AnisaBegbudi 1
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DESIGN Portfolio Contents 5
Introduction Gallery
2011
12-15
Residencial Loft
2011
16-17
Sense Study
2012
18-21
Personal Artwork
2006-2012
22-31
Clifton Branch Library
2012
32-35
Furniture Design/ Construction Studio
2012
36-41
Multidisciplinary Studio: 2013 Restaurant:“American Affair”
42-43
Internship Abroad: Queensland, Australia
2013
44-53
Corporate Office Design Studio
2013
54-55
Jewelry Design/ Metalsmithing Studio
2014
56-69
Final Interior Design 2014 Capstone Studio: “Worlds Interwoven Central Asian Textiles Museum.”
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Resume 12150 Crown Court Cincinnati, OH begbudaz@miamioh.edu 513.628.8542
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Introduction
In this portfolio, you will see selected work from younger years as an artist, as well as my experience at an internship abroad, and work from my undergraduate studios at Miami University of Oxford, Ohio. My education is in Interior Design, and my skills and talents are revolved around creative thinking and artistic ability. My passion for design comes from creating meaningful and memorable experiences. Whether it is creating a single space, a sequence of spaces or simply a piece of furniture for someone to experience. My background is from Samarkand, Uzbekistan - where I spent my childhood. I seek exploring new places, from which I learn new things and see in new ways. To be whole rounded designer, I never intend to stop learning. Art, design, nature, history, poetry and human experience are what truly inspire me. I focus on the importance of human experience and its interaction with the surrounding world. Thank you, Anisa
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“The details are not details. They make the design.� -Charles Eames
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Gallery
2011
Project requirements: Must be an enclosure for the contemplation of the light found within a specific artwork which cannot receive direct light. The gallery should also have a simple outdoor space for growing one lemon tree. Concept: The design was based on the plan view of the full scaled wall which could be described as : Balance / Void / Solid The intented visitors’ experience is to move from a gallery to a gallery, as they are experience layers of spaces. They will approach the wooden staircase that leads into a simple outdoor space for a break, before the final destination of the main dislpay of an artwork. North-South View
South View
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Process drawings and models
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Residencial Loft
2011
Project overview: Client: A musician and a botany teacher, who require spaces for their professions, hobbies and research. Both like to entertain and host gatherings with live music at their home. Design of their home in downtown Cincinnati loft building would require a music studio and a greenhouse space. As well as a open space for gathering guests for live music parties, but also, to have a comfortable place a family to relax.
EXPLORING IDEA OF MUSIC AND PLANTS Melody of a piano: Soft Effortless Elegant
Plants: Growth-small to big Repitition Layers
The concept behind this is to take the idea of both a musician’s instrument and natural growing plant to create a space that is soft, effortless, and elegant like a piano, and also, is in a repetitive gesture that grows from small to big in a layered manner, like a plant.
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Level 1
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Level 2
Residencial Loft
2011
Floor Plans / Sections / Perspectives
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Kitchen
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Library
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Living room with the view of greenhouse
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3D model of the Library space
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Materials board
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Sense Study
2012
HEARING SIGHT SMELL TASTE
TOUCH The space is a fitness center that is new and modern. I observed it to be cold due to dark materials and dim lighting. The spaces within this environment were intervined and could be visually experienced from the entry area. In the conceptual study of the senceTOUCH in this space, I used sharp aluminum shapes that are intersecting and visually held together by the clear plexy. square.
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Personal Artwork
2006-2012
Shell
Colored PencilLayers and layers of color were carefuly chosen to describe an elegant form of the sea shell.
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Personal Artwork
2006-2012
Selected works of: Chalk Pastel Colored Pencil Oil paint Oil pastel Watercolor Poetry, passion for color and the way it blends and brings it all together inspires my work.
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There are stories that are told in objects that we own and around us. Through paintings and drawings I hope to bring that story to life.
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Heavy Petals
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Tribute to Michael Jackson
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Rich with color
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Galaxy of Music
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Shattered Aquarium
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Waterdrops in the dark
Bird Spilled glass
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Clifton Branch Library
2012
351 Ludlow Ave. Cincinatti, Ohio
“A place that inspires learning and a sense of belonging to the community.�
Group project with collaboration of: Chris Buie - architecture major Elaina Ostrow - architecture major Meili Price - architecture major
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Schools Adult walking radius from Universities Child walking radius from School Site
Residential Commercial Potential Parking Site Bus Stops
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Clifton Branch Library
2012
“The user can inhabit many degrees of temperature, sound, scale. Layering these spaces, and providing the right combination for the individual user will entice them into our library to be inspired.”
Concept: The Book: Journey Unique stories Unique prefrences Choice: Choose your path Choose your environment • • • •
pockets of space with degrees of temperature, sound, scale connection to the street layered spaces and material, animated facade warm vs cool
Program
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Corrugated Metal
North Elevation
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Fritted Glass
Clifton Branch Library
2012
Wood Screening
West Elevation
South Elevation
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North-South Section
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Clifton Branch Library
2012
Easr-West Section
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rendered by Anisa Begbudi photoshop / prismacolor markers
4 rendered by Anisa Begbudi
photoshop / prismacolor markers
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rendered by Meili Price photoshop / prismacolor markers
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rendered by Anisa Begbudi photoshop / prismacolor markers
Clifton Branch Library
3 rendered by Anisa Begbudi
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Entrance: view of Social Lobby and upper lever of Periodicals
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Reading Nook space in one of the shipping containers
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Standing in Social Lobby, view of atrium
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MPR space: view of murals and bookshelves
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Roof Terrace: view of glass atrium
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Exterior of the building, view towards the entrance
photoshop / prismacolor markers
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6 rendered by Anisa Begbudi
photoshop / prismacolor markers
2012
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Furniture Design/ Construction Studio
2012
Hidden Treasure - Jewelry Box This treasure box was constructed completely of found wood and recovered old spindles, with an addition of antique knobs. The inspiration behind this work is hidden treasure, since it made out of forgotten and scrap materials. There are many compartments to this jewerly box of various sizes and some are concealed from initial visual observation.
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Furniture Design/ Construction Studio
2012
Reading Chair This chair appears to be rough on the exterior, but to the user’s surprise, it molds to the body as one sits on it. My goal was to create an experience within this chair. It is constructed of plywood as the supporting structure and of 501 pieces of MDF Board sized to 3” x 3” squares, which rest on 3” foam that creates that sinking effect as weight is applied.
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Multidisciplinary Studio: Restaurant:“American Affair” 2013 American Affair reminscents tradition but takes a risk by adding a twist. It is tempting to anyone as it can adapt to anyone’s appetite. It is exciting to experience but has an exclusive feel to it. Together, this energetic blend of American that can only be described as an American Affair.
Group project with collaboration of: Ann Shrechonoski - graphic design Emily Burrowes - architecture Jake Brennan - graphic design Kevin Keller - architecture Kristen Gebhardt - graphic design Nick Peltz - graphic design
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FLOOR PLAN
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Multidisciplinary Studio: Restaurant:“American Affair” 2013
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Multidisciplinary Studio: Restaurant:“American Affair� 2013 Wide audience appeal: -we cater to two different audiences with a modern twist on traditional by offering two menus
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1 Branding: menus, to-go box, business cards
Menu: -anyone can enjoy the tradional American dish but they also have a choice to take it in the fresh, organic route Interior: -unique and memorable dining experience -everytime customers experience a different mood as well as a different choice of meal. interior space of the restaurant provides variety choice of seating space which can result in a different experience
of half banquette and chair seating 2 View under lower ceiling
3 View of the bar area 4 View of an angeled seating 5 View of
window seats and the lower ceiling
rendered by Ann Shrechonoski Jake Brennen Emily Burrowes Kevin Keller Anisa Begbudi
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photoshop hand sketch overlay/photoshop revit revit final editing
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Internship Abroad: Queensland, Australia 2013
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I C R AV E MANHATTAN BASED EXPERIENTIAL DESIGN & BRANDING STUDIO FUELED BY INNOVATION AND INTERACTION
BOLD MOVES ENERGY DRIVEN FLEXIBLE FUNCTIONAL INNOVATIVE INSPIRATIONAL INTERACTIVE SMART RELAXED
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Corporate Office DesignStudio 2013 Defining the company:
Mission: TO FOSTER CURIOSITY IN THE WORLD AROUND US We choreograph memorable experiences by creating amazing places and by embracing the entrepreneurial spirit, challenging the notion that it’s all been done.
SERVICES:
PROJECT TYPES:
ART
AIRPORTS
GRAPHICS
CASINOS
BRANDING
EXPERIENTIAL
STRATEGY
HOTELS
EVENT DESIGN
NIGHT LIFE
INTERIOR DESIGN
OFFICES
LIGHTING DESIGN
RESTAURANTS
PRODUCT DESIGN FURNITURE DESIGN
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Corporate Office DesignStudio 2013 Defining the company:
FInd and Define the force that drives everything in the company. Show the REACTION to every ACTION. Energize the work environment and inspire to bring ideas together.
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Corporate Office DesignStudio 2013
Private Room Meeting Space Meeting Space Materials Library Lighting Lab Workstations Print Station Open Presentation Spaces Lobby/Reception Cafe Area Product/Furniture Showroom
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Corporate Office DesignStudio 2013
Modular Wall: The wooden cubes can be pushed either direction to create dynamic 3D wall art that can be changed anytime. The wooden cubes are covered by cork and act as a functunal element that acts as a pin-up space between workstations. This wall brings energy and creativity to the work environment.
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I explored the idea of lightning and the impact it creates and how Designers look for reaction in the actions they take in designing spaces. ICRAVE is experiential design firm with many disciples within it, and it was important to provide workstations and spaces for variety of different activities. The goal was to create more human interactions and provide functional spaces for employees to accomplish group projects. As ICRAVE designed their own current office space, the goal was to bring smart, flexible space that is truly functional. The spatial layout is energized by the curves and angles that come from the Initial idea; the concept that takes and defines the words of how the Company describes itself. The curve that defines the levels between the raised floor and the cafe/lounge space that is on the original floor is the swoop of ACTION and Everything else -the REACTION- is happening around it.
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Corporate Office DesignStudio 2013
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Jewelry Design/ Metalsmithing Studio
2014
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Final Interior Design Capstone Studio: “Worlds Interwoven Central Asian Textiles Museum.”
2014
“Living in a post-industrial world, fabric has become inexpensive and eadily available. Most of us are very distant from its production, and the magic of cloth-making has thus for the most part become invisible; few who have not witnessed the laborious processes and multiple steps that go into making even the simplest cloth realize what treasures they may be wearing or holding in their hands.” (Textiles: The Whole Story)
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The Problem: What? This project is about production and making of textile; it is about creating a place where people of all ages, races, religions, genders, backgrounds could visit and enjoy, learn, progress, and through that reach better self-awareness. What once was a privilege, such as textiles and museum visits, is now more attainable. But with that, the magic of those elements can be lost, and taken for granted. The modern society has given up many old traditions, in the western lifestyle, people must work to remain connected to tradition; otherwise it dies. History of textiles is virtually a history of civilizations, people all over the world have made textiles from earliest times: nets to catch food and fabric to cover themselves for warmth, decoration and visual enjoyment. The term “textile” is used to cover a very wide range of objects: tapestries, delicate lace, clothes, many clothing accessories, household linen, soft furnishing, embroideries, carpets and rugs, flags, and banners, etc. One of the most appealing things about textiles is their ability to bridge the gap in imagination between our times and the past. The goal is to connect with people not only physically and ergonomically, but also physiologically, psychologically, intellectually, emotionally and socially. I aim to create an atmosphere, to set the mood of the whole exhibition, suggesting pacing and encourage to discover more. The museum’s functions I wish to integrate within each other, creating balance and coherence through spaces. Perhaps to awaken curiosity, encourages learning, provide adventure; take through a journey of a continuous story. Good design draws visitors in, engages all their senses, and compels them to investigate the topic at hand. It immerses visitors and enables them to navigate without the help of a guide. Finally, good design is increasingly moving away from the concept of exhibitions as spaces for visually displaying objects to the view of exhibitions on environments in which visitors experience art, history, nature or science.
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In this case, the building is 49,000 square feet, with the addition of 15,305 square feet of exterior lot, which results to the total of 64,305 square footage of both interior and exterior space for use to develop a museum of textiles, textile making, and market place. The location is an important part of making this project a successful development. This building in New York City will include a total of three functions: museum will be the main function that weaves into a second space, which is a marketplace for international shops, using the Great Silk Road as an inspiration. The third function to this place is a tailor shop, being part of the textile museum it will become the journey showing what could be done with fabric, fiber and yarn. The design is going to be inspired by the product itself, the pattern, the texture, the history. This will intrigue anyone who is interested in fashion, design, art, history, business, and whoever is eager and interested in producing a custom sewn clothing or accessory. This museum will attract a wide range of users because textiles are a value to any society, they may be viewed as the products of technology, as cultural symbols, as works of art, and as items of trade. The making and trading of the fine fabrics had been one of Central Asia’s chief economic activities since the beginning of the Silk Road. To be able to use both interior and exterior space will be both a challenge and benefit to my project. To provide adventure, and mystery will bring interest and curiosity to this place. There are many layers to designing a successful museum: space, shape, mass, color, texture, and pattern, unity, variety, balance, emphasis, rhythm, proportion, scale, sound, substrates, smells, people, text, objects. I intend on stimulating all five senses, through which my project could be experienced. Inspired by earth, nature, history, arts, and culture and textiles. Through this project I want to awaken curiosity in people, encourage learning, provide adventure, take through a journey of a unique story, direct visitors focus, can entice visitors through an unfolding sense of mystery and can be interpreted symbolically. I wish to bring attention to this incomparable story, story of unforgettable experiences. Engaging people not only visually and mentally but physically by showing the history behind textiles and relating it to today.
The Reason: Why? Museums are live bearing witnesses to history. They provide us with knowledge through experiences. “Knowledge is this capacity for overcoming the difficulties of life and achieving success in this world” -G.S. Brett, Phsychology Ancient and Modern.
Final Interior Design Capstone Studio: “Worlds Interwoven Central Asian Textiles Museum.”
2014
Through research, I learned of the fragility of textiles, and the amount of damage they are exposed to from the moment they are made. Multiple sources suggest that the best way to preserve textiles is to keep them in clean, dry, and dark spaces. Because only few items survive the time for people to find and analyze in order to understand the past, it is important to keep those in a safe and controlled environments where museum professionals from curators, researchers, historians, anthropologists could take a proper care. Museums provide controlled condition of temperature; humidity, restoration facilities, and they protect against fire and theft. For textile preservation, light needs to be no more than 50 lux, temperature should be constant 55-57 degrees Fahrenheit, with relative humidity of 50-60%; it is also suggested keeping records of everything, possibly in photograph form in files separate from the collection. Museums are a place for contextual learning; museums are an experience of the past, present and future. There are of course many factors go into deciding what to exhibit in the museum, I chose textiles because of their significant role in everyday needs of people. Textiles have played a vital role in the social, economic, and religious life of many communities.
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Literature Review:
Researchers, historians, scientists and designers have focused on the important matter of proper museum design and preservation for works of art, sculptures, and artifacts. I was pleased with the information that I found on the museums, exhibitions and gallery design. The book, “The Idea of the Museum: philosophical, artistically and political questions,” raises questions such as; Why preservation? How should it be preserved? And whether or not it should be displayed for the public information. Many questions rise as I search for the meaning of my work. What is a museum? When did the idea of the museum come alive? What is its role? What is the function of the museum, what is the function of the object in the museum? Is museum simply a learning institution? Many texts refer to museums as places of free-choice learning. From “Museum Philosophy,” it is never possible to actually pin down or determine what museums are because they are always at the center of their own redefinition, presenting themselves only in their estranged momentariness. Various books and journals offer explanation and different perspective on the idea of museums. In museums we learn, we interact, we understand and we interpret subject at hand differently from each other and it is from our previous experience and prior knowledge. To understand human learning, it is important to appreciate that it is the product of hundreds of million of years of survival-oriented evolution, an adaptation enabling people to intelligently navigate an ever changing social, cultural, and physical world. -(Falk and Dierking, “Learning from Museums”)
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A lot of time, effort and labor goes into maintaining museums, not to mention funds that go towards the research and exhibitions. Museums are two, three, and four - dimensional storytellers and very complex spaces to design. Tiina Roppola’s doctoral research examined how people make sense of contemporary exhibition spaces and in her experience working as a designer she said, “Curators want to stack the exhibitions with content; educators want to focus on particular messages and designers resist this or that in fear of ruining their aesthetic.” “Museums promise to take a visitor on journeys of discovery and not to subject them to corridors of dusty glass cases. To offer them sights and sounds of peoples’ lives and communities instead of shooting them around collections of revered objects.” (Dicks 2003, 165) Museum studies encourages to move beyond visuals: consider line of sight and strategic placing; strong display elements and effective exhibit design; color; sound; graphic display of information and moving images; personal involvement; object-centered display; and of course interaction. There is something compelling about the past, and through learning about previous generations, we learn more about ourselves. Kylie Message in the “New Museums and Making of Culture” says, museums relate to the various intersecting socio-political, economic, geographical and cultural components that contribute to their production. Joseph Veach Noble, 1970 “Museum Manifesto,” five basic responsibilities of every museum: to collect, to conserve, to study, to interpret, and exhibit.”
Many studies show that people like interactive displays, it brings it to life and allows visitors to partake in the story. It is suggested to create liveliness in a museum and shake it loose of its stillness. The idea of a living museum was defined as a complete elimination of the distance between visitor and exhibition theme. Stephen Quirke, curator of the Petrie Museum says, “I favor the relation between visitor and object. This should be a journey of discovery, and a knowledge sharing opportunity. A two-way system.” In a similar way, the idea of the museum theatre was also a very compelling one. It addressed museum design by communicating through drama. Museums are theaters, rich with stories of human spirit and activity and the natural forces of life. Museums and theaters are storytellers. Both present us with ourselves in different contexts. Preserve the memory and knowledge of a generation to pass on to the next. Every research of the museum design touched on different or in some cases similar approach to effective museum design. In the end, it is about achieving a particular experience in the museum, and it is both object and visitor focused. In Tiina Roppola’s book for “Designing for the Museum Visitor Experience,” she offers a system by which all disciplines involved in creating this museum experience could follow. Roppola came up with four parts for successful and effective exhibition design, and she named them: Framing, Resonating, Channeling, Broadening. Tiina explains that Framing is what makes a museum a museum and not a library or a theme park; Resonating is when visitors feel emotionally moved by an exhibit or though feeling socially engaged with it; Channeling is when space is influenced not only through physical pathways but also how visitors pay attention; Broadening is assemblages of objects, text, media and space, to provide though and/or emotion, to persuade or inform or to otherwise have a meaningful impact.
Final Interior Design Capstone Studio: “Worlds Interwoven Central Asian Textiles Museum.”
2014
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Worlds Interwoven
Central Asian Textiles Museum
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202 Spring Street SoHo, NY 10012
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1.Embroidery/Lace/Knitting Workshop 2.Weaving Workshop 3.Dying/Printing/Finishing Workshop 4.Work Table/Sink Room
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1.Textile Making Process of Manufacturing 2.Textile Making Techniques Exhibits 3.Different Textile Application Exhibits 4.Controlled Environment Storage
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1.Cafe/ Lounge 2.Kitchen 3.Roof-Top Cafe/Garden
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1.Research/Textile Lab 2.Textile Pattern Evolution Exhibits 3.Controlled Environment Storage
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1.Working Floor Looms Display 2.Hand Loom Interactive Display 3.Ancient Textile Weaving in Process 4.Balcony Access
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1.Brief History of Textiles/Silk Road 2.Intro to Fibers and Their Origin 3.Reading/Lounge Space/Library
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1.Special/Rotating Exhibits 2.Guest Speaker Space 3.Employee Kitchenette 4.Employee Lounge/Meeting Space 5.Security Office
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1.Main Entry 2.Lobby/Information Desk 3.Coat Check 4. Museum Shop 5.Lockers/Stroller Park 6.Entry to Special Exhibits 7. Museum Employee Office 8.Bazaar/Event Space 9.Event Space Kitchen
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Final Interior Design Capstone Studio: “Worlds Interwoven Central Asian Textiles Museum.�
Process of Manufacturing: Textile Making Techniques: Spinning Weaving Dying & Printing & Finishing
Spinning Weaving Tapestry Rug Weaving Embroidery Lace Dying & Printing Knitting Netting & Knotting & Crochet Felt & Bark Cloths
2014
Different Textile Applications: Clothing Industry Food Indusry Building Industry Transportation Indusry Health Industry Protective Textiles Recreational msc.
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Roof 84' - 6"
Level 7 72' - 6"
Level 6 60' - 6"
Level 5 48' - 6"
Level 4 36' - 6"
Level 3 24' - 0"
Level 2 12' - 0"
Level 1 0' - 0"
Basement -10' - 0"
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Final Interior Design Capstone Studio: “Worlds Interwoven Central Asian Textiles Museum.�
2014
Roof 84' - 6"
Level 7 72' - 6"
Level 6 60' - 6"
Level 5 48' - 6"
Level 4 36' - 6"
Level 3 24' - 0"
Level 2 12' - 0"
Level 1 0' - 0"
Basement -10' - 0"
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Roof 84' - 6"
Level 7 72' - 6"
Level 6 60' - 6"
Level 5 48' - 6"
Level 4 36' - 6"
Level 3 24' - 0"
Level 2 12' - 0"
Level 1 0' - 0"
Basement -10' - 0"
Roof 84' - 6"
Level 7 72' - 6"
Level 6 60' - 6"
Level 5 48' - 6"
Level 4 36' - 6"
Level 3 24' - 0"
Level 2 12' - 0"
Level 1 0' - 0"
Basement -10' - 0"
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Final Interior Design Capstone Studio: “Worlds Interwoven Central Asian Textiles Museum.�
2014
Roof 84' - 6"
Level 7 72' - 6"
Level 6 60' - 6"
Level 5 48' - 6"
Level 4 36' - 6"
Level 3 24' - 0"
Level 2 12' - 0"
Level 1 0' - 0"
Basement -10' - 0"
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LL
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Outdoor Bazaar
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Roof Top Cafe
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Cafe/ Lounge
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Weaving Workshop
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Textile Making Techniques Exhibits
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Research/Textile Lab
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Working Floor Looms Display
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Brief History of Textiles/Silk Road
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Lobby/Information Desk
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Special/Rotating Exhibits
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http:// w w w. i s s u u . c o m / anisabegbudi
Design and Human Behavior Design/Build Studio Multidisciplinary Studio with Architects and Graphic Designers Building Information Modeling Furniture Design/Construction Metalsmithing and Jewelry Design
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