UNIVERSITY OF MELBOURNE_ARCHITECTURE THESIS PROJECT_04 THE CONTESTED STATES_BY JIN WANG_2020

Studio founder: Heather mitcheltree & Mitchell Ransome

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FABLE ABOUT THE FUTURE

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Contested States & the Architecture of the In-between

Figure.1. Bufferzone Current Situation 1, Photo by Mitchell Ransome, 2018-2019.

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CONTENT

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01 Thesis Statement 02 Mapping of Cyprus 1 03 Timeline

13 The Site

04 Population Distribution 05 Mapping of Nicosia 1 06 The 'Golden ages' architecture folk - shadow play old photos

14 Meaning of The Site

07 Comtemporary Art print street art

15 The Journey of Transformation 16 Design Statement 17 Methodology 18 Deconstruction of original building

08 Theory

19 Programming

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20 The FABLE

Installation Inspiration Nicosia Heritage Mapping Architectural Fragements Installation Design

21 Overall Design 22 Interventtions 23 Diagram 24 Final outcome of the Design 25 Bibliography

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THESIS STATEMENT

A FABLE ABOUT THE FUTURE

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This thesis will investigate the island of Cyprus, the complex history of contestation and ethnic division, sovereign identity, and current stasis from the established United Nations Buffer Zone. This thesis will pay attention to the exploration of the possibility of future development, through the expressiveness of time and space and the unique experience that museum buildings can provide, aiming at encouraging the widely admired visions.

Establish a collection of Nicosia’s city fragments, and transmit into another space, where carries a meaning of new start.

Transformations appear at the very beginning of the journey, and finally, an unpredictable image of the museum will emerge in the end. According to Marina Warner, the story as the Esperanto of imagination, it has the power to impinge on reality, to change reality, especially in a disruptive, turbulent, and hostile time (Warner, 2018). As a result, this thesis will hypothesis architecture as a fable, take the concept of narrative architecture as the base, the city’s past fragments, the existing and coming art expressions, will be superimposed into story contents. The architecture itself will be the exhibit, it will be a stage of visitors and other exhibits. Together they form the narrative, a fable about the future.

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MAPPING OF CYPRUS 1

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Cyprus is an island country located in Mediterranean, the signifucant location make it coveted by neibouring countries since ancient times.

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The history of this country is full of occupations, struggles for independence, and finally had been in a relatively stable status.

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TIMELINE

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Negotiations about the future development is still going on.

TIMELINE

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Figure.13.

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POPULATION DISTRIBUTION.

Turkish Cypriot was getting concentrated before the war in 1974.

In the year of Independence (1960), the Greek Cypriot & Turkish Cypriot were mix living.

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Figure.14. (Hadjilyra, n.d.)

The diagrams show only the distrubution of Turkish Cypriot in these years.

Figure.15. 1960 Demographic mapp, (2020) The diagram shows the distribution of both ethnics in 1960.

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MAPPING OF NICOSIA 1

Nicosia became the only divided Capital in the world, with an ancient walled city established by Venetian.

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What can be exhibited in the museum?/About the manifestation of the tendency of co-existance.

The cultural fusion happened during the long history could be taken as an evidence of the once existed 'golden ages'.

1. The transformation and hybrid of architectural style is a symbol of the subtle influence between national cultures, a symbol of the possible future transformations of the culture, society, and the country's status.

Cultural Exchange / Coexistence —— Architectural style Grafting

THE 'GOLDEN AGES'

Cultural exchange and coexistence of different ethnic communities once happened in Nicosia, is represented by Architectural heritage as well as Folk arts.

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Under the rule of Frankish(Kingdom of Cyprus), Nicosia was experiencing a 'Golden Age', significant development happened at that time. In terms of Architecture, there was a Western medieval city fortified wit walls, towers, and gates.

In the early 17th Century, the late Ottoman classical style emerged through religious buildings and new public typologies such as inns and baths. The Greek Cypriot established new churches, worshiping the Greek Orthodox faith, the old ones were reconstructed and restored.

Churches were built on the Byzantine model, with medieval influences. Old building's features were incorporated into the walls in a second usage. Simple little houses were built on the ruins of mansions that replaced the medieval ones. Social and commercial activities became the soul of this city during this period, Market booming, always semiopen spaces, and shops always combined with craftsmen's workshop, for producing and selling more conveniently.

The street was chaotic and narrow, with small arched porticos linked the buildings above the street level, the situation led the city into a feature of combing residential and commercial usage of a building along the street.

The religious buildings of each community, such as a church, mosque, became the citizens' center of ethnicity, religion, social class, or occupation, at last, mixed quarters were established by the trust that developed between the two communities.

Figure.16. Interior of Selimiye Camii, Photo by Mitchell Ransome, 2018-2019.

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During the colonial rule of the British, there were first architects created elaborate neoclassical buildings, introduced reinforced concrete, also inaugurated a transition from anonymous vernacular architecture to eponymous design. (Petropulu, 2008)

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THE 'GOLDEN AGES'

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Figure.17. Bufferzone Current Situation 2, Photo by Mitchell Ransome, 2018-2019.

Catholic Latins and Orthodox Greeks had developed a spirit of Cultural exchange due to the long cohabitation. The Pontifical Catholics' repression targeted at the Orthodox Church was steadily subsided, because of the Greek language as Greek Cypriots' penetration, under the rule of the Frankish kingdom. The two communities were able to have further interaction. (Chrysochou, 2016)

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What can be exhibited in the museum?/About the manifestation of the tendency of co-existance.

The cultural fusion happened during the long history could be taken as an evidence of the once existed 'golden ages'.

2. Shadow puppet play is a popular folk art in Cyprus. Drama is the most intuitive way of expressing opinions, and it is easier to bring people into it than any other art form.

FOLK ART - SHADOW PLAY

Karagiozis

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The stories' content are revealing socio-political phenomenon, and the characteristics of roles can be taken as ultimate expression of stereotypes of various ethnic groups. The grotesque plot full of irony will inspire the audience's unpredictable thoughts.

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What can be exhibited in the museum?/About the manifestation of the tendency of co-existance.

The cultural fusion happened during the long history could be taken as an evidence of the once existed 'golden ages'.

3. The precious photos which recorded the beautiful folk life before 1950s, are the National memory fragments that could evoke people's yearning for the peaceful mix-living life.

'When Turkish and Greek Cypriots lived side by side, and the only difference between them was the mosque or the church they would go to.'

THE 'GOLDEN AGES'

'A time when families stayed together and belonged to a real community, when people lived off the land'

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Figure.18. memory of the Cyprus before 1950s Artist Con Emmanuelle presents an exhibition about Cyprus before 1950, inspired by the stories of his compatriots in Australia.

People who have experienced the harmonious era are gradually disappearing, but the current education system refuses to show the integration and beauty of people’s life under British rule, because politically they tend to show the history of blood and tears after 1950, emphasizing the state of division, and The evil of the British.

The works in the Exhibition showed the authentic countryside and traditional lifestyle of Cyprus. As a person that has Greek Cypirot parents, he was influenced deeply by his parents' stories about their once great life before moving to Melbourne “The period I’m focusing on isn’t political,” he says.

“In total I interviewed 120 people and nearly 100 per cent said to me ‘Costa that was the best time for us’.”

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Emmanuelle tried to grasp the last remaining memory, with a passion for rebellion, to commemorate the history that politicians hope people would forget, with great fanfare. (Stamocostas, 2018)

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What can be exhibited in the museum?/About the manifestation of the tendency of co-existance.

Some local modern artists have a longing for a kind of future, and they are the ones who have the ability to express.

COMTEMPORARY ART

1. Print is one of the most popular forms of art in Cyprus.

Hambis Tsangaris: History and fable in print

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He grew up in turmoil and has a peaceful vision Son of a Farmer Inspired by love, war and nationalism 'His candid and expressive works provide a visual narrative of time and place infused with a range of raw emotion, from grief and pain to sensual pleasure.'(Reynolds, 2009)

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Hambis Tsangaris is a Cypriot Postwar & Contemporary artist who was born in 1947. the celebrated printmaker, story teller and chronicler of the Cyprus’ modern political history.

Figure.19. 'Hambis Tsangaris'

Figure.20. More mothers are crying ..., 1973 - 1979, Hambis Tsangaris

'Some like partition and some don’t; I am with the people who would like my country to be one part.'

'All the symbols are the same, right and left, Turkish Cypriots and Greek Cypriots and their feelings to be together,” he explains,”On both sides the women dressed in black cry for the war, there are destroyed homes and two doves, the symbols of peace in Cyprus. These are my feelings and I hope that this day will come.'

He tried to use the power of grief to arouse people's sympathy and desire for peace. He also created a lot of fables about war, all of which entrusted his eager wishes. These desires are what I want to express, the sights that may exist in the distant or near future.

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What can be exhibited in the museum?/About the manifestation of the tendency of co-existance.

Some local modern artists have a longing for a kind of future, and they are the ones who have the ability to express.

COMTEMPORARY ART

2. Street art is another significant feature in the walled city that carrying rich meanings.

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Public opinion.

Street Art.

It should be noted that the hatred between the two nations is mainly based on nationalism and disputes about political representation rather than religion and culture. The two groups had coexisted for hundreds of years before they split.

A study showed that only 28% of Greek Cypriots and 32.5% of Turkish Cypriots believed that the ethnic, religious, and cultural differences between the two groups caused conflict. Most people blame the leadership's mistakes and foreign interventions for causing conflicts to arise and continue. ("Cypriot Culture - Core Concepts", n.d.) The vast majority of daily interactions between people of each ethnic group are friendly and peaceful.("Cypriot Culture - Core Concepts", n.d.)

Street art is a way of the expression of political opinions of young generation.

The border of each side exist in reality and mind. However, art creation is a process beyond the border.("Into Street Art: a research project - Urban Gorillas", 2017) 'I work with some artists but not because they are Turkish Cypriot or and they don’t work with me because I’m a Greek Cypriot, we have common understanding, so we go and do it together.'(Urban Gorillas, 2018) In the age of advocating individuality, as an independent individual, everyone can act according to their inner thoughts. Trends of subtle fusion appeared silently, implying some people’s prayer for peace.

Figure.21. ‘Fasizm evde aslar’ (Racism starts at home), walled Nicosia's street art, 2017.

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Why/How to establish a Fable Architexture is series of spaces for people to experience, information could be transformed into actual forms and spatial atmospheres and been accepted passively by visitors.

Narrative architecture is a concept about story telling buildings. Story telling doesn't only base on language, there are numerous mediums of communication. The exhibited installations or artworks, display of videos/figures, even the experience of a space/series of spaces, all could tell a story. (Warner, 2018)

cultural coexistence PAST

To realize the establishment of the FABLE: 1. Take the coexistance past as an evidence, to replay it through the architecture, prove the feasibility of the prediction.

2. It is necessary to welcome any expression (e.g. art/craft projects) about future visions.

3. Deconstruction and superimposition applied to the fragments that from the past, the present, and the future, produce the architecture of FABLE.

architecture art & craft memory capture

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THEORY

Uncertainty FABLE

Implication

PRESENT

art expression of visions

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Deconstruction

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= VISIONS

Hybridity +

Surreal Illustion Prophecy(possibility)

FUTURE

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replay imaginary

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INSTALLATION INSPIRATION

Circulation with no destination.

Possibilities.

Complexity.

Deconstruction of abstract architectural elements.

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Figure.22. mini Brutalist Sculpture: Zaira b.

David Umemoto

Figure.23. mini Brutalist Sculpture: Szigetmonostor no3/b.

David Umemoto

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Heritage mapping within the walled city A study of existed styles and features of thecity Catagory of styles: classic Greek, Medieval Gothic, Renaissance, Neoclassical, Byzantine

NICOSIA HERITAGE MAPPING

Houses with kiosk facing to street side combining with residential and other commercial functions.

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Bedesten

Pancyprian Gymnasium

ARCHITECTURAL FRAGEMENTS

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Agios lakovos church

Agios Ioannis Cathedral 5

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Trypiotis Church

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Büyük Han

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Houses with ‘kiosk’

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THE FABLE LAND SCULPTURE 1

Deconstruction of abstracted architectural elements & space, with contents to be discovered.

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INSTALLATION 1 PERSPECTIVE

Light in the 'room'.

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THE FABLE LAND SCULPTURE 2

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THE FABLE LAND SCULPTURE 3

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THE SITE

The Nicosia International Airport was managed by the MInistry of Defence of British, after 1974, the area was taken as the headquarters of the United Nations Peacekeeping Force in Cyprus.

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THE SITE OVERALL MAP

Mapping 1.

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MAPPING OF THE AIRPORT

Surrounding context.

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Current look of the main building.

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THE EXISTING BUILDING

The south entrance.

Framing movement of the arrival. transitions in threshold.

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THE EXISTING BUILDING

Existing Building information: plans/sections.

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MEANING OF THE SITE

The reason for choosing it as the site: 1. The ambiguous concept about time and space here could give out illusory feeling, as they were frozen in the moment that the war was stopped.

2. It had been abandoned for long and distant from the main city of Nicosia, allow a process of transformation happening when trying to reach here.

3. Airport as its original function, means a starting point of a journey, it can fit this thesis well as the new design will be aiming at a new start of the country.

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MEANING OF THE SITE

Collage: the Modern style of the existing building could represent something from the future, and also would provide a good chance for having deconstructions happening, and make a better hybrid with the heritage featured fragments.

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THE JOURNEY OF TRANSFORMATION

Mapping: The Fancinating Journey.

Aiming at providing a transformation process.

Take the walled city as the start, sculptural elements appear along the road, to make the process of driving the story's 'introduction'.

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Mapping: The Fancinating Journey.

A perspective version.

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DESIGN STATEMENT

Building design leading ideas/Statement of the Museum

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To use mixed products of real information to create a sense of surreal and give out a journey of illusion. By deconstructing the existing spaces that have lost its soul and flow of time, intervening fragments from the past, present, and the future, the hybrid formed by this would become a mechanism for people to explore their own story.

Intervention tends to embody information about peaceful coexistence, but they don’t actively force anyone to accept it.

The deconstruction of architectural objectivity can obscure people’s subjective awareness of time and space.

Referencing to bernard Tschumi's theory: architecture will discuss the complex relationship between function and space, between objects and events ("Bernard Tschumi Architects", 2020). Here space, event, and movement are independent but infinitely intertwined. The museum becomes a stage, people are forming a new narrative with the architecture, a fable that carries possible transformations about the future.

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DESIGN METHODOLOGY

montage

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‘Montage is a film editing technique in which a series of short shots are sequenced to condense space, time, and information.’

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STEP 1. DECONSTRUCTION FO ORIGINAL BUILDING

Axis + Additions

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pointing

NICOSIA

WALLED

CITY

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STEP 1. DECONSTRUCTION FO ORIGINAL BUILDING

Process.

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FINAL OUTCOME

Overall form.

Process.

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SCHEMATIC PROGRAMMATIC ARRANGEMENT

Program & Bubble diagram.

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MULTI-TIMELINE DIAGRAM

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THE FABLE

THE STORY'S CHAPTER X (1)

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People will not grow old, nor will they have memories of their birthplace.

The saints attend churches and mosques return home together, the visitors from other countries always doubt that the day of their arrival coincides with a grand festival.

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The 'MORAL' of this Fable: People abandon the concept of time and space, break away from the stereotyped definition, and coexist in harmony.

MASSING

FEATURE

THE FABLE

* openness * connectivity

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One whole space with open plan * flexibility Use of temporary wall * btightness Natural lighting system from the original building reflective smooth surface

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Main exhibition space.

Element to be maintained: The Natural Lighting Tube

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Main exhibition space.

Element to be maintained: the AD on wall

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THE FABLE

THE STORY'S CHAPTER X (2)

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The model of the island's future becomes a thing of the past once it comes true.

Or is abandoned in the country of the imagination. The cities filled with ancient monuments are getting more and more crowded, but there is still someone who feels missing and devotes themselves to the kingdom of prophecy from the past.

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The 'MORAL' of this Fable: The city starts to look forward, to transform into a total different status, and detach from the trauma past.

MASSING

FEATURE * raise

THE FABLE

A suspend space leaving the ground

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* sense of future Industrial elements exposed White surfaces exhibits: architectural models for Cyprus cities & the installation design *grow from the past Keep the original building elements

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THE FABLE

THE STORY'S CHAPTER X (3)

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The thick wall of the border is shrouded with thorns.

Will what you see in the perforations is a watchful eye or the darkness that extends into the barrel?

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The 'MORAL' of this Fable: Estrangement has been deepened.

The trauma is awaked again.

MASSING

FEATURE

THE FABLE

* separation Suspended walkway & extrude space: people cannot reach to each other directly Metal mesh in the border as ceiling Exhibits: Barrier elements from bufferzone (Gallon, abandoned cars etc.)

Trauma history photos and video sources

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* depression Black box space * agreesiveness

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Rough surface Bullet hole on walls Exposed truss elements are applied with burned effect

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THE FABLE

THE STORY'S CHAPTER X (4)

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The stagnant place operates again, everything that is nostalgic becomes the present existence, and the adjacent time dislocation is corrected gradually.

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The 'MORAL' of this Fable: The place of dead silence gradually recovered.

MASSING

FEATURE

* engage Visual connections * active Functions that people can engage with

THE FABLE

* recovery Exhibits: Folk arts Handicrafts, print etc.

Keep the original look and elements of the airport

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THE FABLE

THE STORY'S CHAPTER X (5)

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Animals and vegetation become the rulers of the ruins, and the traces of mankind disappear because of forgetting.

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The 'MORAL' of this Fable:

THE FABLE

The bufferzone will be close forever History has stagnated

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outward

No man's land in intersitial spaces.

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THE OVERALL DESIGN

MASSING

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THE OVERALL DESIGN

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THE OVERALL DESIGN

AXO

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THE OVERALL DESIGN

MASTERPLAN AND PLANS

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THE OVERALL DESIGN

SECTION

21 BASEMENT: STORAGE & LOADING SPACE

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THE INTERVENTION

ALL INTERVENTIONS

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THE INTERVENTION

INTERVENTIONS IN CHAPTER X (1)

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THE INTERVENTION

INTERVENTIONS IN CHAPTER X (1)

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THE INTERVENTION

INTERVENTIONS IN CHAPTER X (1)

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CHAPTER X (1) RENDER

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THE INTERVENTION

INTERVENTIONS IN CHAPTER X (3)

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CHAPTER X (3) RENDER

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THE INTERVENTION

INTERVENTIONS IN CHAPTER X (4)

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CHAPTER X (4) EXTERIOR RENDER

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THE INTERVENTION

INTERVENTIONS IN THEATRE

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THEATRE RENDER

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VISITOR CIRCULATION - ELEVATOR PATH

DIAGRAM

STRUCTURAL SYSTEM ILLUSTRATION

EXPLODE DIAGRAM of STRUCTURE AND CIRCULATION

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VISITOR CIRCULATION - STAIR/RAMP/TUNNEL/CORRIDOR

BACK OF HOUSE CIRCULATION

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DIAGRAM

OVERALL CIRCULATION DIAGRAM

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CIRCULATION RENDERS - FOYER ENTRANCE 73

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CIRCULATION RENDERS - FROM THE EVENT SPACE 74

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CIRCULATION RENDERS - TRANSITION AREA 75

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CIRCULATION RENDERS - BETWEEN THEATRE AND WORKSHOP 76

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CIRCULATION RENDERS - SUSPEND ON THE SOUTH WEST FACADE LOOKING TO THE ENTRANCE OF THEATRE 77

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DESIGN OUTCOME

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ELEVATION RENDER - SOUTH WEST FACADE 78

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CHAPTER X (5) DISTRIBUTION

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MULTI-TIMELINE DIAGRAM

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Text.

Figure.

1&2. Warner, Marina. 2018. Fairy Tale: A Very Short Introduction. Image. https://www.youtube.com/ watch?v=Zop-QPDlnFw.Warner, M. (2018). Fairy Tale: A Very Short Introduction [Image]. Retrieved 25 August 2020, from https://www.youtube.com/watch?v=Zop-QPDlnFw.

Figure.1. Bufferzone Current Situation 1, Photo by Mitchell Ransome, 2018-2019.

Figure.2. Who are the Cypriots? Where did they come from? What are the specifics of their gene pool?. (2014). [Image]. Retrieved 11 August 2020, from https://www.cyprusalive.com/en/poioi-einaioi-prwtoi-katoikoi-ths-kyproy.

Figure.3. Salami, Photo by Mitchell Ransome, 2018-2019.

Figure.4. Venetian walls of Nicosia. [Image]. Retrieved 6 August 2020, from https://en.wikipedia.org/ wiki/Venetian_Cyprus.

Figure.5. History Hit. (2019). The Final Fall of the Roman Empire [Image]. Retrieved 17 August 2020, from https://www.historyhit.com/final-fall-roman-empire/.

Figure.6. the British. (1878). Administrative map of Cyprus [Image]. Retrieved 17 August 2020, from https://en.wikipedia.org/wiki/Ottoman_Cyprus#/media/File:(1878)_MAP_OF_CYPRUS.jpg.

Figure.7. Torelli, S. (1772). Allegory of Catherine's Victory over the Turks [Image]. Retrieved 4 August 2020, from https://en.wikipedia.org/wiki/Russo-Turkish_War_(1768%E2%80%931774).

Figure.8. A Cypriot demonstration in the 1930s in favour of enosis. [Image]. Retrieved 15 August 2020, from https://en.wikipedia.org/wiki/Enosis.

Figure.9. "TAKSIM" graffiti on a wall in Nicosia in the late 1950s. [Image]. Retrieved 15 August 2020, from https://en.wikipedia.org/wiki/Taksim_(politics).

Figure.10. British, Turkish-Cypriot and Greek-Cypriot signatories to the 1960 Zurich agreement paving way for an independent Republic of Cyprus. (1960). [Image]. Retrieved 16 August 2020, from http://www.cypnet.co.uk/ncyprus/history/republic/index.html.

Figure.11. Firefight between Greeks and Turks at Rizomylos, during the Battle of Velestino. [Image].

Retrieved 16 August 2020, from https://en.wikipedia.org/wiki/Greco-Turkish_War_(1897).

Figure.12. Map of the island of Cyprus. [Image]. Retrieved 17 August 2020, from https://www. nationsonline.org/oneworld/map/cyprus_map.htm.

Figure.13. UN News. (2014). A settlement to Cypriot dispute ‘closer than ever before, but there’s still a way to go’ – UN Special Adviser [Image]. Retrieved 5 August 2020, from https://news.un.org/ en/story/2016/09/541362-settlement-cypriot-dispute-closer-ever-theres-still-way-go-un-specialadviser.

Figure.14. Hadjilyra, A. Distribution mapping [Image]. Retrieved 6 August 2020, from http:// Hadjilyra.

Figure.15. (2020). [Image]. Retrieved 1 August 2020, from https://www.turkheritage.org/en/ publications/factsheets/issue-briefs/the-cyprus-dispute-at-a-glance-3300.

Figure.16. Interior of Selimiye Camii, Photo by Mitchell Ransome, 2018-2019.

Figure.17. Bufferzone Current Situation 2, Photo by Mitchell Ransome, 2018-2019.

Figure.18. https://neoskosmos.com/en/125552/tales-of-a-once-peaceful-cyprus/ Figure.19. https://neoskosmos.com/en/2416/print-making-cyprus-arts-hambis/ Figure.20. https://www.mutualart.com/Artwork/More-mothers-are-crying----/330C31EEE39C8341 Figure.21. (2017). [Image]. Retrieved 1 August 2020, from https://www.turkheritage.org/en/ publications/factsheets/issue-briefs/the-cyprus-dispute-at-a-glance-3300.

Figure.22.MINI BRUTALIST SCULPTURES BY DAVID UMEMOTO.. (2019). [Image]. Retrieved 16 August 2020, from https://www.yellowtrace.com.au/david-umemoto-mini-brutalist-sculptures/.

Figure.23.MINI BRUTALIST SCULPTURES BY DAVID UMEMOTO.. (2019). [Image]. Retrieved 16 August 2020, from https://www.yellowtrace.com.au/david-umemoto-mini-brutalist-sculptures/.

Petropulu, H. (2008). Leukōsia - Hē agnōstē klēronomia kata mēkos tēs Nekrēs Zōnēs = (pp. 4-25).

Cassoulides.

Chrysochou, N. (2016). Frankish-Venetian Cyprus: Effects of the Renaissance on the ecclesiastical architecture of the island. Journal Of Sustainable Architecture And Civil Engineering, 16(3). https:// doi.org/10.5755/j01.sace.16.3.16278 Stamocostas, C. (2018). Tales of a once peaceful Cyprus | Neos Kosmos. NEOS KOSMOS. Retrieved 5 August 2020, from https://neoskosmos.com/en/125552/tales-of-a-once-peaceful-cyprus/.

BIBLIOGRAPHY

Reynolds, M. (2009). Hambis Tsangaris: History and fable in print | Neos Kosmos. NEOS KOSMOS. Retrieved 29 August 2020, from https://neoskosmos.com/en/2416/print-making-cyprus-artshambis/.

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