calls with partners, reviews with engineers or manufacturers, or mentoring emerging designers. Evenings are quieter: research, reading, reflection. Unlike a typical “nine-to-five,” design work spills into thought as a continuous thread, but maintaining balance guards against noise and preserves creative depth.
FS: Could you please share some pearls of wisdom for young designers? What are your suggestions to young, up and coming designers?
HM: A young designer’s greatest asset is patience paired with critical self-reflection. Learn fundamentals deeply — proportion, material behavior, ergonomics, light, and context — before chasing stylistic signatures. Develop a practice of asking better questions: Why? For whom? Under what constraints? Don’t fetishize rapid output; depth always outlasts noise. Seek mentors, but don’t mimic them. Your strongest design voice emerges from sustained observation of people and environments, not from trends or imitation.
FS: From your perspective, what would you say are some positives and negatives of being a designer?
HM: The positive side of design is the opportunity to shape lived experience — to create objects and environments that ease daily life, provoke thought, and nurture emotion. Design is intellectual play grounded in real human problems, which is rare among creative fields. The downside is persistent self-critique; designing well demands constant questioning of every decision, which can feel both exhausting and isolating. Designers carry the weight of responsibility — each object introduced into the world has environmental, cultural, and emotional implications.
FS: What is your "golden rule" in design?
HM: If it doesn’t need to exist, don’t design it. This rule isn’t about simplicity as a visual style; it’s about necessity. Every design decision should address a real user need, improve experience, or responsibly mediate a context. Excess is not elegance.
FS: What skills are most important for a designer?
HM: Critical thinking, empathy, and disciplined curiosity are non-negotiable. Technical skills — sketching, modeling, prototyping — are important, but they serve thinking, not overshadow it. The ability to listen, to reinterpret constraints as opportunities, and to communicate decisions clearly separates capable designers from outstanding ones.
FS: Which tools do you use during design? What is inside your toolbox? Such as software, application, hardware, books, sources of inspiration etc.?
HM: My toolbox spans analog and digital. Sketching remains foundational because it externalizes thought quickly. 3D modeling allows exploration of form and structure in space. Prototyping tools — physical and digital — test ideas materially. Books on philosophy, architecture, and design culture feed conceptual depth. Writing is a tool too; articulating ideas sharpens intention. Inspiration comes from observation, not screens — from lived environments, people, and materials.
FS: Designing can sometimes be a really time consuming task, how do you manage your time?
HM: Time management in design isn’t about scheduling tasks rigidly; it’s about allocating time for deep thinking. Early phases demand more time for research, reflection, and problem definition. Setting aside uninterrupted periods for these stages prevents misguided decisions later. Time spent up front saves time spent undoing weak ideas. I protect creative time fiercely; meetings and deliverables must bend around it, not vice versa.
FS: How long does it take to design an object from beginning to end?
HM: There is no fixed timeline. Some concepts resolve quickly if the intention is clear and constraints lean in their favor. Others take months of refinement, prototyping, and evaluation. What matters isn’t speed, but readiness — releasing a design prematurely compromises its integrity.
FS: What is the most frequently asked question to you, as a designer?
HM: People often ask “What inspired this?” Inspiration is rarely a singular event. For me, it’s a web of observations, experiences, and long periods of thought. Good design isn’t a snapshot of inspiration; it’s the outcome of persistent engagement with a question.
FS: What was your most important job experience?
HM: Leading projects where I was accountable not only for form, but for consequence — where design decisions affected manufacturing, sustainability, and user experience — was pivotal. These experiences taught me that design is systemic; good ideas must be feasible, responsible, and meaningful.
FS: Who are some of your clients?
HM: I have worked with international manufacturers and brands in furniture and lighting, alongside bespoke collaborations with studios and architects. Each client relationship is an opportunity to expand how design is understood and integrated into everyday life.
FS: What type of design work do you enjoy the most and why?
HM: I am most engaged by concept-driven work where narrative, function, and production logic align. This is where design moves beyond form into cultural relevance — where objects address real behaviors and rituals rather than surface aesthetics.
FS: What are your future plans? What is next for you?
HM: Looking ahead, I aim to focus on fewer but deeper projects that challenge norms and reconsider how environments support human well-being. This includes explorations in inclusive design — environments that are genuinely usable by people with varying abilities — and lighting systems that shape emotion and perception.
FS: Do you work as a team, or do you develop your designs yourself?
HM: Both. Strong ideas benefit from dialogue, critique, and diverse expertise. Collaboration with engineers, makers, and other designers enriches outcomes. At the same time, core conceptual thinking often emerges in focused individual work.
FS: Do you have any works-in-progress being designed that you would like to talk about?
HM: Currently, several lighting and furniture concepts are in development, each rooted in emotional clarity and material exploration. These projects aim to balance technological innovation with human sensibility and will be shared as they reach maturity.
FS: How can people contact you?
HM: People can connect through my website contact channels or professional networks for collaborations and inquiries.
FS: Thank you for providing us with this opportunity to interview you.
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