Imagining the spatial identity of the abandoned spaces of divided Nicosia in the past, the present and the future.
An investigation of collage methodologies and how they can be used to communicate spatial narratives and future possibilities Despina Kyriakou_up910468 Thesis Project University of Portsmouth
Acknowledgments Figures 01. | Abstract 02. | Introduction 03. | Historic background: The story of Divided Old Town of Nicosia 04. | Collage Methodology: As an investigation tool to explore spatial narratives 05. | Case Studies: The symbolism of collage approach on practitioners work 06. | Spatial Narratives: Revealing the identity of Walled City over time 07. | Spatial Possibilities: Imagining the future possibilities of abandoned spaces 08. | Reflections/Conclusions References/Bibliography
Figure 1. Locked Doors [Author]
Figures
Fig. 1: Locked Doors [Author] Fig. 2: Appropriation [Author] Fig. 3: Barricades [Author] Fig. 4: Unoccupied [Author] Fig. 5: Barricades [Author] Fig. 6: Political Statements [Author] Fig. 7: Divided Walled City [Author] Fig. 8: Internal Refugees [Google] Fig. 9: Guarded areas [Robroek, 2018] Fig. 10: Living together [Hall, 2014] Fig. 11: Scars [Robroek, 2018] Fig. 12: Frozen in time Nicosia’s International Airport [Robroek, 2018] Fig. 13: Historic Architecture [Robroek, 2018] Fig. 14: Still Life with Chair (1912) Pablo Picasso [Shields, 2014] Fig. 15: Street Art [Author] Fig. 16: Archipelago Cities_Athens (2011) Point Supreme [Shields, 2014] Fig. 17: “Emperor’s Castle”, Thomas Hillier, Chapter 3 [Jasmine, 2011] Fig. 18: “Emperor’s Castle”, Thomas Hillier, Chapter 1 & 2 [Jasmine, 2011] Fig. 19: “Discontinuous Cities”, CJ Lim [Manaugh, 2011] Fig. 20: “Interior at night”, Fred Scott [Scott, 2018] Fig. 21: “Nadya Red Square Study II”, Fred Scott [Scott, 2018] Fig. 22: Fred Scott’s Collage [Scott, 2018] Fig. 23: Urban Atmosphere [Author] Fig. 24: “Scars of Invasion” [Author] Fig. 25: “Scars of Invasion” [Author] Fig. 26: “Absent Heroes” [Author]
Fig. 27-28: “Absent Heroes” [Author] Fig. 29: “Altered Identities” [Author] Fig. 30-31: “Altered Identities” [Author] Fig. 32-33: “Green Line’s Faces” [Author] Fig. 34: “Complex Identities” [Author] Fig. 35-36: “Complex Identities” [Author] Fig. 37: “Locked Memories” [Author] Fig. 38: “Locked Memories” [Author] Fig. 39: “Locked Memories” [Author] Fig. 40: “Sneak Peek” [Author] Fig. 41: Past and Present of Lidinis Street [Author] Fig. 42: Evidence of Presence [Author] Fig. 43: Street Art as Political Statement [Koroua, n.d.] Fig. 44: “The world of Cyprus”, Paparazzi [Author] Fig. 45: Mural from artist “Twenty Three” [Author] Fig. 46: Old town’s map from artist “Astraki” [Author] Fig. 47: “The Secret Life of Abandoned Spaces” [Author] Fig. 48: “The Secret Life of Abandoned Spaces” [Author] Fig. 49: “The Secret Life of Abandoned Spaces” [Author] Fig. 50: “Bringing Life Back” [Author] Fig. 51: “Urban Conversations” [Author] Fig. 52: “Urban Conversations” [Author] Fig. 53: “Urban Conversations” [Author] Fig. 54: Abandoned building [Author] Fig. 55: Art symbol “Without Borders” [Author] Fig. 56: Concluding Chapter of Collage investigation [Author]
Figure 2. Appropriation [Author]
01. | Abstract
There is something powerful about historical urban spaces. Their identity is constantly re-defined over the years as they are affected by a series of social issues occurring in a country. The temporal and changing characters of historic spaces are intriguing fields for investigation whereby ‘time’ leaves its traces, and the identities of urban spaces change from the past, present and the future. Collage as an approach to architectural representation is a methodology that is able to reverse the static nature of architectural drawings into dynamic architectural representations and to capture the impact of time on space. This thesis demonstrates how collage can be used to reveal the authentic personality of the divided Old town of Nicosia, which has been entrapped in the abandoned spaces since the Turkish invasion of Cyprus in 1974 and communicates the potential of the world’s last divided capital, using spatial narratives to convey a new architectural lexicon. The assemblage of the urban identities of the Walled City based on collage strategies refers to the contemporary interpretation of ‘urban palimpsest’. In the case of the Walled City of Nicosia, the “palimpsest” is translated as a key ingredient to merge the tangible and intangible treasures of that space, aiming to imagine its future possibilities. The thesis will include an analysis of existing collage practices by architects and artists and reflections on the author’s practice-based research which will lead to a series of images and artefacts which will communicate past, present and future spatial narratives for Nicosia: a new visual lexicon for practice.
Figure Figure 4. 3. Barricades Barricades evidence [Author] [Author]
02. | Introduction
For more than four decades, the Historic Centre of Cyprus has been divided by a neutral ‘Green Line’ in an attempt by the UN to keep Greek-Cypriots (GC) and Turkish-Cypriots (TC) in peace after the Turkish invasion in 1974. The architectural, cultural, economic and political identity of the Walled City has been transformed several times as a result of conflict. Recent decades have witnessed different attempts to improve the architectural quality of city’s urban space by conserving the historic facades of the abandoned or old buildings. However, the scars of invasion are still visible even behind the well-made facades. This thesis aims to unlock the historic narrative of the city that is written on the blank pages of neglected parts with the purpose of imagining their future spatial possibilities. This thesis first gives a brief overview of the historic background of the city. A series of crucial events have had a significant impact on Cypriots’ psychological wellbeing and have caused serious alterations to the architectural identity of its Historic Centre. The introduction of a Buffer zone by UN peacekeepers still has the power to affect negatively the northern and southern parts of Cyprus, in terms of preserving the architectural heritage of the city and the hope for a future reconciliation between the two separated communities (GC and TC). It is vital to understand the spatial consequences of the invasion in the urban content of the city, before proceeding to the main analysis of the spatial identity of this historic city.
Figure 4. Unoccupied [Author]
The following section of this paper is a description of the value of collage as a form of alternative architectural representation, specifically when communicating ideas about the dynamics of time, the occupation of space and spatial narratives, all relevant to the historic Old Town: ‘dynamic-time-occupancy-narrative’. Firstly, the ‘dynamic’ term is influenced by the key characteristic of Nicosia, which is the fact of division. Secondly, the term of ‘time’ refers to the traces of invasion in the spatial content of the city to this day. ‘Occupancy’ relies on the absence of human activity or respect for the historic core of the city, thus there are different approaches to ‘occupy’ the city’s neglected buildings\ spaces. Lastly, ‘narrative’ can be defined as a merge of the previous terms with the intention of creating a visual architectural lexicon of the divided capital through collage investigation. A combination of analysis, the significant work of practitioners, along with the author’s own reflection on their methodologies is explained further in order to set out the structure of the thesis’ collage investigation. Chapter “Case Studies” examines collage practices and symbolism in depth and focuses on practitioners such as Thomas Hillier, Fred Scott and CJ Lim. The selection of these particular artists is based on their collage approaches regarding the set terms of ‘dynamic – time – occupancy – narratives’. These form key references for the author’s own making and reflections in the urban identity of divided Nicosia, a process which is informed by the examination of the practitioners’ methodologies that have already been implemented regarding the concept of illustrated narratives.
Figure 5. Barricades [Author]
The main body of this practice-based thesis is developed through the following two chapters of “Spatial Narratives” and “Spatial Possibilities”. The content of the divided capital is defined as an urban palimpsest in order to explore the different layers of the area since the violent act of invasion. Collage is investigated as an alternative representation tool in relation to the author’s approach and is used to compose a visual journey of the Walled City through the years; the authenticity of the city’s historic identity is explored and presented as a storybook of collage spatial narratives suggesting also future possibilities for its entity. The outcome of this practice-based research encourages an evaluation of the meaning of architectural representation as an evolving field on investigation and as an alternative manner to communicate social, environmental, cultural and political issues in an effective and creative way for every aspect of real life conditions. Architecture is an eternal adaptation to the existing environment over time and the Walled City is a unique precedent which clearly illustrates the effect of time in a relation to the immediate consequences of political, economic and sociocultural issues on the architectural fabric of historic centers.
Figure 6. Political Statements [Author]
03. | Historic Background | The story of divided Old Town of Nicosia
The capital of Cyprus, Nicosia, has been a site of conflicts for over four decades and it is the world’s last divided capital. As can be seen in the map of Cyprus (Fig.7), there is a fortified line that represents the scars of a series of events between Turkey and Cyprus since 1963. The result of this line has been to separate communities and families and limit possible occupation of the abandoned spaces that are located in the area of the Buffer zone. After Cyprus’ Independence from Britain in 1960, Greek-Cypriots (GC) and Turkish-Cypriots (TC) shared power; unfortunately, a series of political and armed conflict emerged. A very small part of the capital was partitioned whereas the two communities faced a political dispute that turned into violent intercommunal acts of violence. The involvement of the United Nations was the only way to keep the two communities of the country in peace. (Hall, 2014) A decade later, tension between Cyprus and Turkey erupted and caused a complete division of the country. In 1974, the first scar for Cyprus came from a coup organized by the Greek military Junta, which ruled Greece at the time, aided by extremist groups of Greek-Cypriots, as a result of which the legitimate government of Cyprus was overthrown. Turkey had the perfect excuse to invade Cyprus, claiming it aimed ‘to protect TC’. Turkey occupied and still rules an enormous part of northern Cyprus. The UN-controls ‘no man’s land’ known as the Buffer Zone or Green Line which divides Cyprus and its Historic Capital (Old town/Walled City) in three-quarters of GCs in the South part while TCs inhabit the one-quarter in the Northern part of the city. (Hall, 2014)
Figure 7. Divided Walled City [Author]
During the war between Turkey and Cyprus in 1974, thousands of Greek-Cypriots were forced to leave their homes, in order to avoid losing their lives. However, there are individuals who are still living in the Northern part of Cyprus despite the on-going tension between the two countries. A notable example is the story of Annie who refused to leave her house, which was located in the Buffer Zone and even UN peacekeepers could not dislodge her. Thus Annie has continued living in her house while UN patrols accompany her on her daily necessities such as shopping, groceries and so on. Annie was one of the Greek Cypriots who overcame the negative results of invasion after the establishment of the ‘Green Line’, but she is a very rare example! (Robroek, 2018) The enforced decision by the GC to become refugees in their own country needed just one moment to be taken - the moment when Turkish troops invaded the northern part of the island (Fig. 8). No one at the time could believe that this move would be permanent. Some of the refugees (including my father’s family) had the ‘privilege’ to live in camps for a few months until government took steps to develop social housing projects for them. Some other refugees (such as my mother’s family) were lucky enough to move temporarily into a house of their relatives that was located in the unoccupied southern side of the island. For more than three decades, the Buffer Zone wasn’t accessible, something that prevented inhabitants from crossing from ‘one side’ to ‘the other side’ and keeping the two major communities, friends and families separated. (Robroek, 2018)
Figure 8. Internal Refugees [Google]
During this period, GC were not able to visit their homes, although most of them couldn’t bear to see their homes abandoned and frozen in time or occupied by someone else, almost always by TC; barricades without any access points blocked both sides of the Buffer Zone and in some points young soldiers guarded the area (Fig. 9 ). This military practice still prevails, especially in the areas of the Walled City. However, in 2003, some barricades were removed for the first time, allowing crossing from ‘one side’ to ‘the other’, although it was still necessary to present one’s passport before being allowed to cross to the north. In the meantime, the Green Line has been turned into a real green area, where the only occupant is nature, as any other possible human activity was blocked by UN peacekeepers. By 2008 the entrance points between the two sides had increased, reaching the sixth point located at the end of Ledra Street, the major shopping street in the town. (Robroek, 2018)
Figure 9. Guarded areas [Robroek, 2018]
Political conflict still exists between Cyprus and Turkey and any possible action of reunification and reconciliation of the divided parts has been a failure. On the other hand, citizens of both sides (GC and TC) are no longer in dispute and despite the fact that TC have occupied the GC homes on the Northern part, paradoxically many have learned to live in peace and ignore any conflict that is now primarily political between the Cypriot and Turkish governments. A good example of living in peace is the small village of Pyla that is located in the British Sovereign Base area and its inhabitants are a mixed community of Greek and Turkish Cypriots. The traces of separation are visible, although the most important conclusion is found in the words of a Turkish resident who stated, “We need to shake hands and look to the future�. (Hall, 2014)
Figure 10. Living together [Hall, 2014]
The Old town of Nicosia constitutes a remarkable core of architectural, archaeological and environmental values. However a considerable part of this architectural richness is entrapped and locked behind the doors of neglected buildings. The significance of this core is mostly dependent on the assemblage of diverse architectural elements of significant buildings such as churches, schools and hotels. The architectural identity of the historic center was influenced by neoclassicism, classical Greek characteristics, and neo baroque details. Despite the fact that some of the iconic buildings of that decade were located in no man’s land, their architectural value led to an urgent response for restoration. For example, the special type of ‘corner building’ as an identical layout mainly appeared on commercial zones of Nicosia (Fig. 13). A few of them are neglected throughout the Buffer Zone where they have finally been occupied by nature. One of the most famous hotels of the City decades ago was the ‘Olympus Hotel’. Its composition of architectural elements that are mentioned above had an important impact on the economic and social life of the city. Another remarkable example of the architectural treasure of the historic center is the old Nicosia International Airport (Fig.12), which still stands frozen in time, waiting for its travellers to bring back life to it. The existence of the Green Line has also led to the physical, economic and social decay of the city.
Figure 11. Scars [Robroek, 2018]
The crumbling fragments of space, which have disintegrated over time, are scattered all over the urban center of the Town. As a citizen of Nicosia who is still captivated by the authentic architecture of the town I am in a position to record and demonstrate creatively the secret life of the abandoned spaces with the aim of revealing past and future narratives and possibilities of this divided but historic core; the southern part of Nicosia is still undefined and at the same time it is full of potential and the possibility to develop or enhance its various urban and spatial identities.
Figure 12. Frozen in time Nicosia’s International Airport [Robroek, 2018]
“Their importance for the area and the city as a whole leads to the urgency for their immediate support and restoration� (Robroek, 2018) Figure 13. Historic Architecture [Robroek, 2018]
04. | Collage Methodology | As an investigation tool to explore spatial narratives “A collage fragments space and repurposes objects to contextualize multiple realities” (Gerstenblatt, 2013) Historically, collage appeared a century ago when Pablo Picasso appropriated a found material into his work of art named “Still Life With Chair Caning, 1912” (Fig. 14). Collage was recognized as a unique art form for modernist artists, which emphasizes process over product. There were several meanings and roles of collage in modernism century. According to Diane Waldman in “Collage, Assemblage, and the found object”, a combination of unrelated fragments, materials and spatial contents, synthesizes new meanings and metamorphoses the original identity of the object and all of its history into a new entity. Collage methodology is still relevant nowadays as a creative medium to communicate and present architectural concepts and investigations. As a practice-based thesis, this research will include the analysis of collage methodologies, in particular the work of practitioners who seek to exploit the potential of collage to communicate the temporal dimensions of space and to speculate upon the potential of abandoned spaces. This analysis of existing practice will inform the author’s own work whereby methodologies will be tested and refined in order to arrive at a new collage lexicon for communicating spatial narratives: past, present and future.
Figure 14. Still Life with Chair (1912) Pablo Picasso [Shields, 2014]
The chapter “Case Studies” includes reflections on existing collage methodologies and focuses on analyzing of particularly significant practitioners: Thomas Hillier, C J Lim and Fred Scott. In addition, the mural paintings around the urban environment of the Walled City reveal an intention of bringing life back on the blank pages of abandoned spaces. Thus the concept behind the work of those street artists of Nicosia is as remarkable as the collage methodologies of previously mentioned practitioners. The key focus on analyzing practitioners’ approach in collage methodologies is oriented on the forms of “dynamic – time – occupancy – narratives“.
The author’s work will be documented in the form of time and storytelling. The first attempt is to analyze and illustrate the historic background of Nicosia in a form of collage, with the purpose of revealing the process of developing narratives over time beginning with the past. This process will then continue to focus on the present, and to document the current spatial features of the Town, a fundamental element to keep building spatial stories. This method anticipates tangible and intangible ways of occupying the abandoned identities of the Walled Town. The process of collage investigation includes the photographic documentation of the city over time in combination with some simple knitting techniques to communicate other layers of meaning. In particular, key characteristics such as the locked doors, the unoccupied buildings, the barricades across the Green Line, the contradictory feelings of pain and hope for reunification, all have been utilized to create visual spatial narratives. The main intention is to get individually engaged with the spatial messages of the area in order to create storybooks based on the unique identities of the different neighborhoods around the city. This thesis uses, as is the case with Diaz’s symbolism (Diaz, 2002), the collage methodologies as a metaphor art and symbol to critique a subject. The merge of photographs and some texts produce a sensational exploration of the City’s content in order to open up dialogues among viewers about the meaning of reality. In that case, illustrated stories are defined as a key link between society and space with a view to speculating the future possibilities of the historic and divided core of the capital Nicosia.
Figure 15. Street Art [Author]
05. | Case Studies | The symbolism of collage approach on practitioners’ work
“Collage: (the art of making) a picture in which various materials or objects, for example paper, cloth, or photographs, are stuck onto a larger surface” (Cambridge Dictionary) Many architects and artists have analyzed designs and concepts using alternative methodologies drawn from art practices and including collage as a medium of generating spatial possibilities. More specifically, modernist architects and artists of the 20th century (Fig.16) consider collage methodology as a symbol of “revolution in the nature of making art... The technique of collage was ideally suited to capture noise, speed, time and duration of the twentieth-century urban industrial experience. Collage became the medium of materiality.” (Shields, 2014, p.13) In the context of divided Nicosia, analysis is focused on the work of artists that investigates the dynamics of spaces, their temporal dimension, and how people occupy space and the associated narratives. The evaluation of existing practitioners’ work has enhanced the author’s techniques and ways of communicating spatial narratives and future spatial possibilities of such historic and abandoned spaces.
“Collage assists storytelling; it mirrors our ambition to transform reality with the minimum means necessary, investing a given context with narrative, revealing and enriching its identity and features” - Point Supreme (Shields, 2014)
Figure 16. Archipelago Cities_Athens (2011) Point Supreme [Shields, 2014]
“Collage, as drawing, is a more intuitive and natural process between brain and hand, allowing the drawing to adapt as the piece develops” (Cityvisionweb, 2011) Thomas Hillier’s work is informed by his personal experiences of watching movies, visiting extraordinary architectural buildings and searching other artists’ work. As he describes architecture like ‘the theatre of space’, he is fascinated on transforming human characters into architectonic illustrations. His methodology is inspired by the creation of narrative story scenes using hand-cut paper collages. For Hillier, design is a progressive narrative that shapes the final outcome, rather than just applying a technical solution to a problem. (Cityvisionweb, 2011) One of his remarkable projects, “Emperor’s Castle” (Fig.17-18), is a mythical and ancient tale, which Hillier translates into architectonic characters and space. The tale is divided into three chapters, illustrated firstly as storybook using paper cuts and fine threads as collage crafted scenes. In the last chapter, he expands the narrative in three dimensions basically formulated by Japanese origami techniques to build his architectural theatre scenes. A conclusion of Thomas’ architectural interests “go beyond built environment to include art, design, storytelling and installations with a particular interest in how literature can be directly translated into urban and architectural space” (“’The Emperor’s Castle’ Origami Tessellations by Thomas Hillier |strictly paper”, 2011). Nicosia’s historic background is a literature that must go beyond its written form. Visual forms can turn a static architectural space into a dynamic scene of theatre where individuals get engaged with its story.
Figure 17.
Figure 18.
“Emperor’s Castle”, Thomas Hillier,
“Emperor’s Castle”, Thomas Hillier,
Chapter 3
Chapter 1 & 2
[Jasmine, 2011]
[Jasmine, 2011]
“Cities shape us and are shaped by us.” (Lim and Liu, 2011, p.2) CJ Lim has great reputation in the field of urban planning, architecture and landscape design. However, he experimented in a different scale where his “architectural research is in the physical potential and the intellectual relationships between the ‘drawing’, the ‘assembly’ and architecture as ‘built cultural assemblage’.” (“Prof CJ Lim”, n.d.) Similarly with Thomas Hillier’s sources of inspiration, Lim is interested in myths and fairytales while he is inventing architectural scenarios to encourage a creative way of thinking about the history and fiction of the cities. The key characteristic of his work that has informed the author’s views about the role of collage is his practice with paper assemblages as an alternative complexity to define the role of architecture in society. Lim appreciates the history of cities thus the use of narrative collages refers to his purpose to engage the public imagination in a process of open discussion and speculations about how a space can be occupied and the role of architects. (Cath Donaldson illustration, 2016) Particularly in his project “Discontinuous Cities” (Fig.19) he intentionally counteracted the traditional ways of presenting concepts with a delicate and complicated paper assemblage where he was able to stimulate the public imagination about the unorthodox ways to occupy parts of London. As a general deduction about the symbolism of his collage narratives, Lim perceives the spatial content beyond reality. Subsequently he intentionally found a creative way to communicate his complicated thoughts while he is trying to engage the public in that process as an important part of society. This symbolism refers to the author’s intention to reveal the dynamic originality of a Walled City in order to rewrite, as architects and citizens, the future occupancy of such fragile historic cores.
Figure 19. “Discontinuous Cities”, CJ Lim [Manaugh, 2011]
“I want to suggest that authenticity is not a question unless a copy is to be made. In this way things acquire an authenticity not from the past but the future. The past and the future are siamese twins joined in the present looking backwards and forwards.” – Fred Scott Fred Scott is a well-known practitioner mainly because of his book ‘On Altering Architecture’ (2018) which is focused “on the craft of altering buildings and explores the development of architectural interiors” (Youthed, 2018). Through his book, Scott advocates two contrasting opinions. The first one refers to John Ruskin who supports that any restoration attempt to existing building can destroy its great architecture. However, French architect Violet-le-Duc argues that restoration is an opportunity for existing building to achieve “a perfection that may never have existed at any given time” (Youthed, 2018). Although Scott’s sympathy lies with Violet-le-Duc’s progressive opinion, he can’t deny what Ruskin says about the authenticity of the ruined spaces. Thus through his book, Scott wants to suggest that alteration must somehow look on both ways, to the past and the future in order to maintain the originality of the space. As an enhancement on his theoretical approaches for interventional works on existing buildings, Scott has taken the advantage of collage to be experimented with contemporary interventions. More specifically, the term ‘contemporary’ was mainly synthesized by an assemblage of architectural works by the pioneer of the modern movement, Le Corbusier. Scott’s work was not intentionally developed to be successful rather than accidental creations made of disparate elements. As can be seen on his collages (Fig. 20-22), the technique of paper montages was a practical attempt to evaluate whether a ‘new’ architecture can preserve the temporality of an existing building, as a hybrid space that includes in its content the past and the future. (Scott, 2018) The same process of practical evaluation through collage will be applied in the content of the Walled City as a progressive investigation of its spatial possibilities over the following years.
Figure 20. “Interior at night”, Fred Scott [Scott, 2018]
The terms ‘dynamic - time – occupancy – narratives’ synthesize the complexity of the artist’s symbolism in relation to the Walled City’s content. The translation of the city’s historic literature in narrative collages is mainly informed by Hillier’s approach. Moreover, the work of Lim and Scott are related to each other in the terms of appreciating the dynamic of existing cities/buildings accordingly. However, similarly with the author’s aim, both of them anticipate illustrating spatial narratives and possibilities of an alternative and hybrid occupation of existing spaces.
Figure 21.
Figure 22.
“Nadya Red Square Study II”, Fred Scott
Fred Scott’s Collage
[Scott, 2018]
[Scott, 2018]
06. | Spatial Narratives | Revealing the identity of Walled City over time
The author’s collage development has been influenced by the analysis of the practitioner’s work in the previous chapter and the common elements that identify the practitioner’s work: a key common characteristic is their intentional approach to create narratives based on existing story or/and on the matter of time in a space. The merging of Hillier’s interest in translating literature to illustrated and architectonic narratives with Lim’s ambition to engage creatively the public imagination and Scott’s experimentation on creating hybrid spaces over time had a great influence on my personal collage investigation. The impact of practitioner’s statements on my collage practice has been an essential guiding point to generate questions about the architectural value of such historic spatial identities. Firstly, there was a fundamental process of immersing myself into the spatial content of the selected area of Nicosia in order to get engaged with its secret but still vibrant urban voices. As the divided City’s vibes have captivated me since the first year of my academic studies, it was a great advantage for me to understand how the city has been differently occupied while analyzing and adapting my personal photographic documentation over the years. The utilization of these photographs was an initial step to explore visually the atmosphere of the Historic town. (Fig. 23) “The photo/drawings are a great release because I can investigate things without actually building them, looking for that which is so compelling to me, the physicality of a situation..” – Mary Miss (Scott, 2018, p.157)
Figure 23. Urban Atmosphere [Author]
01_Collage chapter Proceeding with the practical investigation of collage, a basic starting point was to set a chronological order based on the historical events in order to gradually build up the narrative, as Hillier’s approach to translate literature in architectonic illustrations. In addition, as a general observation of my initial experimentation with collage, instinctively, the creation of little books was an influence from Hillier’s technique, which became an essential tool to create and communicate visual narratives. Paradoxically, these little storybooks are considered as individual chapters of this illustrated tale that explores the different urban identities of Nicosia. The “Scars of Invasion” in the past were a remarkable event to synthesize the very first collage presenting the feelings of the local residents after the violent act of becoming ‘internal refugees’ (Fig.24-25).
Figure 24. “Scars of Invasion” [Author]
The unique shape of the walled city was a key element to depict the spatial consequences of invasion before and after the division; knitting on the map the area of the buffer zone and using images that present the human tragedy also emphasized the violent act. The technique of knitting was an exploring implementation to refine the idea of developing a sequence within the following collages.
Figure 25. “Scars of Invasion” [Author]
02 | 03_Collage chapters The next two artefacts, with the title “Absent heroes”, are an attempt to present the depth of human emotions beyond the loss of tangible things (Fig.26-28). Feelings such as pain, agony and hope are illustrated with a sequence of women’s images who are still waiting for any good news from the war while holding photographs of their missing father, husband, grandfather, son or brother. The second part of this collage is made as a picture frame where all the photographs of the missing heroes are locked into a trap made of threads. Likewise Hillier’s work, human figures became the protagonists in architectural illustrations to depict the tragedy of war in a visual content.
Figure 26. “Absent Heroes” [Author]
Figure 27-28. “Absent Heroes” [Author]
04 | 05_Collage chapters One of the well-known areas, Lidinis street, is observed as the most altered street in the latest years. Its spatial identity is unique because although it is only a small street located between two barricades, there is a small cafeteria near the barricades that vibrantly animated the nights of this calm area. A series of photographs, taken from both sides of the street from 2012 until the present day, were carefully placed in a handcrafted book to show the “Altered Identities” of this street (Fig.29-31). These are presented using tracing paper, two-sided pages, cut in half pictures and overlapping views synthesize the architectural narrative of Lidinis Street in the last decade. As has been analyzed in Lim’s project of ‘Discontinuous Cities, cities and spaces are shaped by their occupants.
Figure 29. “Altered Identities” [Author]
Besides this and considering that the area of barricades can be revised by human activities, it was an intriguing thought to ‘knit’ a new fortified line, “Green Line’s faces” (Fig.32-33), using different images of barricades around Nicosia, as a creative aim to redefine the role of the Green Line.
Figure 30-31. “Altered Identities” [Author]
Figure 32-33. “Green Line’s Faces” [Author]
06_Collage chapter Expanding the rationale of two-sided pages as an artistic metaphor for the “Complex Identities” (Fig.34-36) of the old town, the next collage engages viewers and encourages them to evaluate the different points of view of conservational attitudes in the historic fabric of the town. Recent conservational results in the architectural content of the old town are opposed to Scott’s statement about the dual architectural approach on existing buildings, to maintain their past originality while suggesting a new spatial perspective. Although there are contemporary endeavors to improve the architectural quality of abandoned buildings’ facades, the truth is hidden in their interior space, which is still ruined and inappropriate for occupation. Following Lim’s interpretation for the meaning of collage methodology, this artefact sets a question about the role of architects in this kind of conservative approaches, especially in historic contents.
Figure 34. “Complex Identities” [Author]
Figure 35-36. “Complex Identities” [Author]
07 | 08_Collage chapters While exploring the various urban identities of the city, there is an old story written behind the locked doors of the abandoned buildings. This observation is relevant to Scott’s interpretation about the great architectural value of existing buildings, although they seem untouched and fragile spaces; they managed to keep safe a lot of memories and traces of their last occupants in the recent decades. A rare collection of these doors frozen in time around the southern part of the walled city was an opportunity to synthesize another collage to illustrate the “Locked Memories” (Fig.37-39). In contrast to Hillier’s utilization of threads to form spaces, the method of knitting was implemented once again to guide the viewer’s gaze towards the door locks. Unexpectedly, these doors became the viewpoint to the Buffer Zone. This observation led to the artefact named “Sneak Peak” (Fig.40), which refers to the human curiosity about how it feels in the neutral zone. The small size of this artefact symbolizes the holes through which the human eye is able to see through the half-open windows and doors into the buffer zone.
Figure 37. “Locked Memories” [Author]
Figure 38. “Locked Memories” [Author]
Figure 39. “Locked Memories” [Author]
Figure 40. “Sneak Peek” [Author]
The current collage investigation in conveying spatial narratives of the Walled City has resulted in a set of strategies and techniques, as reflected in the artist’s work to develop a personal approach, that have helped to communicate ideas and intentions. The map of the city’s walls with the Buffer Zone was a significant point to refer on both sides of divided Nicosia. The addition of knitting threads became a method to keep a sequence and emphasize the concept of each collage such as the division of two communities, the recreation of the Green Line, the focus on locked memories and so on. Moreover, the handcrafted little books in combination with tracing pages and double sided images turned out to be a motivational tool to engage imagination and curiosity beyond what people actually perceive as reality. The main reflection upon the artist’s collage work was the process of investigating and evaluating the current ‘story’ or ‘building’ in an alternative way of presenting its written historic background, with the aim to generate questions and possibilities for its hybrid development over time.
Figure 41. Past and Present of Lidinis Street [Author]
07. | Spatial Possibilities | Imagining the future possibilities of abandoned spaces
The main objective of this thesis is to make speculations upon the spatial possibilities of abandoned spaces using collage as a strategy to communicate and generate ideas. Therefore this chapter seeks to open up dialogues and generate questions about the future potential of the divided city using collage methodologies: practice is used to revise perceptions of unoccupied and neglected spaces and identities. After some initial experimentation (Fig. 42) with digital tools to present evidence of human presence in abandoned spaces using the existing murals from around the city, I observed that the old town has been regenerated through the incredible work of street artists. Unoccupied spaces carry cultural and socio-political statements in a form of graffiti transforming the historic center to a street artist’s attraction. (Philippou, 2018) The value of these murals is priceless as their meaning encloses history, human feelings, ambitions and disappointment as well. Thus, a photographic collection of the city’s urban art statements was a decisive contribution to the upcoming evolvement of collages.
Figure 42. Evidence of Presence [Author]
Street artists, similarly with the architectural practitioners, use a form of art to communicate their concerns to the public. One of the most significant and oldest graffiti in the Old Town was a quote “Break Down the wall” (Fig. 43) made from artist SYD. This graffiti was strategically placed on a brick wall which forces people from crossing to the blocked area in order to reinforce its meaning to the public (Koroua, 2016). In relation to the author’s practice, the work of other street artists such as Paparazzi (Fig. 44), Twenty Three (Fig. 45) and Astraki (Fig. 46) was an important motivation to get influenced by, as individuals have the opportunity to explore the cultural background of the Walled City by following their murals’ narratives. (Philippou, 2018)
Figure 43. Street Art as Political Statement [Koroua, n.d.]
Figure 44. “The world of Cyprus”, Paparazzi [Author]
Figure 45. Mural from artist “Twenty Three” [Author]
Figure 46. Old town’s map from artist “Astraki” [Author]
09_Collage chapter The role of murals has been perceived by the author as the last layer on the urban palimpsest of the historic town. There are ambiguous messages of hope and anger behind the urban art of Nicosia. Taking advantage of these emotions painted on the walls, a kind of photographic album has been made in order to reveal “The secret life of abandoned spaces” behind their locked doors (Fig.47-49). The human figures of very popular murals around the city became the new occupants and homeowners as a symbolism to appropriate these ruined and abandoned spaces.
Figure 47. “The Secret Life of Abandoned Spaces” [Author]
Figure 48. “The Secret Life of Abandoned Spaces” [Author]
Figure 49. “The Secret Life of Abandoned Spaces” [Author]
10_Collage chapter In addition to analogue techniques, I have used digital tools to imagine “Bringing life back” to the area (Fig.50). The next artefact intends to suggest the gradual occupation of a ruined space located on ‘the other side’ of Nicosia, by adding evidence of life such as grass, several plant pots in front of the entrance, windows and children playing around the courtyard. Similarly with the southern part, the northern area also has to deal with unoccupied and ravaged public areas.
Figure 50. “Bringing Life Back” [Author]
11_Collage chapter The last piece of collage investigation is a combination of all previously mentioned techniques and concepts as a way to conclude the investigation and to unite past, present and future narratives. Once again the artefact of “Urban Conversations” (Fig.51-53) is made from two sides, mainly influenced by the murals around Nicosia, in order to create a statement about the conflicting condition of human emotions and political issues as well. The ‘one side’ of this illustrated story refers to the scars of division while people feel helpless and entrapped into their own country; disappointed faces, quotes such as “your wall cannot divide us” create a collage of indignation. On ‘the other side’ of the story, colorful murals, hopeful habits of singing, holding balloons or visiting local street markets synthesize a daily routine full of joy and peace. Although it is a synthesis of contrasts, the key intention is to demonstrate the two possible options to walk with, reconciliation or division. The choice depends on us.
Figure 51. “Urban Conversations” [Author]
Figure 52. “Urban Conversations” [Author]
Figure 53. “Urban Conversations” [Author]
08. | Reflections and Conclusions
In this investigation, the initial aim was to assess through collage methodologies the possibilities of revealing the authentic character of the Divided Town: past, present and future. The content of this thesis is a reflection upon analysis of artists and development of the author’s own work, as a practice investigation to creatively illustrate spatial narratives and future possibilities of the Historic Center. Over the last century, collage has become an essential tool to redefine the role of architecture in society. The process of building a puzzle of different fragments and contents provides possibilities for new perspectives and meanings in existing identities. In the case of Nicosia, the analysis of crucial events such as the war of 1974 was a fundamental source to start synthesizing the pieces of the puzzle. A further analysis of practitioners’ approach set an important background where the author’s investigation referred to earlier, as guidance to develop personal symbolism in collage practice. A merge of various techniques, symbolisms and tools composed a visual journey of spatial narratives around the neighborhoods of the Walled City. Complex meanings and contradictory feelings have been illustrated in a set of collages which intentionally reflect on engaging individuals to be part of this spatial investigation, in order to speculate upon future possibilities of the Divided town. Abandoned spaces were perceived as urban treasures where architecture has the opportunity to revise their spatial entity in the town.
Figure 54. Abandoned building [Author]
As a conclusion, there is a last artefact (Fig.56), which includes fragments and meanings based on the content of chapter ‘Spatial possibilities’. Neglected buildings became symbolic spaces where street artists open up dialogues with the public about a possibility to reunite the broken pieces of the divided city. Taking advantage of it, this artefact is synthesized to present visually the hidden hope for reconciliation behind the locked doors of abandoned spaces. This practice-based thesis has provided the opportunity for further studies based on alternative methodologies to perceive architectural historic contents. The approach of this study could have an important impact on how other practitioners, such as historians, analyze the changing history of Divided Nicosia, and also can be exploited as a visual alternative to written documents of this area. The current collage exploration has unlocked secret identities of the Walled City, revealing future possibilities to appropriate City’s abandoned treasures.
Figure 55. Art symbol “Without Borders” [Author]
Figure 56. Concluding Chapter of Collage investigation [Author]
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