Bahador Kashani Madani

LEGENDARY INTERVIEW

Design Legends ("DL") had the distinct honour to interview legendary designer Bahador Kashani Madani ("BKM") for their original perspective and innovative approach to design as well as their creative lifestyle, we are very pleased to share our interview with our distinguished readers.

DL: Could you please tell us a bit about your design background and education?

BKM : I hold a Bachelor's degree in Mechanical Engineering and a Master's degree in Architectural Engineering. This unique combination of disciplines has significantly influenced my design approach

DL: What motivates you to design in general, why did you become a designer?

BKM : My primary motivation to become a designer was my father—he was a renowned architect in Iran, and growing up around his work had a profound impact on me. Watching his passion, creativity, and the way he could shape the world around him through architecture inspired me from an early age. Beyond that, I’ve always been deeply drawn to the act of creation itself—the process of turning an abstract idea into a tangible form that can affect people’s lives

DL: What do you design, what type of designs do you wish to design more of?

BKM : I primarily focus on architectural design, and one of my core principles is responding thoughtfully to the context and cultural background of each project. I have a deep appreciation for vernacular architecture and how it reflects the identity and traditions of a place. At the same time, I am also strongly drawn to modern, functional architecture—designs where form follows function and unnecessary elements are avoided. Most of my projects in Iran embody a synthesis of these two values. They represent what I would call a form of contemporary Iranian architecture—modern in expression, yet rooted in local identity and adapted to the environment. I am especially interested in continuing to explore this balance, designing more projects that harmonize contextual sensitivity with modern functionality.

DL: What should young designers do to become a design legend like you?

BKM : The single most important step is active study through close observation. Spend time with well-designed buildings—walk the city, enter the spaces, linger, sketch, photograph, and ask why every line, joint, or material choice exists. Let the built environment become an open-air classroom where you train your eye for proportion, detail, and context. Combine this daily field research with reading, drawing, modeling, and hands-on experimentation; theory means little until you verify it against real architecture. Record what you discover, question established solutions, and seek mentors who push you further. Over years, this disciplined curiosity turns raw talent into informed intuition—exactly the quality that elevates a designer from practitioner to legend.

DL: What distinguishes between a good designer and a great designer?

BKM : What truly distinguishes a good designer from a great one is attention to detail. While a good designer may solve the overall problem and create a functional and aesthetically pleasing solution, a great designer goes further—carefully considering every small element, every transition, every material joint, and how all parts work together in harmony. Great design is often invisible at first glance—it’s felt in how natural and effortless the experience is. That level of clarity and refinement comes only from a deep commitment to detail, precision, and craftsmanship. It’s in the quiet discipline of perfecting what others might overlook that a designer becomes truly exceptional.

DL: What is the value of good design? Why should everyone invest in good design?

BKM : The value of good design is immense—it directly impacts the quality of life, behavior, and even the emotional well-being of individuals and communities. As designers, we are morally obligated to offer the best possible solutions, because design doesn’t just affect one person—it shapes the lives of many. A poorly designed building, space, or product can lead to confusion, discomfort, inefficiency, or even harm. In contrast, thoughtful and well-executed design can inspire, heal, and uplift. This is why investing in good design is not a luxury; it is a necessity. The long-term cultural, social, and economic benefits far outweigh the initial cost. In short, good design is not just about beauty—it's about responsibility.

DL: What is the dream project you haven’t yet had time to realize?

BKM : My dream project is to restore and redefine a well-known, historically valuable old building. I am passionate about breathing new life into architecture that holds cultural and historical significance, while adapting it thoughtfully to contemporary needs. This kind of project offers a unique challenge—balancing preservation with innovation, respecting the past while creating something meaningful for the present and future. I believe such work can deeply connect people to their heritage and inspire new ways of living and experiencing space.

DL: What is your secret recipe of success in design, what is your secret ingredient?

BKM : My secret ingredient for success in design is being physically present at the project site—repeatedly and at every key stage of the design process. No amount of drawings, photos, or maps can replace the insights gained from walking the site, feeling its scale, observing its surroundings, and absorbing its atmosphere. Equally important is the willingness to revisit the design again and again, to question assumptions, refine concepts, and allow the project to evolve naturally. I believe good design is not a straight line—it’s a process of continuous return, reflection, and refinement. That persistence and deep engagement with the place are what give the final design its strength and clarity.

DL: What are your favorite designs by other designers, why do you like them?

BKM : The works of Peter Zumthor have always been a profound source of inspiration for me. His designs embody the full spectrum of what I consider to be the values of great architecture—from the conceptual idea and intellectual depth behind the project, to the emotional atmosphere, material choices, and meticulous attention to detail. Zumthor’s work doesn’t just look beautiful—it feels meaningful. Every element, every texture, and every spatial transition is deliberate and thoughtfully integrated. He creates buildings that engage the senses and resonate on a human, almost poetic level. That balance of philosophy, function, and feeling is what I deeply admire and aspire to in my own work.

DL: What is your greatest design, which aspects of that design makes you think it is great?

BKM : Each of my projects contains elements that I feel personally connected to—details, ideas, or spaces that I deeply care about. But if I had to choose one, the Tamrin Space Cultural Center stands out as the project I feel most emotionally close to. What makes it special is not just the design itself, but the entire journey: the nature of the project, the unique relationship with the client, and the thoughtful process of redesign and transformation. It was a project where I could truly engage both intellectually and emotionally, and that level of involvement brought out something deeply meaningful. It reflects not only my design values but also my personal growth as a designer.

DL: If you hadn’t become a designer, what would you have done?

BKM : If I hadn’t become a designer, I would have likely become a filmmaker. In my youth, I was deeply passionate about cinema—I saw filmmaking as a unique, interdisciplinary art form that brings together all the other arts: visual storytelling, music, architecture, writing, rhythm, and emotion. Later, when I discovered architecture, I realized it shared many of the same qualities: it tells stories through space, it shapes experiences, and it requires a balance of logic, creativity, and emotion. In a way, I feel that both filmmaking and architecture are about directing human experience—one through time and narrative, the other through space and atmosphere.

DL: Who helped you to reach these heights, who was your biggest supporter?

BKM : First and foremost, I owe everything to my family and the environment my parents created for me and my brothers. My father laid the foundation—not just through his profession as an architect, but through the values he instilled in us. After his passing, my mother became both a mother and a father to us. Her strength, support, and unwavering presence were a guiding force in our lives. My brothers, who have also been my collaborators in various projects, trusted me and stood by me every step of the way. Their belief in my ideas gave me confidence and courage. And finally, my wife, who at different points in my journey, reminded me of my purpose and helped rekindle my motivation when I needed it most. I’ve never walked this path alone—and for that, I am deeply grateful.

DL: What’s your ultimate goal as a designer?

BKM : My ultimate goal as a designer is simple yet deeply personal: to be the best version of myself for as long as I can—to keep pushing my limits and dedicating all my energy and creativity to the act of making. Design, for me, is not just a profession—it’s a lifelong commitment to growth, exploration, and meaningful contribution. As long as I am able, I want to continue creating with purpose, honesty, and care—always striving to offer something valuable, however small, to the world around me.

DL: How does design help create a better society?

BKM : Design—especially architecture, but not limited to it—plays a vital role in shaping society. Along with other art forms, it has the responsibility to cultivate culture and influence public taste. Good design can uplift everyday life, promote dignity, and foster a sense of identity and belonging. When we design thoughtfully, we don’t just create objects or buildings—we shape the environment where values are lived and experienced. Design can encourage social interaction, inclusivity, sustainability, and beauty in everyday life. In that sense, designers are cultural contributors and shapers of collective memory. It’s not just about aesthetics—it’s about shaping the way people live, feel, and connect.

DL: How long does it take you to finalize a design project?

BKM : It really depends on many factors. Sometimes the core concept reveals itself quickly and the design process flows naturally from that point. Other times, reaching that central idea requires more time, exploration, and iteration. Each project has its own pace, influenced by the context, complexity, the client’s vision, and even emotional and intuitive responses. I’ve learned not to force a design to “arrive” too quickly. Good ideas often take time to mature, and I value that process just as much as the final outcome.

DL: When you have a new design project, where do you start?

BKM : For me, every design begins with research and site presence. I start by studying the project thoroughly—its function, context, users, and constraints. But most importantly, I try to be physically present at the site early in the process. Walking through the space, observing its atmosphere, light, noise, surroundings, and feeling its energy allows me to connect with the project on a deeper level. This first-hand experience gives me insights that no drawing or map ever could. I believe that good design starts with listening to the place—and only then can meaningful ideas emerge.

DL: Do you think design sets the trends or trends set the designs?

BKM : I strongly believe that design sets the trends, not the other way around. It is the work of creative, intelligent, and forward-thinking individuals that defines what’s next. True design doesn't follow—it leads. It challenges conventions, introduces new perspectives, and opens doors to possibilities that people may not have imagined yet. While trends may reflect popular taste at a given time, meaningful design shapes culture at a deeper level. It anticipates needs before they are voiced and responds with clarity and purpose. In that sense, design is not a reflection of trends—it is the force that creates them.

DL: What is the role of technology when you design?

BKM : Technology plays a crucial and transformative role in my design process. It’s one of the primary forces that drives architecture—and all the arts—forward, pushing them into new phases of possibility and expression. From digital modeling and simulation to material innovation and construction techniques, technology expands our ability to think, visualize, and build in ways that were once unimaginable. But beyond tools and software, technology also influences how people live, interact, and experience space—so as designers, we must understand and engage with it meaningfully. I see technology not as a substitute for creativity, but as a powerful partner in the creative process.

DL: What kind of design software and equipment do you use in your work?

BKM : I currently use a range of traditional and digital design tools, including architectural modeling software, CAD programs, and 3D visualization tools. While I haven’t yet fully integrated AI into my workflow, I strongly believe that its role in design is inevitable and rapidly growing.

DL: What do you wish people to ask about your design?

BKM : I wish people would ask about the details we carefully considered and worked hard to execute in the best possible way. Often, the true value of a design lies in these subtle elements—those thoughtful choices and refinements that may not be immediately visible but greatly influence the experience and functionality. By asking about these details, people can better understand the depth and intention behind the work, and appreciate the care and dedication invested in creating something meaningful and lasting.

DL: Which books you read had the most effect on your design?

BKM : I’m not sure if any specific book has directly influenced my design work, but “The Little Prince” (Le Petit Prince) has had a significant impact on my outlook on life.

DL: Irrelative of time and space, who you would want to meet, talk and discuss with?

BKM : Regardless of time and space, I would love to meet, talk, and discuss with the great Persian poets like Saadi and Hafez. I am deeply fascinated by what went on in the minds of these brilliant artists and thinkers—how they were able to create such timeless masterpieces that continue to inspire people across generations. Their profound understanding of human nature, life, and spirituality would be an incredible source of insight and inspiration for any creative mind.

DL: How do you feel about all the awards and recognition you had, is it hard to be famous?

BKM : I believe that media and publicity play the biggest role in gaining fame, and not necessarily the effort and art of the artist alone. While awards and recognition are valuable and encouraging, becoming truly well-known often depends on how effectively the work is communicated and shared with the public. Fame can be both a blessing and a challenge, but ultimately, I focus more on the quality and sincerity of my work rather than the spotlight it receives.

DL: What is your favorite color, place, food, season, thing and brand?

BKM : Favorite color: Green Favorite place: My homeland, Iran Favorite food: Kebab Favorite season: Autumn

DL: What makes your day great as a designer, how do you motivate yourself?

BKM : The most important source of motivation for me as a designer is music. A great day happens when I’m inspired and energized by the right sounds, which help me focus, spark creativity, and keep my enthusiasm high throughout the design process. Music sets the tone and mood, making even challenging tasks feel more enjoyable and rewarding.

DL: When you were a little child, was it obvious that you would become a great designer?

BKM : As a child, I was good at drawing and had a strong sense of observation. I paid attention to the details around me and enjoyed expressing ideas visually. Looking back, these were probably early signs that I would pursue a creative path. While it wasn’t certain at the time that I would become a designer, those abilities definitely pointed in that direction.

DL: What do you think about future; what do you see will happen in thousand years from now?

BKM : To be honest, I prefer not to think too much about the distant future. Not just in art, but in many aspects of life and the world, things don’t seem to be heading in a very hopeful direction. The increasing complexity, disconnection from nature, and overwhelming speed of change make it difficult to imagine a thousand years from now with optimism.

DL: Please tell us anything you wish your fans to know about you, your design and anything else?

BKM : I want my fans and others to know that I truly have no special advantage or superiority over anyone else—and I emphasize that. Every person has the potential to be their best in their own field and in their own way.