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ISABELLE GHABASH SELECTED DESIGN WORK 2010-2019


CONTENTS 04

DESIGN ETHIC

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05

PROFESSIONAL WORK Infinite Scale.....................................06 Blue Copper 2000..........................08 Bicycle Collective............................10 TAG 343 Apartments......................12 Sera Prognostics..............................14

WRITING None of the Above.........................31 Fourth-Wave Witch..........................32

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GRAPHIC DESIGN Birds Eye View Rug Design............35 Nature is a Language......................36 AIAS Networking Flier....................37

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JEWELRY DESIGN

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ACADEMIC WORK Body Instrument..............................17 Center for Land Use Interpretation...................................18 Reflection Chapel............................24 Opportunity in a Void.....................26

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DESIGN ETHIC RECOGNIZE CONSTRAINTS. Know what your actual constraints are; don’t be limited by what you assume they are. PAY ATTENTION AT INTERSECTIONS. The most interesting cities are “eastmeets-west” and the best friendships are “opposites attract”. The point of intersection between two disparate things is where nuances are discovered, tension is present, and surprises are imminent. Don’t be afraid of a mash-up. MAKE IT WORK. Although Tim Gunn has never said this to me personally, I live by these words. Your project needs to “work” on an aesthetic level, but this is also a work ethic. Take an honest inventory of your resources, keep your head under pressure, cooperate with those around you, and make things you’re are proud of. SELF-PORTRAIT

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BUT DON’T OVERWORK IT. Don’t assume your interventions automatically improve anything. Some things don’t need your wellintentioned “help” at all. You can have fun, but be discerning and explore humanely.


PROFESSIONAL WORK

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INFINITE SCALE SALT LAKE CITY, UT COMPLETED SUMMER 2019 ATLAS ARCHITECTS

10,000 SF office building for a local sports marketing & design firm. The client wanted a modern building that reflected their branding and was reminiscent of stadium architecture. DURABLE MATERIALS CALCULATION FORM-BASED CODE REFERENCE

ELEVATION

GLASS (SF)

CONCRETE (SF)

METAL PANEL (SF)

TOTAL DURABLE STEEL (SF) MATERIALS (SF)

TOTAL AREA (SF)

DURABLE MATERIALS REQ'D DURABLE MATERIALS PROVIDED (% OF TOTAL AREA) (% OF TOTAL AREA)

ROLE: CD + CA phases TEAM: Jason Foster + Evangelos Neofitos PHOTOS: Dave Newkirk

EAST ELEVATION 6

SOUTH ELEVATION

GLASS CALCULATIONS FORM-BASED CODE REFERENCE

ELEVATION

GLASS AREA (SF)

TOTAL AREA (SF)

GLASS REQ'D (% OF TOTAL AREA)

GLASS PROVIDED (% OF TOTAL AREA)


BLUE COPPER 2000 SALT LAKE CITY, UT COMPLETED SUMMER 2019 ATLAS ARCHITECTS + M3LD

Interior design for a local coffee shop inspired by video games and arcades from the 80s. The happy owner called this project “the Peach Pit meets Blade Runner.” ROLE: tile design TEAM: Jesse Hulse + M3LD team PHOTOS: Courtesy of M3LD

AT RIGHT: TILE DESIGN CONCEPT PROCESS 8


BICYCLE COLLECTIVE

SALT LAKE CITY, UT EXPECTED COMPLETION SUMMER 2021 ATLAS ARCHITECTS 18,500 SF retail, office, and community space for a local non-profit that fixes bicycles for resale and teaches at-risk populations bike mechanic skills. Project has just finished its schematic design phase. ROLE: project manager TEAM: Jesse Hulse + Cindy Bithell RENDERING: Morgan Birch

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TAG 343 APARTMENTS

SALT LAKE CITY, UT ESTIMATED COMPLETION WINTER 2021 ATLAS ARCHITECTS 45-unit apartment building on a tight, irregular site. Working with the developer on multiple iterations, we were able to make the puzzle work where others had not. The project is about to be awarded its permit. ROLE: project manager TEAM: Jesse Hulse + Cindy Bithell

NORTH ELEVATION 12

WEST ELEVATION


FINISHED FLOOR

DETAIL: GUARDRAIL + TILE PAVER SYSTEM @ END OF BALCONY

DETAIL: SLIDING DOOR HEADER + THRESHOLD @ BALCONY 13


3 1

1*

5

1*

3

2.

3

5

3

3

6

3

3

1*

3

3.

2'-0"

3

2'-0"

1*

4.

5

6

3

5.

4

6

6.

SPEED VAC (S) DROP

DIGESTIVE (I5) DROP PANEL

(D) DPLC

1 PANEL PER 4 SPEED VACS (S) SPEED VAC

(I5) DIGESTIVE NITROGEN DIAMETER <1 5/8" 1 PANEL PER ROBOT

DPLC (D) DROP PANEL

1 PANEL PER 2 DPLC BENCHES

EXHAUST DIAMETER 2.5"

*SEPERATE CIRCUIT

2'-0"

2'-0"

3 1

3

5

2'-0"

6

6

3

(W) WORK STATION 1 PANEL PER 2 WORKSTATIONS WORK STATION (W) DROP PANEL

6

1*

3

2'-0" 3

As the tha add

4

1

1

Te

2'-0"

3

3

6

NOT BE T GEN

EXHAUST DIAMETER 2.5"

* SEPERATE CIRCUIT

3

3

2*

5

2*

Signe

4

4

(A) ACCESSIONING 1 PANEL PER 1 ROBOT

1 PANEL PER 1 LCMS BENCH

Name

LCMS (L) DROP PANEL

ACCESSIONING (A) DROP PANEL

(L) LCMS

NITROGEN DIAMETER <1 5/8"

NITROGEN DIAMETER <1 5/8" EXHAUST DIAMETER 2.5" * SEPERATE CIRCUIT

PANEL LEGEND CUSTOM DROP PANELS 1 1" = 1'-0" 120 V RECEPTACLE WITH TWISTLOCK AT CEILING. SO CORD TO FLOOR + 2’-0” WITH QUADRUPLEX AT FLOOR 2

208 V (15 A) RECEPTACLE WITH TWISTLOCK AT CEILING. SO CORD TO1 FLOOR + 2’-0" WITH NEMA 6-15R RECEPTACLE AT 2 3 4 12'-0" 28'-9" 11'-3" FLOOR

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BLANK (NO LINES ATTACHED). CONTRACTOR TO PROVIDE BLANK COVER PLATE OR CAP TO MATCH PANEL COLOR

A

4

8'-0"

ROLE: SD, DD, CD, and CA phases

3

1.

2'-0"

3

B

5

10'-9 1/2"

Although this was a small laboratory tenant improvement, the client had very specific MEP requirements for their equipment. We opted to bring power, nitrogen, data lines, and exhaust hoses down from the ceiling for maximum flexibility as equipment changed, moved, or was upgraded. This also kept the circulation paths for lab technicians clear. I designed and coordinated these custom ceiling panels with the client and consultants over several iterations using the colored diagrams and ceiling plan shown at right.

2'-0"

2'-0"

SALT LAKE CITY, UT COMPLETED WINTER 2021 WOODBURY CORPORATION

2'-0"

2'-0"

SERA PROGNOSTICS

6

8'-0"

C

D

*

5 9'-0"

NITROGEN: < 1 5/8" DIAMATER. GREEN QUICK CONNECT BODY EXHAUST: 2 1/2" DIAMETERVENT FOR WASTE CUT IN PANEL FOR DATA- TENANT TO PROVIDE CABLING AND COVER PLATE W

A

W

A

SEPARATE CIRCUIT

I5

I5

23'-8"

I5

DUCT SHAFT

S

L

L

L

L

L

L

L

L

1'-3 1/4"

14

E

L 108'-0"

L

L

L

FUME HOOD VENT

POWER F


6

3

6

3

6

3

3

2*

4

WORK STATION (W) DROP PANEL

2*

1 PANEL PER 1 ROBOT NITROGEN DIAMETER <1 5/8"

09/12/2017

Signed Name & Title

LCMS (L) DROP PANEL

ACCESSIONING (A) DROP PANEL

1 PANEL PER 2 WORKSTATIONS

5 4

1 PANEL PER 1 LCMS BENCH NITROGEN DIAMETER <1 5/8" EXHAUST DIAMETER 2.5" * SEPERATE CIRCUIT

CUSTOM DROP PANELS 1" = 1'-0"

1

2

3

12'-0"

28'-9"

4 11'-3"

5

6

9'-0"

17'-1"

7 17'-1"

8 17'-1"

PLANTER

STEEL GRATE

A 8'-0"

A

B 10'-9 1/2"

B

VENT FOR WASTE

DUCT SHAFT 8'-0"

C

C

NO SCOPE

D

W

D

A I5

W

I5

I5

A

23'-8"

RUN (2) 4" CONDUIT FROM TENANT'S IT CLOSET TO SUITE 201

S

L

L

L

L

L

L

L

L

1'-3 1/4"

E

L

L

L

E

L

23'-9 1/2"

108'-0"

FUME HOOD VENT

D

D

D

D

D

POWER FOR -20 FREEZER ONLY. COVER OTHER OPENINGS IN PLATE.

D

ELEVATION TO MATCH EXISTING HALLWAY (APPROX. 9'-0" A.F.F.)

MOUNT SALVAGED ILLUMINATED EXIT SIGN ON WALL, CENTERED ABOVE DOOR

1'-3 1/4"

F

G

EQ

G

EQ

8'-0"

F

EQ

EQ

THIS PORTION PRINTED FUNNY WHEN I EXPORTED--DOUBLE CHECK

NEW GRID. MATCH ELEVATION OF ADJACENT GRID. IF POSSIBLE, ALIGN WITH TEES OF ADJACENT GRID.

108'-6"

EQ

YOU NEED A DETAIL FOR THIS CEILING

1

A4

A102

2

3

4

5

6

7

8

REFLECTED CEILING PLAN SHOWING CUSTOM PANEL LOCATIONS

2ND FLOOR 1/8" = 1'-0"

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ACADEMIC WORK

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UNIVERSITY OF UTAH 2010-2014


BODY INSTRUMENT UNIVERSITY OF UTAH FALL 2013 STUDIO

The injuries we inflict on the land and those the land inflicts on us often result in lasting scars. This tool explores the oftentimes mutually-abusive relationship between land the human body. The land experiences our human injuries as stitches and raised surfaces, while our skin receives depressions, an imprint of Emigration Canyon topography. This instrument also served as inspiration for the Center for Land Use Interpretation project (pages 18-23). Materials: embroidery thread, leather cord, + balsa wood

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CENTER FOR LAND USE INTERPRETATION UNIVERSITY OF UTAH FALL 2013 STUDIO

ADJACENT BUILDINGS

CENTER FOR LAND USE INTERPRETATION

SITE: EMIGRATION CANYON, UT Human activity can cause major upheaval and damage to land, especially on natural sites like Emigration Canyon. This building displays those scars and also experiences one of its own. The Center’s “scar”, defined by the site’s topography, carves out the building’s interior galleries/archives and controls the light entering each space. The Center takes initial cues from the adjacent utilitarian, boxy structures built by utility companies, but then the site's topography and light take over.

PROGRAM 18

TOPOGRAPHY

Others have scarred the landscape to build simple boxes that offer nothing to the site’s many visitors. If you’re going to build a box on such a beautiful site, it should be special. This proposal offers rich interior spaces and dynamic light qualities that suit equally-rich programming offered by the Center for Land Use Interpretation.

SUN PATH

DAYLIGHT


SECTION 19


UP

9

10

8

11

12 5

4

6

1 3

7 UP

2

PLAN: GROUND FLOOR 20

1 lobby 2 cafe 3 cafe prep area 4 theatre 5 backstage 6 dressing room 7 green room 8 mechanical room 9 men’s restroom 10 women’s restroom 11 admin offices 12 "the scar"


DN

14 13

15 DN

17

12

16

12 "the scar" 13 transportation archive 14 film archive 15 water + land archive 16 industry archive 17 technical booth

PLAN: SECOND FLOOR 21


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INSIDE "THE SCAR" 23


REFLECTION CHAPEL UNIVERSITY OF UTAH SPRING 2013 STUDIO

Inspired by archetypal labyrinths, which have for centuries been used to quiet the mind and bring clarity to the wanderer, this folly fosters self-reflection. Delicate screening, layers of mass and void, and maze-like plan culminate in a chapel nucleus. These techniques also encourage visitors to pause during the journey and provide the privacy necessary for contemplation. Materials: plaster of Paris + gauze impregnated with plaster

PLAN SKETCH 24


INTERIOR VIEW: CHAPEL NUCLEUS 25


OPPORTUNITY IN A VOID UNIVERSITY OF UTAH SPRING 2014 STUDIO

SITE: SALT LAKE CITY, UT TEAM: Owen Blake This studio focused on multi-family housing. Brining differently-sized units together creates spatial opportunities in voids. The ground floor is open to the public, while the other floors are split between shared and private spaces for residents. Every apartment is south-facing and has access to a shared balcony along a tree-lined and historic street, which means very resident enjoys a city view and sunshine regardless of the unit size they can afford.

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2 3 1

4

5

LEVEL 1 FLOOR PLAN 6

1 community kitchen 2 mechanical/fan room 3 lobby for residents 4 bodega 5 cafe + art gallery 6 laundry 7 fitness room 8 game room 9 lounge 10 dance studio

7 8

LEVEL 2 FLOOR PLAN 6 10 9

LEVEL 3 FLOOR PLAN 28

ENLARGED FLOOR PLAN: 2-BEDROOM UNIT


GAME ROOM

LIVING UNIT 29


WRITING

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NONE OF THE ABOVE COMPLETED SPRING 2009

Do not open Pandoraâ&#x20AC;&#x2122;s booklet Until you are instructed to do so. If a train of thought leaves the station At 3:15 heading west, At what time will your brain explode? Give your answer in minutes. This gray circle makes you White. While another indicates You have no idea What the word somnolent means. Youâ&#x20AC;&#x2122;ll look it up when you get home. Somnolent: as in, This test has made you somnolent. Based on the results Of the previous experiment, How soon will the mail arrive? #1 student armed with No. 2 pencil can make magic. Abbacaddabba. Fill in each bubble completely, But do not shade outside the line. You and your answers need to be Well-rounded.

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EXCERPT FROM

THE FOURTH-WAVE WITCH When I use the word “magic”, people roll their eyes. Because magic is unicorns and fairies and wishes and love spells. You know, girl stuff. The word has been so feminized, so closely linked to the flouncing bippityboppity-boo of fairytales, Las Vegas sleightof-hand, or dark-cloaked urban myth, no one has to take it seriously. But make no mistake, magic is power. Yet women are not allowed to have power, so they let us have the word “magic”. But, if they discovered that we were exploring that magic, they put an abrupt and often irreversible end to that sort of nonsense. Now, if magic had been harmless and ineffective, we could have gone on our merry, delusional way. But it was effective. Which made it threatening. So another word was invented and “gifted” to womankind. This word was so foul and damning, that even at a whisper, it could whip a town into a fiery frenzy. The word? Witch. WRITING PROCESS 32


MAYBE DO THE WHY PHOTO INSTEAD? WITH SKETCH PAPER

WRITING PROCESS: PINNED UP SKETCH PAPER + OBJECTS 33


GRAPHIC DESIGN

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JEWELRY DESIGN

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THANK YOU

Profile for Isabelle Ghabash

Isabelle Ghabash Design Portfolio  

Isabelle Ghabash design portfolio--architecture, graphic design, and jewelry design.

Isabelle Ghabash Design Portfolio  

Isabelle Ghabash design portfolio--architecture, graphic design, and jewelry design.

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