THE REVERIE/KHIYAL COLLECTION

The aim of this collection is to bring light into living spaces in a distinctive and enigmatic
way, drawing from the essence of Iranian architecture while conveying a meaning that
extends beyond illumination itself.
The name Khiyal—meaning imagination or vision—refers to this very quality: a realm in
which form, light, and material take the viewer beyond simple visual perception, allowing
for an inward, gradual, and mysterious experience.
In Iranian architecture, light has often served to convey meaning and reinforce the spirit
and concept of a work, giving rise to spaces that are both magical and evocative—from
the apertures of orsi windows and the openings of domes to the pavilion of Dowlatabad
Garden and the mystical atmosphere of Sheikh Lotfollah Mosque, where the interplay of
light and shadow creates an enchanting experience. This collection seeks to reinterpret
and recreate that spatial quality.
The works function as objects whose presence gives meaning to space. Here, light is
not merely seen; it is felt, creating a silent dialogue with the viewer—as though inviting
them inward to pause for a moment and encounter the silence within themselves.
The intention is for light to become an integral part of the volume itself, extending
beyond the form as though flowing through it. Through a pure visual language, the
boundary between light and material gradually dissolves.
Wood, a natural material with a long history of use and an inherently tactile quality,
comes alive in its encounter with light. Its grain gives depth to the shadows and
enriches the underlying concept of each design.
Ultimately, concepts infused with mystery, imagination, and complexity emerge
throughout the works. Dualities such as light and shadow, presence and absence, and
the visible and invisible become the essential elements of meaning.
The viewer is invited inward, into the forms themselves, while the movement of each
form reflects the space around it. This dialogue between interior and exterior unfolds
through forms, surfaces, and lines, allowing the works to reveal themselves gradually.
Light and volume are experienced through the act of looking. As the viewer changes
position, different compositions of illumination and form emerge. At times the light
gleams; at others, it recedes into shadow. The viewer must move around the objects in
order to fully apprehend their forms, engaging with them actively. They do not reveal
themselves all at once, but gradually unfold through movement, light, and time.