Seyedali Miri

LEGENDARY INTERVIEW

Design Legends ("DL") had the distinct honour to interview legendary designer Seyedali Miri ("SM") 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?

SM : My background began in civil engineering, where I learned the importance of structure, balance, and technical precision. Later, I pursued architectural studies, which opened my perspective to form, light, and space. Working in hospitality across Iran and Oman taught me how design affects human emotions and experiences in real time. These combined paths shaped a personal approach to design that blends logic with intuition and tradition with innovation.

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

SM : I design because I feel deeply connected to the idea of creating something that can move people, even in subtle ways. I was drawn to how objects and spaces can carry emotion, tell stories, and offer comfort. Over time, I realized design is not just a profession for me, it’s a way of understanding the world and contributing something meaningful to it.

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

SM : It was a personal choice that felt more like a calling than a decision. Even during my time studying civil engineering, I was sketching ideas, observing materials, and paying attention to how spaces make people feel. My transition into design happened gradually but naturally, and it always felt like the right path for me.

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

SM : I design lighting pieces and objects that bring emotional warmth and calm to a space. I’m especially drawn to designs that combine function with memory, particularly those that reinterpret traditional forms in a modern context. In the future, I would love to design more immersive environments like boutique hotels or modular interiors that bring culture, light, and silence together in a thoughtful experience.

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

SM : I would tell them to slow down and listen carefully, both to themselves and the world around them. Pay attention to feelings, memories, and context. Study your heritage, your environment, and your craft. True growth in design comes from honesty and patience, not from rushing to keep up with trends. Let your work reflect who you are and what you value.

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

SM : A good designer solves problems with skill and technique. A great designer does that while also creating something that resonates on a deeper, emotional level. Great designers think about how people live, feel, and remember. Their work often stays with you, not just because it works, but because it feels meaningful.

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

SM : A really good design feels natural, like it always belonged in that space or context. It serves its purpose clearly, respects the material it’s made from, and carries emotional depth. I evaluate good design by how effortlessly it fits into life, how it makes someone feel, and how long it stays relevant without needing to be loud or trendy.

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

SM : Good design improves everyday life. It creates comfort, clarity, and connection. Whether in a home, a public space, or an object we use daily, good design brings calm and coherence. Investing in it means investing in people’s well-being, in beauty that lasts, and in stories that can be shared across generations.

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

SM : If time allowed, I would love to design a retreat in the desert, shaped by light, silence, and cultural memory. It would be a place where people reconnect with stillness and themselves, through architecture that listens to its surroundings. I would design it for anyone looking to step out of speed and into presence.

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

SM : One dream project I hope to create is a hospitality space inspired by nomadic traditions. A place that feels rooted in history but completely flexible in form. It would feature modular designs, natural materials, and spaces meant for pause, reflection, and connection. The idea is ready in my mind, I’m waiting for the right time to bring it to life.

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

SM : If I had to name one thing, it would be listening. I listen to the material, to the function, to emotion, and to silence. I try to design without ego, and instead focus on what the piece wants to say. I also allow time to guide the process. I don’t rush design. I let it evolve, reflect, and settle until it feels honest.

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

SM : I get inspired by designers who work from a place of sincerity and emotion, regardless of their fame or discipline. I admire creators who blend cultural narrative with functional beauty, and who bring sensitivity to the process. What inspires me most is not a name, but a spirit of authenticity and care.

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

SM : I’m drawn to designs that are quiet, poetic, and rooted in meaning. Whether it’s a simple object or a full space, I appreciate work that respects material and doesn’t scream for attention. I like designs that age gracefully, that carry emotional tone and cultural texture. When a piece feels like a memory, I know it was made with heart.

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

SM : My lighting piece called Aurum is the one I feel closest to. It was born from a reflection on traditional oil lamps from my heritage and transformed into a modern modular light. What makes it meaningful to me is its balance between simplicity and depth, tradition and adaptability. It doesn’t demand attention, but it quietly shifts the atmosphere of a space.

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

SM : I believe improvement comes from observation. I pay close attention to everyday rituals, objects, and how people respond to their surroundings. I also stay connected to my roots and let culture inform my decisions. I sketch regularly, write down ideas, and revisit them often. Staying consistent, curious, and humble has helped me evolve as a designer.

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

SM : I think I would still be doing something connected to people, space, and emotion. Possibly writing, or working in cultural preservation. But even if I had followed another path, design would have found its way back into my life. It’s not just what I do, it’s how I see the world.

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

SM : Design is the invisible thread that connects form to feeling. It’s how we shape our surroundings, and in return, how they shape us. For me, design is a language made of light, proportion, silence, and memory. It’s not just about what something looks like, it’s about how it lives with people.

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

SM : There were people along the way who believed in my vision, even when it wasn’t fully formed. Friends, mentors, and collaborators who trusted the process. But perhaps the biggest supporter was the quiet inner voice that kept me grounded, especially in times of doubt. That sense of purpose has always been a steady guide.

DL: What helped you to become a great designer?

SM : Paying attention helped me. Not just to trends or techniques, but to emotions, to how light enters a room, or how a material feels in the hand. I learned to be patient with ideas, to stay close to cultural truth, and to let form follow meaning. I believe greatness comes from doing small things with deep care.

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

SM : There were many moments of uncertainty, especially transitioning from engineering and hospitality into design. I didn’t follow a conventional creative path, so I often had to carve my own space. But those challenges taught me resilience and helped me develop a voice that is honest and personal. I embraced not fitting into a mold, and that became part of my strength.

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

SM : Designers should present their work through clarity and intention. Let the concept speak through its process, not just the final product. I believe in showing sketches, prototypes, and stories behind the decisions. It’s not only about aesthetics, but about honesty, reasoning, and emotional depth. A well-presented project should make the viewer feel, not just see.

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

SM : I’m currently developing a new lighting system inspired by desert life and natural transitions of light. It’s focused on sustainability, modularity, and quiet transformation. The project aims to merge traditional desert living concepts with a contemporary, energy-conscious design suitable for hospitality spaces. I hope it becomes a bridge between cultural memory and modern need.

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

SM : My ultimate goal is to create designs that endure, emotionally and functionally. I want my work to speak softly but remain meaningful over time. Beyond form, I hope to build experiences that invite people into stillness, memory, and belonging. I want to contribute to a world where design is not decoration, but a deeper kind of connection.

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

SM : I believe people expect honesty, sensitivity, and originality. They look for work that is not just well made, but also thoughtful. As a designer, there’s a responsibility to care for both the material and the human experience. People expect us to lead with purpose, not just style, and to stay connected to culture and context.

DL: How does design help create a better society?

SM : Design has the power to shape behavior, create calm, and inspire empathy. It brings order where there’s chaos, and meaning where things feel empty. In public spaces, in homes, in everyday objects, good design improves how we relate to ourselves and others. It helps us slow down, feel more, and live with greater awareness.

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

SM : Besides the lighting system mentioned earlier, I’m exploring a collection of interior pieces inspired by nomadic architecture. They are adaptable, easy to move, and designed with a poetic minimalism that respects space and silence. I’m excited because these ideas are not only design concepts, but cultural reflections I deeply care about.

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

SM : Aurum, my modular lighting piece, gave me a profound sense of fulfillment. It carried emotional memory from my childhood, transformed into a form that feels timeless. The satisfaction came from watching how people interacted with it, how it shifted the mood of a space without needing explanation. It was a quiet success that meant a lot.

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

SM : I would love to see less focus on speed and more on meaning. The pressure to constantly produce can dilute depth. I hope the industry moves toward slower, more intentional creation, and gives space for cultural narratives to shine. I also hope sustainability becomes more than a trend and turns into a permanent design mindset.

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

SM : I believe we are moving into a phase where storytelling, adaptability, and emotion will matter more than ever. People are looking for authenticity and presence in what surrounds them. Design is becoming more interdisciplinary, drawing from craft, culture, and even silence. It’s no longer about standing out, but about fitting in gently and purposefully.

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

SM : It really depends on the project. Some ideas arrive fully formed, others take months of sketching, prototyping, and reflection. Aurum took several months to perfect because of its modular function and locking system. I believe design is not about how fast you finish, but how deeply you understand the need before completing the form.

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

SM : I start by asking questions, not by drawing. I try to understand the need, the emotion behind it, the context it belongs to. I sit with the idea in silence before jumping into form. I often write, sketch by hand, and explore materials through touch. My process begins in feeling, and only then moves to function.

DL: What is your life motto as a designer?

SM : Let the work speak with quiet honesty. I believe in doing less, but doing it with full presence and care. Design for feeling, not for noise.

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

SM : I believe honest design always leads, even if trends try to follow. True design comes from observation and timeless needs, not from seasonal aesthetics. Trends may influence some decisions, but lasting design comes from something much deeper, something that does not shift with fashion.

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

SM : Technology is a helpful companion in my process, not the starting point. I use digital tools to refine ideas, visualize concepts, and build simulations. But the heart of my design process is still analog. I sketch, write, and build models by hand. I let the idea grow naturally before turning to software to bring clarity.

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

SM : I use a combination of iPad for sketching and modeling software for structure and detail. I also work with physical models and mood boards, especially in the early stages. My favorite tool, however, remains a pen and a quiet space to think. I believe the equipment should support, not dictate, the creative process.

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

SM : They are the soul of the experience. Color sets the emotional tone, materials bring texture and honesty, and ambient defines how people feel in a space. I choose materials not only for their appearance, but for their memory and symbolism. Together, these elements create atmosphere, and atmosphere is what people remember.

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

SM : I wish they would ask how it feels, not just how it looks. I hope they’re curious about the story behind the form, the silence between the lines, the reason why something was left simple. These questions open the real conversation between the user and the piece.

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

SM : I often think, what made the designer choose this path. I look at the emotion in the form, how it serves, how it lives in its environment. If it feels timeless, purposeful, and gentle in its presence, I immediately admire the depth behind it.

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

SM : Yes, I do. I believe great design often comes from dialogue. My ideal partner would be someone who shares the same values—respect for material, for emotion, and for cultural integrity. Someone who listens, who questions, and who builds ideas slowly and thoughtfully. Co-design is not about compromise, it’s about shared intention.

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

SM : Many of the most influential people were not designers at all. They were craftsmen, hosts, elders, and guests in the hospitality world. People who live close to tradition and carry deep intuition about comfort and beauty. Their stories, gestures, and ways of living shaped how I understand space and form far more than books or lectures ever did.

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

SM : Companies should look for designers who care about more than just aesthetics. A good designer listens, observes, and brings emotional depth to the process. When selecting a designer, companies should look beyond portfolios and pay attention to how they think, how they speak about purpose and culture. It’s not only about skill, but about how the designer connects with people and context.

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

SM : My philosophy is rooted in silence, memory, and clarity. I believe design should feel inevitable, not forced. It should serve life gently and add meaning without shouting. Simplicity, balance, honesty, and cultural respect are at the core of my process. I don’t follow rules rigidly, but I always return to the question: why does this need to exist, and how can it feel true?

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

SM : First, design is emotional. Second, it is a response to need, not just a creation of beauty. Third, design takes time to mature. Fourth, it should respect culture, place, and people. And fifth, design is not only for the eyes, it is for the soul. The best designs are the ones that leave you with a feeling, not just a visual impression.

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

SM : Aurum, my modular lighting piece, is the work I feel most connected to. It was created through a process of remembering traditional oil lamps from my Iranian heritage and shaping them into something modern and poetic. It’s a piece that transforms mood through light, while also carrying cultural weight and quiet elegance. For me, it is more than a design—it is a story.

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

SM : I’m deeply drawn to materials that carry warmth and age gracefully, like brass, alabaster, and smoked glass. These materials hold memory and respond to light in a way that feels alive. I enjoy combining traditional hand-finishing techniques with minimal modern structures, allowing each piece to feel crafted but clean.

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

SM : Not exactly, but I was always curious about the objects around me. I paid attention to light, texture, and silence. I would often rearrange things, sketch imaginary spaces, or get lost in the details of handmade items. Even though I didn’t call it design back then, the instinct to create was always present.

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

SM : A thousand years is a long time, but I hope we move toward deeper simplicity. I imagine a future where design is quiet, integrated with nature, and deeply humane. Where we no longer consume rapidly, but live more intentionally. Perhaps people will return to designing for emotion and ritual, not only utility. I hope meaning becomes more valuable than excess.

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

SM : Design with honesty. Let your work be a reflection of your questions, your culture, and your care. Don’t rush to be seen—focus on seeing. Success comes not only from skill, but from staying connected to your values and your humanity. The world needs more quiet, thoughtful creators.

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

SM : People often ask how I moved from civil engineering and hospitality into design. My answer is, it wasn’t a leap, it was a natural evolution. I was always observing, sketching, and thinking about spaces emotionally. Once I gave myself permission to follow that feeling, everything began to align. Design was always there, waiting for me to listen.

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

SM : Design is not about impressing, it’s about expressing. It’s about giving form to feeling, and allowing space for people to connect with themselves and their surroundings. If my work can offer even a moment of calm, memory, or comfort, then it has done its job. I am grateful for every step of this journey, and I look forward to continuing with presence and purpose.