Mena Ahmed Portfolio

MENA AHMEDINTERIOR DESIGN PORTFOLIO

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

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MENA AHMED- 52946- IDE301- OBJECT+DISPLAY

AXONOMETRIC 1:5

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FLOOR PLAN 1:6

AXONOMETRIC 1:5


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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







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

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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

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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

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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

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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

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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

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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


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Diagramatic Plan


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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


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SOLID VS VOID


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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


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Cap

DRIPPER ATTACHMENT

OUD CONTAINER


16PagePRODUCT ANALYSIS AND DESIGN

17PagePRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

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FLOOR PLAN 1:6

AXONOMETRIC 1:5


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AXONOMETRIC 1:5


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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

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


PLAN AND SECTIONS MENA AHMED_52946_SHIBUYA APARTMENT, JAPAN PRENDERSPLAN AND SECTIONS MENA AHMED_52946_SHIBUYA APARTMENT, JAPAN PRENDERS

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

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SHIBUYA APARTMENT DESIGN

37PageSHIBUYA 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

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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

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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13/10

/2016

BLG G DETAIL

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ID 302.202

SECTION MODULE A 1:2003

SECTION MODULE B 1:2004

SECTION MODULE C 1:20

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PLASTIC CRATE

LED STRIP

WOODEN FRAME

FROSTED ACRYLICSHEET

GLASS SHEET

REUSED RED PLASTICCRATE

WOODEN SHELF FOR DISPLAY


LED STRIP

WOODEN FRAME

FROSTE ACRYLIC SHEET

GLASS SHEET

ILLUMINATING PANEL

RED PAINT

GLASS DISPLAY

RED PAINT

WOODEN FRAME

ILLUMINATING PANEL

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PLASTIC CRATE

WOODEN FRAME

RED PAINT

GLASS DISPLAY

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SODA POP EXHIBITION

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Mena Ahmed Designs

BUILDING H SECTIONS

1:10

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03DETAIL SECTION C 1:10

05DETAIL SECTION B 1:10DETAIL ELEVATION 1:10

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PLY WOOD BACKING

METAL SODA CAPS

WOODEN FRAME


METAL BACK ILLUMINATEDSIGN

SODA MACHINE

TANK

WOODEN BASE

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PLASTIC CONNECTIONTHAT FITS EXACTLY THEINTERIOR OF THE CRATE

ADJUSTABLE SHELVES


PLASTIC CONNECTIONTHAT FITS EXACTLY THEINTERIOR OF THE CRATE

WOODEN FRAME

METAL SODA CAPS

SODA POP EXHIBITION

58Page


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.


61PageDESIGN 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.


65Page

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.


68Page

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.

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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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MENA AHMEDINTERIOR DESIGN PORTFOLIO

Mena Ahmed Portfolio

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