Born in 1997 in Mardin, Yusuf Baran completed his primary secondary education in Mardin. He started his undergraduate studies in Architecture at the Faculty of Fine Arts Architecture at Düzce University. After completing his first semester, he transferred to Mardin Artuklu University Faculty of Architecture, where he completed his undergraduate education in 2019. He thinks that the connections and transitions between thinking, seeking and form methods affect interdisciplinary as well as intercultural relations. He also thinks that the individual and, accordingly, society make a productive quest, enriching the products / processes / horizons. Interested in contemporary art produced on destruction, construction and memory. Interested in the art of photography. He took part in various exhibitions and projects in the art of photography. In the project work; He worked on computer modeling, the trial and error way of artificial intelligence, and the space produced by randomly produced photographic artificial models.I am interest of all architeceture things . In this sense, I am constantly improving myself. Architecture develops and differentiates. It changes culturally. I perceive these cultural changes very well.I love to read, write, think and produce in architecture.
Address Contact
Artuklu Town 13 mart Neighborhood
Vali Ozan st. BARAJ Business Center
Floor: 2 Number: 7
Mardin/Turkey
yusufbarandgr@gmail.com
Cirriculum Vivtae and Interests
An apartment project in Tokyo. In this project, we designed one flat of the apartment with functions specific to different users. In this classroom project, a structure consisting of groups of 2-3 people and the design of areas including common areas of different users and private areas was created.
MEDIATHEQUE CAT in APARTMENT
6-10
Diyarbakır
This graduation project is a mediatek project in Diyarbakir. For me, Mediatheque is a media library, the city’s history and future as well as its present live history. Insofar as movement is perceived as the actualization of possibility, movement the thought before him finds nothing new in him; experience can only confirm what thought already knows. In terms of knowledge, there is no difference between a plant that has not yet bloomed and a plant that is now in bloom. The transition from one to the other is only a matter of time. In contrast, virtual is undetermined power. You have to wait for the move to happen to see what happens. A symphony that has not yet been written in a composer’s mind is virtual. There is an unpredictable real creation here” (2014: 39 Deleuze). Our spatial phenomenon of the information we get from the natural construction/destruction changes of Diyarbakır, from the facades of the city, from the windows, from the walls, from the doors, from the roads, even from the sound and smell.occurs, changes.
İstanbul
THOSE MOMENTS
For someone who lives in Mardin and for someone who experience Mardin, in the changes and transformations we are used to, Mardin to Mardin, Mardin to Mesopotamia, the world and the to the a horizon in a time and place beyond time and space than a different perspective i am looking. From myeyes. I’m looking from Mardin.While looking from a different Mardin At those moments, in those moments, we actually observe the ordinariness of those moments.Like every moment we observe, in those moments, Photographs, consisting of various refractions of the usual images, form the whole.
18-23
TUYAP 2019 FAUST
At ARTIST 2019, which was held within the scope of the 29th Istanbul Art Fair, focusing on Faust this year, 10n9dokuz Group, Johann Wolfgang von worked on the Faust tragedy, which is Goethe’s work over a period of 60years.With the guidance ofWorkshop DirectorAhmet Elhan, it was aimed to look at ‘Faust’ from a different perspective by experiencing the joint production possibilities of a work in which photography and painting are intertwined on the axis of ‘knowing’. During the pre-workshop preparation process, the participants read Goethe’s ‘Faust’ and Lee Mcintyre’s Post-Truth books on the quality of knowledge in the post-truth period. At the beginning of the 15-day workshop that took place in the halls of TÜYAP, a visualization strategy was created in the light of readings. Photographic and pictoral productions were made and 10 separate panels of 280x210cm and one three-dimensional form were revealed. An exhibition containing 10 panels and three-dimensional objects revealed as a result of the workshop, complated.
MEDIATHEQUE
This graduation project is a mediatek project in Diyarbakir. For me, Mediatheque is a media library, the city’s history and future as well as its present live history. Insofar as movement is perceived as the actualization of possibility, movement the thought before him finds nothing new in him; experience can only confirm what thought already knows. In terms of knowledge, there is no difference between a plant that has not yet bloomed and a plant that is now in bloom. The transition from one to the other is only a matter of time. In contrast, virtual is undetermined power. You have to wait for the move to happen to see what happens. A symphony that has not yet been written in a composer’s mind is virtual. There is an unpredictable real creation here” (2014: 39 Deleuze). Our spatial phenomenon of the information we get from the natural construction/destruction changes of Diyarbakır, from the facades of the city, from the windows, from the walls, from the doors, from the roads, even from the sound and smell.occurs, changes.
Thanks to Ahmet Elhan and Murat Germen
“Those” Moments
Our memory helps us to identify the past, this day, and understand the present in some way. For this, it allows us to recognize various experiences, pains, joys, tastes, disappointments throughout our lives.In the information age where time is getting shorter, our memories are subjected to violence against the realities of various places in tons of experience, knowledge and culture. By looking at this situation within the spatial configurations in the objective world, the shocks that our memory has acquired from the information age, both discursive and outside of spatial reality, tell us a lot in this context. While our memory is scattered in a space in the time-space plane, trying to find itself, it cannot actually find anything but a “moment” from its previous state. In the objective world, we look at the productions that create and change the form, which are realized by the production of both time, space and thought. The form is constantly changing or affected by these productions. With this interaction, what occurs in question is nothing but time. Life and people are changing endlessly, changes every moment, howbeit , change is in change, every moment. However, in order to shapealize a situation for a moment, we take a photograph of the “That” moment, take a section or freeze it, in this way, “That” moment becomes an object and takes shape.But the change is constantly going on. Even what I wrote in this moment is too far behind for the “now” and became object / formed / formed for later, but the never-ending process / change continues.If we look at the project from this point of view, the project becomes more meaningful. To what extent are we aware of the changes / transformations that change every day and that we sometimes noticed / could not, as people living in any place and time anywhere in the world? Imagine that the house we live in is in a different place one day, that you are in a different place when you wake up in the morning ? Imagine that the house we live in is in a different place one day, that you are in a different place when you wake up in the morning ? In fact, aren’t we always older than the last ? For someone who lives in Mardin and for someone who experience Mardin, in the changes and transformations we are used to, Mardin to Mardin, Mardin to Mesopotamia, the world and the to the a horizon in a time and place beyond time and space than a different perspective i am looking. From my eyes. I’m looking from Mardin. While looking from a different Mardin At those moments, in those moments, we actually observe the ordinariness of those moments.Like every moment we observe, in those moments, Photographs, consisting of various refractions of the usual images, form the whole.
YUSUF BARAN DEĞER
At ARTIST 2019, which was held within the scope of the 29th Istanbul Art Fair, focusing on Faust this year, 10n9dokuz Group, Johann Wolfgang von worked on the Faust tragedy, which is Goethe’s work over a period of 60 years. With the guidance of Workshop Director Ahmet Elhan, it was aimed to look at ‘Faust’ from a different perspective by experiencing the joint production possibilities of a work in which photography and painting are intertwined on the axis of‘knowing’. During the pre-workshop preparation process, the participants read Goethe’s ‘Faust’ and Lee Mcintyre’s Post-Truth books on the quality of knowledge inthepost-truthperiod.Atthebeginningofthe 15-dayworkshop that took place in the halls of TÜYAP, a visualization strategy was created in thelightofreadings.Photographicandpictoral productions were made and 10 separate panels of 280x210cm and one three-dimensional form were revealed. An exhibition containing 10 panels and three-dimensional objects revealedasaresultoftheworkshop, complated.
