Hiba Salih 2022 Architecture Portfolio

H I B A S A L I H P ORT F OL I O

Programs Used: - Rhino - Grasshopper

TABLE OF CONTENTS

4 6 18 28 32 42 50

RESUME + BIO

AMES RENEWABLE ENERGY CENTER

DIA BEACON ARTISTS’ RESIDENCY

NUBIAN REDEMPTION BEST OF SHOW WEARABLE DESIGN SHOW 2019

UNEARTHING THICK INJUSTICE HANSEN PRIZE FIRST PLACE

NOMA LEGACY HEADQUARTERS: BARBARA G. LAURIE SUBUMISSION

DIGITAL FABRICATION + PARAMETRICS

EX P ERIEN C E BLR COMPETITION October 2021 - February 2022 - Proposal approved for art installation competition to celebrate Biorenewable ISU building and program - Worked alongside Reinaldo Correa on concept design and development of mural installation UNEVICT IA EXHIBITION AND DATA INTERN August 2021 - present - Collecting Iowa eviction and housing data and visually represents it through virtual and physical exhibitions through 3D visualizations - Using archival records of old buildings to 3d model and render spaces for research

PERSONAL

Name Date of Birth Nationality Languages

Hiba Salih (hi-buh) 28 OCT 1998 Sudanese and American English and Arabic

C O N TA C T Phone Email Instagram Address

+1 310.897.1508 hibasalih98@gmail.com @hiba.tullah_ Ames, IA, USA

E D U C AT I O N

Bachelor of Architecture, Professional Degree (NCORE Scholar) Minor in Digital Media and Urban Studies Iowa State University degree anticipated 2023 Environmental Design University of Redlands 2016-2018 Proudian Scholar 2018

SKILLS

Analogue Drawing Rhinoceros 6 Grasshopper 3D Modeling Rendering Adobe Creative Suite Digital Fabrication Machines ArcGIS

AWA R D S 2020 Richard F. Hansen Competition 1st Place Dean’s List Iowa State University Spring 2019-2021 Best of Show Wearable Design Show 2018 Dean’s List University of Redlands 2016-2017 Proudian Scholar University of Redlands 2018 First Place Sony Ericsson Smart Schools Innovation Competition 2015

LE A D E R S H I P ISCORE Scholar - National Conference of Race and Ethnicity (NCORE) Member of National Society of Black Engineers (NSBE) Region V Member of National Organization of Minority Architects (NOMAS) African Students Association (ASA)- Design Chair DATUM Architectural Journal Graphics Team

R EF E R E N C E S Shelby Doyle Department of Architecture Iowa State University | College of Design doyle@iastate.edu Amal Barre Vice President at Oakridge Neighborhood Services and Health Connect Fellow | UNEVICTIA Project Leader Des Moines Metropolitan Area amal.barre@outlook.com Reinaldo Correa Department of Architecture Iowa State University | College of Design rcorrea@iastate.edu Dr. Monica Haddad Department of Community and Regional Planning Iowa State University | College of Design haddad@iastate.edu

UNDERGRADUATE RESEARCH ASSISTANSHIP IOWA STATE UNIVERSITY COMMUNICATION AND CONSTRUCTION LAB August 2020-present - Collaborates with founder of the ISU Computation and Construction Lab - Conducts research on machine learning, material studies and digital fabrica- tion through innovative technology - Assists students in the use of computational methods and fabricating machin- ery as a teaching assistant and a research assistant DESIGN STUDIES 102 PEER MENTOR IOWA STATE UNIVERSITY January 2020-present - Serving as a mentor to students in the Design CORE program to guide them with their program choices UNDERGRADUATE RESEARCH ASSISTANT IOWA STATE UNIVERSITY August 2019-September 2019 The Built Environment, Health and Social Networks - Riverbend neighborhood is one of the oldest neighborhoods in Des Moines, that is economically and racially diverse, and segregated.

This research project aims to identify the connection between the accessibility to fresh food, social networks and health.

- Conducted surveys and interviews for faculty-mentored research to find community-oriented solutions COMMUNITY ASSISTANT UNIVERSITY OF REDLANDS August 2017-May 2018 - Served as a mentor and community organizer to fellow students with different backgrounds in study skills, student organizations and academic resources

VOLUNTEER WORK WE RISE LA VOLUNTEER LOS ANGELES - Helped work event for mental health awareness with We Rise - Event collaborated with influencers - Monitored artwork - Networked with other artists SUDAN REVOLUTION KHARTOUM, SUDAN - Community organized annual clothing and food drive to people within the community who are in need - Building website for Sudan revolution resources and information

PASSION PROJECTS SMALL BLACK OWNED BUSINESS OWNER - HIBATULLAH August 2020 - present - Manages an Etsy for handmade wearable art pieces - Worked a pop up shop and networked with other small owned business - Commissions art for various clientele AASHE STARS® PROCUREMENT GUIDELINES INITIATIVE UNIVERSITY OF REDLANDS, INNOVATION FOR SUSTAINABILITY COURSE September-December 2017 - Student-led project geared towards initiating sustainable standards by which the institution should adhere to - Utilized the STARS® (Sustainability Tracking, Assessment and Rating System) to author a set of guidelines for institutional use in procurement - Researched and analyzed the sustainability practices the institution can improve on MAPPING THE FORGOTTEN HISTORY OF NUBA: ARCGIS PROJECT UNIVERSITY OF REDLANDS, GEOGRAPHIC INFORMATION SYSTEMS COURSE January 2018 - April 2018 - Led an individual research project that utilized geographich information systemstechnology to map out the rich history of Sudan by logging the location of human movement through the built environment

‫هبة ال ّله‬

To Whom It May Concern, I am a fourth year architecture student pursuing a Bachelors in Architecture with a minor in Urban Studies and Digital Media seeking an Architectural Design internship with your firm. As a Sudanese woman living in the United States, I am interested in how architecture and design can holistically serve clients and the community with the environment, context and the needs of the users in mind. I believe that architecture is about people and meeting their needs and design is a tool that could be utilized to achieve that.

While pursuing a very rigorous course of study, I have found myself investing in passion projects that have equipped me with skills in entrepreneurship, community engagement and concept development. Through a couple of architecture competitions, I have had the opportunity to work alongside fellow passionate architecture students who were interested in finding a way that architecture could serve the community holistically. Being involved in projects outside of school have challenged and developed my skills by working through the many moving parts of a project with a team of diverse individuals.

Through a series of studio projects that are shown in my portfolio, research through sketchinig, collaging, site visits and interviewinig people have been integral methods in how I approach concept development and process work. These projects have fueled my passion for the possibilities of architecture and have exercised my visual and design skills through 3d modeling using Rhino and Grasshopper and drawing utilizing AutoCad and analogue drawing. I also enjoy visualizations through renders and imagery that evoke emotions through the use of v-Ray, LUMION, Adobe Creative Suite, Procreate, hand drawining and collaging.

I have held peer leadership positions which honed my ability to train and guide fellow students. At the University of Redlands, I worked as a Community Assistant, helping students adjust to collegiateevel academic expectations, negotiating roommate conflicts, fostering a sense of community, and referring students to a range of academic and social resources both on and off campus. During my time at Iowa State, I continued peer leadership as a DSN 102 peer mentor this experience has developed my communication skills with a collaborative team and has nurtured my passion for mentorship.

I have also expanded my skill-set through completion of faculty-mentored research. As an undergraduate research assistant, I interviewed River-bend neighborhood residents about health, social networks, and their en-vironment. These rich conversations with people from very diverse backgrounds solidified my passion for community-oriented development and storytelling. It is essential that project design is informed by the constituent group that will be served. Through community outreach, design research and experimentation I believe that the possibilities of architecture are endless. This experience shaped my understanding of the importance of knowing the needs of the groups of people that are being served and gaining an understanding of the site through qualitative data.

As an Undergraduate Research Assistant (URA) at the Construction and Computation Lab (CCL) at ISU I work with Shelby Doyle amongst other professors, guide students through their use of digital fabrication software(Grasshopper and Rhino) and machines (Potterbot, 3D Printers, CNC Routing, Resin Printing). Through this position I have been interested in furthering my research of how technology and innovation in architecture can push the boundaries of materiality. Digital fabrication is a practice that will shape how we approach architecture and design and I am excited to continue research in this field.

While pursuing my education and research, I have also started my own small business of wearable art which has been inspired by the ISU Wearables Design Show and fashion architecture through various forms of artistic expression and experimentation under my name Hibatullah. This endeavor is a passion project that I was proud to start as a young entrepreneur. As the artist, promoter and owner of my brand, I have been responsible for keeping up with sales, interacting on social media, networking and creating. This venture has enabled me to invest in myself and develop my skillsets to continue this work.

Concept design and process work is an integral and critical part of design; I want to gain the skillset necessary to see a concept come into fruition and see how concepts become impactful to people and the environment. I believe that bringing conceptual and function designs to life by practicing in the field of architecture would allow me to further my growth as a future architect, designer and community member.

Sincerely,

Hiba Salih

BIOLUMINESCENCE AMES RENEWABLE ENERGY CENTER TOP 3 SHORTLIST DLR GROUP COMPETITION

bioluminesce (n.) production and emission of light by a living organism Alternative architecture pushes the envelope of traditional practices of interacting with the built environment, to engage in the complex conversations of what sustainability actually means in architecture, a field that has a complicated relationship to the practices of sustainability. Our journey of questioning what alternative architecture is begins with our relationship to our environment.

While exploring the site, located at the intersection of Lincoln Way and South Dakota, we immersed ourselves into the landscape and discovered thick vegetative covers where moss, fungi and wildflowers covered the site and several large trees at least 60-100 years old created protective canopies. We noted our observations we came across two parts of the site that curved along the topography of the land with clearings that filtered sunlight through the tree canopies above. It was in these moments that we agreed that this project would be a conversation on light and vegetation and how these two elements interact with architectural innovation, the environment and our well being. The right to land, light, air and the environment has been a difficult strife for certain communities of people for centuries, this project addresses through its spaces for communities to gather, experience, learn and teach.

The interplay on light and vegetation is the premise of this project, by embracing the use of algae which are micro and macro- organisms that are usually removed due to their “harmful” blooms. The negative connotation on algae is trivial, not recognizing that eighty percent of the oxygen we breathe is produced by these miniforests. This project is an attempt to suggest that architecture can be a living, breathing and giving building by embracing microorganisms as an energy source, shading device and a learning opportunity for the surrounding community to engage with the interaction of light’s biology and psychology. This project explores how light affects our mental, physical and emotional wellbeing through the controlled and natural use of lighting in the building’s systems.

Bioluminescence serves the community by providing a space for the public to learn about the innovative use of algae and how easy it is to grow your own. The use of light is layered and endless, and further connects us to our environment. to a controlled environment where light creates spotlights for moments of individuality. The circulation of the building is reflective of how we wandered throughout the site following a gesture that pushed the form of the building and where we found moments where light interacts with vegetation and ourselves. We welcome you to immerse yourself in Bioluminescence and interact with elements of this project.

Instructor: Ayodele Iyanalu Partner: Emma Bontranger

Programs Used: AutoCad Rhino Grasshopper ProCreate LUMION Photoshop

MORE SUN EXPOSURE

LESS SUN EXPOSURE

DIA BEACON ARTISTS’ RESIDENCY

When grappling with corporeal and spiritual realms there exists a state of mind that extends beyond the dunya. A state of mind that accesses our inner child and relieves us of all judgement, no longer weighed down by the mundane chores of our own desire to be successful, useful, powerful. Have we equated successfulness to the deterioration and separation of soul and mind? A state of mind that experiences the tidings of death, joy and horror all of which are constituents of beauty and rememory. A state of mind that celebrates the temporary and the eternal in the present. To question uselessness, we must begin by questioning our meaning of use as function, power and efficiency. Is uselessness not the diminished that deepens, the inability to account for corporeal attachments [dunya]? Is uselessness the step towards discovering purpose when soul and mind are distracted by the polarization of efficiency and usefulness? If use defines our perception of the perpetual cycle of the pursuit of dunya, then the presence of the metaphysical is useless and addictively joyful and meaningful beyond the limits of which we set for ourselves. Innately we are useless, but we desire to be useful and that is the beginning of our own torture. founded in new york city in 1974 by philippa de menil, heiner friedrich and helen winkler, dia was established as a space for artists to achieve visionary projects beyond all limits. the borrowed greek work dia meaning “through” is a symbol of the institution’s role to breaking through the impossible. dia beacon, which is one of many iconic sites in the world was opened on the banks of the hudson river in beacon, new york in may 2003 transforming the city of beacon into a vibrant arts district. the facility was once a box printing factory nabisco and transformed into a collection of artists’ work that emerged in the 1960s. dia beacon’s massive open space of uninterrupted rooms and ability to capture light to present monumental structures and deliate drawings is one of the mmany reasons that this museum cannot be compared to. dia can be described as a “campus of single-artist envi- ronments.” dia beacon is also a part of beacon’s plan of redefining the city to become an attraction.

located on the banks of the hudson, the longer side of the site catches westward sun and sits closely by train tracks that run along the dia. our proposal sits on 9600 sqft of land by the dia. there are three potential entries that can become a part of our proposal. one of the issues that we run into are the protruding stairs and the retaining wall that interrupts our potential entry through the northeast side of the site to avoid intense winter winds, a possible solution would be to obliterate that retaining wall. what do we want the building to evoke? is it just a building? or is it beyond our corporeality - beyond dunya?

Instructor: Pete Goche

Programs Used: AutoCad Rhino Grasshopper ProCreate Hand drawing Photoshop

SECOND FLOOR

13’-0”

FIRST FLOOR

15’-0”

GROUND FLOOR

15’-0”

NORTH ELEVATION 1-0’=1/16

SECOND FLOOR

10’-1/2”

FIRST FLOOR

15’-0”

BUILDING HEIGHT 40’-0

GROUND FLOOR

15’-0”

SOUTH ELEVATION

NUBIAN REDEMPTION IOWA STATE UNIVERSIY WEARABLES DESIGN SHOW 2019 BEST OF SHOW

This full body revolutionary wearable speaks to the people of Sudan standing up against the 30 year regime during the revolution. The form fitting chest piece, bound wrists and ankles represented the abstract and seemingly endless oppression faced by the people of Sudan and African people as a whole. The gold chains, and silver barbed wire were utilized to symbolize the exploitation of the continent for its precious resources. The mashrabiya panel shoulder piece stands for the powerful queendom that once existed in Nuba. The cape’s lackluster exterior conceals the true beauty of Sudan and Africa to highlight the misconception of Sudan as “a country that is not known by many”. Once revealed, the cape reveals iridescent fabric which is made of the colors from Sudan’s reclaimed traditional flag designed by the women of Sudan. The individual African fabrics that drape the interior express the unity of the people and the ongoing struggle each has experienced since colonization.

UNEARTHING THICK INJUSTICE RICHARD F. HANSEN FIRST PLACE

the surface on which we stand

“the grid” on which we stand on planned intentionally

the history that we know of the land that we stand on

the unraveling truth of the land that we stand on

the “truth: the ”thick injustice”

After having a conversation with Antoine Fletcher NPS Appalachian Highlands Science Education Coordinator on his research with Adam McNeil and others on the Untold Stories of African Americans in Cades Cove, the scope of the prohect focused on this idea of thick injustice. By peeling back the layers of a landscape to reveal the thick injustice that lies beneath the surface we can begin to understand our environment. Thick injustices are the deeply embedded oppression that is found in our systems and is usually not made obvious. but exists in our actions and institutional, economic, educational and health systems elusively.

The intricately sculpted landscape of Cades Cove sits on rich fertile soil and jonesboro limestone which is made up of micro and macro fossils.

Cades Cove also sits on rich history. History of ecologies, history of movement and history of people. Thinking through the oral histories of the people that moved in and out of this land we can begin to understand that the landscape is informed by people’s narratives. Storytelling goes against the eurocentric/westernized methods of data collection/evidence. Storytelling goes against erasure. Storytelling gives us pieces of the history we were never told. Cades Cove is situated in the great smoky mountains (Appalachian mountain range) on the Tennesse side. This map show vegetative cover and geologic formations as the cove is at a geologic fault sculpted by jonesboro limestone. This beautiful site also sits on rich, fertile soil that runs deep. The movement of people in and out of the cove is diverse from Appalachia to the Cherokee to Liberia.

Reimagining a monument or memorial, this project proposes a network of casted columns that encourage a sensory experience through engraved and raised languages to commemorate the lives of the forgotten. This project questions the hierarchy of oppressions and suggests that one oppression leads to another which is represented through the woven elements that carry the memories of the forgotten and unknown lives. To incorporate the power in storytelling, the space projects visual imagery of people who are sharing their narratives through Antoine Fletcher and Adam McNeil’s research, coupled with folk music originated from Black culture to represent the influence that Black communities have had on popular culture.

Instructor: Liza Walling

Programs Used: Rhino Grasshopper ProCreate Hand drawing Photoshop

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Rumors have it that rebels learned of his role and came to the cove and shot him in the back. There was another story involving rebels killing his cattle, and he being shot when he went to investigate.

protects those who safehouses where nature own kind are opppressed from their

captu ri of th ng the ge e o witho caverns re logic form ut wo captu a rds ring tion a mo ment

BLACK CARE IS HERE NOMA LEGACY HEADQUARTERS BARBARA G LAURIE SUBMISSION

The people of Detroit are historically self-determined, resilient, and strong.

However, the people of Detroit are also overlooked. black people of Detroit are currently moving out of the city to the suburbs for safety and betterfunded school systems As we begin to reimagine the site of Brewster Douglas Housing into the National Headquarters for NOMAS and resource center - we have asked ourselves how we can design with care and for care. How do we design for celebration of BIPOC communities and doing so while tackling a massive 600,000 square feet of programming? Our agency as designers in this historically charged site is important to be acknowledged - as outsiders and as designers. Our proposal seeks to not only engage in placemaking as a collaborative social process but also engage with the site not as empty land but rather as a land charged with history and culture.

Our response was designed through a series of buildings that are built over time instead of a large intimidating architecture that consumes the site. Orchestrating a sequence of buildings over time creates space for reconnection between the existing community and their input in the design process. Reshaping the relationship between architecture and time, which has historically been a westernized approach to efficiency, sequencing combats this.

The entrance to the project becomes a public space - creating space for social gathering and connection. A communally weaved tapestry lines the building. People of the Community have full agency over the architecture itself and spaces within.

A central courtyard extends the public space into the building, creating a central hub from where different programs as they are built over time can be accessed. The courtyard allows for multiple programming for events and celebrations and for the BIPOC community to just be.

The last and final addition to the site was housing. The thick injustice that exists within urban planning is represented through social housing schemes that only perpetuated the tragic narratives of black folk. We wanted to change our typical approach and challenged ourselves by attempting a housing scheme that was modular for people that want and need a space to call their own. By stacking the first four levels of the housing scheme that could be repeated, we made sure that this building would provide equal access to green terraces for each user as a testament to the relationship that black folk have to the land. We saw that it was crucial to find a scheme that gave agency back to the community through green spaces and interaction with neighbors.

Instructor: Liza Walling

Programs Used: Autocad Rhino Grasshopper ProCreate Photoshop

DIGITAL FABRICATION IOWA STATE UNIVERSITY COMPUTATION + CONSTRUCTION LAB

3D PRINTING + CASTING

CNC + CASTING

CERAMIC 3D PRINTING

3D PRINTING + CASTING

the mold

the cast

the module

In our final iteration, we made fine adjustments to our previous test molds (adjusting the angle, void placements, etc.). We also decided to add two new shapes: a diamond with one central void and a diamond with voids taken out of two sides. In assembly, these shapes all fit together into one large hexagon, with the diamonds in the center. Along with our two iterations of hexagons, these two versions of diamonds also allow us to layer the pieces on top of one another, mimicking the effect of our precedent Mashrabiya panels and paneled façade.When casting these molds, we ran into some issues with 3D printing and scaling, and had to print some molds multiple times because they would not fit together properly. In addition, we experienced some issues with void placement specifically on the hexagon with four voids. Some points within the shape had become too thin, as we had altered the outside shape just a tad, which then affected the placement of the voids within the containing shape. This particular shape gave us a lot of trouble, we were sure that it would work because it had before, but removing the cast from the mold without breaking it was difficult. The inclusion of many pieces within one cast created a lot of pressure on each internal piece as the concrete expanded as it dried. However, even though we had several unexpected challenges with these final casts, we eventually got the casting method down and were able to cast many successful pieces. The result of these casts was an array of intricate assemblies comprised of simple, crisp modules. We were very happy with the flexibility and variation of our pieces, as well as the fact that we had kept many of our central design principles from the very first iteration. The forms we created were simple, showed a relationship to organic forms (present in the voids), had variable transparency, fit together almost seamlessly, created depth and layering, and utilized void both in assembly and through each individual module.

CNC + CASTING

This project challenges our ability to think through the process of fabrication in a sequence that operates backwards to Project 1. Rather than creating the negative of our project, we needed to consider the positive to be CNC milled to then become a negative mold when casting silicone. This process of adding and subtracting forms influenced our final iteration- an organic texture that is confined to a rigid geometry.

An undulating module that represents the additive and subtractive nature of the process of this project, first began with deconstructing our understanding of modularity through curved forms. Using grasshopper to generate a script that achieves an organic form with parametrics inspired the rest of the project. We then had to simplify our iterations to get to a conclusion of understanding.

CERAMIC 3D PRINTING

In this project, we asked ourselves how we could participate in the craft of the project with a more hands-on approach.

Since we both currently work at the CCL as research assistants, we entered this course with plenty of prior knwledge about the behavior of the Potterbot, as well as how to manage and alter Grasshopper scripts that determine the form of the pots/vessels made using this machine.We were particularly interested in experimenting with the process of creating these forms; especially after they concluded printing. Inspired by other designers working with 3D printed ceramics, we decided we wanted to explore the possibility of changing designed outcomes by interferring with the forms after they printed.This was the most intriguing element for us: the ability for human touch to become a determining factor in the design process that is otherwise completely automated, and the ability for design decisions to occur past the point where something may be considered “complete”.

‫اىل ماما و بابا‬ ‫حب الوالدين ليس مثل أي حب آخر‬