interior design portfolio

interior design ] portfolio chris el murr

rien ne se perd rien ne se crĂŠe tout se transforme

nothing is lost, nothing is created everything transformes Antoine Laurent de Lavoisier (1743-1794)

About me.

I am interior designer fascinated by human experience

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01 Letter of Motivation

I grew up in Beirut, Lebanon, within a big family with a passion for design; many having professional careers in the fields of architecture, interior design, art and construction. So, I have inherited this love and passion for good design. I was fascinated by the resilience of the people in Beirut and how later designers integrated their own ideologies into an existing morphology. This amalgamation of design has fascinated me and first inspired me to purse architecture and the interior space.

(As a child, I would often fantasize about improving the interior of the bomb shelter in the basement where the neighbors used to go and people would crowd into; I would dream up ideas as to how make it better for people to exist and hide in a time of crisis.)

We are birthed into a box and we are sent from this earth in a box.

Our built environment and internal space create an envelope of feeling around us. Different elements contribute to different senses, some of which are unconscious, some of which are visible.

Leading to familiarizing and unfamiliarizing spaces engenders behavioral changes. One particular aspect that fascinates me, is the act of space personalization. “Memories of our past largely define ourselves, and who we believe we are” Quoting a neuroscience research. We stimulate our memories and feelings about ourselves by personalizing spaces and places expressing and reinforcing the sense of who we are to the outside world. This method is also adopted for some specific clinical case and during time of distress, w i t h a h i g h e ff e c t i v e o u t c o m e a s a c o n t i n u a l b e h a v i o r re m i n d e r.

Emotional architecture is frequently manifested due to territorial changes and cause environmental behavior changes, such as seeking safety or social support to limit the disadvantages, like getting lost. As a survival mechanism, the human brain processes territorial information to determine where its own territory ends and another begins. Throughout my studies I have been scrutinizing the aspects of circulation by decoding “ Wayfinding” as a mental and physical

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activity associated with finding the way to an access, avoiding c ro w d , o r g e tt i n g l o s t a n d rea c h i n g a s h e l t e r, i n v i rt u e o f a n evolved tuned attentional system more sensitive to object in our lower visual field.

Th i s e n v e l o p e , a n d t h e d e s i g n e r ’s ro l e i n m a n i p u l at i n g h o w p e o ple feel and their experiences and intuition within a space int r i g u e s m e . To h a v e s o m u c h i n f l u e n c e a n d r e s p o n s i b i l i t y o v e r a p e r s o n ’s e m o t i o n a l w e l l b e i n g a s t h e y t ra v e l , w o r k a n d l i v e i n a space is a privilege, and I want to develop this ability.

I am a dedicated and ambitious student; proceeding my studies, I won the prestigious award of first place for the annual senior project competition at the American University of Scie n c e a n d Te c h n o l o g y o f B e i r u t . I h a v e a l w a y s b e e n i n t e r e s t e d in the emotional and psychological effects of design on users and I have been experimenting in conceptual visuals and paintings by distorting reality with the help of light and contrast. I was invited in 2013 to participate in a collective exhibition for young local and international artists and designers at the gallery “Minus 1 “in Beirut, where I presented four paintings shown in my portfolio.

I thank you for your patience in reading this, and your consideration, and await your reply. Sincerely,

Chris El Murr

Contents

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M OT I VAT I O N L E T T E R 04 .....................................................................................................................................................................................

URCSS | 2015 UNIVERSITY RESEARCH CENTRE FOR SECRET SOCIETIES Beirut, Lebanon Awarded project top 1 06 .....................................................................................................................................................................................

U N I V E R S I T Y L I B R A R Y | 2 0 1 4 A m e r i c a n U n i v e r s i t y o f S c i e n c e a n d Te c h n o l o g y Ashrafyeh Beirut, Lebanon 14 .....................................................................................................................................................................................

EPHEMERAL | 2015 Lighting design project course Awarded project top 1 18 .....................................................................................................................................................................................

URCSS CHAIR | 2015Furniture design project course Awarded project top 1 20 ....................................................................................................................................................................................

CAPSULE BAG&SCHOOLDESK| 2015 Pro d u c t d e s i g n p ro j e c t c o u r s e 22 .....................................................................................................................................................................................

A R R AYA 2 3 2 | 2 0 1 2 R e s i d e n t i a l p r o j e c t i n A r r a y a l e b a n o n Ligne vertical architects and mood board 24 .....................................................................................................................................................................................

LO G O, B R O C H U R E A N D B U S I N E S S CA R D | 2 0 1 2 D i g i t a l d e s i g n p ro j e c t f o r L i g n e Ve r t i c a l e a n d L i g n e Pa r a l l e l e 28 .....................................................................................................................................................................................

0 8 A N T I -VA L E N T I N E C O L L E C T I V E E X H I B I T I O N | 2 0 1 3 Pa i n t i n g e x h i b i t i o n a t t h e g a l l e r y M i n u s 1 -Beirut lebanon 29 .....................................................................................................................................................................................

09 MISCELLANEOUS Oil and arcrylic paintings 30 .....................................................................................................................................................................................

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UNIVERSITY RESEARCH CENTRE FOR SECRET SOCIETIES D o w n t o w n B e i r u t, L e b a n o n

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“Most secret societies—at least those you can read about in books or on the Internet—are collegiate. Or adult...

They are like fraternities, only they don’t have houses or public identities. In colleges, their members are usually local, not national, but the adult ones tend to be more serious and on a larger scale.

We don’t actually know what they do. Because they’re s e c r e t .” ― E. Lockhart

SENIOR DESIGN PROJECT SPRING 2015 Senior design project for the spring semester 2015 winner of the best senior project for the senior promotion at THE AMERICAN UNIVERSITY OF SCIENCE A N D T E C H N O LO GY u n d e r t h e supervision of my instructor a n d a d v i s o r D h r J o s e p h N a s r.

URCSS is a university research center dedicated to study secret societies and to educate people about them. The project is a safe place for every person fascinated by secret societies, cults and symbols. Located in downtown Beirut at its periphery; the zone dividing Beirut into two parts east and west created during the civil war between the religious groups in Lebanon.

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Choice of site The dome is located at the edge of the city center of the capital. The Green Line that separated West and East Beirut. The last n o n - r e n o v a t e d z o n e Po s t c i v i l w a r h o l d s a l l t h e m e m o r i e s o f t h e tragic 30 years period of the Lebanese history.

The building itself with its unique oval shape and brutalist style respond heterogeneously to the unbans surrounding. In front of the Dome is located 2 religious buildings “Mohammad el Amin Mosque” and “St. Georges Maronite-Church and to the back of the Dome the c h u r c h o f S t . M a n s o u r . To i t s l e f t i s l o c a t e d “ T h e L a z a r i e c e n t e r ” a m u l t i - i n t e r n at i o n a l N G O o ff i c e s b u i l d i n g a n d t o i t ’s r i g h t w e h a v e the historical Martyr square.

Fo r a p ro j e c t d e d i c at e d t o s e c re t s o c i e t i e s i n t h e m i d d l e ea s t a n d especially in Lebanon the site is quietly remarkable for its location I t s u n i q u e a rc h i t e c t u re i t ’s h i s t o r i c a l l e g a c y a n d t o I t s c o n t ro v e r s i a l surrounding. The controversial rivalry for power between secret societies and religion. The strong presence of these local and international secret societies presents in the capital pushing their agendas through their NGOs. And finally, the historical Martyrs square which is located at the left side of the Dome held the execution of many intellects and journalist during the WW1 complying against the ottoman empire who were active members of secret societies s u c h a s “ t h e F r e e m a s o n s ”.

The location of the cite surrounded by the religious building is an analogy to the allegory of the Cave by Plato where the prisoners thought that the journey of the returning prisoner has made him stupid and blind and violently resist any attempts to free them.

-Dhr josepf Nasr author of “Le rien en architecture, lárchitecture du rien-

Response to site SITE HISTORICAL BACKGROUND

The Dome City Center or “The Egg” is an ancient building in Beirut Downtown designed by the Lebanese architect Joseph Philippe Kara. Located near the old church called “A l A z a r i y y e h ” n e a r M a r t y r s Square. The Dome City Center used to be the first and biggest cinema in Lebanon in the l at e 1 9 5 0 ’s .

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UNIVERSITY RESEARCH CENTRE FOR SECRET SOCIETIES D o w n t o w n B e i r u t, L e b a n o n

D u r i n g t h e Le b a n e s e c i v i l w a r, i t w a s d a m a g e d a n d a b i g p a rt o f i t was destroyed. Since that time, the Lebanese government left the

hilaration study of the dual relationship between art and cults and the use of symbols.

The intersection of the 3 axes creates a vertical physical connection with the main structures. A vertical see-through glass archives that holds allegedly the truth of the artifacts stored inside. A tempting sneak peek into the purportedly substantial. The archives form a sort of a skylight tunnel flooding light into the space and contrasting with its luminosity the dominant darker aspect of its surrounding axis.

T h e t h i r d a n d l a s t a x i s i s “ T h e a x i s o f e n l i g h t e n m e n t “, t h e b i n a r y interaction between knowledge and the truth. This axis creates a lecture area where a selection of intellectuals and passionate users get to attends presentations by reputable guests and experts.

axis of Lost

Axis of Enlightenment lecture hall mazes

building as a historical place.

The Dome City Center has different parts. The first is the Cinema hall itself located in the inside. It has very ancient ceilings with basic construction materials and floor without tiles. It also has a “gradin” where people used to sit. Second, it has the Ground Floor area and the lower areas where people used to park the cars and works were done there. Third, there is a big area down used to be for events and shows and now it is used as parking. The Dome fits 500 people.

archives

axis of interpretation workshop

Response to program The mysterious conceptual relationship with the secret societies is explored in this center throughout 3 main axes and their intersection. The way to reveal the truth lying within the secrets of these cults, a program based on the methodology of research is essential.

The three linear axes – the axis of lost, the axis of analysis and the axis of enlightenment- which recreate a user experience based on an individual curiosity for truth and knowledge. These three linear axes lead to three major design elements: “the axis of lost” creating individual and variable mazes on each of the six floors of the project where the visitor has to get lost in each and every one of these storey levels dedicated to one of the six secret societies of the project.

The axis of analysis creates a workshop area where designers, artists and even those who are passionate about symbolism and secret messages used by these cults, get to engage in a tasteful ex-

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Response to user experience In addition to the mystical imposing underground atmosphere of the garage area with its heavy rhythmic columns and intriguing effect of the s ky l i g h t s , t h e s p a c e a c c o m m o d at e s l a rg e c ro w d s f o r a c u l t u ra l c e n t e r. Th e 4 main structures of the project create a remarkable and educational experience for the user through its engagement with the structured program, the natural and artificial lighting and the cohesiveness of its composition.

The labyrinth diverse design in every floor of the building engage the visitor in a quest for knowledge finding the truth. The workshop engages the analysis and finally the lecture area is where the knowledge is spread and the truth has been revealed. The experience invites the user to be exposed t o t h e Th e o r y o f f o r m s d e v e l o p e d i n P l at o ’s d i a l o g u e s w h i c h h o l d s t h at l i ke the shadow on the wall, things in the physical world are flawed reflections of ideal forms. This user experience and so is the cave leads to many fundamental questions, including “the origin of knowledge” which in this case the secret knowledge, “the problem of representation” and “the nature of reality itself.

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Fo r m a n d c o m p o s i t i o n The main design language of the project is subtraction-addition; when the missing link or the void complements the existing heavy design elements. The angular planes are predominant; from punctured and tilted shapes to broken edges accentuate the program.

This fundamental design language can’t me more useful for an experience where the center invites the user to dive into the world of secret societies with what have been revealed to the public and what is still yet to be unfold from the studies and artifacts gathered that hold the truth of these secret societies.

- minus 5 maze study diagram-

Th e l a b y r i n t h c o r r i d o r p at h w a y s a re n a r ro w a n d i r re g u l a r. Th e b r u talist use of concrete in the space dominates the experience. The vertical elements such as the archives and the skylights balance the aggressive shapes and program allowing the natural light to flood in from above. The maze on each floor follows a different language dedicated to the secret society that it represents without being unfaithful to the main axis guide “The axis of Lost “where the main purpose lays in a chaotic circulation system that forces the user to get lost in the dark world of these secret societies

- minus 6 maze study diagram-

trying to collect information, and fostering the experience of a cult m e m b e r.

The U.R.C.S.S. is designed following the aspect of architecture within the architecture, which translates to zones expending to multiple floors , exploiting his “wayfinding” until reaching the only one access into the inner architecture obliging the visitor to follow a certain

direction for circulation.

The axis of enlightenment “the lecture area” is designed by fragmenting the hexagram the divine symbol of knowledge also associated to the star of David, and reassembled it into 3 overlapped parallelograms expanding to 3 floors as a sort of riddle.

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Planning, spaces and services The project is based on the intersection of axes and volumes that constitute the design.

The first axis that a user could experience is the axis of Lost where the user gets lost in mazes throughout 6 floors with each one dedicated to one o f t h e 6 s e c re t s o c i e t i e s p re s e n t e d at t h e c e n t e r. Ev e r y m a z e h a s a d i f ferent language between narrow hallways, isolation rooms and cubicles, w h e re i n f o r m at i o n , p h o t o s , p ro j e c t i o n a re p re s e n t e d i n f ro n t o f t h e u s e r.

I S O L AT I O N : i s o l a t e d s p a c e s c r a t e a re a s f o r s e l f - r e f l e c t i o n a n d s e g r e g a t i o n from public areas. This quality is amplified through narrow corridors and changes in ceiling heights. The experience of isolation reflects on some of procedures to advance in secret societies.

Walking through the mazes and turning corner creates a layered space.

A replica of a masonic lodge is built with a lodge tiles and columns, creating the experience of what happens behind the curtains of the secret cult.

-hallway maze -

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The workshop responds to the axis of analysis in a deconstructive style.

The dynamic and intense form of the workshop is striking contrast to the aspects of the other major design elements of the project. The workshop expends throughout minus 6,5 and 4. The entrance to the workshop is through a staircase and a tunnel.

The actual workshop area covers mainly minus 5 with a double volume expansion to minus 4. The workshop offers a design studio and a computer lab for both craft and digital work.

A cafeteria /restaurant on -1 level offers mainly to visitors a relaxing experience while enjoying the skylight from above.

Th e o ff i c e s o f t h e c e n t e r ’s e m p l o y ees are located on the -6-level following the same subtraction addition used throughout the project with exception of curved edges to distinguish the private from the public area.

The archives is a vertical element connecting the entire underground s p a c e t o g e t h e r. Th e c h o i c e o f p l a c ing the archives in an unorthodox way highlights the importance of it as the tangible truth lying in the artifacts it holds behind transparent glass visible to the public eye.

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UNIVERSITY RESEARCH CENTRE FOR SECRET SOCIETIES D o w n t o w n B e i r u t, L e b a n o n

Response to light

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The U.R.C.S.S. is an interactive space day and night and since the treated area of the cite is the underground area the quest for introducing a natural light is highly necessary The light shafts are casted into the concrete slab throughout strong projection of heavy design elements such as mazes, workshop area and lecture area.

Sky lights introducing the natural light to the space. In addition to their functional necessity for an underground project, these skylights play a mystic role and enhance the experience.

-Lightshafts diagram-

-Lecture room axis of enlightenment-

The internal floor lights are lit or naturally transferring skylight between floors due to slits in the ceilings. Their language continues to follow similar projects of axes that are closer to accordingly.

The underground project is treated as shaded cave where it holds darkness of the secret cults roaming at night into the outside world and go back during the day into the shadow.

The impression of the light into the dark space is an analogy that goes b a c k t o P l at o ’s A l l e g o r y o f t h e Ca v e , where a group of prisoners have been confined in a cavern since birth, with no knowledge of the outside world.

They are chained facing a wall unable to turn their heads only able to see cast shadows on the wall, believing they are seeing actual entities. The user visiting the center is in that case the prisoner who actually went outside and found the new environment disorienting until his eyes adjusted to the light the source of everything. The user after this journey goes back holding on to his experience just like the prisoner who returned to the cave but he is no longer used to the darkness.

-Inspiration cave sketch, study of light-

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-rendered section of the U R C S S s e c t i o n A A’ -

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- rendered plan minus 1 level -

- renderded plan minus 2 -

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UNIVERSITY RESEARCH CENTRE FOR SECRET SOCIETIES D o w n t o w n B e i r u t, L e b a n o n

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-rendered section of the URCSS s e c t i o n A A’ -

- plan view and section detail of the archives -

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A m e r i c a n U n i v e r s i t y o f S c i e n c e a n d Te c h n o l o g y A s h r a f y e h B e i r u t, L e b a n o n

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UNIVERSITY LIBRARY | 2014

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University library, was a project made during the fifth interior design project course. With the intention of remodeling one of the new buildings of the Des i g n D e p a r t m e n t a t t h e A U S T “A M E R I C A N U N I V E R S I T Y O F S C I E N C E A N D T E C H N O LO GY � i n B e i r u t i n t o a u n i v e r s i t y l i b ra r y. Th e m o d i f i c at i o n s m a d e w e re , different cladding materials to the facade in addition to an extruded tunnel to the outside connecting 2 floors of the 5 floors building.

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UNIVERSITY LIBRARY | 2014 A m e r i c a n U n i v e r s i t y o f S c i e n c e a n d Te c h n o l o g y A s h r a f y e h B e i r u t, L e b a n o n

Book Storage

Rooftop coffeteria Study & research cubical

Perminant exheb Offices

Reading hall

Digital area Projection room

WC

Temporary exhibition

Model of the library; transparent and opaque black plexy

Reception Lounge area

BUBBLE DIAGRAMME:

AUST CAMPUS ART & DESIGN LIBRARY

Response to program The library is composed of a reception, a lounge area, toilet facilities, reading hall and a book storage. A temporary exhibition takes place on the mezzanine level.

The second floor is composed of a permanent exhibition book shelves projection room and a digital library. The third floor is dedicated to a big study and research cubical and some library offices.

The cafeteria is located on the rooftop and open for students and the staff of the university. The open rooftop provides a different reading experience while the readers get to enjoy the bright sun of Beirut. The sunny capital with its constant beautiful weather compliments the design the rooftop. The translucent tempered glass of the rooftop gives the space a more public-private character while the campus is surrounded by residential buildings of Achrafieh.

Response to user experience The design responds to the 4 different types of readers; Type Type Type Type

4: Struggling (Below Basic) Readers 3: Basic Readers 2: Proficient Readers 1: Advanced Readers

The ground floor and the mezzanine area are dedicated to Type 4 &3 of readers. Helping them to get the habit of visiting the library to read and to check the temporary exhibitions The second floor welcomes the type 3 of readers. It accommodates a large crowd of students who are interested in books and in the digital library.

The third floor is exclusively dedicated to advanced readers (the Type 1). A massive cubical is in the disposal of these students for advanced reading and research.

The fourth floor “the rooftop” is an open rooftop cafeteria for students and university staff.

Response to material use.

The design of the library for the American university of science and technology in its brutalist construction material “concrete” in the doted concrete splendour “Tadao Ando” style. This goes beyond pragmatic concerns, as the entire space is defined through the exploration of the potential of this material. The glass facade with translucent glass is used in conjunction with the concrete allowing the two materials to respond to each other and develop a spiritual and neat order.

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UNIVERSITY LIBRARY | 2014 A m e r i c a n U n i v e r s i t y o f S c i e n c e a n d Te c h n o l o g y A s h r a f y e h B e i r u t, L e b a n o n

- r e n d e r e d s e c t i o n A A” -

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Lighting design project course awarded project top 1

EPHEMERAL | 2015

01 FLOOR LIGHT

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03 (can be rotated)

EPHEMERAL | 2015

Lighting design project course awarded project top 1

-Ceiling light-

-Floor light-

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-Wall light-

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Furniture design project course awarded project top 1

URCSS CHAIR | 2015

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Picture 1 : a digital sketch of desconstructive chair design Picture 2 : a study foam model Picture 3 : a half life-size prototype of the chair made out of welded metal

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- Rendered image of the chair used in the URCSS at the workshop area -

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inspiration Pubic Lice

product design project course

CAPSULE BAG& SCHOOLDESK| 2015

Th e c ra b l i c e ” P t h i r u s Pu b i s ” i s a n i n s e c t t h at i n a n o b l i g at e e c t ro p a ra s i t e o f h u m a n s , f e e d i n g exc l u s i v e l y o n b l o o d . Fo u n d u s u a l l y i n t h e pubic region, the crab lice can not jump, holds firmly due to strong tanticles. Humans are the only known hosts of the crab lice, although a closely related species, “Pthirus Gorillae, infects gorilla population.

The human parasite diverged from Pthirus Gorillae approximately 3.3 million years ago.

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Prototype description The capsule bag is made out two parts. The first part is the capsule part made of Tigress material, and the second part which can be removed and worn ; made mainly out of Ballistic Nylon.

- pubic lice sketch and microscopic image -

Materials Tigres tigres is the wunderkind of composite materials. Tigres starts out with a series of a tape like strands of polypropylene. Similar in its makeup to ploy-carbonate, is a material with incredible strength. The strands of polypropylene are the woven into fabric like sheet and the molded into the desired shape. The outer layers are melted together for a nice finish Ballistic Nylon Was originally used in the flak jackets of WW1 airman to protect against shocks caused buy bullets.

The inner bagcan take a beating.

“The filament” yarn makes its step smoother and stronger than common nylon. The layer is compact and ro u g h e r. Th e o t h e r m a j o r i d e n t i f i e r of this material is the 2 ply weave adding extra stability needed to handle rough conditions.

05 School Desk The classical student desk doesn’t respond efficiently to the needs of modern eduction nor to the Ergonomic design responsibility towards posture and comfort. The desk prevent spinal harming, a bag storage and a stand for an Ipad and a b u i l t - i n c h a rg e r. Fi n a l l y a d i re c t e d l i g h t t o t h e d e s k t o p ro file a better reading experience.

Material used: Ash wood used in the construction of furniture and baseball bats

118.6 90.0

72.2 103.2

37.0

148.2

100.0

33.0

41.0

45.0

38.0

32.0

-Ash wood sample- Side and front view of the desk -

-Steal tube painted in mat black-

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Residential project in Arraya lebanon

A R R AYA 2 3 2 | 2 0 1 2

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06 Ligne vertical architects and mood board

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LO G O, B R O C H U R E A N D BUSINESS CARD | 2012

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07 D i g i t a l d e s i g n p r o j e c t f o r L i g n e V e r t i c a l e a n d L i g n e Pa r a l l e l e

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Pa i n t i n g e x h i b i t i o n a t t h e g a l l e r y M i n u s 1 - B e i r u t l e b a n o n

ANTI-VALENTINE COLLECTIVE EXHIBITION | 2013

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Va l e n t i n e ’s d a y i s b e c o m i n g m o re a n d m o re a n o v e r rat e d o c c a s i o n . M i nus1 Lebanon have invited me to participate in their anti-valentine collective exhibition between local and international young artists and des i g n e r s . Fo r t h i s ex h i b i t i o n i h a v e p re s e n t e d 4 p a i n t i n g s o f m i xe d m e d i a on a watercolor paper visualizing memories of broken heart, revenge, sexual desires without love and lost.

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O I L A N D A C R Y L I C PA I N T I N G

MESELANEOUS

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MESELANEOUS O I L A N D A C R Y L I C PA I N T I N G

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MESELANEOUS O I L A N D A C R Y L I C PA I N T I N G

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MESELANEOUS O I L A N D A C R Y L I C PA I N T I N G

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