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Samah Shaltout Samah Shaltout Digital Portfolio


Content Project 1: The Museum of Textile and Art The Renovation and Relocation of the Museum of Textile and Art Project 2: The Museum of Islamic Art Project 3: The Art and Heritage Center

Illuminating Museum Design


My Philosophy It is often falls on the designer to define the appropriate project structure in the beginning,since decisions will cascade into both the design and development process.


My Background I am an Interior Designer who is highly motivated for preparing residential and commercial projects. My core strength lies in Possessing extensive knowledge of architectural designs, plans, and specifications utilising AutoCAD 2Dand3D, 3D Studio Max, and Photoshop. • I gained a comprehensive knowledge of the fundamental principles of architecture. • Familiar with the terminology, practices, methods, and techniques of Architectural Drafting. • Extensive knowledge of preparing complex schematic drawings from oral instructions and rough sketches. • Highly motivated in using visual rendering methods manually with different medias and digitally utilising the latest software.


The Museum of Textile and Art Introduction My creative work focuses on different creative aspects that related to culture, society, geographical information. Therefore, when all these factors and principles are combined together they would solve design problem and create a more aesthetic , and functional projects to a wider range of target audiences and users.


Inspiration

Common Textile Weaves

Textiles or cloths are made by various construction methods. Each method creates a distinctive aesthetic feature that affects the fabric’s shape and kind. Due to this fact I inspired the idea of this project and built the design concept based on the form of a plain fabric construction that has a rib weave that creates a lengthwise and crosswise rib effect as well as from the design of the Arabic pattern.


Design Process Idea Generation The start of a process is hand drawing followed by digital representational techniques that are essential need for any project to engage effectively with a range of audiences.

The sketch illustrates the distributions of the zones according to the functions and the users’ needs the aim is to design a space that meet the expectations functionally and aesthetically.

The schematic plan represents the visitors route in relation to interior space. The route takes the hexagonal form that communicates the exterior of the museum and generates a branching geometry in which islands are formed into distinct bodies to house the main gallery halls.


Layout

Rendered Plan

Exhibition Plan

The final and rendered plan of the museum, the furniture and fixture are added to give a sense of scale and to help define the use of each area. A vast number of showcases are distributed on the two sides of the museum in almost a symmetrical form, in order to protect the precious pieces from theft and damage. Moreover, the showcases, helped in defining the visitors route that the visitor will take during their visual experience.


The Exterior

The idea of the museum is inspired from the crucifixion form of the textile tissues that create a weaving movement line and visual connection by adding the polygon shapes that characterize the old Arabic motives. The building has a geometric shape in order to give three distinctive programmatic areas: the lower floor, the middle floor and the first floor.

Section Plan


The Exterior

The massive exterior view of the museum to emphasize the design exploration and to give a more precise, constructed and carefully rendered view to depict the exterior structure and its environment as much as possible.


Furniture Plan Geometric Forms The work development and the final rendered perspective. The stands are arranged asymmetrically and this allows a variety of art using different media to be displayed in one room.


The polygon stands form a focal point at the center of the gallery to display the old customs. The purpose is to provide a visual continuity between the two wings of the museum, also to allow access views in all direction. The stands are arranged asymmetrically and this allows a variety of art using different media to displayed in one room.

Polished Concrete


The Aesthetic of Light The exhibit halls, the showcases and the lighting design create a unified art viewing experience by employing a streamlined, simple and elegant interior and lighting language. In total the project includes tens of cases to display a diverse collection from the ancient period in new and innovative ways, with the aim of supporting the museum to reach out and engage a new audience.


Light can Bring Life to Cultural Values The gallery displays the traditional customs, the diffused light that permeates the spaces of the museum gives the interior its gracious, alluring presence, and is associated with detailing that is clean and forthright.

Spotlighting is used for display of two dimensional works such as the pieces of the textile and precious carpets with relatively low ambient, so that the artwork has its own territory defined by a beam of light in order to achieve efficient visual comfort and to encourage transformation of technology into culture.


Contemporary Display Area

Old

The Renovation and Relocation of The Museum of Textile and Art

Interactive Space

Discovery Zone


Renovation and Relocation Introduction The renovated space is designed to be a museum that incorporates concepts of sustainability into its operations, programing to produce exhibitions, events, classes and other programing to educate the public about the natural environment. The aim is to strive to help people become more conscious of their world, and to create positive change by encouraging people to make sustainable choice in their daily lives. Moreover, the renovated space is designed by providing a place for fantasy, adventure, and for gathering people to engage in varied activities, this space transforms the idea of the traditional museum space into a magical place of possibilities. Inventiveness and creativity provide an interior crafted landscape at the middle of the basement floor that separates between the display area and kids’ discovery zone.


Original Plan Idea Development I

Idea Development II

Idea Development I The sketches illustrate how the idea is developed and the exterior walls break the traditional idea of the rigid box and converted into curvilinear walls that run latterly in order to add more spaciousness to the interior space with an innovative and creative manner.


The two plans in a vellum effect before and after renovation, the new plan has a combination of symmetrical and asymmetrical curvilinear lines. The aim is to point the space towards a future architectural language, and to create an innovative renovation and relocation for the space.


The hand sketch illustrates the isometric view of the renovation and relocation of the new zones, the library space with the livable book worm (thick wall of books and bookshelves). This living book wall is a kind of construction fence that gives a new innovative concept for the library design.


Section I The Kids’ discovery zone is designed for easy reconfiguration for various activities via interactive screens in different shapes and sizes the aim is to create a space that can draw a community together, the aim of this renovation is to create an interior space of seamless fluidity flows this paradigm, so evident in the city, and to simulate a vision of possibilities for the future while reflecting the identity of the country.

Exhibition Plan


The floor plan illustrates the kids’ discovery zone and the library space that become a place for gathering to engage in varied activities, both spaces transform the idea of conventional children’s library into a magical place for adventure and entertainment.


The nozzles that are such a feature of the ceiling are found to be source of daylight.


In the middle of the museum, such movement of the crafted curve linear landscape reaches a crescendo, as in this museum. In addition to the kids’ discovery space that converted the space into a magical place of possibilities.

The museum, without doubt, has become a place of experimentation, accommodating galleries, spatial complexity, and movement.

Display Area


Progression through the galleries of a museum will inevitably present a variety of visual experience this perspective shows a space through the kids discovery zone. The differences of scale and content of the exhibits cause viewers to change their pace as they respond to the displays, and the variation of lighting from well lit room to the glowing in the gloom experience plays an important role in evoking these responses.

Interactive Screens


Innovation Faรงade

The faรงade is animated by the alternating in and out, up and down of the faรงade bonding, which creates a unique and innovative asymmetric view for the faรงade as well as the window openings. The vertical strands with the seamless curves terminate at the roof top forming crenellations from between which is a serial framing of the surrounding district.


Innovative Roof

Roof Floor Plan as a Big Sculpture at an Urban Level The roof is acting as a big sculpture at an urban level, as a roof at the building level, as a shading device at elevation level, as a heat retardant at the roof top, providing natural light transmittance through the fenestration and creating shade in the public space.


The Museum of Islamic Art


Form and Local Environment Introduction In this project, the architectural language of the museum is inspired from the history of the culture and the history of the country, but in a modern and contemporary manner that developed the typology rooted in the Islamic prediction for repetitive patterns, punctuated by moments of difference. The building as a whole is a container for programmatic objects, an idea echoed in the gallery spaces to increase the spaciousness of the interior space and reflect the history and identity of the country as well. Moreover, to maximize access to light and air. The galleries contain a large some of extensive artifacts, coins, and manuscripts to glass ware and carpets. The openings in the ceiling slotted into the interior space provide a distinct natural light. Todays museums can be considered as informal education centers that serve the public. They are in position to teach about sustainability to a large audience in meaningful ways, through motivations and providing information. They try to initiate changes in behavior in peoples’ attitude and everyday lives.


Design Strategy The effectiveness of a project can be measured in many ways. Understanding what must be measured and how to measure it should be determined at the beginning of a project. The key to success is to have a strong vision of what is most important to the user of the space. Tying in strategic goals with functional goals is also key, but if the strategy sounds functional goals usually follow. Therefore, it is important to understand the users’ goals and needs to translate opportunities and constraints into a three dimensional work.

Geometric patterns


Form and Local environment The diagram illustrates, how the idea of my creative project is generated. In keeping with the traditional Arabian designs, the proposed design of the Islamic Art Museum expresses the natural flow of the three curved planes that are inspired from the palm leaves “the local environment” as well as from local traditions (the shape of the Arabian Pot” Dallah”. The aim is to reflect the identity of the country, to create the sense of the old Arabian Architecture, and represent them in a contemporary and completive manner.

The link between the form and local environment in order to give a wider perspective on how I inspired by local nature and environment.


Design process This bubble diagram illustrates the physical needs which includes the following: identifying major spaces and areas & indicating functional relationships. Bubble Diagram

Schematic plan The layout of spaces and elements of the project such as walls, doors, and clarifies the relationships of one space to another. In addition, it represents the basic reference point for the project design, and one of the most important items presented to the client as it gives a bird’s eye view of a floor level of the interiors.

The graphic for design methodologies depicting physical relationships which include spatial configurations, location in space, and elements. Zoning Plan


Design process The external elevation and how the idea is generated and inspired from the local environment which forms an integral part of the overall architectural drawings.

Front Elevation The design of the ceiling comprises of three curved planes that are inspired from the local environment. The museum, therefore, is positioned in a way that is both, symbolically and functionally, engaging its context and content to ensure that it is linked to the history and culture as well as future.

Manual perspective Concrete

building materials Glass


Design process

Zoning Diagram

Zoning diagram is a schematic drawing that helps to visually establish relationships of spaces and needs of the users which helps identify areas and functions that have commonalities, scale and shape of spaces become more evident, and help to establish the relationship between zones.

Circulation Plan The final plan of the museum is well developed to indicate the size and outline of a building as well as the location of the interior walls, doors, windows, and other elements. They are always drawn to scale. The exhibition spaces vary in size and shape to accommodate a great range of scales and the materials in Islamic art. The right gallery that is located to the right creates a visual connection in order to increase the flexibility and richness of the interior space.


The Exterior

The exterior of the museum is inspired from the local environment. The ceiling comprises of three curved layers that are shaped like the leaves of palm trees that have a curved shape to form a huge support with almost 7 meters of glass that are decorated with modern pointed arches in order to mix the old with contemporary in a unique manner, and to create an emphasis to the main entrance. The ceiling has openings to create a continuous path through daylight galleries and zones of divers’ spatial qualities. Four View Ports


The Exterior

The two curved planes of the ceiling, like sheets of paper lean with one another. The aim is to give a level of abstraction and dynamic profile of the folded planes, and to ensure the exhilarating spatial sensation.

The front view illustrates the use of the design principles (gradation & repetition). The aim is to create a flowing movement composition that is comprised from three curved layers attached to one another as well as to the massive volume of the building.


The Exterior

The Exterior of the Islamic Art Museum and unique design of the ceiling that communicate the local environment.


The Interior

Book shelves

Digital model

The main hall of the museum that forms the central heart of the design. The main central space is characterized by column-free and open space, which offers great flexibility for the exhibit to display the precious collection of the museum’s artifacts. The ceiling provides showers of natural light that penetrate deep into the museum giving the interior a smooth effect to continue the architectural language of fluidity and seamlessness.


Each project demonstrates the significance of the design process in achieving the client’s goals. It is therefore, that lighting and the design of the interior space have a great effect on the way that people perceive a building not only on aesthetic judgments they may make but also on how easily they can use the space, how they feel, and what expectations they may have of the place. The use of the lighting typologies, as a source of lighting for exhibits, as well as the the design of the interior space has great advantages as it gives the visitors a variety of impressions of the exhibits as well as a link with the outside world. My journey of exploration has been extended to include theses creative projects that are related to my MA project” Illuminating Museum Design” the creative work is inspired from the local environment, culture, and traditions of the local country and some other countries. The summation of these works took the form of manual sketches, plans, elevations, conceptual perspectives and finally well rendered perspectives in order to help develop my creative work in this stage. Lastly, the pieces of the creative work development have had a great influence on both my theoretical and practical work allowing me to further grow as a designer and reach new heights. For instance, I became more capable of determining the pieces of information that would be of the most relevance and importance to my work as well as being able to provide a more on-point analysis and description that would support my created illustrations utilizing Auto Cad and 3Dmax as well as manual sketches in order to produce a more complete work that would help communicate and translate my ideas and thoughts in a vivid and professional manner.


The Art and Heritage Center


Design Concept The design concept of the Art and Heritage center focuses on the new cultural destination that would provide the visitors with extraordinary collections of the artifacts as well as pieces of the unique art work. The art center consists of two floors and it is designed to let the visitors enter the galleries and exhibition halls that are located at the ground level and connected to the space of the upper level through elevators and pins. The flow of natural light is formed through the glass pyramid during the day hours in addition to the use of artificial light typologies in the spaces that are not well lit.


Design Identity

The diagram shows that the project proposes the identity of the local city. Also, It combines the future aiming image and environment friendly image of the city while it has excellent natural environment and great view as opens itself to the sea. In addition to ,creating more space outside the center in order to encourage the gather of public and social interaction.


Site Plan

The site plan of the Art and heritage Center that opened to the sea .


Sketches The primary sketch illustrates the route of the ground floor that the visitors would take within the interior space to provide them with a pleasurable visual experience and make them take the opportunity to linger. The move from one space to another is critical understanding the relationship between architecture and art work inside the center. Visitors Route Plan The interior of the second floors interlocking volumes that house the administration facilities, an educational and events center as well as huge library space, and connecting the galleries in the first floor via a gently rising ramp and elevators for easy access between the two floors in order to lead the visitors and let them end their journey of exploration uniquely.

Second Floor Plan


Sketches My imagination for the gallery space that breaks the rigid box design and creates a continuous floor wall and fluid journey in the space of the galleries.


Flooring Plan

MARBLE

The design of the flooring that indicates the route of the visitors to the galleries. The materials varied according to the function of each space. Luxurious marble is used in the spaces that have heavy traffic for its hardness and durability. The water jet that centered the is designed by Islamic motives to reflect the history and the identity of the country. The galleries flooring is covered by the pieces of decorative marbles in such a way that mix the old and modern in a unique manner.


Visitors Route Plan The visitor’s route is now developed utilizing computer software to help illustrate the creative pathways that will lead the viewers through their journey.

The Exhibition Plan illustrates of the circulation of the plan and the visitor’s route.


Final Plan


Section A-A

Section A-A

The brief to design the interior of an entrance hall, complete with reception desk and display cabinet, to treat the entrance as a glass room within a room, standing independently from its surroundings. Also to scalp the spaces as a continuous surface without differentiation between walls and floors.


Section B-B Showcases are the most important pieces of equipment in the art center as well as in museums, both in protecting the pieces of display and in presenting them to the visitors; they have an aesthetic and functional task. Section B-B

On the other hand, to consider the interior space as an interior landscape from which the pieces of the furniture would emerge. The stands for exhibits are built from layers of wood with a glass case, like pieces of a jigsaw puzzle. The formal intervention of curving walls, unifies the narrative arc of the works on display.


Digital Model The perspective of the galleries is expressed as if they had been carved from a single block of concrete and were floating above the interior space. Exhibition spaces vary in size and shape to accommodate the great range of scales and materials in old and contemporary art.


Digital Model The perspective of the galleries is expressed as if they had been carved from a single block of concrete and were floating above the interior space. Exhibition spaces vary in size and shape to accommodate the great range of scales and materials in old and contemporary art.

These variations and curved galleries create a fluid journey through the space and continuous walls. The use of the new lighting techniques for the two dimensional exhibits has also added a dramatic lighting effect in order to illustrate them in a pleasurable manner. The progression of the lighting techniques of the galleries will definitely present a variety of visual experiences. Moreover, the differences of scale and content of the exhibits causes viewers to change their pace as they respond to the displays. Also the variation from well lit room to glowing in the gloom experience plays an important role in evoking these responses.


Rendered Perspective The Art and Culture center that determines that the space will be a These variations and curved galleries create a fluid journey through space and continuous place the of experimentation, walls. The use of the new lightingistechniques forifthe two dimensional exhibits hasofalso addedspatial a The perspective of the galleries expressed as accommodation galleries, dramatic effect from in order to illustrate them in a pleasurable manner. progression of galleries they had lighting been carved a single block of simplicity, andThe movement. The the lightingand techniques of theabove galleries definitely present a will variety of visual experiences. concrete were floating thewill interior definitely present a variety of visual space. Exhibition spaces vary in size and shape of to the exhibitsexperiences. Moreover, the differences of scale and content causes viewers to change Moreover, thetheir differences pace as they respond to the displays. Also and the variation from well lit room glowingofinthe theexhibits accommodate the great range of scales of scale andtocontent gloom experience plays an important materials in old and contemporary art.role in evoking these responses. causes the viewers to change their pace as they respond to the displays..


Conclusion Each project demonstrates the significance of the design process in achieving the clients goals. It is therefore, that lighting and the design of the interior space have a great effect on the way that people perceive a building not only on aesthetic judgments they may make but also on how easily they can use the space, how they feel, and what expectations they may have of the place. The use of the lighting typologies, as a source of lighting for exhibits, as well as the design of the interior space has great advantages as it gives the visitors a variety of impressions of the exhibits as well as a link with the outside world. My journey of exploration has been extended to include theses creative projects that are related to my MA project "Illuminating Museum designs� the creative work is inspired from the local environment, culture, and traditions of the local country and some other countries. The summation of these works took the form of manual sketches, plans, elevations, conceptual perspectives and finally well rendered perspectives in order to help develop my creative work this stage.


Thank You


Bibliography: The wok of the Museum of Textile and Art and The Renovation and Relocation of the Museum of Textile and Art The museum of Islamic Art is captured from my recent creative work through the module of Practice 2( Art and Design), since June,2016 to present. • • • • • •

Bound. J.K. Lighting for Effect (1971) Peter Tregenza and David Loe, The Design of Lighting. Timothy Ambrose and Crispin Paine, Museum Basics, Second Edition. Christopher Cattle, Lighting for Art Work and Museums Display. www.picgreenwhitepaperfinal-4.pdf http://artofislamicpattern.com/resources/educational-posters/

Images Sources • • •

All the Hand Drawings are created by my own manual drawings All the Digital Drawings are created utilizing AutoCAD and rendered by 3DMax& Photoshop Slide31: http://www.technologystudent.com/joints/concret1.html

Activity 4 digital portfolio modified iv  
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