Insights/Reflections on My Design Process
My design process is deeply personal, shaped by a childhood in Iran, navigating complexity amidst social and political challenges. In an environment of unpredictability, I sought refuge in order and structure, cultivating a focus on clarity and balance that now defines my creative approach. My work harmonizes contrasts—human rawness with natural beauty, the tactile with the digital, and functionality with emotion—embracing complexity to create designs that are intentional, grounded, and deeply human.
Recurring Patterns and Approaches in My Work
Critiquing my projects, I see clear patterns and consistencies in how I approach design:
1. Tactile and Sensory Engagement: Across my portfolio, from "VOYAGE" to Prompt 3, I consistently integrate materials and methods that invite touch and reflection. Handmade paper, embroidery, macro photography, and textural explorations demonstrate my commitment to sensory connection.
2. Organized Chaos: My work balances detailed, intricate visuals with clear, minimalist layouts. This reflects my dual inclination toward embracing complexity while maintaining clarity—a direct result of my childhood experiences.
3. Narrative-Driven Design: Storytelling is central to every project. Whether it's personal vulnerability in "VOYAGE" or ecological storytelling in Prompt 4, I prioritize narratives that foster connection and provoke thought.
4. Sustainability and Responsibility: A recurring theme is my dedication to sustainability, evident in my choice of materials, focus on circular design principles, and alignment with ecological and community-centered frameworks like Earth Logic.
These repetitions are not limitations; rather, they highlight the coherence and intentionality that define my design philosophy.
Gaps and Opportunities in Technology
While my portfolio showcases a strong grasp of traditional design tools (Adobe Suite, macro photography, UX/UI platforms), there are gaps and opportunities to expand:
1. Emerging Tech: Incorporating technologies like augmented reality (AR) or virtual reality (VR) could add a new dimension to my storytelling, making designs more interactive and immersive.
2. 3D and Motion Graphics: Expanding into 3D modeling or animation would enable me to explore dynamic forms of storytelling and materiality.
3. Sustainable Tech: Experimenting with AI-powered tools for material innovation or sustainable design simulations could enhance my contributions to eco-conscious design.
Currently, my reliance on tactile, analog methods is a strength, but exploring digital and interactive technologies could open new avenues for expressing my vision.
The Role of Theories, Knowledge, and Concepts
My work is deeply informed by theoretical frameworks and class discussions, which provide a critical foundation for my process:
1. Decolonizing Design (Tlostanova): This has challenged me to question extractive design practices and prioritize care, inclusivity, and community in my work(Tlostanova_On decoloniz…).
2. Biomimicry (Benyus): Nature’s patterns and processes are a recurring source of inspiration, seen in my use of botanical elements and emphasis on interconnected systems(Prompt-3-Shara-Hamed-10…).
3. Systems Thinking (Meadows): Understanding design as a node within larger ecological and social systems has sharpened my ability to create work that is both intentional and impactful(Meadows-Places to Inter…).
4. Pallasmaa’s Sensory Design: The importance of tactile and sensory connections resonates in every project, ensuring that my designs engage viewers on a deeper emotional level(Prompt-3-Shara-Hamed-10…).
These theories have allowed me to frame design not just as a creative practice but as a cultural and ecological intervention.
Alignment with Other Designers and Fields
My work aligns with several contemporary design movements and practices:
1. Sustainability and Circular Design: Like Ellen MacArthur’s work on the circular economy, my projects focus on rethinking materials and processes for ecological balance.
2. Therapeutic Storytelling: My "VOYAGE" project connects to designers like Marina Willer and Stefan Sagmeister, who use design to explore human emotion and vulnerability.
3. Craft-Oriented and Material Design: The tactile, handcrafted aspects of my work resonate with movements that prioritize materiality and sensory engagement, such as the work of Ilse Crawford.
If relying solely on this portfolio, I’d describe myself as a communication designer focused on sustainability, emotional storytelling, and tactile experiences. My work positions me at the intersection of ecological design, human-centered narratives, and craft.
Key Words and Concepts from My Portfolio
The body of work reveals recurring key words and concepts:
1. Sustainability: Foundational to every project, both in materials and philosophy.
2. Connection: Bridging gaps—between humans and nature, materials and stories, and chaos and harmony.
3. Materiality: A tactile, sensory approach that grounds my work in physicality and touch.
4. Storytelling: Using design to tell narratives of vulnerability, healing, and ecological stewardship.
5. Interconnectedness: Rooted in systems thinking and ecological frameworks.
6. Care: A value embodied in the choice of materials, processes, and outcomes.
7. Reflection: Using design as a medium to question and engage with larger societal themes.
Final Thoughts
Reflecting on my recent projects, I see a consistent integration of personal narratives and environmental contexts, creating designs that are both intimate and universally resonant. For example, Prompt 3 incorporated wood collected during a solo backcountry trip to Joffre Lakes, grounding the work in personal reflection and a tangible sense of place. This approach invites deeper audience connections while rooting designs in real-world experiences.
Community impact is central to my practice, as seen in the VOYAGE project, which raised funds to provide therapy sessions for 19 individuals, showcasing design’s potential for social good. These experiences have reinforced my belief that design is not just about creating beauty but also about fostering understanding, connection, and care.
Looking ahead, I am committed to exploring how communication design can support the fashion industry’s shift toward sustainability by strengthening connections between brands, communities, and the planet. By integrating decolonization principles, I aim to ensure inclusivity and promote transparency, ethical practices, and environmental stewardship, contributing to a more equitable and sustainable future.
Some favourite quotes that stuck with me from our readings:
1. Meadows, Places to Intervene in a System (1997):
“Everything we think we know about the world is a model. Every word, every graphic, every equation, every law of physics is a model. The systems thinking paradigm explicitly accounts for this dependency on models.”
“Everything we think we know about the world is a model. Every word, every graphic, every equation, every law of physics is a model. The systems thinking paradigm explicitly accounts for this dependency on models.”
2. Benyus, Biomimicry (1997):
“Biomimicry is innovation inspired by nature—taking forms, processes, and ecosystems and emulating them to create more sustainable designs.”
“Biomimicry is innovation inspired by nature—taking forms, processes, and ecosystems and emulating them to create more sustainable designs.”
3. Fletcher & Tham, Earth Logic (2019):
“Earth Logic invites us to put Earth and its stability at the heart of what we do, rethinking how we work and live in ways that prioritize care, empathy, and ecological balance.”
“Earth Logic invites us to put Earth and its stability at the heart of what we do, rethinking how we work and live in ways that prioritize care, empathy, and ecological balance.”
4. Pallasmaa, The Thinking Hand (2009):
“The world reveals itself to the hand just as much as it does to the eye, engaging the body and mind in a unison of perception.”
“The world reveals itself to the hand just as much as it does to the eye, engaging the body and mind in a unison of perception.”
5. Bly, Gwozdz, & Reisch, Sustainable Fashion Consumption Pioneers (2015):
“Sustainable consumption pioneers value the durability, quality, and emotional connection of products over their novelty and trends.”
“Sustainable consumption pioneers value the durability, quality, and emotional connection of products over their novelty and trends.”
6. Alexander, A Pattern Language (1977):
“Each pattern describes a problem that occurs over and over again in our environment, and then describes the core of the solution to that problem.”
“Each pattern describes a problem that occurs over and over again in our environment, and then describes the core of the solution to that problem.”
7. Tlostanova, On Decolonizing Design (2017):
“Decolonizing design requires not only a critique of dominant narratives but also the creation of alternative practices that embrace multiplicity, care, and inclusivity.”
“Decolonizing design requires not only a critique of dominant narratives but also the creation of alternative practices that embrace multiplicity, care, and inclusivity.”
8. Sinders, Designing Against Dark Patterns (2021):
“Design should foster transparency and trust, avoiding manipulative practices that prioritize profit over the well-being of users.”
“Design should foster transparency and trust, avoiding manipulative practices that prioritize profit over the well-being of users.”
9. Bly, Exit from the High Street (2015):
“The pioneers of sustainable fashion focus on small, intentional interventions that challenge the status quo of fast fashion.”
“The pioneers of sustainable fashion focus on small, intentional interventions that challenge the status quo of fast fashion.”
10. Meadows, Places to Intervene in a System (1997):
“The greatest leverage points are those that change the mindset or paradigm out of which the system arises.”
“The greatest leverage points are those that change the mindset or paradigm out of which the system arises.”