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Product and Industrial Designer

Khadzhimurad
Murtazaliev

Product & industrial designer working between mechanism, material and form.

Currently
Bugatti — with Data Nexus on projects
Based in
Dubai
Education
Dubai Institute of Design and Innovation
Recognition
Saporiti Special Award for Technological Innovation
01/Why this is here

Everything on this site that argues for the way we work is ours. Our systems, our measurements, our research programme. The case records are engagements we ran and then reported on, and the three figures on the front page are ours to check. That is the ordinary condition of a consultancy’s evidence, and it has a hole in the middle of it: the practitioner and the assessor are the same party.

The work below does not have that hole. It was made before he joined, on metal and printed polymer rather than on software, and it was marked by other people. It arrives at the same four operations this practice charges for — find the structure under the surface, name the precondition, rebuild the element that cannot be corrected in place, and say out loud where the evidence stops.

This is not a portfolio and it is not a service. Four of the seven projects are the argument. Three are here because they are his and the set would be dishonest without them, and they are set out below as range rather than as proof.

Invariant

The method is not the material. If it only holds on software, it is a habit rather than a method.

02/Capstone thesis

One conceptual base, three body architectures — extending personalisation from the surface of a car to its structure.

Year
2025
Institution
Dubai Institute of Design and Innovation
Adviser
Jascha Straub, Bugatti Sur Mesure
Outcome
One base, three architectures

For most of its modern history luxury was understood through scarcity: rare materials, low volumes, difficulty of acquisition. Over the past two decades that definition has shifted. Contemporary luxury is produced through experience, emotional resonance and the expression of personal identity — and personalisation is the mechanism through which it is produced.

Ultra-luxury automotive practice has adopted this language but not its consequence. Bespoke programmes let a client specify paint, leather, embroidery and inlay with extraordinary sophistication. The architecture underneath — body format, proportion, the lifestyle the car is built to occupy — is decided before the client ever appears.

The contemporary Bugatti platform is rear mid-engine. Mass sits behind the cabin and the rear volume is committed to the powertrain — excellent for a single body type, fatal for variation. Ettore relocates the V16 forward of the cabin. The rear becomes free space, and the same base can carry a Coupe, a Shooting Brake and a Targa. Not a stylistic preference: the structural precondition for the whole proposition.

The review took the C-line with it. On a rear mid-engine car it is simultaneously sculpture and a functional cooling intake; move the engine forward and that justification disappears. The element had to be re-argued rather than re-styled — reconceived as an aerodynamic device generating downforce.

Invariant

Five DNA constants were fixed before any body was drawn.

The distinction the thesis contributes

Cosmetic personalisation

Choice over the surface of a product whose form is fixed.

Modifies how a fixed object presents itself.

paint · materials · embroidery · inlay · finish

Architectural personalisation

Choice over the structural logic of the product itself.

Modifies what kind of object the client receives.

body format · proportion · character · scenario

The engine had to move before the body could change

Rear mid-engine — current platform

Mass sits behind the cabin and the rear volume is committed to the powertrain. Excellent for a single body type, fatal for variation.

Front-mid engine — Ettore

The V16 moves forward of the cabin. The dashed volume is what that frees, and it is the volume a Coupe, a Targa and a Shooting Brake disagree about.

White chalk-style sketches on black: three views of a long, low car with the roofline running unbroken into the tail, the word Ettore written out beside them with the dates 2025–2026 and a signature.
Concept sketches, 2025–2026. Development continued past the thesis submission.
Side elevation of a white two-door car on a dark studio ground, its rear quarter and roof in bronze. A raised line runs from the front wheel arch the length of the body and ends in the rear haunch.
Coupe. The C-line runs the full length of the body and terminates in the rear haunch.
The same car from the same camera position with an open roof and a blue rear quarter. Everything forward of the cabin — nose, front wheel, door, the line along the flank — is identical to the coupe.
Targa. The roof retracts rearward, so the C-line stays continuous.
The same car again, now with a green rear quarter and a roof that carries back over a longer rear section into an estate tail. The front half is unchanged from the other two.
Shooting Brake. C-line and centre line carry through the longer rear quarter. One camera, one light, one position across all three: everything forward of the cabin is the same car.

Where we already say this

“The domain model is the product. Everything above it is an interface to it.”

The thesis is that the base decides what can be offered on it, and no amount of choice at the surface can put back an option the base removed.

Platform and transactional architecture

“Every vertical is a specialisation of one transaction sequence. A new business line changes the data and the rules, never the structure.”

One base carrying three body architectures and one sequence carrying eight verticals are the same operation, written down in two industries.

A Multi-Vertical Transactional SaaS Platform for Telegram WebApps

Academic capstone project — not affiliated with or endorsed by Bugatti Automobiles S.A.S.

03/Studio project

A staple gun that fires from motion instead of from a trigger.

Year
2025
Course
PrW302 Exploring Design, DIDI
Tutor
Dr Raffi Tchakerian
Overall length
145 mm, body depth 33 mm

Fixing fabric, insulation or wire mesh at an even spacing normally means measuring, positioning, squeezing, repeating — the accuracy of the row depending entirely on the operator's patience.

This tool removes the decision. It is placed against the surface and drawn along it. A wheel bearing on the material drives a gear train; the gear train turns a cam; the cam releases a spring-loaded hammer that drives a staple through the surface and closes it against the anvil. Spacing becomes a property of the gear ratio rather than of the user's attention.

The project began as a teardown. An existing mechanism was disassembled and documented, rebuilt around a rolling input rather than a trigger, then assessed for manufacture: nine components, each assigned a process, each examined for simplification.

Invariant

The pitch is a property of the mechanism. The hand only supplies motion.

Kinematic chain

  1. 01 Drive wheel

    Rolls on the surface

  2. 02 Gear pair

    Sets the pitch

  3. 03 Cam

    Lifts, releases

  4. 04 Hammer

    Drives the staple

  5. 05 Anvil

    Closes the legs

The first three are drawn in one coordinate system, so their radii are the ratio rather than an illustration of it: the wheel turns the gear nearly twice for every one of its own turns, and the cam again on top of that.

A rendered section through a small orange tool: a large steel disc drives a toothed gear at one end, and behind it a coil spring stands over a hammer, with the staple channel below.
Section through the body: drive wheel, gear pair, cam and the spring-loaded hammer it releases.
Nine cream-coloured printed parts laid out on a white surface: two shaped body plates, three toothed gears of different diameters, a cam, a guide rail and two small fixings.
Nine components, each assigned a manufacturing process.

Where we already say this

“A probabilistic component is only safe inside a deterministic boundary.”

The operator's attention is the unreliable component. Both answers move the guarantee off it and into something that cannot be distracted.

Custom software development and AI engineering for Dubai

“Remove before you optimise. Most process debt is subtraction, not addition.”

Neither project starts by designing. Both start by taking the existing thing apart and writing down what each piece is for.

Business process audit

The pitch the mechanism produces is left blank in the source portfolio — the drawing reads “one staple every [ n ] mm, fixed by the gear ratio”. It is not printed here as a number until he gives one. The 145 mm above is dimensioned on his own orthographic drawing.

04/Personal project

A frame shaped by the loads it has to survive.

Scope
Bicycle frame design and simulation
Supervisor
Prof. Hayk Vasilyan
Software
Fusion 360

The project ran into its own principle immediately. Material should follow function, but a stress test needs a geometry to test, and the geometry cannot be chosen before the material is known. The way out was iteration.

The first frame was drawn without a middle beam and tested with a single force vector — a result that looked promising and was wrong, because the test was too generous. Testing a resolved form next showed load concentrating exactly where the missing beam should have been. The third geometry, built from two triangles, became the final design.

Aluminium 6061 and Ti 6Al 4V perform almost identically under direct compression. Torsion separated them, and titanium was selected on that basis rather than on reputation.

Invariant

A load case that leaves out a force is not a weaker test. It is a different test, and it passes.

The load cases the geometry was resolved against
3000 N400 N2500 N
Rider weight, at the seat
3000 N
Pedalling, at the bottom bracket
400 N
Lateral and torsion, at the head tube
2500 N

The first test applied one of these and passed. The three together put the load where the missing beam should have been.

A bicycle photographed in warm low light. The frame is built from flat panels forming two triangles that meet at the seat, with the join between them left open.
The third geometry, built from two triangles. The final design.

Where we already say this

“Publish the negative results too”

A test passed for the wrong reason is the finding. He kept it in his own portfolio, where nobody would have missed it.

R&D principles

“State the assumption that would change the answer, then go and test that.”

The single force vector was the assumption that changed the answer, and it was the one thing the first test never questioned.

Strategy and market research

Renders to be replaced with neutral studio versions.

The material comparison table from the source portfolio is not reproduced. Its compression figures — 4.9 MPa for Al 6061 against 5.0 MPa for Ti 6Al 4V — sit roughly two orders of magnitude below the published yield strength of either alloy, so they are results from some particular load case rather than properties of the metals. The sentence they support survives without them; the numbers do not go up until he names the case they came from.

Two further simulation frames from the source portfolio are held back for the same reason: they show a different geometry from the one the caption attributes them to.

05/Design competition

A seat that holds the body through geometry rather than tension.

Year
2024
Programme
The Saporiti Design Experience, DIDI × Saporiti Italia
Award
Special Award for Technological Innovation
Method
3D-printed auxetic lattice, no foam or textile

Salvati and Tresoldi's 1984 Miamina reinterpreted the Tripolina campaign chair: a light steel frame carrying a seat of tensioned fabric. This proposal replaces the fabric with structure.

The seat becomes a 3D-printed auxetic lattice — a geometry with a negative Poisson's ratio, which widens rather than narrows when pulled. The substitution is structural, not stylistic. A woven membrane resists the body through tension alone and settles into a saddle; an auxetic lattice under the same load draws itself into double curvature, closing around the sitter rather than hanging beneath them.

One printed material performs three jobs at once — support, compliance and surface. No foam, no upholstery, no textile. Comfort is tuned by cell geometry instead of padding density: cells stiffen along the load-bearing spine and open toward the edges, within a single continuous body.

Saporiti's original logic is left untouched. Only the element the 1984 chair had no way to make is rebuilt.

Invariant

One printed material does the work of a frame, a spring and a surface.

Why a negative Poisson's ratio makes a better seat

Conventional

At rest

Under load

Pulled, the cell narrows. The sheet thins under load and settles into a saddle beneath the sitter.

Auxetic — negative Poisson's ratio

At rest

Under load

Re-entrant cells rotate open under tension, so the sheet widens as it is pulled. Bent out of plane the same geometry produces dome curvature instead of a saddle.

A hand holding a flat sample of the same black lattice against a pale wall. The panel is curving in two directions at once under the pressure of the fingers rather than folding along one line.
Printed lattice sample. The cell geometry lets a flat panel take double curvature under hand pressure.
A brass plate in a black frame, engraved: saporiti italia, we certify that Khadzhimurad Murtazaliev has been awarded the Special Award for Technological Innovation, the saporiti design experience, dubai 2024, redesigning Miamina.
The award is engraved to him by name: Special Award for Technological Innovation, The Saporiti Design Experience, Dubai 2024.
A close view of a black three-dimensional printed lattice filling the frame: rows of small bow-tie cells, each pinched at the waist, receding at an angle.
Lattice detail.

Where we already say this

“Medical logic — dose, form, prescription status, patient age — belongs to the catalogue, not to the filter interface.”

Both move a property out of the layer that was compensating for its absence and into the structure that can carry it — comfort into the cell, medical logic into the catalogue.

Operational & Product System Rebuild for a Federal Pharmacy E-Commerce Platform

“Stabilise before you improve. A system under stress cannot absorb a redesign.”

Neither replaces the whole object. Both identify the single element that cannot be corrected in place and rebuild only that.

Anti-crisis engineering and recovery

Team and role to be confirmed — the project was developed within a group of two to three students.

That sentence is his, and it stays until he replaces it. The plaque records an award made to him by name; it does not record which part of the work was his, and neither do we.

06/Range

A robotic end effector, a lamp with opinions about the room, and a wheel drawn at seventeen. They are good and they are his; they are not diagnoses of a structure, so they are not offered as evidence of one.

PalmWeave

Studio project · 2024

Automating a hand-tying technique that predates the machine performing it.

Date palm pruning is agricultural waste. Its midribs have been tied into fences, roofing and shelters across the region for centuries — always by hand. PalmWeave is an end effector for a 6-axis robotic arm that performs that tying at architectural scale.

The material shift drove the project. Palm leaves are culturally the obvious choice and structurally the wrong one — flexible, low density, prone to outdoor degradation. The midribs are rigid, dense, resistant to sun and humidity, and dimensionally variable, which is precisely what makes them difficult to automate.

Midribs are held upright in a laser-cut base by TPU caps with an X-shaped cutout, gripping stems of varying thickness through the elasticity of the material rather than through tolerance.

A black prototype photographed on white: two long carriages on linear rails, each ending in a pair of hooked jaws, with stepper motors, exposed control boards and coloured wiring along their length.
Final prototype. Two gripper carriages on linear slides with the tying unit between them.
The sequence the arm performs
01 Collect
Pruning waste — the midribs left after the palm is trimmed.
02 Base
TPU caps in a laser-cut base hold stems of varying thickness upright.
03 Grip
Dual hook jaws close on the midrib.
04 Insert
The midrib is held upright against the one already placed.
05 Bend and tie
The tying unit threads the joint at the midpoints.
06 Repeat
In levels, up the structure.

Role: mechanism design, CAD and visualisation, technical documentation. Robot positioning and control programming by team members. Team: S. Elkarmalawy · O. Khattab · K. Murtazaliev.

TempLume

Studio project · 2024

A lamp with a comfort range of its own.

Between 21 and 25 °C the lamp stands still and gives neutral 4000 K light — the only state in which it is genuinely good to work by.

Below 21 °C it shivers. A rack and pinion lifts the body roughly half a centimetre, repeatedly, and the light shifts cold. Above 26 °C it sways instead, and the light goes amber. Both discomfort states produce objectively worse working light, and the colour reinforces what the movement is already saying rather than compensating for it.

The consequence is the point. To get a usable desk lamp you have to make the room comfortable for the lamp. It is not a service optimising your conditions — it is an occupant of the room with conditions of its own. Left long enough in a bad environment it habituates, and its comfort range shifts.

A dark wooden desk lamp shaped like a sundial gnomon — a low foot with an angled arm leaning back from it — the whole upper face of the arm a single lit white panel.
Working prototype. The gnomon form keeps the LED panel a continuous plane.
The same lamp photographed three times side by side against dark backgrounds: amber light on the left, neutral white in the middle, cold blue on the right.
The three colour states, photographed one after another rather than in motion.
Three states, on one temperature axis
Below 21 °C

Shivers

Rack and pinion, ~5 mm

Cold colour shift

21–25 °C

Still

No movement

Neutral 4000 K

Above 26 °C

Sways

Slow lateral rocking

Amber colour shift

The light is worst exactly when the lamp is least comfortable, so the only way to obtain good working light is to fix the room.

Role: mechanism design, product form and visualisation. Arduino programming and sensor logic by team members.

Motion is the subject of this project and cannot be shown in a still. Video of both states to be added.

Nove Forged

Personal project

A wheel drawn in the same language as the body it sits under.

Five faceted spokes fold outward from the hub like sheet metal creased along hard lines. Each face sits on its own plane and catches light differently, so the wheel reads as sculpture at rest and as a solid disc in motion. Behind them a fine ribbed field fills the barrel — dark, matte, quiet enough to let the spokes hold all the light.

The geometry is angular by decision, not by default. The Countach is a car made entirely of straight cuts and folded planes; a rounded spoke would have been the wrong instrument. The wheel is drawn in the same language as the body above it.

Designed at seventeen.

A close view of a wheel on a white car: five spokes folded into flat facets, each face catching the light at a different angle, over a finely ribbed dark field filling the barrel behind them.
Faceted spokes against the ribbed barrel field.

Wheel design by Khadzhimurad Murtazaliev. All visualisation by Nickolay Polishchuk.

One frame, and it is the one where the wheel is the subject. The car, the scene and the light in it are someone else's work, and three further frames from the source portfolio are held back for that reason.

07/What this is not

Data Nexus holds two RAKEZ licences covering media and marketing consultancy, computer systems and software design, and IT infrastructure. Industrial design is on neither of them, and nothing on this page is for sale. He is a designer who works here; the products he made are not products we make.

Bugatti
An academic capstone project, reviewed by Jascha Straub of Bugatti Sur Mesure. That review happened and is named. The company did not commission, approve or endorse the work, which is why the disclaimer he wrote is printed under it in the same type as everything else and not in a footnote.
The Saporiti award
Engraved to him by name, and photographed. It records an award; it does not record which part of a group project was his, and until he says, neither do we.
Group projects
Three of the seven were made in teams. Where he named his collaborators we name them; where he did not, the credit says so rather than being tidied away.
Production
None of these reached a production run. They are a capstone, a competition entry, three studio projects and two personal ones — which is what the line under each title says.
Dubai
He is based in Dubai. Data Nexus is licensed in Ras Al Khaimah and the work is done from Abu Dhabi; we hold no Dubai address and this page is not one.
08/Open

Published open, because that is the habit the page is arguing about. Six times in his own portfolio he marks the edge of what he can prove — a role unconfirmed, a video that does not exist yet, renders he intends to replace. Cleaning those off in the move here would have deleted the only thing that made the work worth moving.

  1. 01

    The names of the TempLume team. PalmWeave credits its team member by member; TempLume credits “team members”. Two credits at two levels of detail on one page reads as a choice, and it was not one.

  2. 02

    The staple pitch in millimetres. His drawing says “one staple every [ n ] mm, fixed by the gear ratio” and the blank is the number the whole tool is about.

  3. 03

    Which frame the Zenith simulation plots belong to, and the load case behind the material table.

  4. 04

    Video of the lamp shivering and swaying. He has already written that the stills cannot carry it.

  5. 05

    His part in the Miamina group, in his own words.

Next

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