Hamed Mahzoon

LEGENDARY INTERVIEW

Design Legends ("DL") had the distinct honour to interview legendary designer Hamed Mahzoon ("HM") 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?

HM : I am an industrial designer with a strong focus on furniture and lighting. My educational background was deeply rooted in design theory and practice, allowing me to explore various materials, processes, and user-centric design principles. Over the years, I’ve developed a refined approach to design that balances functionality, material honesty, and emotional clarity. This journey led me to become the Creative Director at Rodis Design, where I lead product and concept development.

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

HM : Design for me is a way to connect with people on an emotional level, to enhance their experience of the world through thoughtful and intentional creations. I became a designer because I’m fascinated by the potential of design to shape spaces, behaviors, and even cultural narratives. I wanted to create objects that are both functional and meaningful, that contribute to the quality of life in a subtle yet powerful way.

DL: Did you choose to become a designer, or you were forced to become one?

HM : It was always a conscious choice. From a young age, I was drawn to the process of creating and problem-solving, and design became a natural outlet for that curiosity. It wasn’t something I was forced into; it felt like a calling, and I’ve been fully immersed in it ever since.

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

HM : I design primarily furniture and lighting, always with a focus on functionality and cultural awareness. What excites me most is the opportunity to create pieces that influence both the aesthetic and functional aspects of a space. I’d love to explore more public space designs, where the interaction between people and objects becomes a more central theme.

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

HM : The key is dedication to your craft. Young designers should focus on building a solid foundation of skills while continuously pushing the boundaries of their creativity. It’s also important to stay curious and open to new ideas, technologies, and cultures. Seek mentorship, but also be brave enough to create your own path.

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

HM : A good designer solves problems efficiently, while a great designer creates something that resonates deeply with people, elevating the experience beyond mere functionality. Great designers often challenge the status quo and push the limits of their field, infusing their work with originality and emotional depth.

DL: What makes a good design a really good design, how do you evaluate good design?

HM : Good design is holistic—it should be functional, aesthetically pleasing, and considerate of the user’s experience. A really good design takes this further, integrating a sense of narrative or emotion that makes it memorable. I evaluate good design based on its balance between form and function, its sustainability, and how it enhances the lives of those who interact with it.

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

HM : Good design improves the quality of life. It’s not just about aesthetics; it’s about creating solutions that are both beautiful and functional, making everyday experiences better. Investing in good design is investing in your environment, your comfort, and ultimately your well-being.

DL: What would you design and who would you design for if you had the time?

HM : If I had unlimited time, I’d design more public spaces that foster community interaction—places where design serves a greater social purpose. I’d want to create environments that promote well-being, collaboration, and sustainability.

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

HM : I have always dreamed of creating a complete design ecosystem that integrates architecture, furniture, and lighting in a seamless experience. A space where design doesn’t just occupy the physical world but enhances the human experience through every detail.

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

HM : My secret ingredient is empathy. Understanding the needs and emotions of the people who will interact with my designs is essential. This empathy guides my decision-making process and ensures that my work connects with users on a deeper level.

DL: Who are some other design masters and legends you get inspired from?

HM : I draw inspiration from several design legends, including Charles and Ray Eames for their timeless approach to furniture design, and Ettore Sottsass for his bold, unconventional work in lighting. These designers combined functionality with emotion in a way that continues to influence me.

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

HM : One of my favorites is the Eames lounge chair, which strikes a perfect balance between comfort, craftsmanship, and elegance. It’s a great example of how design can be both beautiful and highly functional. I also admire the work of Zaha Hadid for her visionary approach to architecture and fluidity in form.

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

HM : I would say my greatest design is always evolving, but a recent project that stands out is a lighting collection I created that focuses on material honesty and light manipulation. It combines sculptural elements with a functional, sustainable approach. What makes it great is its ability to transform a space, not just through illumination, but by enhancing the mood and character of the environment.

DL: How could people improve themselves to be better designers, what did you do?

HM : Continuous learning and self-reflection are key. I push myself to explore new materials, technologies, and cultural contexts. The more you expose yourself to diverse perspectives, the better your designs will become. I also find it valuable to collaborate with other creatives to gain fresh insights.

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

HM : I would have likely pursued a career in the arts, perhaps in sculpture or architecture, as I’ve always been fascinated by the intersection of form, space, and functionality. Design is a natural extension of that curiosity.

DL: How do you define design, what is design for you?

HM : Design is the act of shaping the world around us in a way that improves the human experience. It’s a blend of problem-solving, creativity, and empathy that results in meaningful objects and spaces.

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

HM : My family and mentors have played a huge role in my development as a designer. Their guidance, critiques, and encouragement have been invaluable in shaping my career. I also owe a lot to the incredible teams I’ve worked with, who have helped bring my ideas to life.

DL: What helped you to become a great designer?

HM : A combination of hard work, curiosity, and a willingness to fail and learn from mistakes. Over time, I developed a unique design philosophy rooted in the belief that design should enhance the human experience while remaining true to its material and functional aspects.

DL: What were the obstacles you faced before becoming a design master?

HM : Like many designers, I faced moments of self-doubt and the challenge of building a portfolio that reflected my true style. The industry is competitive, and it took years of refining my skills and finding my unique voice in design to overcome these obstacles.

DL: How do you think designers should present their work?

HM : 21. How do you think designers should present their work? Designers should present their work as a coherent narrative, not a collection of isolated objects. Presentation is not about decoration or over-rendering, but about clarity. A good presentation explains intention, process, constraints, and decisions. It should show why a design exists, not just how it looks. Context, material logic, scale, and use must be visible. When presentation becomes louder than the idea, the design usually isn’t strong enough.

DL: What’s your next design project, what should we expect from you in future?

HM : I’m currently focused on expanding my work in furniture and lighting through more concept-driven collections. The direction is toward fewer objects, but deeper thinking behind each one. Future projects will likely explore the emotional role of light and furniture in everyday rituals, with a stronger emphasis on material experimentation and long-term usability rather than short-lived trends.

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

HM : My ultimate goal is to create designs that remain relevant beyond their launch moment. I’m not interested in being constantly visible; I’m interested in being durable. If my work can still make sense culturally, emotionally, and functionally years later, then I consider that success.

DL: What people expect from an esteemed designer such as yourself?

HM : People often expect confidence, consistency, and clarity of vision. More importantly, they expect responsibility. An experienced designer should not simply produce objects, but set standards, ask better questions, and contribute to a more thoughtful design culture. At a certain point, your role extends beyond personal output.

DL: How does design help create a better society?

HM : Design shapes behavior, access, and interaction. When done responsibly, it reduces friction in daily life and increases dignity in use. Design can encourage care, awareness, and sustainability, or it can promote waste and superficial consumption. A better society is built through many small, intelligent design decisions repeated over time.

DL: What are you currently working on that you are especially excited about?

HM : I’m particularly excited about projects where lighting is treated not as a technical requirement, but as a spatial and emotional medium. Projects that allow experimentation with shadow, material transparency, and indirect light are always the most rewarding for me.

DL: Which design projects gave you the most satisfaction, why?

HM : Projects that allowed enough time for research and refinement have given me the most satisfaction. Especially those where the final outcome felt inevitable, where every decision was justified and nothing felt arbitrary. Satisfaction comes when the design feels calm, resolved, and honest.

DL: What would you like to see changed in design industry in the coming years?

HM : I would like to see less obsession with speed and visibility, and more respect for depth and process. The industry needs to slow down and move away from constant novelty. Designers should be rewarded for thinking, not just producing content.

DL: Where do you think the design field is headed next?

HM : Design is moving toward greater responsibility. Sustainability, material transparency, and social impact are no longer optional. At the same time, technology will increasingly influence how we design, but the human experience must remain central. Tools will evolve, but judgment and sensitivity will always matter.

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

HM : There is no fixed timeline. Some ideas mature quickly, others need years. What matters is not speed, but readiness. A project is finished when further changes no longer improve it, only alter it.

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

HM : I start with questions, not sketches. Why does this object need to exist? Who is it for? What problem does it solve, emotionally and practically? Only after that do I move toward form and material.

DL: What is your life motto as a designer?

HM : Design less, think more. Remove what doesn’t matter. Keep what does.

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

HM : Trends exist whether designers like them or not. Weak designers follow them, strong designers understand them, and independent designers work around them. Meaningful design usually outlives trends rather than chasing them.

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

HM : Technology is a tool, not a goal. It expands possibilities, but it doesn’t replace judgment. I use technology to test, refine, and communicate ideas, but the core decisions are always human.

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

HM : I use a combination of 3D modeling, rendering, and prototyping tools depending on the project phase. Software is interchangeable; thinking is not. The tool never defines the design, it only serves it.

DL: What is the role of the color, materials and ambient in design?

HM : They define atmosphere and perception. Material is not a surface choice; it’s a structural and emotional decision. Color and ambient conditions shape how people feel and behave in a space. These elements must work together, not compete.

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

HM : I wish people asked more about intention and context, and less about style. Style is the result, not the starting point.

DL: When you see a new great design or product what comes into your mind?

HM : I usually think about how inevitable it feels. Good design often looks simple because the complexity has been resolved internally.

DL: Who is your ideal design partner? Do you believe in co-design?

HM : I believe in collaboration with people who challenge assumptions and bring expertise I don’t have. Co-design works when roles are clear and respect is mutual.

DL: Which people you interacted had the most influence on your design?

HM : Mentors, craftsmen, engineers, and even critical editors have influenced me deeply. Often the most impact comes from people who ask uncomfortable questions.

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

HM : Books on philosophy, architecture, and visual culture have shaped my thinking more than purely design-focused books. Understanding how people think and perceive is essential for good design.

DL: How did you develop your skills as a master designer?

HM : Through repetition, failure, and reflection. Skill develops over time when curiosity is combined with discipline and honest self-critique.

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

HM : I would love to have long conversations with designers and thinkers who questioned norms rather than reinforced them. People who designed from conviction, not market pressure.

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

HM : Awards are acknowledgments, not validation. They open doors, but they don’t replace responsibility. Recognition is useful, but it should never become the goal.

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

HM : Awards are acknowledgments, not validation. They open doors, but they don’t replace responsibility. Recognition is useful, but it should never become the goal.

DL: Please tell us a little memoir, a funny thing you had experienced as a designer?

HM : Early in my career, I once spent weeks refining a detail that no one noticed. Later I realized that the discipline it taught me mattered more than the recognition.

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

HM : Progress. Even small steps forward matter. Motivation comes from clarity, not excitement.

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

HM : Not explicitly, but the tendencies were there. Curiosity about objects, spaces, and how things work usually shows early.

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

HM : Design will still exist because humans will still shape their environment. The tools will change completely, but the need for meaning and care will remain.

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

HM : My work is not about visibility or spectacle. It’s about attention, responsibility, and respect for the user. If my designs feel quiet, it’s because they are meant to listen first.