architectual alchemy
cv + selected works A collection of iterations, narratives and fragments of selected academic and professional architectural work undertaken during the years of both Bachelor’s and Master’s courses.
Etulan A. Joseph
Curriculum Vitae
1
Etulan A. Joseph etulan.joseph@gmail.com +44 (0) 7394 137035 (WhatsApp included) EDUCATION University of Westminster 2019 Abdullah Gul University 2018 University of Malaya 2017 Illinois Institute of Technology 2015 Independence Community Collge 2014
Masters of Arts - Architecture Distinction Bachelors of Architecture Cum Laude Bachelors of Science Visiting student Bachelors of Architecture First Year Associate of Science - Architectural Engineering Magna Cum Laude
WORK EXPERIENCE Architectural Assistant II NKILI Architecture 08.2019 - 01.2020
Created presentations, plans, renderings for medium sized residential projects under architect, according to standards. Involved in design decisions and solutions as lead designer.
Project Manager Intern Arven Yapi Industry 05.2018 - 08.2018
Reviewed working drawings. Under Project Manager, monitored progress of the construction of residential towers including documentation, orders and daily work.
Architectural Intern MZ Design Consultancy 06.2017 - 09.2017
Prepared architectural plans and Rhino model of residential projects. Assembled architectural documents from schematic, site surveys and sketches.
Curating Assistant Neue Artisans 08.2017
Developed and assisted with the presenting, arranging and coordinating of the Paraseka Design Showcase.
Architectural Lab Technician Assistant Illinois Institute of Technology 08.2014 - 02.2015
Managed architecture lab at The School of Architecture. Increased efficiency. Revised architectural and engineering drawings for presentations.
Tutor - Mathematics + Architectural Engineering Independence Community College 08.2013 - 07.2014
Tutored in the field of Mathematics, Architectural Engineering and CAD to college students utilizing a variety of appropriate instructional strategies.
PROGRAMS + SKILLS AutoCAD Adobe Suite Rhino 3D Sketch Up Lumion Revit V-Ray (Sketchup + Rhino) Enscape
8 years 8 years 6 years 6 years 3 years 3 years 2 years 1 year
Drafting (Architectural + Engineering) Model Making (Physical + Digital) Graphic Design Document Preparation (Presentation + Reports) Laser Cutting
8 years 6 years 6 years 6 years 5 years
2
Selected Works
WHY ARCHITECTURAL ALCHEMY? These selected works are an exploration of mixing of typologies, theories and technicalities through the critical idenitifcation and use of coactive relationships that generate contemporary spatial paradigms, experimental iterations of pre-existing models or critiques of such, in architecture and its tangents. From buildings to pavilions to writings, ideas or fully executed, this body of work serves as a showcase of my design background, aptitude and hints towards my design future. It embraces architecture in its complexity, its social nature and its possibilities, however that may be expressed. 3
01
02
SUYA: GALATA DISTRICT COMPLEX
001 INCUBATOR
Istanbul, Turkey
Johor Bahru, Malaysia
PAGE 5
PAGE 33
03
04
VILLA ON THE ROCKS
DO YOU SEE WHAT I SEE?
Dakar, Senegal
London, England, UK
PAGE 51
PAGE 69
05
06
DEPLOYABLE PAVILION
ARTICULATING TRAUMA
Kayseri, Turkey
London, England, UK
PAGE 85
PAGE 95
07 MEMORY MONTAGE Kayseri, Turkey PAGE 111 4
SUYA: Galata District Complex
5
TYPE: Academic Spring 2018
LOCATION: Istanbul, Turkey
QUESTION: What kind of building is needed to resolve or curb the urban issues of infrastructure, available programs and public space within the Galata district of Istanbul?
PROPOSAL: Suya, translating to “Onto the water” in Turkish, is special as the site was chosen by myself from a synthesis of urban observations, studies and contextual historical narratives. The building is an amalgamate of programming; essentially a city in abuilding, acrobatically mixing spaces such as apartments, offices and workshops, absorbing the urban life of Galata and Istanbul. Additionally, Suya explores the idea of the building as an urbanscape, an exterior sculptual expression engaging the public on the water’s edge, The Golden Horn.
PROFFESOR/SUPERVISOR: Ipek Akpinar Semra Aydinli
6
ARCHITECTURAL ALCHEMY: ETULAN A. JOSEPH SPRING 2018
7
SPRING 2018
SUYA: GALATA DISTRICT COMPLEX ISTANBUL, TURKEY
Imagery Of The Urban Context
8
ARCHITECTURAL ALCHEMY: ETULAN A. JOSEPH SPRING 2018
Layered
9
SPRING 2018
SUYA: GALATA DISTRICT COMPLEX ISTANBUL, TURKEY
Flow
Interpretation of the Urban Context 10
ARCHITECTURAL ALCHEMY: ETULAN A. JOSEPH SPRING 2018
Urban Fabric
11
SPRING 2018
SUYA: GALATA DISTRICT COMPLEX ISTANBUL, TURKEY
Figure Ground
12
SPRING 2018
ARCHITECTURAL ALCHEMY: ETULAN A. JOSEPH
GALATA TOWER
SEA
SITE
Conceptual Mapping Districts in Galata With Relation to the Sea and Galata Tower 13
SPRING 2018
SUYA: GALATA DISTRICT COMPLEX ISTANBUL, TURKEY
Program Distribution and Interweaving Conceptual Section 14
ARCHITECTURAL ALCHEMY: ETULAN A. JOSEPH SPRING 2018
15
SPRING 2018
SUYA: GALATA DISTRICT COMPLEX ISTANBUL, TURKEY
Model Studies - Possible Spatial Elements For Urbanscape 16
ARCHITECTURAL ALCHEMY: ETULAN A. JOSEPH SPRING 2018
17
SPRING 2018
SUYA: GALATA DISTRICT COMPLEX ISTANBUL, TURKEY
3D Model - Building In Context
18
ARCHITECTURAL ALCHEMY: ETULAN A. JOSEPH
SPRING 2018
Floor Plan - Ground Floor 19
SPRING 2018
SUYA: GALATA DISTRICT COMPLEX ISTANBUL, TURKEY
Floor Plan - First Floor
20
ARCHITECTURAL ALCHEMY: ETULAN A. JOSEPH SPRING 2018
21
SPRING 2018
SUYA: GALATA DISTRICT COMPLEX ISTANBUL, TURKEY
Section I
22
ARCHITECTURAL ALCHEMY: ETULAN A. JOSEPH SPRING 2018
23
SPRING 2018
SUYA: GALATA DISTRICT COMPLEX ISTANBUL, TURKEY
Section II
24
ARCHITECTURAL ALCHEMY: ETULAN A. JOSEPH SPRING 2018
25
SPRING 2018
SUYA: GALATA DISTRICT COMPLEX ISTANBUL, TURKEY
Rendering - Building From The Golden Horn 26
ARCHITECTURAL ALCHEMY: ETULAN A. JOSEPH
SPRING 2018
Rendering - View Of Building From Urbanscape 27
SPRING 2018
SUYA: GALATA DISTRICT COMPLEX ISTANBUL, TURKEY
Rendering - Under The Urbanscape 28
ARCHITECTURAL ALCHEMY: ETULAN A. JOSEPH SPRING 2018
29
SPRING 2018
SUYA: GALATA DISTRICT COMPLEX ISTANBUL, TURKEY
Rendering - Main Interior Circulation And Void 30
ARCHITECTURAL ALCHEMY: ETULAN A. JOSEPH SPRING 2018
31
SPRING 2018
SUYA: GALATA DISTRICT COMPLEX ISTANBUL, TURKEY
Spatial Typologies And Components 32
001 Incubator
33
TYPE: Academic Spring 2017
LOCATION: Johor Bahru, Malaysia
QUESTION: How does one design an incubator within a diversified urban context while using topography as a design approach?
PROPOSAL: 001 Incubator takes advantage of the context, creating architecture that responds to its environment in an atypical way. Pushing the architecture down into the contour reduces visual confusion with neighboring architecture. Also, orienting the building towards the sea celebrates the views received on the site. By adapting to the topography, the incubator plays with different levels between the two blocks. Even the informal access to the building, highlights the junction between the two bordering streets, funnelling pedestrians into the spatial experience that awaits them.
PROFFESOR/SUPERVISOR: Ati Rosemary Mohd Ariffin Aniza Abdul Azi Nur Mazidah Che Ghani 34
ARCHITECTURAL ALCHEMY: ETULAN A. JOSEPH
SPRING 2017
Satellite Image Johor Bahru, Malaysia 35
SPRING 2017
001 INCUBATOR JOHOR BAHRU, MALAYSIA
Context Of The City
36
ARCHITECTURAL ALCHEMY: ETULAN A. JOSEPH
SPRING 2017
A
SENSITIVE
RESPONSE
One of the most standout qualities that posed a challenge yet veiled an opportunity was the diversity of architectural identies with the adjacent buildings. The styles from brutalism to modernism to vernacular Malaysian architecture required a high level of sensitivity in the response to the site. Against the convention of building up, the architecture uses the existing contour to bury itself into it. This minimizes the confusing visual dialogue between the building and its neighbors. This sensitive approach to context also minimizes the imposition of manmade intervention and creates the opportunity to use another “facade� of the building, the roof.
37
SPRING 2017 From Left to Right 1. Bank Negara 2. National Palace of Johor Bahru 3. Hindu Temple 4. Galleria Mall 5. Traditional Shop Lots 6. Indian Mosque
001 INCUBATOR JOHOR BAHRU, MALAYSIA
Key Architectural Context 38
ARCHITECTURAL ALCHEMY: ETULAN A. JOSEPH
SPRING 2017
Figure Ground - Site Context 39
SPRING 2017
001 INCUBATOR JOHOR BAHRU, MALAYSIA
Site Analysis
40
ARCHITECTURAL ALCHEMY: ETULAN A. JOSEPH
SPRING 2017
THE AXIS AS CIRCULATION AND A SPACE OF SOCIAL INTERACTION Creating an axis that serves as an agency of both circulation and social interaction was an immediate strategy that was explored since the beginning of the design process. By analyzing the site, drawing paths and making connections between various nodes and context, a pragmatic axis was created; generating a method of strategic site planning and fortified the aim of creating another public avenue. The Axis 41
SPRING 2017
001 INCUBATOR JOHOR BAHRU, MALAYSIA
Concept
42
ARCHITECTURAL ALCHEMY: ETULAN A. JOSEPH SPRING 2017
43
SPRING 2017
001 INCUBATOR JOHOR BAHRU, MALAYSIA
Section
44
ARCHITECTURAL ALCHEMY: ETULAN A. JOSEPH SPRING 2017
45
SPRING 2017
001 INCUBATOR JOHOR BAHRU, MALAYSIA
Elevation
46
ARCHITECTURAL ALCHEMY: ETULAN A. JOSEPH SPRING 2017
Floor Plan - Ground
47
SPRING 2017
001 INCUBATOR JOHOR BAHRU, MALAYSIA
Floor Plan - First Floor 48
ARCHITECTURAL ALCHEMY: ETULAN A. JOSEPH SPRING 2017
Roof Plan
49
SPRING 2017
001 INCUBATOR JOHOR BAHRU, MALAYSIA
Section Detail - Wall 50
Villa On The Rocks
51
TYPE: Professional Fall 2019
LOCATION: Dakar, Senegal
QUESTION: How can one design the resident for a family that makes use of the view and the topography in the simplest way possible in terms of design output and construction?
PROPOSAL: Understanding the need for a simple design that possesess a high quality luxurious feel, the proposal uses a simple approach of attaching volumes to a straight horizontal and vertical circulation. Stacking these volumes across three floors allows for spatial efficiency as well as good site planning. The interiors and materials are then used to give the villa that luxury feel, from the kitchen to the outdoor lounge area. Using cross laminated timber allows for the villa to have a lighter environmental footprint. It is also high in strength and allows for structural simplicty. The villa then becomes a sustainable and sensitive approach to luxury design.
PROFFESOR/SUPERVISOR: Tolani Onajide 52
ARCHITECTURAL ALCHEMY: ETULAN A. JOSEPH FALL 2020
53
FALL 2020
VILLA ON THE ROCKS DAKAR, SENEAL
Rendering - The View To The Atlantic Ocean From The Roof 54
ARCHITECTURAL ALCHEMY: ETULAN A. JOSEPH FALL 2020
55
FALL 2020
VILLA ON THE ROCKS DAKAR, SENEAL
Rendering - South Facade And Garden 56
ARCHITECTURAL ALCHEMY: ETULAN A. JOSEPH
FALL 2020
Rendering View From The Garden Towards The Pool And The Atlantic Ocean 57
FALL 2020
VILLA ON THE ROCKS DAKAR, SENEAL
Rendering - Facade Detail 58
ARCHITECTURAL ALCHEMY: ETULAN A. JOSEPH FALL 2020
The Site Situation
59
FALL 2020
VILLA ON THE ROCKS DAKAR, SENEGAL
Site Plan
60
ARCHITECTURAL ALCHEMY: ETULAN A. JOSEPH FALL 2020
Floor Plan - Ground
61
FALL 2020
VILLA ON THE ROCKS DAKAR, SENEGAL
Floor Plan - First
62
ARCHITECTURAL ALCHEMY: ETULAN A. JOSEPH FALL 2020
Elevation I - East
63
FALL 2020
VILLA ON THE ROCKS DAKAR, SENEGAL
Elevation II - North
64
ARCHITECTURAL ALCHEMY: ETULAN A. JOSEPH FALL 2020
65
FALL 2020
VILLA ON THE ROCKS DAKAR, SENEGAL
Section
66
ARCHITECTURAL ALCHEMY: ETULAN A. JOSEPH
FALL 2020
Exploded Axonometric - The Building 67
FALL 2020
VILLA ON THE ROCKS DAKAR, SENEGAL
Axonometric- Details: Stairs, Floor, Wall 68
Do You See What I See?
69
TYPE: Academic Spring 2019
LOCATION: London, England, UK
QUESTION: What sort of spatial and abstract relationship can be explored between the visible and invisible using Richard Serra’s sculpture, Fulcrum? PROPOSAL: Within space, there is what we see and what we don’t. There is an interplay between the phenomenal and the noumenal. Using several medium to both explore and depict the interplay between the visible and the invisible, a collection of models and drawings that showcase the investigation and understanding of the spatial and temporal condition of Serra’s work was created. Using diagrams and photography allow for the work to remain within the conceptual and parametric framework. From the deductions, script-generated drawings were produced, serving as a reiterative representation of the relationship previously discussed.
PROFFESOR/SUPERVISOR: Dirk Lellau Filip Visnjic 70
ARCHITECTURAL ALCHEMY: ETULAN A. JOSEPH SPRING 2019
71
SPRING 2019
DO YOU SEE WHAT I SEE? LONDON, ENGLAND, UK
Fulcrum//Richard Serra London, England, UK 72
ARCHITECTURAL ALCHEMY: ETULAN A. JOSEPH SPRING 2019
73
SPRING 2019
DO YOU SEE WHAT I SEE? LONDON, ENGLAND, UK
Fulcrum//Richard Serra London, England, UK 74
ARCHITECTURAL ALCHEMY: ETULAN A. JOSEPH SPRING 2019
75
SPRING 2019
DO YOU SEE WHAT I SEE? LONDON, ENGLAND, UK
Physical Model - 1:10
76
ARCHITECTURAL ALCHEMY: ETULAN A. JOSEPH SPRING 2019
77
SPRING 2019
THE PHENOMENAL AND THE NOUMENAL
Preliminary Studies Of Fulcrum Through Photography Blurring Used As A Tool Of Reduction 78
DO YOU SEE WHAT I SEE? LONDON, ENGLAND, UK
There is an invisible structure within Serra’s Fulcrum that generates the sculpture that is visible. It forms the edges and lines of Fulcrum as well as generates both pentagons that exist within the sculpture - the whole at the top and the fragmented as the bottom. This order of rationale, that produces this geometry shows the relationship between what is obvious and what is hidden. The structure produces lines which in turn produces geometry. The pentagon, particularly the one above, can only be visible upon entering Fulcrum. It’s almost as if the sculpture reveals itself unto users through discovery and movement, unfolding the temporal experience within.
ARCHITECTURAL ALCHEMY: ETULAN A. JOSEPH
SPRING 2019
Visible Vs. Invisble Invisble Logic Generating Fulcrum 79
SPRING 2019
DO YOU SEE WHAT I SEE? LONDON, ENGLAND, UK
SCRIPTING
THE
INTERPLAY
Deduced from the interplay between the visible and invisible, a drawing produced through a processing script was produced. The drawing aims to take the elements previously explored such as line, point and movement, and illustrate such within an abstract framework.
80
ARCHITECTURAL ALCHEMY: ETULAN A. JOSEPH SPRING 2019
81
SPRING 2019
DO YOU SEE WHAT I SEE? LONDON, ENGLAND, UK
Processing Sketch Points And Lines Serve As An Invisible Ordering To Form 82
ARCHITECTURAL ALCHEMY: ETULAN A. JOSEPH SPRING 2019
83
SPRING 2019
PROCESSING
SCRIPT
var rs = [200, 400, 600]; var ms = [5, 6, 7]; var as = [3.14 / 4, 3.14 / 8, 3.14 / 12]; var ads = [0.05, -0.05, 0]; function setup() { createCanvas(windowWidth, windowHeight); background(255, 255, 255); }
Processing Sketch 84
DO YOU SEE WHAT I SEE? LONDON, ENGLAND, UK
function draw() { stroke(0); strokeWeight(0.005); for (var i = 0; i < 50; i ++) { translate(300, 150); var x0 = 0; var y0 = 0; var x = 0; var y = 0; for(var j = 0; j < 5; j++) { x = x0 + rs[j] * cos(as[j]) + i * j; y = y0 + rs[j] * tan(as[j]) + i * j; line(x0, y0, x, y); fill(0); ellipse(x, y, ms[j], ms[j]); as[j] += ads[j]; x0 = x; y0 = y; } }
Deployable Pavilion
85
TYPE: Academic (Group Workshop) Fall 2017
LOCATION: Kayseri, Turkey
QUESTION: How can a lightweight-structure be deployable while simultaneously acting as a system of spatial engagement and social enjoyment?
PROPOSAL: The objective was to explore the conceptual and practical approaches of deployable structures by developing a lightweight-structural model at the 1:1 scale. Furthermore, the creation of habitable spaces and architectural components through these morphological studies sits at the core of this investigation. Exploring new design strategies using parametric design and fabrication allowed for the real life application and production of these structures. Physical and digital models, as well as Grasshopper were used in studying the behaviors of these complex structures.
PROFFESOR/SUPERVISOR: Omar Avellaneda Natalia Torres Valentina Beatini 86
FALL 2017
DEPLOYABLE STRUCTURES WITH ARTICULATED BARS AND POLYGONAL SURFACES
ARCHITECTURAL ALCHEMY: ETULAN A. JOSEPH
The creation of multiple complex configurations allowed for the analysis of the numerous possible ways these structures of simple geometry - the straight bars, move. From the 2D structures to the 3D ones, the multiple compositions generated many different shapes and types of movements - both synclastic and anti-synclatic. From understanding deployable structures with straight articulated bars, angular scissors systems were explored. This system is made up of rigid elements with joints that were asymmetrical. These joints produce movements of inscribed polygons. Deployable surfaced structures allowed for further exploration of spatial configurations and their applications in architecture and design such as facade systems, lamps and deployable emergency shelters.
87
FALL 2017
DEPLOYABLE PAVILLION KAYSERI, TURKEY
Exploration of Geomrety of Articulated Bars Exploration of Movement of Surfaces 88
FALL 2017
ARCHITECTURAL ALCHEMY: ETULAN A. JOSEPH
THE PROPOSAL: A WEIGHT FOLDABLE
LIGHT DOME
Designed by the supervisor, Omar Avellaneda, the structure proposed was a dome that would become a space for assembly, either for rest or entertainment. The 3 meter tall structure, covering an area of 28 square meters, would be deployable and easily assembled. Using wood would also make it lightweight approximately 20kg. It consisted of 180 wooden bars, 80 pvc joints and 480 nuts and screws.
Grasshopper Definition 89
FALL 2017
DEPLOYABLE PAVILLION KAYSERI, TURKEY
Design And Movement Of Morphological Structure 90
ARCHITECTURAL ALCHEMY: ETULAN A. JOSEPH FALL 2017
91
FALL 2017
DEPLOYABLE PAVILLION KAYSERI, TURKEY
Construction of Prototype 92
ARCHITECTURAL ALCHEMY: ETULAN A. JOSEPH FALL 2017
93
FALL 2017
DEPLOYABLE PAVILLION KAYSERI, TURKEY
Final Built Structure
94
Articulating Trauma
95
TYPE: Academic Spring 2019
LOCATION: London, England, UK
QUESTION: How can space that articulate the trauma of the cataclysmic event of the Atlantic Slave Trade into space, however letting emptiness and the experience control the narrative?
PROPOSAL: Through a spectrum of precedents, analysis of literature and other research methods, the essay attempts to begin answering a research question by unearthing a complex legacy of bodies, ideologies and erasure. It takes the layers of history, culture and legacy and brings them to the forefront. It begins by exploring the relationship between architecture, trauma and emptiness, filling a chasm of an underrepresented topic that is critical to society while simultaneously pushing the boundaries of such topics within the architectural community.
PROFFESOR/SUPERVISOR: Krystallia Kamvasinou Kate Jordan
96
SPRING 2019
SPACE AS A BODY
ARCHITECTURAL ALCHEMY: ETULAN A. JOSEPH
trauma [n] “A psychological, emotional response to an event or an experience that is deeply disturbing.”
97
Architecturally speaking, we can start bringing architecture and trauma together through Mark Crinson’s “Urban Memory: History and Amnesia in the Modern City” in which he references one of the first to study trauma – Sigmund Freud. Essentially, Crinson suggests that these spaces hold traces of events, even as a collective. He also calls contemporary spaces that do this as trauma reflection spaces. He, along with cultural and social historian, John R. Gillis, argues that these spaces come with political and social agendas that either create, reinforce, or destroy political and social constructs. These trauma reflection spaces are important as they sometimes raise issues against or for certain group, pushing narratives that challenge agendas. Theresa Stoppani, architect and theorized also theorized about viewing architecture as actually being traumautized. She sees these spaces as “a complex process of interactions which affect the body of architecture as well as its pasts, its memories, its narratives, and its languages”. Thus, traumareflection spaces for the Atlantic Slave Trade need to articulate the trauma through spatial operation while but also create an almost bodily response that is rooted in time and space.
SPRING 2019
ARTICULATING TRAUMA LONDON, ENGLAND, UK
Goree Island Dakar, Senegal 98
SPRING 2019
ARCHITECTURE AND SLAVERY
ARCHITECTURAL ALCHEMY: ETULAN A. JOSEPH
The Atlantic Slave Trade[n] “Transportation by slave traders of enslaved African people, mainly to the Americas.”
99
When one thinks of collective trauma, there are certain catastrophic events that are not expressed architecturally. The Atlantic Slave Trade is a significant historic event with an extensive legacy, one that is usually diminished, neglecting the grim truths of societies and cancerous ideologies. Western slavery has essentially built many modern day Western societies through free slave labour and then implicated a series of complex historical, cultural, political and social consequences that affect an entire diaspora. It is pretty much evident that this lack of spaces highlighting this traumatic event, as well as design methods that can allow for this articulation is needed. Additionally, with reference to Libeskind’s Berlin Jewish Museum, which was left empty for two years upon opening and still having over 350,000 visitors, there lies a new angle in which this articulation can be addressed - through the element of emptiness, allowing for a new sort of character in the architectural experience to be explored. How can this building evoke or tell narratives that make people respond in a striking way? What kind of strangeness and power lies in the experience of emptiness?
SPRING 2019
ARTICULATING TRAUMA LONDON, ENGLAND, UK
Door of No Return Dakar, Senegal
100
ARCHITECTURAL ALCHEMY: ETULAN A. JOSEPH SPRING 2019
101
SPRING 2019
ARTICULATING TRAUMA LONDON, ENGLAND, UK
Vertigo Sea//John Akomfrah London, England, UK 102
SPRING 2019
EMPTINESS
ARCHITECTURAL ALCHEMY: ETULAN A. JOSEPH
emptiness [n] “a state of suspension and possibility.”
103
Architecture’s relationship to emptiness is quite a tricky one but one that exists. The field prides itself for being able conjur massive and aesthetic structures from this idea of emptiness or nothingness. However, what looking at emptiness does, is almost distills the architecture itself and presents it in a most meaningful way. Emptiness brings forth these eternal qualities and provides space for contemplation, memories, sensations and a new sort of interaction with absense. This in turn, generates a new kind of dialogue not only about the space and its possibilities but
SPRING 2019
the story emptiness seeks to convey. The articulations on the left are five constructed classifications of emptiness, derived from theoretical understandings of the subject.
ARTICULATING TRAUMA LONDON, ENGLAND, UK
Berlin Jewish Museumâ&#x20AC;&#x2122;s Memory Void//Studio Libeskind Berlin, Germany 104
ARCHITECTURAL ALCHEMY: ETULAN A. JOSEPH SPRING 2019
105
SPRING 2019
ARTICULATING TRAUMA LONDON, ENGLAND, UK
Catalogue of Traumatic Spatial Conditions 106
ARCHITECTURAL ALCHEMY: ETULAN A. JOSEPH SPRING 2019
107
SPRING 2019
ARTICULATING TRAUMA LONDON, ENGLAND, UK
Catalogue of Volumes Derived from Spatial Conditions 108
ARCHITECTURAL ALCHEMY: ETULAN A. JOSEPH SPRING 2019
109
SPRING 2019
ARTICULATING TRAUMA LONDON, ENGLAND, UK
Catalogue of Voids Derived from Spatial Conditions 110
Memory Montage
111
TYPE: Academic Fall 2017
LOCATION: Kayseri, Turkey
QUESTION: How can the concept and technique of collage-montage be used in representation of space or other architectural approaches?
PROPOSAL: Memory Montage analyzes the collage-montage technique and its relationship in modern day architectural approaches to space as well as the representation of that space. Exploration of this artistic strategy in other disciplines such as film, photography, paintings, literature and music allows for the understanding of how these theoretical concepts can be applied in the discourse of architecture. Using different kind of hybrid methods of both the physical and digital sphere, multiple translations of ideas and concepts were created, from deconstructed texts to maps to projective installation.
PROFFESOR/SUPERVISOR: Ipek Avanoglu Bahra Avanoglu
112
ARCHITECTURAL ALCHEMY: ETULAN A. JOSEPH
FALL 2017
Ole Wormâ&#x20AC;&#x2122;s Cabinet of Curiosity 113
FALL 2017
CABINETS
OF
CURIOSITIES
114
MEMORY MONTAGE KAYSERI, TURKEY
Cabinets of Curiosities, also known as Kunstkammers, were small collections of extraordinary objects which attempted at categorizing these objects - natural history, geology, archaeology, religious relics, antiquities and the like. The objects selected told stories about the world, its history and the collectorâ&#x20AC;&#x2122;s interests and oddities. Not only did the cabinet served as an undefined space of showcase or gallery. It also applied the technique of collagemontage, overlaying objects and images creating illusions, new narratives, new worlds through the experience of the curator or owner.
FALL 2017
ARCHITECTURAL ALCHEMY: ETULAN A. JOSEPH
â&#x20AC;&#x153;The City is Not a Treeâ&#x20AC;? by Christopher Alexander In the natural city, even the house on a long street (not in some little cluster) is a more accurate acknowledgment of the fact that your friends live not next door, but far away, and can only be reached by bus or car. In this respect, Manhattan has more overlap in it than Greenbelt. And though one can argue that in Greenbelt, too, friends are only minutes awqay by car, one must then ask: since certain groups have been emphasized by the physical units of the physical structure, why are just these the most irrelevant ones? The units of which an artificial cityis made up are always organized to form a tree. So that we get a really clear understanding of what this means, and shall better see its implications, let us define a tree once again. Whenever we have a tree structure, it means that within this structure, no piece of any unit is ever connected to other units, except through the medium of that unit as a whole. The enormity of this restriction is difficult to grasp. It is a little as though the members of a family, except when the family as a whole made a friendship.
Text To Be Translated 115
FALL 2017
MEMORY MONTAGE KAYSERI, TURKEY
Translation
116
ARCHITECTURAL ALCHEMY: ETULAN A. JOSEPH FALL 2017
117
FALL 2017
MEMORY MONTAGE KAYSERI, TURKEY
118
ARCHITECTURAL ALCHEMY: ETULAN A. JOSEPH FALL 2017
119
FALL 2017
MEMORY MONTAGE KAYSERI, TURKEY
120
FALL 2017
CREATING THE NEW FROM THE OLD
ARCHITECTURAL ALCHEMY: ETULAN A. JOSEPH
Presented with maps from various periods, multiple â&#x20AC;&#x153;new worldsâ&#x20AC;? and interpretations were created through the collage.montage technique. Underlying textures, languages and other devices were critically considered. Fragmenting the old and assembling the new into these worlds and constellations, within architectural parameters, mirrored architectural operation itself.
121
FALL 2017
MEMORY MONTAGE KAYSERI, TURKEY
Old Maps
122
ARCHITECTURAL ALCHEMY: ETULAN A. JOSEPH FALL 2017
123
FALL 2017
MEMORY MONTAGE KAYSERI, TURKEY
Newly Generated Maps 124
FALL 2017
TRANSLATING FROM 2D TO 3D
ARCHITECTURAL ALCHEMY: ETULAN A. JOSEPH
Similar to tarot cards and their layered readings , a tectonic model was created from the new worlds and its inner narrative was translated into a projective tectonic play using light and shadows.
Tectonic Model 125
FALL 2017
MEMORY MONTAGE KAYSERI, TURKEY
Projective Play
126
127
128
thank you
Etulan A. Joseph etulan.joseph@gmail.com +44 (0) 7394 137035 (Cell + WhatsApp) +473 440 7862 (Landline)