Architectural Alchemy

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

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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

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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.

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01

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SUYA: GALATA DISTRICT COMPLEX

001 INCUBATOR

Istanbul, Turkey

Johor Bahru, Malaysia

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PAGE 33

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VILLA ON THE ROCKS

DO YOU SEE WHAT I SEE?

Dakar, Senegal

London, England, UK

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PAGE 69

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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

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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

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SUYA: GALATA DISTRICT COMPLEX ISTANBUL, TURKEY

Imagery Of The Urban Context

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Layered

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SUYA: GALATA DISTRICT COMPLEX ISTANBUL, TURKEY

Flow

Interpretation of the Urban Context 10

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Urban Fabric

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Figure Ground

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GALATA TOWER

SEA

SITE

Conceptual Mapping Districts in Galata With Relation to the Sea and Galata Tower 13

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SUYA: GALATA DISTRICT COMPLEX ISTANBUL, TURKEY

Program Distribution and Interweaving Conceptual Section 14

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SUYA: GALATA DISTRICT COMPLEX ISTANBUL, TURKEY

Model Studies - Possible Spatial Elements For Urbanscape 16

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SUYA: GALATA DISTRICT COMPLEX ISTANBUL, TURKEY

3D Model - Building In Context

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Floor Plan - Ground Floor 19

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SUYA: GALATA DISTRICT COMPLEX ISTANBUL, TURKEY

Floor Plan - First Floor

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SUYA: GALATA DISTRICT COMPLEX ISTANBUL, TURKEY

Section I

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SUYA: GALATA DISTRICT COMPLEX ISTANBUL, TURKEY

Section II

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SUYA: GALATA DISTRICT COMPLEX ISTANBUL, TURKEY

Rendering - Building From The Golden Horn 26

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Rendering - View Of Building From Urbanscape 27

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SUYA: GALATA DISTRICT COMPLEX ISTANBUL, TURKEY

Rendering - Under The Urbanscape 28

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SUYA: GALATA DISTRICT COMPLEX ISTANBUL, TURKEY

Rendering - Main Interior Circulation And Void 30

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SUYA: GALATA DISTRICT COMPLEX ISTANBUL, TURKEY

Spatial Typologies And Components 32

001 Incubator

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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

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Satellite Image Johor Bahru, Malaysia 35

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001 INCUBATOR JOHOR BAHRU, MALAYSIA

Context Of The City

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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.

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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

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Figure Ground - Site Context 39

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001 INCUBATOR JOHOR BAHRU, MALAYSIA

Site Analysis

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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

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001 INCUBATOR JOHOR BAHRU, MALAYSIA

Concept

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001 INCUBATOR JOHOR BAHRU, MALAYSIA

Section

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001 INCUBATOR JOHOR BAHRU, MALAYSIA

Elevation

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Floor Plan - Ground

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001 INCUBATOR JOHOR BAHRU, MALAYSIA

Floor Plan - First Floor 48

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Roof Plan

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001 INCUBATOR JOHOR BAHRU, MALAYSIA

Section Detail - Wall 50

Villa On The Rocks

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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

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VILLA ON THE ROCKS DAKAR, SENEAL

Rendering - The View To The Atlantic Ocean From The Roof 54

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VILLA ON THE ROCKS DAKAR, SENEAL

Rendering - South Facade And Garden 56

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Rendering View From The Garden Towards The Pool And The Atlantic Ocean 57

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VILLA ON THE ROCKS DAKAR, SENEAL

Rendering - Facade Detail 58

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The Site Situation

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VILLA ON THE ROCKS DAKAR, SENEGAL

Site Plan

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Floor Plan - Ground

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VILLA ON THE ROCKS DAKAR, SENEGAL

Floor Plan - First

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Elevation I - East

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VILLA ON THE ROCKS DAKAR, SENEGAL

Elevation II - North

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VILLA ON THE ROCKS DAKAR, SENEGAL

Section

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Exploded Axonometric - The Building 67

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VILLA ON THE ROCKS DAKAR, SENEGAL

Axonometric- Details: Stairs, Floor, Wall 68

Do You See What I See?

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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

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DO YOU SEE WHAT I SEE? LONDON, ENGLAND, UK

Fulcrum//Richard Serra London, England, UK 72

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DO YOU SEE WHAT I SEE? LONDON, ENGLAND, UK

Fulcrum//Richard Serra London, England, UK 74

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DO YOU SEE WHAT I SEE? LONDON, ENGLAND, UK

Physical Model - 1:10

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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.

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Visible Vs. Invisble Invisble Logic Generating Fulcrum 79

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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.

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DO YOU SEE WHAT I SEE? LONDON, ENGLAND, UK

Processing Sketch Points And Lines Serve As An Invisible Ordering To Form 82

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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

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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

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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

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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.

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DEPLOYABLE PAVILLION KAYSERI, TURKEY

Exploration of Geomrety of Articulated Bars Exploration of Movement of Surfaces 88

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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

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DEPLOYABLE PAVILLION KAYSERI, TURKEY

Design And Movement Of Morphological Structure 90

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DEPLOYABLE PAVILLION KAYSERI, TURKEY

Construction of Prototype 92

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DEPLOYABLE PAVILLION KAYSERI, TURKEY

Final Built Structure

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Articulating Trauma

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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

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SPACE AS A BODY

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trauma [n] “A psychological, emotional response to an event or an experience that is deeply disturbing.”

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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.

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ARTICULATING TRAUMA LONDON, ENGLAND, UK

Goree Island Dakar, Senegal 98

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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.”

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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?

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ARTICULATING TRAUMA LONDON, ENGLAND, UK

Door of No Return Dakar, Senegal

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ARTICULATING TRAUMA LONDON, ENGLAND, UK

Vertigo Sea//John Akomfrah London, England, UK 102

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EMPTINESS

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emptiness [n] “a state of suspension and possibility.”

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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

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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

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ARTICULATING TRAUMA LONDON, ENGLAND, UK

Catalogue of Traumatic Spatial Conditions 106

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ARTICULATING TRAUMA LONDON, ENGLAND, UK

Catalogue of Volumes Derived from Spatial Conditions 108

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ARTICULATING TRAUMA LONDON, ENGLAND, UK

Catalogue of Voids Derived from Spatial Conditions 110

Memory Montage

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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

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Ole Wormâ&#x20AC;&#x2122;s Cabinet of Curiosity 113

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CABINETS

OF

CURIOSITIES

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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.

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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

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MEMORY MONTAGE KAYSERI, TURKEY

Translation

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MEMORY MONTAGE KAYSERI, TURKEY

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MEMORY MONTAGE KAYSERI, TURKEY

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CREATING THE NEW FROM THE OLD

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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.

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MEMORY MONTAGE KAYSERI, TURKEY

Old Maps

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MEMORY MONTAGE KAYSERI, TURKEY

Newly Generated Maps 124

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TRANSLATING FROM 2D TO 3D

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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

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MEMORY MONTAGE KAYSERI, TURKEY

Projective Play

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thank you

Etulan A. Joseph etulan.joseph@gmail.com +44 (0) 7394 137035 (Cell + WhatsApp) +473 440 7862 (Landline)