Interview with Hamed Mahzoon

Hamed Mahzoon ("HM") interviewed on Monday, 15 December.

Could you please tell us about your experience as a designer, artist, architect or creator?

HM : I am an industrial designer and creative director with a professional focus on furniture and lighting design. Over the years, I have worked across concept development, product design, and creative direction, collaborating with brands and manufacturers while also initiating independent design projects. Alongside my studio practice at Rodis Design, I serve as Editor-in-Chief of Designooor, an independent lighting design media platform, where I have written and edited over one hundred critical texts on lighting and visual culture. My work has been recognized internationally through awards such as the ICONIC Award by the German Design Council, NYCxDesign Award, A’ Design Awards, and the International Design Awards (IDA).

How did you become a designer?

HM : Becoming a designer was a gradual but inevitable path. My interest in design began with an early fascination for objects, materials, and how form influences human behavior. Rather than a single defining moment, it was an internal drive to understand and improve everyday experiences that led me toward design. Formal education helped structure this curiosity, while professional experience refined it. Design became a way for me to translate observation, culture, and emotion into tangible outcomes.

What are your priorities, technique and style when designing?

HM : My priorities revolve around clarity of concept, material honesty, and emotional relevance. I begin each project by defining a strong conceptual core, ensuring that every formal and functional decision aligns with it. I combine hand sketching with digital modeling, using technology as a tool rather than a driver. Physical logic, proportion, and light behavior guide my process more than trends or visual noise.

Which emotions do you feel when designing?

HM : Designing is both meditative and energizing for me. The initial ideation phase brings excitement and curiosity, while development introduces a sense of discipline and responsibility. The most rewarding moment is when the concept reaches clarity and the design starts to feel inevitable. Designing fulfills me by turning abstract ideas into meaningful physical presence.

What particular aspects of your background shaped you as a designer?

HM : Writing, critical thinking, and editorial work have deeply shaped my design approach. Being involved in design criticism and analysis taught me to articulate ideas clearly and question assumptions. Cultural awareness, research skills, and the ability to communicate complex ideas have been as important as technical design skills in shaping my professional path.

What is your growth path? What are your future plans? What is your dream design project?

HM : My growth path is centered on deepening the relationship between design, human experience, and cultural context. I aim to develop more system-based lighting and furniture projects that engage with space, behavior, and emotion. A long-term goal is to realize large-scale lighting concepts for public and cultural spaces where design can influence collective experience.

What are your advices to designers who are at the beginning of their career?

HM : Young designers should focus on building depth rather than speed. Understanding materials, processes, and context is more important than quick visibility. Patience, critical thinking, and consistency are essential. Learning how to articulate ideas clearly is as important as designing them.

You are truly successful as a designer, what do you suggest to fellow designers, artists and architects?

HM : Long-term success comes from developing a clear point of view. Designers should resist superficial differentiation and instead invest in understanding why they design. Staying curious, questioning one’s own work, and continuously refining conceptual clarity are key professional practices.

What is your day to day look like?

HM : My days usually start with research and reading, followed by design development, sketches, and digital work. Editorial responsibilities at Designooor often overlap with studio work, creating a constant dialogue between theory and practice. Small moments of reflection, observation, and writing keep the day intellectually balanced.

How do you keep up with latest design trends? To what extent do design trends matter?

HM : I observe trends analytically rather than follow them directly. Trends can reveal social and technological shifts, but they should not dictate design decisions. I prioritize timeless concepts and meaningful narratives over seasonal aesthetics.

How do you know if a product or project is well designed? How do you define good design?

HM : Good design is coherent. When form, function, material, and concept align naturally, the design feels resolved. I look for clarity, purpose, and restraint. If a design communicates its intention without explanation, it is usually successful.

How do you decide if your design is ready?

HM : A design is ready when further changes no longer add meaning. While perfection is unattainable, there is a moment when the design achieves balance and confidence. I consider feedback, functionality, and conceptual integrity before finalizing any project.

What is your biggest design work?

HM : Rather than a single project, my most significant works are those that successfully integrate concept, emotion, and usability, particularly in lighting design. Projects like CrownShell and BrightCell Air represent milestones where research, narrative, and form converged meaningfully.

Who is your favourite designer?

HM : I admire designers who think beyond objects and influence culture through design thinking. Figures who approached design as a philosophical and human-centered discipline have had the greatest impact on my perspective.

Would you tell us a bit about your lifestyle and culture?

HM : Culture plays a strong role in my work. I am influenced by architectural heritage, craftsmanship, and contemporary urban life. Music, reading, and visual culture are integral parts of my creative routine. Design, for me, is inseparable from daily life and cultural observation.

Would you tell us more about your work culture and business philosophy?

HM : I value clarity, respect, and shared vision in collaborations. Whether working alone or with teams, transparency and intellectual alignment are essential. I look for partners who understand design as a long-term investment rather than a short-term solution.

What are your philanthropic contributions to society as a designer, artist and architect?

HM : Through Designooor, I contribute by sharing free critical content, supporting emerging designers, and fostering informed dialogue around lighting and design culture. Knowledge-sharing and education are important forms of contribution within the design community.

What positive experiences you had when you attend the A’ Design Award?

HM : Participating in the A’ Design Award provided international visibility, professional validation, and meaningful connections. Design competitions encourage reflection, elevate standards, and create platforms where ideas can reach broader audiences. Being recognized as Designer of the Day represents both an honor and a responsibility to contribute thoughtfully to the global design discourse.

Hamed Mahzoon Profile