EVERY DESIGNEVERY DESIGNEVERY DESIGN
HAS A STORYHAS A STORYHAS A STORY

>_I was the kid who took the toy cars apart — not to break them, but to understand them. Every curve, every wheel, every seam held a question I couldn't stop asking: why this shape and not another? Why this proportion and not a different one?

//My room was a small factory. Model kits became dioramas; dioramas became studies. I didn't know it yet, but I was already practicing the discipline I would one day call my profession — the slow, obsessive act of looking closely at objects and asking them to justify themselves.

>_When it came time to choose a path, I didn't hesitate. Industrial design — and within it, transportation design — was the only field that would let me combine engineering rigor with artistic instinct. It was the only place where a curve could be both beautiful and load-bearing.

//I enrolled at Pars University of Architecture and Art in Tehran. The first year was humbling. The second was transformative. By the third, I understood that I wasn't learning a trade — I was learning a language.

>_Seven years. Thousands of sketches. Hundreds of physical and digital models. I learned that talent is a starting point, never a destination. I trained my hands in Alias for Class-A surfaces, Rhino for NURBS precision, Blender for fast iteration, KeyShot and Unreal Engine for photoreal presentation.

//I learned to script in Python so I could stop repeating myself. I learned to author materials in Substance so my surfaces would tell the truth. I learned that the difference between a good design and a great one is rarely a big idea — it's a hundred small, deliberate decisions made in the right order.

>_Somewhere along the way, the work stopped being about the tools and started being about the idea. I developed three principles that now govern everything I make — and everything I refuse to make.

//Retro Morphism: heritage forms meet modern precision. Everything at its Best: no detail is too small to be intentional. Compact Design: efficiency without compromise — less volume, more presence.

//These aren't slogans. They're filters. Every project either passes through them or doesn't get made.

>_The first award surprised me. The second humbled me. In 2023, the McLaren R1 — a roboracer concept built around safety-first adrenaline — earned IDA Gold for Concept Vehicle Design. In 2025, the Kitsune OMNI — a multi-platform motorcycle built on a single modular architecture — took IDA Silver and was selected for the Tehran Design Week Exhibition.

//My work has been featured twice in 365ArtPlus magazine. None of this was the goal. The goal was always the work. The recognition was simply proof that the work had reached someone else.

>_Design isn't finished when the model is done. It's finished when it changes how someone feels about what they're holding, driving, or living with.

//I'm currently writing a book — 'The Masters of Transportation Design' — that tells the history of our field through the designers themselves, not the brands they worked for. Alongside that, I'm researching how restomod and reimagination are reshaping the way we treat heritage vehicles, blending nostalgia with modern technology and modern expectations.

//The story isn't over. It's just between sketches.