Nima Keivani

LEGENDARY INTERVIEW

Design Legends ("DL") had the distinct honour to interview legendary designer Nima Keivani ("NK") 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?

NK : I grew up in Iran, where the architecture is profoundly influenced by millennia-old traditions and craftsmanship. This cultural richness became my earliest teacher, sparking a fascination with how space, light, and material interact. I later pursued a formal architectural education, obtaining a Bachelor’s and Master’s degree in Architecture. During my studies, I focused on sustainable design, heritage preservation, and the interplay between contemporary and vernacular approaches. Continuous learning and research have always been vital to my growth, and I remain engaged with academic circles, with PhD studies and often giving lectures or participating in design symposium.

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

NK : At its core, I’m motivated by a desire to shape environments that foster human well-being, cultural continuity, and environmental harmony. From a young age, I was captivated by how architecture can uplift or transform communities. The creative challenge of merging culture, climate, and user needs in a single coherent design is an ongoing source of inspiration for me. Ultimately, I became a designer because I see architecture as a bridge between imagination and social responsibility—a means to leave a positive imprint on the world.

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

NK : My choice to become an architect was entirely my own. I was fortunate to have a supportive environment that recognized my passion for the arts and sciences. Architecture felt like a natural evolution of my interests in art, geometry, and problem-solving. Nobody compelled me to follow this path; it was a calling rooted from my childhood in curiosity and a desire to create meaningful spaces. I have tried to be an artist or architect as a always.

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

NK : I primarily design architectural projects—residential, commercial, cultural, and educational buildings. Over time, my team and I have also ventured into interiors, furniture concepts, and urban design strategies. Looking forward, I’d love to work more on public and civic projects: museums, cultural centers, or community hubs that serve broader societal needs. Such projects allow us to weave together heritage, technology, and community engagement on a larger scale.

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

NK : First, remain humble and open to learning. Ground your work in both technical rigor and a clear philosophical vision. Second, be persistent—design excellence is a product of iterative refinement and resilience in the face of challenges. Third, cultivate your own voice by embracing your cultural heritage and unique experiences; these elements will distinguish your designs. Finally, maintain empathy: consider the end-user at every stage. True design “legends” are those whose work resonates meaningfully with people’s everyday lives.

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

NK : A good designer skillfully meets functional and aesthetic requirements. A great designer goes further—transcending constraints to create a sense of wonder, emotional resonance, or a deeper cultural statement. Great designers also demonstrate leadership, inspiring teams and communities, while advocating for ethical and sustainable practices. It’s that added layer of vision, emotional depth, and social responsibility that sets a great designer apart.

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

NK : I evaluate design by three main criteria: Functionality: Does it meet the user’s needs effectively? Contextual Sensitivity: Does it reflect and respect local context, culture, and environment? Timelessness: Can it adapt to future needs, and does it hold an aesthetic and conceptual relevance over time? If a design excels in these areas while also elevating the human experience, it is more than good—it’s exceptional.

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

NK : Good design elevates everyday life. It can reduce energy consumption, foster healthier living, and create spaces that stimulate creativity and emotional well-being. For companies, good design improves productivity and brand image. For cities, it fosters stronger communities and sustainable growth. Ultimately, it’s an investment in long-term quality of life, cultural identity, and environmental stewardship.

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

NK : If time and resources were unlimited, I’d design comprehensive community-focused developments—integrated housing, cultural centers, and public parks. I would love to collaborate with NGOs or municipalities in under served areas to design socially responsible, sustainable habitats. The idea of creating holistic environments that uplift communities is incredibly appealing.

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

NK : A multi-purpose cultural center that merges traditional Iranian architectural principles with cutting-edge technologies for renewable energy and interactive public programs. It would be a living laboratory for cultural exchange, showcasing how architecture can unify community, heritage, and innovation under one roof.

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

NK : The secret ingredient is a synergy of curiosity, empathy, and discipline. Curiosity compels me to explore new ideas and technologies; empathy ensures my designs truly serve people; and discipline translates lofty concepts into real-world solutions. Underlying these is the mindset of continuous improvement with more crazy ideas—each project becomes a stepping stone for the next. I have no border for inspiring.

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

NK : I derive great inspiration from both Iranian and international visionaries. From the Iranian side, the vernacular masters who pioneered ingenious solutions in desert architecture inspire my approach to climate-responsive design. Internationally, I admire the works of architects like Louis Kahn for his poetic use of light, Tadao Ando for his minimalist sensibility, and the late Zaha Hadid for pushing the boundaries of form and fluidity. And i really enjoyed from Peter Zumthor and Steeven Holl architecture.

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

NK : I am deeply intrigued by the Salk Institute by Louis Kahn for its profound interplay of geometry, space, and light. Tadao Ando’s Church of the Light resonates with me for its serenity and powerful manipulation of natural light. These designs illustrate how minimal elements can evoke a monumental emotional response. on the otherhand i ispiring of Bernard Tschumi projects too.

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

NK : I think my next future project.

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

NK : Expand your horizons—study art, history, technology, psychology, and even philosophy. Travel to understand diverse architectural traditions. Seek critiques regularly and learn from every project, success or failure. Collaboration is also key; working with diverse teams exposes you to new perspectives. Personally, I’ve continuously engaged with mentors, academic research, and industry events to sharpen both my technical and conceptual skills.

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

NK : If I weren’t an architect, I might have pursued Cinema director or urban planning—something that still integrates problem-solving with societal impact. Alternatively, I might have become a teacher or scholar, channeling my passion for learning and mentorship in another way.

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

NK : Design is a holistic, iterative process of problem-solving that synthesizes art, function, context, and culture. It’s an act of empathy—understanding human needs and desires—and a form of storytelling, weaving narratives about identity, place, and aspirations. Design transforms intangible concepts into tangible realities that enhance everyday experiences.

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

NK : I owe a great deal to my family, who nurtured my early inclinations toward creativity. My brother and co-founder, Sina, has been a steadfast collaborator and supporter from the inception of Keivani Architects. I’ve also been fortunate to have dedicated mentors—professors, fellow architects, clients—whose insights and encouragement propelled my career forward.

DL: What helped you to become a great designer?

NK : A relentless curiosity and willingness to adapt. Each project, mentor, and challenge has shaped me. I also believe that respecting local culture and learning from traditional construction techniques enriched my design vocabulary. Above all, focusing on sustainable, user-centered solutions continually elevates my perspective.

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

NK : I faced hurdles like limited budgets, regulatory constraints, and at times a lack of understanding about the value of good design in certain projects. Navigating bureaucracy and balancing commercial demands with artistic integrity can also be tough. These challenges forced me to become more resourceful, resilient, and persistent.

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

NK : Designers should present context, concept, and technical details in a coherent narrative—showing how each design decision addresses user needs, site constraints, and environmental goals. Visual storytelling through sketches, 3D models, and interactive digital platforms can make the presentation more compelling. Transparency about process and challenges also fosters trust and appreciation.

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

NK : We’re currently exploring a mixed-use complex that integrates renewable energy systems, adaptive façades, and communal green spaces. Future initiatives will likely delve deeper into cultural centers and public buildings that address societal needs. Expect further experimentation with parametric design tools, sustainable materials, and traditional Iranian elements re imagined for contemporary living.

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

NK : My ultimate goal is to leave a body of work that enhances people’s quality of life and preserves cultural and ecological integrity. I aspire to influence the global discourse on architecture by promoting context-driven, human-centric, and sustainable methodologies that can serve as references for generations to come for make better universe.

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

NK : People often expect visionary thinking, reliability, and the ability to translate abstract ideas into functional realities. There’s also an expectation of leadership—both in project management and in setting ethical, environmental, and social standards within the design industry. Lastly, clients and followers expect designs that endure the test of time—both functionally and aesthetically.

DL: How does design help create a better society?

NK : Design shapes the environments in which we live, work, and interact. Thoughtful, equitable design can improve mental health, foster community bonds, and enhance social inclusivity. Public spaces, for instance, can become incubators of creativity, dialogue, and learning if designed responsibly. On a grander scale, sustainable design can help mitigate climate change and preserve resources for future generations.

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

NK : We’re designing a series of residential units with integrated micro-climate strategies—like rooftop gardens, natural ventilation corridors, and courtyard concepts reinterpreted from historic Iranian architecture. I’m excited about the potential to significantly reduce energy use while offering a healthy and culturally resonant living environment.

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

NK : Projects that push the boundaries of traditional Iranian architectural elements—like the innovative façades we’ve done that reinterpret historic geometric patterns—are especially satisfying. Seeing how these approaches not only pay homage to our heritage but also bring practical benefits, such as improved shading and ventilation, is gratifying.

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

NK : I’d like to see broader adoption of truly sustainable and socially responsible practices, beyond mere lip service. The design industry should prioritize collaborative frameworks that unify different disciplines—ecologists, sociologists, technologists—and encourage open-source knowledge sharing to tackle global challenges like urban sprawl and climate change.

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

NK : Design is becoming more interdisciplinary, data-driven, and community-centered. We’ll see advanced computational tools guiding everything from structural optimization to adaptive environmental systems. Simultaneously, I believe there will be a renaissance in cultural authenticity, with designers re-examining local traditions to create more grounded, responsible, and personalized solutions.

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

NK : Timelines vary widely based on project complexity. A single-family home might take several months from conceptual development to construction documents, while larger public or commercial projects can span years. Factors like municipal approvals, engineering collaboration, and client feedback cycles can all extend or compress the schedule.

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

NK : I begin by understanding the site, context, and user requirements. This involves on-site visits, research into local culture or zoning codes, and dialogue with clients or community members. I also investigate environmental conditions—solar orientation, prevailing winds, etc.—to ensure the design is as responsive and sustainable as possible.

DL: What is your life motto as a designer?

NK : “Design with integrity and empathy.” Every choice—from the broad concept down to the final material selection—should serve both the people who will inhabit the space and the environment that hosts it.

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

NK : It’s reciprocal. Visionary designs often spark new trends, but they also emerge in response to changing societal, technological, and cultural shifts. A good designer is attuned to these shifts but also not afraid to challenge them and propose new paradigms.

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

NK : Technology is an enabler, allowing us to visualize complex geometries, simulate environmental performance, and fabricate precise components. Advanced software like parametric modeling helps optimize resources and tailor each design element to the project’s unique needs. However, technology should never overshadow fundamental human and environmental considerations; it is a means, not an end.

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

NK : We use a range of software, including AutoCAD, Revit, Rhino, Grasshopper, and rendering tools like V-Ray or Lumion. Physical model-making and rapid prototyping also remain vital for understanding scale and tactility. In terms of hardware, powerful workstations and occasionally 3D printers or CNC machines are integral to our workflow.

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

NK : Color and materials establish the emotional and sensory qualities of a space, shaping how occupants feel and behave. Ambient factors—like lighting, acoustics, and ventilation—directly influence comfort, mood, and productivity. Thoughtful, context-aware choices in these areas can radically elevate a design from purely functional to holistically nurturing.

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

NK : I wish people would ask more about the research, cultural references, and ecological strategies behind each project. Understanding the “why” can deepen appreciation for the “how” and the “what.” Design is an iceberg; what you see is just a fraction of the deeper conceptual and technical effort underneath.

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

NK : I wonder about its underlying logic—how the designer arrived at that solution, what constraints they overcame, and which cultural or emotional narratives it carries. Great designs provoke curiosity and admiration in equal measure.

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

NK : My ideal partner is someone who shares a commitment to ethical, contextually grounded design. Collaboration fuels creativity. Co-design is invaluable—it diversifies perspectives, reduces blind spots, and enriches the solution. I often collaborate with engineers, artisans, and even sociologists for a well-rounded approach.

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

NK : Clients who brought unique perspectives to the table, master craftsmen who introduced me to time-tested techniques, and visionary mentors during my academic journey all shaped my understanding of architecture. Every interaction presents a learning opportunity, shaping my evolving approach to design. But most important person to open my view to art, life and helped me to find a simple solutions in the between of confused crazy ideas is Abbas Kiarostami Iranian famous cinema director.

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

NK : Books on Iranian vernacular architecture, such as works exploring Yazd’s desert buildings, profoundly influenced my understanding of climate-responsive design. Internationally, seminal texts like “Towards a New Architecture” by Le Corbusier, S,M,L,XL by Rem Koolhaas, and “The Poetics of Space” by Gaston Bachelard broadened my conceptual framework, addressing the emotional and spatial depths of architecture.

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

NK : Practice and iteration, combined with academic research and professional critiques. Frequent collaboration with skilled colleagues and constructive feedback from clients further refined my skill set. Traveling to see iconic buildings firsthand helped me absorb various cultural and architectural contexts.

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

NK : I’d love to have a dialogue with the legendary Persian polymath Omar Khayyam—his blend of scientific rigor, poetic imagination, and philosophical depth would be an inspiring perspective to integrate into modern architecture. Meeting visionary architects like Antoni Gaudí or Louis Kahn would also be extraordinary, as their conceptual frameworks were groundbreaking in their own eras.

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

NK : Awards and recognition are humbling; they affirm that our efforts resonate beyond immediate circles. Fame, however, is not an end goal for me. It can bring pressures and distractions, but the real reward lies in the impact our work has on people’s lives and the environment.

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

NK : Color: Earthy tones like terracotta or muted greens, reflecting natural landscapes and local materials. Place: Historic city centers and natural landscapes that reveal cultural narratives, such as Yazd in Iran or Kyoto in Japan. Food: Iranian cuisine—particularly dishes like Lavangi, my home town special foods and Ghormeh Sabzi—reminds me of home and tradition. and Italian special cusins. Season: Spring, for its sense of renewal and optimism, which resonates with the creative process. Thing: Sketchbook—it’s where raw ideas first come to life. Brand: I appreciate brands that integrate sustainable practices and quality craftsmanship, such as Vitra for furniture or Herman Miller for ergonomic design.

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

NK : Seeing genuine enthusiasm from my team or clients about new ideas is a powerful motivator. Also, witnessing the progress of a project—turning sketches into physical form—brings a sense of accomplishment. My day is made great by small wins: a well-executed detail, a clever structural solution, or a concept that finally clicks.

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

NK : I don’t know if it was obvious, but I was always dissecting spaces and drawing plans of imaginary buildings. I also loved studying history, ancient heritage, patterns and geometry in traditional Iranian art. These early passions foreshadowed my path into architecture and design, but I owe the cultivation of those innate curiosities to the supportive environment I had.

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

NK : A thousand years is a vast timeframe. I imagine design will become highly adaptive, intelligent, and integrative—structures that self-regulate based on environmental and societal needs. Culturally, I hope we’ll preserve local identities while benefiting from the shared knowledge of a global society. Perhaps architecture will merge seamlessly with nature, blurring boundaries between built and organic realms.

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

NK : I want people to know that every project I undertake is driven by a vision of synergy—between tradition and innovation, culture and sustainability, past and future. I believe design is fundamentally an optimistic act. Even in uncertain or challenging times, the potential to create places that uplift human experience is limitless. I’m deeply grateful for everyone who supports our work at Keivani Architects, and I look forward to future collaborations that continue to expand the horizons of architecture and design.