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MENA AHMEDINTERIOR DESIGN PORTFOLIO
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
PRO
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BY
AN
AU
TOD
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PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
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MENA AHMED- 52946- IDE301- OBJECT+DISPLAY
AXONOMETRIC 1:5
PRO
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BY A
N A
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DESK
EDU
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PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
FLOOR PLAN 1:6
AXONOMETRIC 1:5
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
PRO
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BY
AN
AU
TOD
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PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
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AXONOMETRIC 1:5AXONOMETRIC 1:5
2Page
ABOUT ME
EDUCATION
American University of SharjahSharjah, United Arab [email protected](+971)562407977Nationality: Egyptian
Rhinoceros
Autocad Adobe Photoshop
Adobe Illustrator Adobe InDesign
Adobe Aftereffects
Currently studying
Developed interior design concepts and prepared interior systems and finishes. Designed floor plans, elevations, and 3D perspective views and material boards.
Created presentations that creatively communicate design intent and direction, ensured that the project vision and design intent were reflected.
Visited sites when necessary to assess and fulfill project needs
During time of studying
Expected semester of graduation
Granted and maintained AUS merit scholarship
American University of Sharjah
Spring 2017
DESIGN SKILLS
Revit
TECHNICAL SKILLS
3Page
TABLE OF CONTENTS
POSTER DESIGN
INTERIOR DESIGN
FURNITURE 4-5
6-9THE WALL
BATHING SPACE
PRODUCT ANALYSIS AND DESIGN
SHIBUYA STUDIO
SHIBUYA APARTMENT
6-61
10-13
14-17
26-33
34-41
LOTOCOHO JEWELRY STORE 18-25
SHIBUYA SHOWROOM
SODA POP EXHIBITION
DESIGN BUILD PROJECT
POTTERY
42-47
48-57
58-67
68-69
70-75
MR SIDE CHAIR FAB-RICATION - MIES VAN
DER ROHE This project is a hands on full fabrication of a famous chair where a 1:6 prototype is built according to the
actual materials. It was also an exploration of how the actual chair was built, taking into consideration the
limitations of the materials used, for example bending the steel and manipulating the leather piece with respect
to its thickness.
5Page
EXPLODED AXONOMETRIC
CONSTRUCTION PROCESS
EXPLODED AXONOMETRIC
CONSTRUCTION PROCESS
EXPLODED AXONOMETRIC
CONSTRUCTION PROCESS
EXPLODED AXONOMETRIC
CONSTRUCTION PROCESS
MR SIDE CHAIR
THE WALL
This project used transformation process to create a wall as a center of focus in a public space. The aim of this project is
to challenge the capabilities of the material, in this case brick to produce a design that stands and communicates a certain
aspect to the observer.
8PageTHE WALLD
D
C
C
B
B
A
A
Wall Section A Wall Section B Wall Section C Wall Section D
Course 3
Course 5
Course 7
Course 10
Course 13
Course 15
Course 17
Course 20
Course 23
Course 25
Course 27
Course 30
Course 33
Course 35
Course 37
System A
System A
System A
System A
System A
System A
System A
System A
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Aa Bb12345678910111213141516 171819
2021
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28293031323334
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B C D E F G H I J K L M N O P Q R S T U V W X Y Z Aa Bb
Each module pushed by a factor of +10 until maximum of 60mm from x-axis
Each module shifted to the left by a constant factor of +5 to the left
(Applicable for all the above courses)
60 mm
Running Bond
1
234
5
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78910111213
1415
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Wall construction information and guids
Mena Ahmed - 52946 - IDE 202 - Project1 - The Wall
Section A - SectionD distance of the voids decrease and strat introducing waves
This Wall tries to emphasize the capabilities of brick as a material in which it can create contrasting relationships, which enhances the experience. The motion in this wall is achieved by the the gradation in pulling and pushing individual modules which create a texture. In contrast to that, smooth voids are created by the tensile force that is implied throught the opening of the voids gradually
D
D
C
C
B
B
A
A
Wall Section A Wall Section B Wall Section C Wall Section D
Course 3
Course 5
Course 7
Course 10
Course 13
Course 15
Course 17
Course 20
Course 23
Course 25
Course 27
Course 30
Course 33
Course 35
Course 37
System A
System A
System A
System A
System A
System A
System A
System A
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Aa Bb12345678910111213141516 171819
2021
2223242526
28293031323334
27
353637383940
B C D E F G H I J K L M N O P Q R S T U V W X Y Z Aa Bb
Each module pushed by a factor of +10 until maximum of 60mm from x-axis
Each module shifted to the left by a constant factor of +5 to the left
(Applicable for all the above courses)
60 mm
Running Bond
1
234
5
6
78910111213
1415
16
1718
19
20212223
242526
282930
31323334
27
3536
37383940
Wall construction information and guids
Mena Ahmed - 52946 - IDE 202 - Project1 - The Wall
Section A - SectionD distance of the voids decrease and strat introducing waves
This Wall tries to emphasize the capabilities of brick as a material in which it can create contrasting relationships, which enhances the experience. The motion in this wall is achieved by the the gradation in pulling and pushing individual modules which create a texture. In contrast to that, smooth voids are created by the tensile force that is implied throught the opening of the voids gradually
9Page
D
D
C
C
B
B
A
A
Wall Section A Wall Section B Wall Section C Wall Section D
Course 3
Course 5
Course 7
Course 10
Course 13
Course 15
Course 17
Course 20
Course 23
Course 25
Course 27
Course 30
Course 33
Course 35
Course 37
System A
System A
System A
System A
System A
System A
System A
System A
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Aa Bb12345678910111213141516 171819
2021
2223242526
28293031323334
27
353637383940
B C D E F G H I J K L M N O P Q R S T U V W X Y Z Aa Bb
Each module pushed by a factor of +10 until maximum of 60mm from x-axis
Each module shifted to the left by a constant factor of +5 to the left
(Applicable for all the above courses)
60 mm
Running Bond
1
234
5
6
78910111213
1415
16
1718
19
20212223
242526
282930
31323334
27
3536
37383940
Wall construction information and guids
Mena Ahmed - 52946 - IDE 202 - Project1 - The Wall
Section A - SectionD distance of the voids decrease and strat introducing waves
This Wall tries to emphasize the capabilities of brick as a material in which it can create contrasting relationships, which enhances the experience. The motion in this wall is achieved by the the gradation in pulling and pushing individual modules which create a texture. In contrast to that, smooth voids are created by the tensile force that is implied throught the opening of the voids gradually
THE WALL
BATHING SPACE
This is a continuation of the wall project where it is used to create an in-habitation space that contains various
experiences.
PROJECT
11PageBATHING SPACE
12Page
Mena Ahmed I 52946 I IDE202 I Bathing Space
N
21st of October21st of July 21st ofDecmber
Diagramatic Plan
Mena Ahmed I 52946 I IDE202 I Bathing Space
N
21st of October21st of July 21st ofDecmber
Diagramatic Plan
Mena Ahmed I 52946 I IDE202 I Bathing Space
N
21st of October21st of July 21st ofDecmber
Diagramatic Plan
BATHING SPACE
21st of October 21st of December21st of July
13PageBATHING SPACE
PRODUCT ANALYSIS AND
DESIGNThe aim of this project is to design a small installation for a product after extensive research about the prod-uct itself as well as the interaction between the product
and the costumer.
15Page
ARC301_MENA AHMED_52946_CASE STUDY
/OUD CONTAINER CASE STUDY
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
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PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
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PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
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SOLID VS VOID
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
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The movement of scent waves emerges as the cap is opened in a non uniform pattern going from dense compacted waves which re-sults in a strong oud smell while in a distance scent waves are sparse and further apart thus a weaker smell is produced.
The nature of the oud as oil result in a 2 layers of heavy and dense fluid at the bottom and the lighter layer on top. the snap of the cap outwards with a high sudden speed result in the mixing of densities where the heavier fluid mix upwards because of the pressure upwards.
ELEVATION C 2:1 (mm)
LAYERS AND TRANSPAREN-CIES
STUDY OF BEHAVIOR
STUDY OF SCENT
STUDY OF DENSITIES
ELEVATION D 2:1 (mm)
ELEVATION A+B 2:1 (mm)
SECTION AA 2:1 (mm)
GOLD PLATED
Plastic
Glass
TOP ELEVATION E 2:1 (mm)
DRIPPER
Glass
EXPLODED AXO
RENDER
GEOMETRIC PROCESSION SCENT DISPERSION
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
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BY
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PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
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Cap
DRIPPER ATTACHMENT
OUD CONTAINER
PRODUCT ANALYSIS AND DESIGN
16PagePRODUCT ANALYSIS AND DESIGN
17PagePRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
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MENA AHMED- 52946- IDE301- OBJECT+DISPLAY
AXONOMETRIC 1:5PR
OD
UC
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PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
FLOOR PLAN 1:6
AXONOMETRIC 1:5
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
PRO
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PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
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AXONOMETRIC 1:5AXONOMETRIC 1:5
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
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PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
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MENA AHMED- 52946- IDE301- OBJECT+DISPLAY
AXONOMETRIC 1:5
PRO
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BY A
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DESK
EDU
CA
TION
AL PR
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UC
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PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
FLOOR PLAN 1:6
AXONOMETRIC 1:5
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
PRO
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BY
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AXONOMETRIC 1:5AXONOMETRIC 1:5
PRODUCT ANALYSIS AND DESIGN
LOTOCOHO JEWELRY STORE
DESIGN
In this project, in depth research about the client(LOTO-COHO) was a driving aspect of the project where the
elements like jewelry design, previous store designs, and branding was taken into consideration.
20PageLOTOCOHO JEWELRY STORE
21PageLOTOCOHO JEWELRY STORE
22PageLOTOCOHO JEWELRY STORE
23PageLOTOCOHO JEWELRY STORE
24PageLOTOCOHO JEWELRY STORE
25PageLOTOCOHO JEWELRY STORE
SHIBUYA STUDIO DESIGN
This project was a dedicated attempt to maximize space efficiency in a studio to have the same func-tions in an apartment however, only with the basic human need. The hints of green is an addition that mostly happens when an element of the super furni-ture is used, it is also one of the colors that is mostly
used in Japan.
28PageSHIBUYA STUDIO DESIGN
B.O . CIELING
20mm T.O. UNIT
20mm T.O. SEATING SPACE
T.O. BENCH
T.O . CIELING
20mm T.O. UNIT
T.O. READING SPACE
B.O. READING SPACE
CROSS SECTION AA _1:25 LONGITUDINAL SECTION BB _1:25
MENA AHMED_52946_SHIBUYA APARTMENT, JAPAN PLAN AND SECTIONS
430mm
1530mm
2000mm
4000mm
470mm
1380mm
2000mm
4000mm
FLOOR PLAN _1:25
X-RAY
A
A
B B
29Page
PLAN AND SECTIONS MENA AHMED_52946_SHIBUYA APARTMENT, JAPAN PLAN AND SECTIONS
S
S
S
SS
S
S SWITCH
RECESSED LIGHT
WALL LIGHT
PENDANT LIGHT
LEGENDRCP_1:25
FLOATING MASS IN A SPACE ZONING
MULTI-FUNCTIONAL UNITCARVING OUT
SHIBUYA STUDIO DESIGN
30PageSHIBUYA STUDIO DESIGN
PLAN AND SECTIONS MENA AHMED_52946_SHIBUYA APARTMENT, JAPAN PRENDERSPLAN AND SECTIONS MENA AHMED_52946_SHIBUYA APARTMENT, JAPAN PRENDERS
31PageSHIBUYA STUDIO DESIGN
32PageSHIBUYA STUDIO DESIGN
33PageSHIBUYA STUDIO DESIGN
SHIBUYA APARTMENT 2
DESIGN
This project tries to explore balance between colors by a system of introducing hints of maroon and green gradually to create a cohesive space over all without over-crowding
the space with colors.
35Page
36Page
ELEVATION A - 1:25
ELEVATION C - 1:25
MENA AHMED- 52946- IDE303SHIBUYA APPARTMENT
ELEVATION E - 1:25
FLOOR PLAN - 1:25
B
AA
B
ELEVATION B - 1:25
ELEVATION D - 1:25
11005
369227724541
4911
196813322537
10855
23741467
1467
1176
4476
REF
A
CE
BD
FG
SHIBUYA APARTMENT DESIGN
37PageSHIBUYA APARTMENT DESIGN
38PageSHIBUYA APARTMENT DESIGN
39Page
Surface treatments act as a reminder to the residents of the Japa-nese love for nature as well as its functionality to act as a vegeta-
tion space for growing local plants.
SHIBUYA APARTMENT DESIGN
ELEVATION A - 1:25
ELEVATION C - 1:25
MENA AHMED- 52946- IDE303SHIBUYA APPARTMENT
ELEVATION E - 1:25FLOOR PLAN - 1:25
B
A A
B
ELEVATION B - 1:25
ELEVATION D - 1:25
1100
5
3692
2772
4541
4911
1968
1332
2537
1085
5
2374
1467
1467
1176
4476
REF
A
CE
BD
F G
40PageSHIBUYA APARTMENT DESIGN
41PageSHIBUYA APARTMENT DESIGN
Colors are used to paint the space in a controlled man-ner having 3 major colors used in different percentages throughout the spaces to create different experiences.
42Page
SHIBUYA SHOWROOM
The main aim in this project was to create multiple work/sitting with client spaces that create a fun working atmo-sphere and blur the line between a working space and a
space that can be used as a sitting space at the same time.
43Page
44PageSHIBUYA SHOWROOM
45PageSHIBUYA SHOWROOM
46PageSHIBUYA SHOWROOM
47PageSHIBUYA SHOWROOM
48Page
SODA POP EXHIBITION
For a very large scale prpoject like this one, sustainability, way finding and different displaying techniques were the
main elements to address in the space. To create a connec-tion between the displayed elements or information to soda pop, found objects like soda crates as a consistent system
to create display, way finding and seating.
49Page
50Page
SODA POP EXHIBITION
SODA POP EXHIBITION
SODA POP EXHIBITION
EXHIBITION A
EXHIBITION B
EXHIBITION C
EXHIBITION D
EXHIBITION E
Starting with the soda fountain, you can refresh yourself with a soft drink before starting your journey. This exhibition displays the bottles in their chronological order.
This space will exhibit elements that were crucial with the develop-ment and the bottle.
Advertisement strategies were the basis of the growth of the soda industry, which is displayed in this exhibition.
This space will display Hundreds of soda brands around the world which will give a sense of the different cultural preferences
Your final destination will include the events through which some brands more than the others stood out for their approaches to interact with the consumers.
ABOUT DESIGNER
Contact InfoOffice Number: 06/5306116
Email Address: [email protected]
Al Sondos Tower, Al Ta’awon street, Al Khan, Sharjah, United Arab Emirates
SODA FOUNTAIN IN EXHIBITION A
Start here
ABOUT SODA POP
This exhibition aims to take the visitor through a chronological story of the development of soda from being a medicine sold in drug stores in the 1800’s to when it became a drink for luxury. Along this devel-opment there were various elements that were developed relating to different cultures as well as technological advances which are going to be exhibited .
Mena Ahmed Designs
SODA POP EXHIBITION
51PageSODA POP EXHIBITION
52Page
Mena Ahmed Designs
ELEVATION A 1:30
CME
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HMED
13/10
/2016
BLG G DETAIL
SED
24
ID 302.202
SECTION MODULE A 1:2003
SECTION MODULE B 1:2004
SECTION MODULE C 1:20
165
150
5023
8550
305
310
2790
3100
165
1080
930
925
1240
1860
3100
165
150
1125
8531
029
036
061
5
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100
925
100
690
3100
PLASTIC CRATE
LED STRIP
WOODEN FRAME
FROSTED ACRYLICSHEET
GLASS SHEET
REUSED RED PLASTICCRATE
WOODEN SHELF FOR DISPLAY
REUSED RED PLASTICCRATE
LED STRIP
WOODEN FRAME
FROSTE ACRYLIC SHEET
GLASS SHEET
ILLUMINATING PANEL
RED PAINT
GLASS DISPLAY
RED PAINT
WOODEN FRAME
ILLUMINATING PANEL
975
04302.2
04
302.2
04302.2
PLASTIC CRATE
WOODEN FRAME
RED PAINT
GLASS DISPLAY
ILLUMINATING PANEL
1865 930 2330 465 930 465 930 465 1420
310
5010
2550
8531
029
530
550
310
305
300
10020
01
SODA POP EXHIBITION
53PageSODA POP EXHIBITION
54PageSODA POP EXHIBITION
55PageSODA POP EXHIBITION
56Page
04
Mena Ahmed Designs
BUILDING H SECTIONS
1:10
29
03DETAIL SECTION C 1:10
05DETAIL SECTION B 1:10DETAIL ELEVATION 1:10
04
302
PLY WOOD BACKING
METAL SODA CAPS
WOODEN FRAME
REUSED RED PLASTICCRATE
METAL BACK ILLUMINATEDSIGN
SODA MACHINE
TANK
WOODEN BASE
150
460
215
3015
030
405
2510
013
017
018
035
550
610
910
135
145
25
300
830
125
150
460
910
300
315
515
125
2775
2775
305
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5082
550
260
5050
450
325
5010
0
615
925
1240
2780
CME
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ID 303.2
04
302
PLASTIC CONNECTIONTHAT FITS EXACTLY THEINTERIOR OF THE CRATE
ADJUSTABLE SHELVES
REUSED RED PLASTICCRATE
PLASTIC CONNECTIONTHAT FITS EXACTLY THEINTERIOR OF THE CRATE
WOODEN FRAME
METAL SODA CAPS
SODA POP EXHIBITION
57PageSODA POP EXHIBITION
58Page
DESIGN BUILD PROJECT
The site, CAAD in the American university of Sharjah was chosen as a challenge because of the nature of the geome-try of the site which is below the main staircase. This project was a collaborative project completed by the interior design
graduates of 2017.
59Page
60Page
My role: I was in the griup responsible for the rope. This included choosing the quality of rope, the weave that was going to be used to create the seating space as well as the mechanism of stretching the rope.
DESIGN BUILD PROJECT
61PageDESIGN BUILD PROJECT
62PageDESIGN BUILD PROJECT
63PageDESIGN BUILD PROJECT
64Page
PROCESSPrototype #1: In working with fabric to create the tent, it became apparent how difficult it was for the students to control the shaping and structural nature of fabric and so we tried achieving the same goal with rope. The students found it much more controllable than fabric and liked the strength and visual interest rope gave to the idea of the “Khaimah”.
Prototype #2: It was agreed by the studio to use rope instead of fabric as the stu-dio saw much potential in this material while they quickly were able to manipulate it into many different configurations. The rope also reacted well to lighting, which would be an important visual component.
DESIGN BUILD PROJECT
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Prototype #2: It was agreed by the studio to use rope instead of fabric as the stu-dio saw much potential in this material while they quickly were able to manipulate it into many different configurations. The rope also reacted well to lighting, which would be an important visual component.
We achieved optimal strength by using a typical roof framing truss structure that would hold the rope structure in tension. The wood structure would be self-supporting, not relying on connec-tion to any existing structure, but would use the stair itself as a counter weight to counter act the extreme cantilevered seat. This would be crucial in the event the structure was over loaded.
DESIGN BUILD PROJECT
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Colors in Ancient Times
In ancient civilizations like Egypt, red was made out of red ocher or red lead.
Lapis Lazuli from mines in Afghanistan.
In Egypt, Red was relat-ed to magic.
4000 BC
In 1907, Cadmium Red was used for clothing.
Colors like purple were expen-sive in ancient times thus were mainly used by Royal families.
7th Millennium
Colours were clues to nature thus
yellow represented the sun
Paul Klee (1920) connected music to visual art. He painted using symbols and believed in the expressive power of color.
Monet (1872) Monet’s approach to art restricted the use of black board-ers which was seen further when be-ginning to lose his sight by the pro-duction of blurred paintings.
Kandinsky (1911) believed that the blue color of the sky (resembling god) was associated with divinity.
Van Gogh (1889) was known for gestural application of painting and symbolic colors to express subjective emo-tions.
Picasso’s blue period started 1904 where blue was mainly used to ex-press his sadness.
Joan Miro L. Ferra (1924) surrealist painter, used compositions and color to paint the subconscious and child like paintings which is re�ected on the use of colors.
In 1921, Mondrian developed a theory that applies the use of a grid with planes of prima-ry colors called neoclassicism that in�uenced later art and architecture.
In 1949, Mark Rothko’s study of colors explored the com-positional potential of color and form on the human psyche.
Andy Warhol in 1962. The use of colors in commercial and mass produced art. The use of red attracts consumers.
Barnet Newmans: red paint-ing that the museum got closed because of encourag-ing violence “Who's Afraid of Red, Yellow and Blue?” 1966. "I prefer to leave the paint-ings to speak for themselves."
In 2006, Mark Tansey devel-oped the use of monochro-matic colors into contempo-rary art like the Myth of depth II.
In 1950 Pan-tone started with the pur-pose of stand-ardizing color among the world.
1956, Lawrence Herbet changed it from being 60 pig-ments – 12 basic colors – to the current 1677 colors.Color and Art
Color And Architecture
Color And Light
Pantone
In Spain, blue is used in mosaics but origi-nally in Morocco.
Strating from 3000 BC, Egyptians used cobalt blue above the eyes.
Drake one �fty by Martin Brudniziki (2000) color was used in a functional aspect where it guided visitors to seating spaces using red which is directly noticed along with blue seating and yellow light.
In terminal 4 barajas airport (2006), uses colors to di�erentiate between spaces various color schemes are used to recog-nize di�erent ports.
Puma (2008) red was used as an eye-catching color as well as its association with excitement.
In 2011, Lamar used colors to create cultural openness accord-ing to the function of the space.
La Ciudadela by Taller 6A (2012) used colors for de�nition and purpose of spaces.
Constructivism was an artistic and archi-tectural philosophy that originated in Russia beginning in 1919, a rejection of the idea of autono-mous art. The move-ment was in favour of art as a practice for social purposes.
Hospital use white light to relax patients.
777 By Boeing (1995) used blue light as an as-sociation with the sky and calmness.
COLOR HISTORY Schroeder house (1924)
Eames house (1949)
Barbara Kruger (2012)Installation with the purpose of creating environments that sur-rounds the viewer with lan-guage.
Louis Vuitton concept store (2012)
In this design, the Eames used Mon-drian’s composi-tional theory and implemented it into an architec-tural design.
Redcoat in the 17th century refer to the British army because of the red uniforms.
In the 15th century, other civili-zations used dye extracted from sessile parasite which was native to South America and Mexico to make red which was used in cosmetics.
Mena AhmedG00052946
IDE211
First discovery of cave paintings was made public in 1880 in Spain. (Cave of Altamira was the �rst in which prehistoric paintings were discovered)
POSTER DESIGNThis poster takes viewers through the history of the three
primary colors (red, blue and yellow) which is reinforced in the Mondrian theme.
69Page
Colors in Ancient Times
In ancient civilizations like Egypt, red was made out of red ocher or red lead.
Lapis Lazuli from mines in Afghanistan.
In Egypt, Red was relat-ed to magic.
4000 BC
In 1907, Cadmium Red was used for clothing.
Colors like purple were expen-sive in ancient times thus were mainly used by Royal families.
7th Millennium
Colours were clues to nature thus
yellow represented the sun
Paul Klee (1920) connected music to visual art. He painted using symbols and believed in the expressive power of color.
Monet (1872) Monet’s approach to art restricted the use of black board-ers which was seen further when be-ginning to lose his sight by the pro-duction of blurred paintings.
Kandinsky (1911) believed that the blue color of the sky (resembling god) was associated with divinity.
Van Gogh (1889) was known for gestural application of painting and symbolic colors to express subjective emo-tions.
Picasso’s blue period started 1904 where blue was mainly used to ex-press his sadness.
Joan Miro L. Ferra (1924) surrealist painter, used compositions and color to paint the subconscious and child like paintings which is re�ected on the use of colors.
In 1921, Mondrian developed a theory that applies the use of a grid with planes of prima-ry colors called neoclassicism that in�uenced later art and architecture.
In 1949, Mark Rothko’s study of colors explored the com-positional potential of color and form on the human psyche.
Andy Warhol in 1962. The use of colors in commercial and mass produced art. The use of red attracts consumers.
Barnet Newmans: red paint-ing that the museum got closed because of encourag-ing violence “Who's Afraid of Red, Yellow and Blue?” 1966. "I prefer to leave the paint-ings to speak for themselves."
In 2006, Mark Tansey devel-oped the use of monochro-matic colors into contempo-rary art like the Myth of depth II.
In 1950 Pan-tone started with the pur-pose of stand-ardizing color among the world.
1956, Lawrence Herbet changed it from being 60 pig-ments – 12 basic colors – to the current 1677 colors.Color and Art
Color And Architecture
Color And Light
Pantone
In Spain, blue is used in mosaics but origi-nally in Morocco.
Strating from 3000 BC, Egyptians used cobalt blue above the eyes.
Drake one �fty by Martin Brudniziki (2000) color was used in a functional aspect where it guided visitors to seating spaces using red which is directly noticed along with blue seating and yellow light.
In terminal 4 barajas airport (2006), uses colors to di�erentiate between spaces various color schemes are used to recog-nize di�erent ports.
Puma (2008) red was used as an eye-catching color as well as its association with excitement.
In 2011, Lamar used colors to create cultural openness accord-ing to the function of the space.
La Ciudadela by Taller 6A (2012) used colors for de�nition and purpose of spaces.
Constructivism was an artistic and archi-tectural philosophy that originated in Russia beginning in 1919, a rejection of the idea of autono-mous art. The move-ment was in favour of art as a practice for social purposes.
Hospital use white light to relax patients.
777 By Boeing (1995) used blue light as an as-sociation with the sky and calmness.
COLOR HISTORY Schroeder house (1924)
Eames house (1949)
Barbara Kruger (2012)Installation with the purpose of creating environments that sur-rounds the viewer with lan-guage.
Louis Vuitton concept store (2012)
In this design, the Eames used Mon-drian’s composi-tional theory and implemented it into an architec-tural design.
Redcoat in the 17th century refer to the British army because of the red uniforms.
In the 15th century, other civili-zations used dye extracted from sessile parasite which was native to South America and Mexico to make red which was used in cosmetics.
Mena AhmedG00052946
IDE211
First discovery of cave paintings was made public in 1880 in Spain. (Cave of Altamira was the �rst in which prehistoric paintings were discovered)
POSTER DESIGN Page 62
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POTTERY
I treated pottery as another design domain and applied a similar design process as for example designing an interior, however designing something that is as tangible as pots re-veals various challenges and issues like sensitivity to achieve
a well crafted pot
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DISTROTED POTS
These pots were a part of a study of distorting the pots and explor-ing he relationshp between the outside and the inside of the pot.
POTTERY
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ERGONOMIC POTS
After expoloring the process of distortion of pots, I took it to another level where I studied the interaction between a per-son and the pot when using it and designed the distortion of the pot accordingly.
POTTERY
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