Master of Interior Design Portfolio

2012-2013umid abdullaev

portfolio

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contents

About

Product, Production, & Production Space

Studio Domestique I

Studio Domestique II

The Inverted Pyramid. Peeling Away

The Elemental Plane.Nilu

How Do You Measure Up?

Reverse Engineering

Going to Movies

References & Images

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table of

References & Image

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My name is Umid Abdullaev, and I’m currently enrolled in the Interior Design Pre-masters Program at the University of Manitoba. I’m aspiring to become a professional interior designer, and continually learn about and explore what makes an interior space ‘habitable’.

The entries in this portfolio reflect the works done during the Pre-masters qualification year for the Interor Design Masters Program.

April 24 2013

aboutAuthor &

collection of works

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Looking south towards Interrelated Floor Space

Front Facade

Looking north-west from the interrelated floor space

Pulse On the River is a condominium complex in Osborne Village built by Prairie Architects that incorporates two large commercial spaces (east and west) that are separated by a common vestibule.

The west commercial space is currently a home for Verne Reimar Architects. The interior space was designed in the Modernist style, and a part of the tour was a discussion of the challenges building in such a style presents. This space was also a good precedent for our study of the east space which currently lies vacant and in a raw condition.

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April 2013Environmental Interior Design Studio II

This project focuses on creating a space based on the concept of “production”.Students were open to interpretation of what production meant for them.

The assigned site of the space was one of the vacant quadrants of Pulse on the River in Osborne Village of Winnipeg.

Prior to visiting the site, a number of inspiration images were researched that would help, well, get inspired.

What is the intended ‘production’ focus?

Ellis & Associates based in Edmonton have decided to open an office in Winnipeg as a response to the growing demand for 3D renderings and animations throughout Canada. This will be an addition to their primary service - architectural model making.

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5 6 7

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product, production,

& production spacethe site

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Idea 1 explores the possibility of creating a showcasing/display area closer to north (top) with instruction area on the lower, and staff production on upper levels. Refreshments and reception on the west side of the space

Idea 2 explores the possibility of creating a showcasing/display area closer to north (top) with staff production area on the lower, and instruction area on upper levels. Refreshments and reception on the west side of the space

Idea 3 explores the possibility of creating a showcasing/display area closer to north (top) with instruction area on lower and staff production area on the upper, and on top levels. Refreshments and reception are closer to north curtain wall.

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DN 17R @ 7 3/4"

VESTIBULE

LOUNGE

BACK CORRIDORELEVATOR

SHAFT

UP 17 @ 7 3/4"

VESTIBULE

LOUNGE

BACK CORRIDORELEVATOR

SHAFT

Three ideas were developed that explored three different patterns of circulation, space allocation and interpretation of the programming (created by the students themselves). The final idea is an amalgamation of the previous three.

The reception is to the east with stairs behind. North side of the space is reserved for display cases, and adjacent to it is the meeting/conference area. The instruction is on the the south side of the space. The upper level (mezzanine) is used for staff production.


& production space

concept development

N

Main Floor Plan

Intermediate Floor Plan

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Main Floor Plan

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Intermediate Floor Plan

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North Sectional

East Sectional

South Sectional

West Sectional

Longitudinal

Short Side Cross Section

These plans and elevations show some changes for Design Development stage. Refreshments area is expanded into the W/C hall, and instruction and meeting areas are swapped (i.e. instruction area is now adjacent to display area).


& production space

final concept

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The chosen materials and colours were meant to create a quiet background for the showcased models. The walls were kept mainly off-white, and the treatment of the flooring was kept minimal with application of carpet tiles and ceramic tiles.

A special attention was given to the upholstery of the furniture, and greens and beiges were found suitable, to complement the darkness of the floor, and reflect the neutral colour palette of the millwork.

The chosen materials and colours A special attention was given to

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& production space

MAterial palette

& produ

MMMAteria

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3D rendering of the display and instruction area with feature lighting fixture/bulkhead.

3D rendering of the reception area looking at the stairs and refreshments area concealed behind frosted acrylic.

153D renderings of various spaces within Ellis and Associates visualization office.


& production space

final conceptvisualizations

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October 2012Environmental Interior Design Studio I

A painting from the historical Golden Age period in Holland was assigned for each student. Each painting depicted a domestic life in a Dutch household, typical of the genre themes during this period in the history of the Dutch Art.

Students were asked to analyze their assigned paintings, and come up with a conceptual poster, and suggest the floor plan and elevations of the painted space. A series of charcoal, graphite, and marker drawings that were done as a part of the analysis closely examine particular elements in the painting that could potential reveal hidden meanings.

Gerrit Dou’s “The Young Mother” (1658) depicts a young mother with her daughter and new born baby whose portrayal seems staged. The painting conceals several layers of meaning, as it was subjectively analyzed. These layers of meaning tell a moral message of passing stages of life. First, it’s youth and earthly desires, then maturation or acceptance of readiness for motherhood followed by knowledge and order as symbols of a male figure. The final layer that envelopes the painting is darkness, old age and wisdom.

Dou, Gerrit, (1658). The Young Mother. (Painting). Baer, Ronni, Gerrit Dou 1613-1675; Master Painter in the Age of Rembrandt. 2000. (pp. 55), Washington DC: National Gallery of Art Publishing.

studio domestique i

distilling gerrit dou's "the young mother".

painting analysis process

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The interior of the house depicted in this painting is long and narrow. However, it shows riches and decorations that are indicative of the wealth of the owner. The north end of the house features a fireplace operated by servants - another indication of the owner’s financial well-being.

The midway through interior space there is a spiral staircase, and it leads to the upper level where the rich owner and his wife had their dwellings and diner, whereas the lower levels were kept for more mundane tasks such as cooking.

studio domestique i


space plans & elevations

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Layered

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Meanings

g of lannecti

see m

studio domestique i


conceptual poster & model

As indicated before, the painting tells a moral story of what was needed to have a healthy family in 17th century Holland. The painter depicts this moral story by enveloping the scene in several layers that a young woman passes through towards wisdom.

These conceptual poster and model play off this idea of layering meanings. Elements such as chair, broom, dead game, mother, child, and baby are juxtaposed and linked via diagonal layers. Each ‘layer’ bleeds into the layers before and after it. The model takes this further: the layers are housed inside a box, and they can be rearranged to contemplate on the connection of each layer to the others.

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studio domestique iI

house for a family of 4.concept development

October 2012Environmental Interior Design Studio I

Based on the poster created for the Studio Domestique I, the students were asked to create an interior of a house for a family of four.

Fictional primary, secondary and tertiary users were created, and the functional programming was formulated that would reflect the needs, wants and expectations of these users.

Midway between Riverside Street and Riverside Road was chosen as a location for the house due its quiet neighbourhood and prxomity to the downtown Winnipeg.

As members of my family I chose a young couple of different ethnicities, their unborn baby, and the mother of the husband who would travel from abroad to live with the family in the near future. A scenario was developed, in which the father would work from home to assist his wife with the newborn’s caretaking. The living quarters of the mother and the couple would be separated by the common area - living room and kitchen as shown in the bubble diagram. Such a space would respect the privacy needs of the family members while bringing them together for family activities such as eating together at a table.

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A quick sketch model was developed based on the final idea . As indicated before, the planning of the space catered to the primary need of the

family members - privacy without comprimising the socializing aspect needed to foster a healthy family.

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studio domestique iI

The floor plan and reflected ceiling plan reflect the final development of the chosen concept.

house for a family of 4.final concept

development

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The rendered floor plan and elevations show the material choice and relationshhip of furniture and fitments.

The interior is contemporary modern with an abundance of high-end furniture items such as Hans Wegner’s Three Legged Chair.

The space tries to achieve a maximum daylight brightness, and living room floor is treated with a random placement of carpet tiles to bring some playfulness to the space.

Rendered Floor Plan

Elevations

Elevations

studio domestique i

The rendered floelevations show and relationshhifitments.

The interior is cowith an abundanfurniture items sWegner’s Three

The space tries tdaylight brightneroom floor is treaplacement of carsome playfulnes

domehouse for a family of 4.

final concept visualizations

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November 2012Environmental Interior Design Studio I

Each student in the group was given a door knob. Based on this door knob the students were asked to develop escutcheon plate, door, and wall in that order.

The inverted pyramid.

peeling awayconcept development

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plan

elevation

door knob

section

base moulding

escutcheon plate

elevation

section

escutcheon plate

elevation

“Often one gesture can dictate the design outcome as in the case of Peeling Away. The stylized curls on the door knob that were to become a starting point of the wall design stood out immediately. While both the curls and floral ornaments radiate outward, it is apparent that the former’s gesture suggests the movement of rotation, like the orange rinds that were peeled in a twisted motion. However, the latter (floral ornaments) radiate out in a linear manner” (Abdullaev, “Peeling Away”, 2012).

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elevation. window cover onelevation window cover on

elevation. window cover off sectionl ti i d ff ti

“These observations became instrumental in the design of the door ‘skin’, the opening for the window frame, and the entire wall. While the crease line on the door is a logical continuation of the door knob gesture, the peeling motion suggested by the window opening is an extrapolated extension of this gesture. The silhouette of the floral ornament was used to create the cross-sectional profile of the base moulding which is an extruded stainless steel skin wrapped around the hardwood moulding. The suggested material for the wall, door and window opening is 50 x 50 cm leather tiles, whereas the escutcheon plate is made from stainless steel in order to accentuate the contrast between the leather skin and the location of the door knob” (Abdullaev, “Peeling Away”, 2012).

final concept

The inverted pyramid.

peeling away

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December 2012Environmental Interior Design Studio I

The premise of this studio project was to develop a partition wall. The modularity of the elements that would make up the wall was the key. Another requirement was to make one module different to make an inflection on the otherwise monotonous surface.

For my partition wall is a spinoff of the Peeling Away project in that it explores a gesture , and what’s ‘hidden’ behind such a gesture.

the elementalplane.

Niluconcept development &

construction

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Inflection No 2: Light box

Inflection No 1: Dark box

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x

x

9mm Baltic birch plywood

3mm b or w acrylic

298

298

298

102

305

305

305

50 (TYP)

64 (T

YP)

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“We always seek connections.

But when we speak of partitioning, we ultimately understand the separation of spaces. As such, Nilu tries to divide space but also provides a means of connecting the two sides of the space it divides. Such a connection is achieved by a gesture that is simple, and suggestive of an ‘opening’ through which we can peek into the inside of the modular wall, and further into the space behind it.

An unexpected shift in the form of a drastic tonal change (white to a sudden black), or introduction of lit module takes the partition beyond its purpose. However, it also helps create a means of interaction by inviting us to look into the void trapped between the divided spaces” (Abdullaev, “Nilu”, 2012).

the elementalplane.

Niluconcept development &

construction

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January 2013Human Factors and

Environmental ExperienceGroup members: Stephanie Prouse,

Billy Bautista and myself.

Photographs are the courtesy of Stephanie Prouse.

The intent of this project was to compare and evaluate the differences between three people. Different anthropometric data such as height, arm span, chest breadth, strength and arm reach were measured.

In order to create an infographic poster a series of photographs were taken. These photographs were used as an underlay for 3D modeling program Rhino to set up initial graphics such as standard dimension lines. Adobe Illustrator and InDesign were used by all group members to further develop the overall look of the poster.

Special thanks to Stephanie Prouse for her idea of implementing 2D infographic as a style of presentation of our poster.

how do you measure up?

anthropometrics Group project

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NAME / Stephanie ProuseSEX / femaleD.O.B / 1983WEIGHT / 61 kg.HEIGHT / 168.5 cm.EYE COLOR / brownHANDEDNESS / leftBIRTHPLACE / Charlottetown, PEANCESTRY / British, German

BODY PERCENTILE BASED ON HEIGHT / 94 (Tilley, 2002)

SKELETAL INDEX / 55.2CEPHALIC INDEX / 63.6NASAL INDEX / 34.4SPAN INDEX / 99.1BODY MASS INDEX / 21.5

NAME / Billy BautistaSEX / maleD.O.B / 1991WEIGHT / 72 kg.HEIGHT / 175 cm.EYE COLOR / brownHANDEDNESS / rightBIRTHPLACE / Winnipeg, MBANCESTRY / Fillipino



NAME / Umid AbdullaevSEX / maleD.O.B / 1985WEIGHT / 65 kg.HEIGHT / 175 cm.EYE COLOR / brownHANDEDNESS / rightBIRTHPLACE / UzbekistanANCESTRY / Uzbek



An anthropometricstudy of three friends

The static anthropometric data presents dimensions and valuesthat target the skeletal structure (center of joints), as well as the contours of soft tissue. With this collective data, comparisons can be made to dictate how one person’s chair may not besuitable for the other. With this in mind, it greatly influences the design of products that directly interact with the human body.

Zones of Convenient Reach

Stephanie is left handed, and therefore furniture d ddesigned f hfor right h d d-handed p leople is not suitable for her. She often has to create her own makeshift space to compensate and avoid twisting her torso and shoulders to the right. As a result the ergonomic design of the chairs are

Billy finds the trackpad of his computerbcumbersome to use: lprolongedd use causes wrist

strain and index finger fatigue. This is a result of insufficient support in the hand, wrist andconstant nerve disruption along the forearmfrom the edge of the table

Umid’s computer mouse also causes wrist andd fiindex fing fer fatigu He. He sus hpects he bmay be

developing Carpal Tunnel Syndrome (CTS). The weight of the wireless mouse causes substantial strain on his wrist and further pain develops from raising his middle finger to use the scroll

Bill dBilly d temonstr t thates th le longe t dst dyna imic rea hch.

220300 190

AAt thhe workkpllace

* All dimensions are in mm.

Billy = 740Stephanie = 660U id 730Umid = 730

yBilly = 345Stephanie = 410Umid = 360

Billy == 720St hStephh i 7hanie = 70000Umidd = 720

Billy = 740yStephanie = 690Umid = 700

CP ONCP ZONE

ONETP ZOTP ZONETP ZONE

ONESP ZOSP ZONE

The static anthropometric data presents dimensions and valuesthat target the skeletal structure (center of joints), as well as the contours of soft tissue. With this collective data, comparisons can be made to dictate how one person’s chair may not be suitable for the other. With this in mind, it greatly influences thedesign of products that directly interact with the human body.

Zones of Convenient Reach

Stephanie is left handed, and therefore furniture designed for right-handed people is not suitable for her. She often has to create her own makeshift space to compensate and avoidtwisting her torso and shoulders to the right. Asa result, the ergonomic design of the chairs arenot utilized effectively.

Billy finds the trackpad of his computercumbersome to use: prolonged use causes wrist strain and index finger fatigue. This is a result of insufficient support in the hand, wrist and constant nerve disruption along the forearmfrom the edge of the table.

Umid’s computer mouse also causes wrist andindex finger fatigue. He suspects he may bedeveloping Carpal Tunnel Syndrome (CTS). The weight of the wireless mouse causes substantialstrain on his wrist and further pain developsfrom raising his middle finger to use the scroll wheel. As CTS develops further, it becomesmore difficult to use this type of mouse.

Billy demonstrates the longest dynamic reach.

Billy leans back the most while Stephaniestretches her legs forward the most

132°

179°

140°

stretches her legs forward the most.

220220300 190

At the workpplace

At leisuree

e is influenced by various factors Your body shapesuch as genetics, race, age, sex, diet and exercisesuch as genetics(Tilley, 2002). Specific body types allow people to excel at certain activities, and conversely, repeating specific activities leads to thedevelopment of certain body types. For example, swimmers tend to have broad shoulders, strongcore muscles and a large lung capacity (Hall, 2008). Boxers have a wide upper-body frame 2008). Boxers have a wide up

and upper-back with highly developed shoulder r hand, have very muscles. Runners, on the otherof their strength lean bodies with the majority

in their legs (Hall, 2008).

Billy

R-ARM / 9.1 kg.L-ARM / 6.8 kg.LEGS / 68 sec.

Umid


Stephanie


The most compact o rio, f the tUmid’s ideal sleepingUmid’s ideal sleeping on ong positig posititakes up about 20% rea less arthan that of Billy’s.

Works Cited

Hall, Joanna. (1 July 2008). The Many Figures of Fitness.Retrieved on 23 January 2008, fromhttp://www.guardian.co.uk/lifeandstyle/2008/jul/01/healthandwellbeing.fitness

Tilley, Alvin R. (2002). The Measure of Man & Woman. New York: John Wiley & Sons.

136°

142°

127°

Billy = 740Stephanie = 660Umid = 730

yBilly = 345Stephanie = 410Umid = 360

Billy == 720Stephhanie = 700Umidd = 720

Billy = 740Stephanie = 690Umid = 700

CP ZONECP ZONE

ONETP ZOTP ZONE

ONESP ZOSP ZONE

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how do you measure up?

anthropometrics Group project

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December 2012Indoor Systems I

Students were asked to pick a staircase of their choice, analyze by taking photographs and sketches, and reverse engineer the way it was built.

I chose the University of Manitoba Faculty of Engineering stairs. This staircase is mainly made from steel, which is utilized for its stringers, guardrails, and main girders that run along the entire flight of treads.

Glass panels are used as guards, and stainless steel tubes funciton as handrails.

Concrete is utilized extensively both on the staircase and podium that creates a stepped seating area for students.

reverse engineeringdetailing staircase

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Plan view

Elevation

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Section view

Stair detail

reverse engineeringdetailing staircase

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Flynn’s hideout, as an example of a Post-Modernist interior, is symbolic of the protagonist’s exhaustion from ideological pursuits, and perhaps, acceptance of the fact that perfection is unattainable. This is analogous to the mood that was the driving force behind looking beyond (and back before) the Modernist machine aesthetic from furniture items to buildings.

The space is first introduced to the audience from Sam Flynn’s point of view. The interior space seems to have been carved within a rock formation, perhaps, to emphasize humankind’s innate connection to nature, and therefore, the human presence in this space. The further emphasis on the human domain is presented when the floor is lit, as Flynn-the father stands up, and walks towards his son. Once the environment is lit, one cannot help but notice familiar artifacts - furniture, fireplace and bookshelf. Joshua Rab also notes that the grid layout of the lit floor tiles is symbolic of and a play on the idea of the Grid (Rab, 2012). Perhaps, Kevin’s hideout is a miniature Grid that he envisioned and intended the actual Grid to be: all encompassing, friendly and full of potential. Thus the mood of the space is drastically different from that of Clu’s Grid: it is welcoming with its cool lighting to induce a calming effect, and to suggest Kevin Flynn’s state of mind. The choice of furniture in the French Rococo style such as the love seat, armchairs, and a dining set seems to be very intentional as to imply informality and relaxation from rigidity of the rest of the ‘Tron’ world.”

(Abdullaev, 2013, pp. 5-6)

Dining at Flynn’s hideout, (Screenshot), Tron Legacy director J.Kosinski, 2010

“

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February 2013Interior Design History and Theory II

The purpose of this essay was to analyze an interior of a movie scene chosen by a group of third year/ Pre-masters Environmental Design students. Upon analysis of the interior, the students were required to address historical movements in architecture and design after 1700’s. My group consisting of John Sherk, Joshua Rab, and myself chose a hideout dining scene depicted in Tron Legacy (2010) directed by Joseph Kosinski. The film explores the ideas of social Utopia, Modernism, and Post-Modernism. The interior of the protagonist Kevin Flynn’s hideout exhibits tendencies of Post-Modernism, which can be seen as a clear reaction to social Utopia and Modernism explored in the alter-universe of the Grid.

going to the movies

tron legacy:post-modernism as a

contrary reaction to modernism

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References:

Abdullaev, U. (2013). The mood of Flynn’s hideout. Tron Legacy: Post-Modernism as a Contrary Reaction to Modernism (pp. 5-6). Winnipeg.

Abdullaev, U. (2012). Peeling Away. (Poster). Winnipeg.

Abdullaev, U. (2012). Nilu. (Documentation). Winnipeg.

Images (p. 7):

1. Yelavich, Susan. Contemporary world interiors. London: Phaidon, 2007. Print.

2. Vibia Lighting Fixure. Interior Design Dec. 2012: p. 40. Print.

3. Neri and Hu Design and Research Office. Interior Design Dec. 2012: p. 192. Print.

4. MR_DESIGN Office / Schimata Architects. Retrieved Jan 15 2013 from http://www.archdaily.com/271614/mr_design-office-schemata-architects/

5. Renovation of an ancient listed farmer house and a new building of a workshop / UT Architects. Retrieved Jan 15 2013 from http://www.utarchitects.com/projekte/rzb_ber-lin_en.php

6. Seeyond Architectural Systems. Interior Design May 2012. p. 130. Print.

7. Tandus “Breakout” carpet. Interior Design Oct. 2012. Circle 103. Print.

*All photographs are by the author unless otherwise noted

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Master of Interior Design Portfolio