Incollect Magazine - Issue 13

Incollect Magazine 29 CNC machine cuts the final parts, which are then glued together to construct the piece. Next comes the time-consuming step of sanding the objects by hand to give the designs their sensual curves and rounded edges, before applying the finish coats of stain or lacquer. Habibabadi is known in the design industry for his fine lacquers and finishes — it is his trademark in a competitive industry. “The secret lies in hard work, specifically, the time-consuming hand techniques we use for our finishes. Also, the specialized materials, for example, we use auto body paint for our lacquers, which gives them a glossy and vibrant appearance.” He adds, laughing, “There is also some other, secret stuff I do, but I don't want to talk about that.” Habibabadi handcrafts and finishes every one of his designs himself. It is a point of pride, he says. He believes part of being a successful maker today in the design world is having the ability to create and customize anything for clients. Everything he makes can be customized with colors and finishes, and custom dimensions. “I am driven to create one-of-a-kind, intricate pieces that spark curiosity — works that make people pause and wonder about the craft behind them, while commanding attention from the very first glance.” Habibabadi has a small team in his Los Angeles studio that performs various aspects of the process, including hand staining, polishing, grinding, and sanding to create the finished surface. His wife, Sarvenaz, works in the office, handling marketing and administrative responsibilities, and sometimes assists with small tasks in the shop. “She is an interior designer with wonderful taste, which brings an additional perspective to my designs.” Amy Lau, the late New York interior designer, was an early fan, client, and mentor, he says. She commissioned custom pieces for many of her projects, purchased a pair of wavy-front Other designers share Hirsch’s admiration for the sculptural qualities of his work. “Amir’s work with Amorph strikes a chord with me because it comes from a place where architecture, craft, and sculpture intersect,” says furniture designer Tim Schreiber, who also trained as an architect. “You can feel that spatial intelligence in the way his pieces command a room: they transcend the notion of furniture altogether, emerging as focal points that define a space — pieces that capture attention instantly and set the tone for the entire experience through their bold presence and sculptural authority.” Schreiber also admires his craftsmanship. “Coming from a background as a cabinetmaker myself, I have always believed that the hand and the eye must remain close to the material, even when technology pushes us into new territories,” Schreiber adds. “Amir has a similar approach. His pieces are shaped by advanced digital processes, yet they never lose the tactile resonance of something handmade. Working in wood, his designs remain rooted in the designer’s vision rather than the machine’s limitations.” Habibabadi has a sort of love-hate relationship with wood, which he describes as “mercurial, full of surprises, good and bad.” The exterior of a slab, he explains, “very often doesn’t reveal what lies beneath.” But he has embraced this idiosyncrasy, which he now sees as giving every work “its own unique identity and individuality.” Working with wood also gives Habibabadi opportunities to collaborate closely with interior designers and explore unexpected iterations of his designs — recently, for example, he had a client ask him to adapt one of his cantilevered console tables into a long bench. “I never imagined something like that until they asked me.” Geometry is the template from which all his designs begin, and from there, he radically abstracts new shapes using advanced computer programs. Then he usually makes scale models in wood to check stability. Once he is satisfied with the design, a With its unique, playful form, the Jolie Mirror is often used above a console in an entryway, where it makes a delightful first impression.