Thesis Book 2020_JYZ

MUSEUM OF DECONTEXTUALISED BORDER

JINGYI ZHANG THESIS STUDIO 4: CONTESTED STATES

CONTENTS

01 Thesis statement

[4-5]

02 Mapping Cyprus

[6-11]

03 Conceptual framing

[12-14]

04 Mapping Nicosia

[15-25]

05 Art installation

[26-35]

06 Mapping airport

[36-39]

07 Concept design

[40-57]

08 Sketch design

[58-92]

09 Design Development 10 Final design

[93-113] [114-133]

Jingyi Zhang / Design Thesis 2020

THESIS STATEMENT

NON-PARTISAN CYPRIOT ART MUSEUM

01 / Thesis statement

In response to the long-term division and on-going ethno-national conflict between the Turkish Cypriot and Greek Cypriot communities, this thesis envisions an art museum as a non-partisan space through which to encourage communication, and express and develop shared identities.

The recent exhibition of returned artworks at Ledra Palace (Technical Committee on Culture, 2020) demonstrates the power of art as a means of “communication across psychological, emotional and physical boundaries” (Finkelpearl, 2001,p11).

However, a space dedicated to shared cultural heritage is currently absent within Nicosia. There is a need to create a museum for Cypriot art that is neither in the north nor in the south.

Through the design of an art museum, this thesis aims to explore formal manipulation strategies that can be utilised in architecture to transform elements within the urban fabric that are manifestations of the separation, such as the UN buffer zone border, into a hybrid form that encourage new dialects of unity and a common heritage.

Fig 1 UN WATCH TOWER. 2019, Yue Zhao & Viya Zhang

Fig 2 GALATA (a village 60km west of Nicosia), 1957, CHRISTOFOROS SAVVA

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Jingyi Zhang / Design Thesis 2020

ETHNONATIONAL CONFLICTS & ON-GOING DIVISION

/NON-PARTISAN

COMMUNICATION

ART

SHARED IDENTITY

MUSEUM 01 / Thesis Diagram

/ARCHITECTURE

PHYSICAL MANIFESTATION OF CONFLICTS WITHIN THE URBAN FABRIC OF NICOSIA

FORM MANIPULATION

HYBRID FORM

[5]

Jingyi Zhang / Design Thesis 2020

MAPPING CYPRUS

CYPRUS HAS ALWAYS BEEN THE CENTER OF CONFLICT. Situated at the crossroad of three continents, Cyprus has always been the center of conflict throughout history (Ewers, 2018).

02 / Research / Cyprus

However, this political chaos gifts the island with a diverse population and rich cultural heritage. A peaceful co-existence of multiple ethnic groups did exist on the island for a long time (Ewers, 2018). The conflict between the two major ethnic groups, Greek Cypriots and Turkish Cypriots, emerged during the British colonisation period when the ethnic and cultural differences between them were deliberately sustained through education (Lindley, 2007). This conflict, fuelled by the Greek Cypriots’ desire for Enosis and Turkish Cypriots’ fear for mistreatment as ethnic minority eventually led to the first severe inter-communal violence from 1955 to 1959 (Ioannides, 2014). The independent Republic of Cyprus was born in 1960 as a result of conflict resolution.

However, only three years later, inter-communal violence broke out again. With the conflict reaching its peak in 1974, the Turkish invasion, the UN buffer zone was officially created, a spatial division which still exists today. Despite the current peaceful living, the conflict is still alive and present in everyday life. The future for Cyprus remains unknown.

[6]

Jingyi Zhang / Design Thesis 2020

black sea

ANKARA

greece

02 / Research / Cyprus

turkey

ATHENS

35°10′21″N 33°21′54″E THE CENTER OF CONFLICTS

E

U

R

O

P

E

A

I

S

A

M

I

N

O

R nicosia

syria

cyprus

lebanon

iraq

MID

DLE

EA

ST

mediterranean sea

R

I

C

A

israel jordan

A

F

CAIRO

SUEZ

libya

saudi arabia

egypt

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Jingyi Zhang / Design Thesis 2020

32°30′

33°00′

33°30′

34°00′

34°30′

rizokarpaso

35°30′

35°30′

kyrenia

35°00′

35°00′ larnaca dhekelia s.b.a. (uk)

02 / Research / Cyprus

famagusta

nicosia

polis

paphos vasilikos limassol

akrotiri s.b.a. (uk)

32°30′

33°00′

33°30′

34°00′

34°30′

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Jingyi Zhang / Design Thesis 2020

02 / Research / Cyprus Fig 3 Mapping of Cyprus in the Mediterranean [p7] Fig 4 Mapping of Cyprus 1: Political situation [p8] Fig 5 Mapping of Cyprus 2: The sovereignties Cyprus belonged to throughout history [p9]

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02 / Research / Cyprus [10]

Jingyi Zhang / Design Thesis 2020

Jingyi Zhang / Design Thesis 2020

02 / Research / Cyprus

Fig 6 Cyprus Historical Timeline

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Jingyi Zhang / Design Thesis 2020

SHARED CULTURAL HERITAGE

03 /Conceptual Framing

People living on this island share many similarities in the realm of culture and art, which creates a natural ‘contact zone’ to foster communication (Donna Haraway,2017).

Despite the language and religious differences, Greek Cypriots and Turkish Cypriots all share the love for the landscape and the interest in crafts, music, dance, and many other forms of cultural activities. This shared knowledge on culture and memory for the past could be harnessed as a power to establish trust and shared understanding between these communities.

The recent exhibition on returned artworks at Ledra Palace (Technical Committee on Culture, 2020) was particularly touching for Cypriots. The mutual appreciation of Cypriot art reflects a shared identity.

Fig 7 Presences (Artwork from “In culture we trust exhibition”), 1973, STELIOS VOTSIS Fig 8 Artwork from “In culture we trust exhibition”, 1965, GEORGHIOS MAVROIDES Fig 9 Burial Gifts for a Child, 1988, Angelos Makrides

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Jingyi Zhang / Design Thesis 2020

ALTERNATIVE REALITY & NARRATIVE

An example of this can be seen in the performance art piece “Code 33: Emergency Clear the Air” by artists Suzanne Lacy, Unique Holland, and Julio Morales is a good example in this context. It aimed to ease the tension between police and youth in Oakland neighborhoods. In the performance, video recording about young people’s safety and fear in Oakland were played incessantly, while the audience wandered between cars to listen to the dialogues between police and youth (Lacy, 1997-1999). Quantitative research on the impact of this performance art by Hawes (2007) shows that the intention of the artists has been mostly received by the participants.

03 /Conceptual Framing

Art has the potential to create an alternative reality, which can help people view conflicts through different perspectives. Dena L. Hawes explored art as a medium for peace building through the lens of performance art in her article “Crucial narratives: performance art and peace building” (2007). She explained alternative reality allowed visitors and performers to step out of their perception and be more receptive to narratives from multiple angles about a contested problem, which could be very helpful in encouraging good communication between disputing parties (Hawes, 2007).

Fig 10 Code 33: Emergency Clear the Air!, 1997-1999, Suzanne Lacy, Unique Holland, and Julio Morales Fig 11 Code 33: Emergency Clear the Air!, 1997-1999, Suzanne Lacy, Unique Holland, and Julio Morales

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Jingyi Zhang / Design Thesis 2020

ART-ARCHITECTURE COMPLEX

INTRODUCE CONTEMPORARY ART TO PRE-POSSESSED SPACE

03 /Conceptual Framing

Art and architecture complex (Foster, 2011) can also encourage contemplations on conflict. In Boros Bunker Berlin’s case, contemporary artworks were introduced to repurpose and reactivate this pre-possessed space (Schmidt, 2017) ­­­. As Bennett argued, art could interface with architecture through “critical recombination and reframing” to establish a dialogue between the present and the past (as cited in ­­ Schmidt,2017, p18). The juxtaposition between contemporary artworks and trauma architecture, between the present artistic thinking and the past conflicts, offer visitors an un­ique experience to confront and critically reflect on their earlier memory (Schmidt, 2017).

For example, the artwork Stars,13h, 18ml-60 Degrees, 1992

by Thomas Ruff, offers a window for visitors to gaze into the cosmos beyond the restriction of the concrete shell. The work of Cosima von Bonin, Yang (Nr. 38) and Ying (Nr.37),2002, introduces softness and playfulness to this masculine building, which offers room for empathy (Maz Kozloff, 1970).

This research also informs this thesis to choose the abandoned Nicosia Airport as the site for further development, to re-establish Cypriots’ memory with this place which was interrupted by the establishment of the UN buffer zone.

Fig 12 BOROS BUNKER BERLIN, 2018, Shutterstock Fig 13 Stars,13h, 18ml-60 Degrees, 1992, Thomas Ruff Fig 14Yang (Nr. 38) and Ying (Nr.37),2002, Cosima von Bonin

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Jingyi Zhang / Design Thesis 2020

MAPPING NICOSIA

THE LAST DIVIDED CAPITAL CITY IN EUROPE Abandoned Nicosia airport

04 /Mapping Nicosia

Through close observation of the old city of Nicosia, this thesis sets its interest in the existing spatial representations of borders and conflict. Following critical mappings and contextual analysis will argue that these physical manifestations of separation have contributed to Nicosia’s hybrid idiosyncrasies and a spatial language that currently shifts between conflict and peace, stasis and metamorphosis, abnormal and normal. They are engrained in the urban fabric of the city and are the background against which this new Centre for Cypriot Art will frame a space in which to explore past conflict and divisions and start to develop dialogues around a shared identity.

Old city of Nicosia

Fig 15 Location of the abandoned Nicosia airport

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04 /Mapping Nicosia

Fig 16 Museums in Nicosia

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Jingyi Zhang / Design Thesis 2020

Jingyi Zhang / Design Thesis 2020

04 /Mapping Nicosia Legend: Church Mosque Other key buildings

Fig 17 Key buildings, streets & crossings in Nicosia

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Jingyi Zhang / Design Thesis 2020

Jingyi Zhang / Design Thesis 2020

It is shown in figure 16 that there is an absence of a museum for shared cultural heritage for both Turkish Cypriots and Greek Cypriots. buildings impact

mapped out in figure 17 on their adjacent border

have a condition.

04 /Mapping Nicosia

The key significant

In figure 18, this thesis documents the location of each spotted trace of conflict in built form along the border. The UN buffer zone border consists of a diverse range of built forms, such as buildings, walls, barricades, and checkpoints. As the map indicates, the southern side of the border is more porous than its northern counterparts. And because of the concentration of keys buildings and crossings within or close to the border at the western side of the old city, the western border is in general more porous and accessible than the eastern part. Street art is found on several border walls where art has already intervene with trauma architecture.

The diverse morphology and symbolism, as well as emotive strength of border architecture, inspires this thesis to create unexpected recombination of these elements to offer new meanings for interpretation.

Fig 18 Mapping of UN buffer zone edge [p18-19] Fig 19 Panorama of UN buffer zone edge [p20-21]

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Jingyi Zhang / Design Thesis 2020

04 /Mapping Nicosia [21]

Jingyi Zhang / Design Thesis 2020

Jingyi Zhang / Design Thesis 2020

TAXONOMY STUDY OF THE BORDER

04 /Mapping Nicosia [22]

Jingyi Zhang / Design Thesis 2020

04 /Mapping Nicosia

Fig 20 Taxonomy study of UN buffer zone edge

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Jingyi Zhang / Design Thesis 2020

CONTEXTUAL STUDY OF THE BORDER

CONFRONTATION / VISTA / HUMAN OCCUPATION

04 /Mapping Nicosia

Fig 21 Paphos Gate

Fig 22 Vista, 2019, Viya Zhang & Yue Zhao

Fig 23 Vista, 2019, Viya Zhang & Yue Zhao

BORDER -- CONFRONTATION One cannot fail to notice the tension manifested through the built forms here. The narrowness of the buffer zone at Paphos Gate has made the confrontation between two parties more obvious to citizens.

BORDER -- VISTA Barriers are deployed to seal off the numerous streets running through the buffer zone. The physical manifestation of conflicts and segregation are framed by the streets, becoming an unique identity of the city.

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Jingyi Zhang / Design Thesis 2020

04 /Mapping Nicosia

Fig 24 Border occupation

BORDER -- OCCUPATION A playground is located right next to the frontier. The juxtaposition of the colorful slides, swings and the watchtower is disturbing. This uncomfortable adjacency between peace and conflicts is constantly observed in the old city of Nicosia.

BORDER -- OCCUPATION The frontiers have blended into the life of Cypriots. People hang bed sheets on the mesh fences, sits along the sand sacks to have a cup of tea. The traumatically pre-posssessed urban fabrics have gained new meanings.

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ART INSTALLATION PRECEDENT 05 / Art Installation / Precedents

Jingyi Zhang / Design Thesis 2020

ODDKIN ARCHITECTURE ISTANBUL III

The design philosophy of studio Oddkin Architecture Istanbul III is particularly inspiring. Informed by philosopher Donna Haraway (2016), oddkin architecture explores “unexpected collaborations and combinations” of architectural elements that represent the identity of their place of origin. The hybridity in design encourages new interpretations while still being strongly associated with a place (Kolatan, 2016).

This thesis adopts a similar design strategy to create unexpected hybrid form utilising the border language.

Fig 25 Making Oddkin, 2016, Caleb Birch Ehly & Joonsung Lee

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ART INSTALLATION PRECEDENT 05 / Art Installation / Precedents

Jingyi Zhang / Design Thesis 2020

“TAKING THE TROUBLE TO SOUND IT”

Rita Donagh’s drawings show a careful balance between distancing and engaging with specific political conflict. Through abstraction, her work can contain many meanings synchronously and also provoke deep contemplation on the influence of abstract media communication and medication of conflict (Spencer, 2018).

Evening papers (Fig32) is Donagh’s artistic response after encountering a newspaper photo depicting corpse, covered by newspapers, on street after a car bomb in Dublin (Spencer, 2018).

Her work inspires this thesis to take on the power of abstraction while mixing and manipulating the forms of frontier.

Fig 26 Evening Papers (Ulster 1972–74), 1973–74, Rita Donagh.

Fig 27 Bloodstains, 1971, Rita Donagh.

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ART INSTALLATION PRECEDENT 05 / Art Installation / Precedent

Jingyi Zhang / Design Thesis 2020

FANTASTIC NARRATIVE & FORM

In Alice Aycock’s fantasy drawings, she emphasised the role of narratives. For example, in “the City of Walls”(Fig.34) the drawing is accompanied by a narrative, that “set in Middle Ages “ and refers to “multiple sites such as Cairo’s City of the Dead; Bloomfield, Indiana; Sarajevo; and Reykjavik"(Grey Art Gallery, 2013).

How she transformed rigid architectural elements into this soft ribbon form in “Proposal for Miami Heart Arena” (Fig. 35) is also very interesting. What was once rigid, powerful, and static were actively altered into something that is flexible, soft, and ephemeral.

Fig 28 The City of the Walls: A Narrow City, A Thin City, 1978, Alice Aycock Fig 29Proposal for Miami Heat Arena, 1998, 1999,Alice Aycock

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DREAMING NICOSIA

05 / Art Installation / Design

Jingyi Zhang / Design Thesis 2020

ART INSTALLATION DESIGN

This art installation invites people into an alternative reality, where one’s memory of Nicosia and her imagination of future Nicosia fuse. It draws on the border tectonic language, which signals separation and conflicts, and abstracts and recomposes them into a hybrid form, which encourages multiple interpretations. It could be a story of reinforcing the boundaries. It could also be a story of abolishing them.

It could be an ode to the city of Nicosia. It could also be a crystallisation of music in space. The perspective is key.

Fig 30 Art installation Design: scale

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Jingyi Zhang / Design Thesis 2020

Jingyi Zhang / Design Thesis 2020

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Jingyi Zhang / Design Thesis 2020

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Jingyi Zhang / Design Thesis 2020

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Jingyi Zhang / Design Thesis 2020

MUSEUM BRIEF

06/ Museum Brief

This thesis proposes a Cypriot art museum to offer alternative perspectives of observing and reflecting on the current conflict and division, and also start to develop a shared identity between different ethnic communities, especially Greek Cypriots and Turkish Cypriots.

Through the process of decontextualising and relocating the elements of division to the old Nicosia International Airport (chosen site) , their inherit meaning of boundary will be blurred. Instead, this unexpected collaboration starts to express an idea of communication and shared identity.

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/NON-PARTISAN

COMMUNICATION

ART

SHARED IDENTITY

MUSEUM /ARCHITECTURE

PHYSICAL MANIFESTATION OF CONFLICTS WITHIN THE URBAN FABRIC OF NICOSIA

FORM MANIPULATION

HYBRID FORM

EXPLORE THE OTHER AND THE IN-BETWEEN

SITE: ABANDONED NICOSIA INTERATIONAL AIRPORT

[to enrich the meaning of boundary which shouldn't be limited to division]

[to create a new experience of movement]

06 / Thesis Statement Diagram Elaberation

Jingyi Zhang / Design Thesis 2020

ETHNONATIONAL CONFLICTS & ON-GOING DIVISION

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06/ Site Analysis / Mapping Airport

Jingyi Zhang / Design Thesis 2020

MAPPING NICOSIA AIRPORT

The airport is chosen primarily because of its location. It sits within the UN buffer zone where the distance between two ceasefire lines is over 5km. The presence of the border and its embodied meaning of separation are much less dominant here compared with that in the old walled city of Nicosia.

The site is chosen also because of its alienation to local people. Due to long-time isolation, this space is beyond the imagination of both Turkish Cypriots and Greek Cypriots. It is an ideal location to create an alternative reality where everyone has to step outside of what they have perceived as a lived reality and be receptive to different narratives.

The airport also expresses the meaning of departure and connection, which coincides with the goal of this thesis proposal. Transforming an airport terminal into a museum of Cypriot Art is valued as an important step to express and develop the unique identity of Cypriots.

The recombination of this international-style architecture and the border tectonics also localizes this built form to its socio-political and cultural context.

Fig 31 Nicosia International Airport Fig 32 Nicosia International Airport

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Jingyi Zhang / Design Thesis 2020

06/ Site Analysis / Mapping Airport Fig 35 Mapping the abandoned Nicosia Airport in relationship to the old Nicosia city

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Jingyi Zhang / Design Thesis 2020

Γερόλακκος

Hangar Trident (5B-DAB) Abandoned Nicosia Airport Saint Columba’s Church

92 0m

UNIC Fine Art Building Size of the o ld c ity

of N

ico si

a

University of Nicosia

Cyprus Expo

UNPA SWIMMING POOL

Makareio Stadium

06/ Site Analysis / Mapping Airport

UNFICYP HQ m

50

19

Engomi New cementary Original Nicosia Airport Terminal Pascal English School

Nicosia Mall

Fig 36 Mapping the abandoned Nicosia Airport : current and speculative site access

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Jingyi Zhang / Design Thesis 2020

06/ Site Analysis / Mapping Airport

Fig 37 Mapping the abandoned Nicosia Airport : program arrangement

Fig 38 Mapping the abandoned Nicosia Airport : circulation

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Jingyi Zhang / Design Thesis 2020

06/ Site Analysis / Mapping Airport

Fig 39 Mapping the abandoned Nicosia Airport : denial of access

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This museum exhibits both historical and contemporary Cypriot artworks. Its collection also extends to the realm of street arts.

Many workshop spaces are included in this scheme to create more space for shared cultural activities to take place.

PROGRAM(PUBLIC): entry foyer; cloaking; information desk; shop; cafe. exhibition spaces; black box gallery; workshop spaces; artist residence. amenities. outdoor cultural activity spaces along the runway.

Exhibition Space

Exhibition Space Entry Foyer Exhibition Space

Book Store Black Box gallery Art Shop

PROGRAM(PRAVITE): offices for museum staff; office for technical committee on culture. cultural conservation labs. art store; equipment store. staff amenities loading bay goods lifts plant/comms

Cloaking Info

Workshop Art Store

Museum office Technical Committee on Culture Office

Conservation Lab

Museum Design / Program Arrangement 07 /04/ Concept Design / Program Arrangement

Jingyi Zhang Zhang // Design Design Thesis Thesis 2020 2020 Jingyi

PROGRAM ARRANGEMENT

Workshop Equipment Store

Fig 15 Program Arrangement Diagram Fig 40 Program Arrangement Diagram

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DECONTEXTUALISATION

OPEN

RECONTEXTUALISATION

OPEN

03 /Museum ConceptDesign & Strategy 04/ / Concept 07 /Concept Design / Concept Diagram

Jingyi Zhang / Design Thesis 2020 Jingyi Zhang / Design Thesis 2020

CONCEPT

CRITICAL RECOMBINATION AND REFRAMING

STRATEGY

TO BLUR THE MEANING OF DIVISION

FROM SOLID TO PERMEABLE

FROM BARRIER TO SEAM

INTERSECTION

Fig 41 Concept Diagram

[3] [43] [21]

FORM MANIPULATION PRECEDENT

OPAQUE VS TRANSPARENT TRANSGRESSION FORM MANIPULATION PRECEDENT

In Alice Aycock’s fantasy drawings “the City of Walls”(Fig.41) she effectively transformed the column into a chamber for vertical circulation by introducing ladders into them. What are perceived as barriers at the XY plane become pathway in the z axis. This encourages me to consider the boundary line as a habitable space which has its internal void and structure and can offer connection in another dimension.

The "umbrella" refers to the performance area that protrudes out from the north-west corner of the existing building. Space is defined by steel frames and a double curving and glass canopy, which effectively minimizes the presence of boundary and encourage maximum multisensorial experience between the inside and outside.

Besides the brutal action of transgression is an inspiring compositional strategy that manages to decrease the sense of separation expressed through the solid building envelope.

Fig 42 The City of the Walls: A Narrow City, A Thin City, 1978, Alice Aycock

Fig 43 Umbrella, 1999, Eric Owen Moss

07 / Concept Design / Precedents

Jingyi Zhang / Design Thesis 2020

BOUNDARY VS PATHWAY

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Jingyi Zhang / Design Thesis 2020

07 / Concept Design / Form Manipulation Strategy This taxonomy study explored several methods to blur the meaning of division: 1. Subtract portions from the boundary: from solid to permeable 2. Maintain the integrity of the form but alter the meaning associated: Plan abstraction; From rigid to soft; Folding; Habitable line.

Fig 44 Form manipulation strategy exploration

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Jingyi Zhang / Design Thesis 2020

Box Array

Linear Array _ long edge

Nesting

Intersecting

Juxtaposition

Fig 45 Form manipulation strategy exploration

07 / Concept Design / Form Manipulation Strategy

Linear Array_ short edge

Different compositions of border language have a great impact on people's circulation and experience in the space. Several composition strategies were summarised here to explore other meanings of boundary apart from separation.

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The first iteration focused only on the departure hall space within the airport. It attempted to understand what kind of spatial qualities and human experience this theory of form manipulation strategy could create. The large-span, doublestorey space was interrupted by a cut on ground, pink corridors, and many other border elements. This iteration succeeded to create several moments where boundaries were not only designed for separation but also for the connection.

Fig 46 Departure Hall Transformation: interior view

07 / Concept Design / Form Finding

Jingyi Zhang / Design Thesis 2020

FORM FINDING 1

Fig 47 Departure Hall Transformation: exterior view Fig 48 Departure Hall Transformation: isometric view

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1. Original Building

07 / Concept Design / Form Finding

Jingyi Zhang / Design Thesis 2020

FORM FINDING 2

2. Deconstruct: Slice

3. Deconstruct: Rotate

4. Introduce border tectonics

5. Modification based on spatial quality

The second iteration focused primarily on the overall composition. The existing building was cut into two parts, with the northern portion rotated 32 degrees. The cut line followed the axis of the east-west runway. This effectively increased the permeability of the space and created an unexpected encounter of structure and building envelopes. Border elements were then introduced to create connections between fragmented spaces and to frame views to the vast landscape.

Fig 49 Form Finding Diagrams

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Jingyi Zhang / Design Thesis 2020

SITE PLAN

07 / Concept Design / Site Plan

Fig 50 Site Plan

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08 / Concept Design / Floor Plans

Jingyi Zhang / Design Thesis 2020

FLOOR PLAN

Ground Floor Plan

First Floor Plan

Second Floor Plan

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07/ Concept Design / 3D Visualisation

Jingyi Zhang / Design Thesis 2020

RENDERS

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Jingyi Zhang / Design Thesis 2020

07 / Concept Design / 3D Visualisation

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Jingyi Zhang / Design Thesis 2020

07 / Concept Design / 3D Visualisation

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Jingyi Zhang / Design Thesis 2020

07 / Concept Design / 3D Visualisation

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Jingyi Zhang / Design Thesis 2020

07 / Concept Design / 3D Visualisation

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Jingyi Zhang / Design Thesis 2020

07 / Concept Design / 3D Visualisation

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Jingyi Zhang / Design Thesis 2020

07 / Concept Design / 3D Visualisation

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This formal articulation can be easily interpreted as a formal expression of the division and conflicts happening in Cyprus. Future iterations should investigate more energy on form manipulations that don't emphasis on division but encourage alternative interpretations. The combination with border tectonics could be further explored with the consideration of its impact on human circulation and experience.

07/ Concept Design / Reflection

Jingyi Zhang / Design Thesis 2020

REFLECTION

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Jingyi Zhang / Design Thesis 2020

SKETCH DESIGN

08 / Sketch Design

In this chapter, this thesis has done 4 design iterations which focuses on different aspects including discrete elements manipulation, program arrangement as well as experience creation.

What kind of experience?

Blur the boundaries

Remove/deconstruct the boundary [people could move from one space to another smoothly]

Alter the boundary so that it can be interpreted and experienced in a different way: connection, enclosure, movement

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In this iteration, the focus is to filter out the meaning of division and authority and to create a stimulating and playful atmosphere.

Characteristic elements selected from the old Nicosia city and the airport were altered in form and color and then relocated into the building.

At this stage, this thesis gave priority to the formal manipulation of discrete elements. For example, the original Brise soleil was deconstructed and recomposed into a roof screen at the main entrance. The green spiral staircase shaft was inspired by the form of the gallon drum. The UN checkpoint shed was rotated to sit on four titled legs. Inspiration was drawn from John Hejduk's work.

08/ Sketch Design / Iteration 1 [week 7]

Jingyi Zhang / Design Thesis 2020

SKETCH DESIGN ITERATION 1

However, the relocation process was not successful because the new components serve almost solely as ornaments. In the main exhibition space, attempts to address the presence of boundary is shown through having multiple elements protruding into the large rectilinear volume.

However, from an experience perspective, this layer of meaning is not obvious.

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Jingyi Zhang / Design Thesis 2020

08/ Sketch Design / Iteration 1 [week 7]

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Jingyi Zhang / Design Thesis 2020

08/ Sketch Design / Iteration 1 [week 7]

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08/ Sketch Design / Iteration 2 [week 8]

Jingyi Zhang / Design Thesis 2020

SKETCH DESIGN ITERATION 2

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08/ Sketch Design / Iteration 2 [week 8]

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08/ Sketch Design / Iteration 3 [week 8]

Jingyi Zhang / Design Thesis 2020

SKETCH DESIGN ITERATION 3

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08/ Sketch Design / Iteration 3 [week 8]

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Jingyi Zhang / Design Thesis 2020

08/ Sketch Design / Iteration 3 [week 8]

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08/ Sketch Design / Iteration 4 [week 9]

Jingyi Zhang / Design Thesis 2020

SKETCH DESIGN ITERATION 4

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08/ Sketch Design / Final / Bird View

Jingyi Zhang / Design Thesis 2020

SKETCH DESIGN FINAL

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Jingyi Zhang / Design Thesis 2020

08/ Sketch Design / Final / Bird View

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08/ Sketch Design / Final / Site Plan

Jingyi Zhang / Design Thesis 2020

SITE PLAN

20m

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Restoration Workshop

Artist Residence

08/ Sketch Design / Final / Ground Floor Plan

Jingyi Zhang / Design Thesis 2020

GROUND FLOOR PLAN

Goods Lift

Cloak Room Shop

Exhibition Space1

Theatre

Exhibition Space1

Entry Foyer

Bookstore Cafe

Bathroom

Bathroom

Exhibition Space3

Workshop Space [Fabrication]

Exhibition Space2

Workshop Space [Seminar room]

Cloak Room & Info

School Entry

20m

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08/ Sketch Design / Final / First Floor Plan

Jingyi Zhang / Design Thesis 2020

FIRST FLOOR PLAN

Goods Lift

Performance Space

Exhibition Space4

Exhibition Space4 Bathroom

Bookstore

Bathroom

Exhibition Space3

Conservation Lab

Exhibition Space2

Lounge

20m

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08/ Sketch Design / Final / Second Floor Plan

Jingyi Zhang / Design Thesis 2020

SECOND FLOOR PLAN

Goods Lift Performance Space Exhibition Space4

Exhibition Space4 Bathroom

Bookstore

Bathroom

Exhibition Space3

Exhibition Space2

Offices

20m

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B

B

08/ Sketch Design / Final / Sections

A

SECTION B

A

Jingyi Zhang / Design Thesis 2020

SECTION A

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08/ Sketch Design / Final / Exterior View

Jingyi Zhang / Design Thesis 2020

WESTERN ELEVATION

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08/ Sketch Design / Final / Exterior View

Jingyi Zhang / Design Thesis 2020

MAIN ENTRANCE

EASTERN ELEVATION

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08/ Sketch Design / Final / Experience

Jingyi Zhang / Design Thesis 2020

EXPERIENCE

Fig 51 Main entry

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Fig 53 Exhibition space 1: Light well wall

Fig 54 Exhibition space 1: view to the courtyard

08/ Sketch Design / Final / Experience

Jingyi Zhang / Design Thesis 2020

Fig 52 Entry Foyer: Venetian wall reception

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Jingyi Zhang / Design Thesis 2020

08/ Sketch Design / Final / Experience

Fig 55 Exhibition space 2 : Permeable boundaries

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08/ Sketch Design / Final / Experience Fig 56 Exhibition space 2: Operable Brise soleil

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08/ Sketch Design / Final / Experience

Fig 57 Exhibition space 3: solid boundaries / gallon drum column Fig 58 Exhibition space 3: Juliet Balcony Fig 59 Staircase to first floor hidden behind one of walls

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08/ Sketch Design / Final / Experience

Fig 60 Exhibition space 4: Inside the pink street walls

Fig 61 Exhibition space 4: view to the courtyard

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08/ Sketch Design / Final / Experience Fig 62 Exhibition space 4: Light well wall & venetian city wall threshold

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08/ Sketch Design / Final / Experience Fig 63 Exhibition space 2: permeable boundaries / venetian city wall threshold

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08/ Sketch Design / Final / Experience

Fig 64 Exhibition space 2: permeable boundaries / paphos gate staircase

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08/ Sketch Design / Final / Experience

Fig 65 Exhibition space 2: Bridges

Fig 66 Exhibition space 2: Juliet Balcony viewing exhibition space 3

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08/ Sketch Design / Final / Experience

Fig 67 Exhibition space 4

Fig 68 Exhibition space 4: roof structure

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08/ Sketch Design / Final / Experience Fig 69 Performance Space

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08/ Sketch Design / Final / Experience

Fig 70 Staircases linking bookstore & performance space

Fig 71 View to the signal tower

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08/ Sketch Design / Final / Experience

Fig 72

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08/ Sketch Design / Final / Experience

Fig 73 Western entrance to first floor exhibition space

Fig 74 Western entrance to performance space

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09 / Design Development

DESIGN DEVELOPMENT

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a.

b.

c.

d.

e.

f.

09/ Design Development/Renovation strategy

Jingyi Zhang / Design Thesis 2020

RENOVATION STRATEGY

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09 / DD/ Circulation system old & new

Fig 76 Museum circulation system

Fig 75 Original circulation of the airport

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ITERATION 1

09 / DD/ Iteration1 [96]

09 / DD/ Iteration1 [97]

Jingyi Zhang / Design Thesis 2020

ITERATION 2

GROUND FLOOR PLAN Jingyi Zhang / Design Thesis 2020

Outdoor exhibition space

Goods Lift Restoration Workshop

Lounge

Shop

09 / DD/ Iteration 2

Theatre

Artist Residence

Cloak Room Exhibition Space1

Security Foyer

Exhibition Space1

Entry Foyer

Bookstore Cafe

Bathroom

Exhibition Space3

Workshop Space [Fabrication]

Bathroom

Exhibition Space2

Workshop Space [Seminar room]

Cloak Room & Info

School Entry

20m

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FIRST FLOOR PLAN

Goods Lift Exhibition Space 6 Break out area

Exhibition Space5

09/ DD/ Iteration 2

Exhibition Space4

Exhibition Space 6

Exhibition Space4 Bathroom

Bookstore

BathRestaurant room

Exhibition Space3

Conservation Lab

Exhibition Space2

Lounge

Restaurant

20m

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SECOND FLOOR PLAN

Access to rooftop

09 / DD/ Iteration 2

Bookstore

Bathroom

Offices

20m

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SITE PLAN

09 / DD/ Iteration 2 [101]

Jingyi Zhang / Design Thesis 2020

SECTION

09 / DD/ Iteration 2 [102]

09 / DD/ Iteration 2 [103]

Jingyi Zhang / Design Thesis 2020

Jingyi Zhang / Design Thesis 2020

ITERATION 3

09 / DD/ Iteration 3 [104]

09 / DD/ Iteration 3 [105]

Jingyi Zhang / Design Thesis 2020

09 / DD/ Iteration 3 [106]

Jingyi Zhang / Design Thesis 2020

Jingyi Zhang / Design Thesis 2020

SECTION A

09 / DD/ Iteration 3 [107]

Jingyi Zhang / Design Thesis 2020

SECTION B

09 / DD/ Iteration 3 [108]

ITERATION 4

GROUND FLOOR PLAN Jingyi Zhang / Design Thesis 2020

Outdoor exhibition space

Goods Lift Restoration Workshop

Lounge

Artist Residence

Theatre

09 / DD/ Iteration 4

Cloak Room Exhibition Space1

Shop

Exhibition Space1

Entry Foyer

Bookstore Cafe

Bathroom

Exhibition Space3

Workshop Space [Fabrication]

Bathroom

Exhibition Space2

Workshop Space [Seminar room]

Cloak Room & Info

School Entry

20m

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FIRST FLOOR PLAN

Goods Lift

Exhibition Space 6

Exhibition Space5

Break out area

Exhibition Space4

+6.7m Exhibition Space4

09 / DD/ Iteration 4

Exhibition Space 6

+4.7m

+6.7m Bathroom

Bookstore

BathRestaurant room

Exhibition Space3

Conservation Lab

Exhibition Space2

+4.7m

Lounge

Restaurant

20m

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09 / DD/ Iteration 4 [111]

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09 / DD/ Iteration 4 [112]

Jingyi Zhang / Design Thesis 2020

09 / DD/ Iteration 4 [113]

Jingyi Zhang / Design Thesis 2020

10 / Final Design

FINAL DESIGN OUTCOME

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10 / Final Design

EXTERIOR VIEW: MAIN ENTRY

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Jingyi Zhang / Design Thesis 2020

10 / Final Design

EXTERIOR VIEW: WEST ELEVATION

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10 / Final Design [117]

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10 / Final Design [118]

Jingyi Zhang / Design Thesis 2020

10 / Final Design [119]

Jingyi Zhang / Design Thesis 2020

10 / Final Design

SITE PLAN [120]

Jingyi Zhang / Design Thesis 2020

10 / Final Design

SITE AXONOMETRIC VIEW [121]

Jingyi Zhang / Design Thesis 2020

10 / Final Design

GROUND FLOOR PLAN [122]

Jingyi Zhang / Design Thesis 2020

10 / Final Design

FIRST FLOOR PLAN [123]

Jingyi Zhang / Design Thesis 2020

10 / Final Design

SECOND FLOOR PLAN [124]

Jingyi Zhang / Design Thesis 2020

10 / Final Design

SECTION [125]

Jingyi Zhang / Design Thesis 2020

Jingyi Zhang / Design Thesis 2020

2.

3.

4.

FORM GENERATION PROCESS

10 / Final Design

1.

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6.

7.

8.

FORM GENERATION PROCESS

10 / Final Design

5.

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10 / Final Design

INTERIOR RENDER: EXHIBITION HALL

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10 / Final Design

INTERIOR RENDER: EXHIBITION SPACE: IN-BETWEEN

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10 / Final Design

INTERIOR RENDER: COURTYARD WITHIN WALLS

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10 / Final Design

INTERIOR RENDER: GALLERY OF DECONTEXTUALISED BORDER ELEMENTS

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10 / Final Design

INTERIOR RENDER: GALLERY OF DECONTEXTUALISED BORDER ELEMENTS 2

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10 / Final Design

INTERIOR RENDER: EXHIBITION SPACE: FOLDED WALL

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FIGURE LISTS Fig 1 Zhao, Y. & Zhang, V. (2019). UN WATCH TOWER. Retrieved from https:// drive.google.com/drive/folders/1GxKAvIRp3Ieop6cO2Sn3qjKAAXjMxaEs Fig 2. Technical Committee on Culture. (2020). In culture we trust. Nicosia, Cyprus: Author, P187 Fig 3 Author’s own drawing with base satellite image retrieved from https:// map.aurin.org.au/ Fig 4 Author’s own drawing with base satellite image retrieved from https:// map.aurin.org.au/ Fig 5 Author’s own drawing with base map image retrieved from https://www. themaparchive.com/?s=cyprus . https://www.deviantart.com/sharklord1/ art/Neo-Assyrian-Empire-911-609-B-C-699419635 https://en.wikipedia.org/ wiki/Ptolemaic_Kingdom https://commons.wikimedia.org/wiki/File:Extent_ of_the_Roman_Republic_and_the_Roman_Empire_between_218_BC_ and_117_AD.png https://venetianpeopledotorg.wordpress.com/2015/11/03/ the-republic-of-venice/ https://www.britannica.com/place/Ottoman-Empire https://www.reddit.com/r/MapPorn/comments/bny858/all_land_ever_ owned_by_the_british_empire/ Fig 6 Author’s own drawing Fig 7 Technical Committee on Culture. (2020). In culture we trust. Nicosia, Cyprus: Author, P81 Fig 8 Technical Committee on Culture. (2020). In culture we trust. Nicosia, Cyprus: Author, P158 Fig 9 https://www.cyprusinvenice.org/exhibitions/43rd-venice-biennale/ Fig 10 https://www.suzannelacy.com/the-oakland-projects/ Fig 11 https://www.suzannelacy.com/the-oakland-projects/ Fig 12https://theculturetrip.com/europe/germany/berlin/articles/uncover-themystery-of-the-boros-bunker-in-berlin/ Fig 13 Schmidt, L. (2017). Trauma Architecture and Art: Boros Bunker Berlin.

Scope: Contemporary Research Topics (Art & Design), 14, 15–25.

Fig 14 Schmidt, L. (2017). Trauma Architecture and Art: Boros Bunker Berlin.

Scope: Contemporary Research Topics (Art & Design), 14, 15–25.

Fig 15Author’s own drawing

Fig 16Author’s own drawing Fig 17Author’s own drawing Fig 18-24 Author’s own drawing, site photos ©Viya Zhang, Yue Zhao, Mitchell Ransome Fig 25 Kolatan, F. (2016). Oddkin Architecture Istanbul III. Retrieved from https:// www.design.upenn.edu/yes2020/oddkin-architecture-istanbul-iii.

Fig 26 Spencer, C. (2018). Taking the Trouble to Sound It: Mediating Conflict in the Work of Rita Donagh. In Jo Applin, Catherine Spencer, Amy Tobin (Ed.), London Art Worlds: Mobile, Contingent, and Ephemeral Networks, 1960–1980.

PA, US: Penn State University Press Fig 27 Spencer, C. (2018). Taking the Trouble to Sound It: Mediating Conflict in the Work of Rita Donagh. In Jo Applin, Catherine Spencer, Amy Tobin (Ed.), London Art Worlds: Mobile, Contingent, and Ephemeral Networks, 1960–1980.

PA, US: Penn State University Press Fig 28 Alice Aycock , The City of the Walls, 1978 , Isometric, Pencil on Vellum, 42“ x 72 1/2”.Collection: Museum of Modern Art, New York, NY. https://www. aaycock.com/early-drawings#/new-gallery-5/ Fig 29 Alice Aycock, Proposal for Miami Heat Arena, 1998, 1999, Ink, marker, charcoal on pigmented cotton paper, 40 x 60, Collection of Sally and Wynn Kramarsky, New York https://wsimag.com/art/2783-alice-aycock-drawings Fig 30 Author’s own drawing Fig 31 photos ©Mitchell Ransome Fig 32 photos ©Mitchell Ransome Fig 33-36 Author’s own drawin Fig 37 Author’s own drawing, Photo ©Viya Zhang, Yue Zhao Fig 39-40 Author’s own drawing Fig 41 Alice Aycock , The City of the Walls, 1978 , Isometric, Pencil on Vellum, 42“ x 72 1/2”.Collection: Museum of Modern Art, New York, NY. https://www. aaycock.com/early-drawings#/new-gallery-5/ Fig 42 Eric Owen Moss , Umbrella, 1999, http://ericowenmoss.com/projectdetail/umbrella/

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BIBLIOGRAPHY Constantinou, C., Demetriou, O., & Hatay, M. (2012). Conflicts and Uses of Cultural Heritage in Cyprus. Journal of Balkan & Near Eastern Studies, 14(2), 177–198. https://doi.org/10.1080/194489 53.2012.681923

Ioannides, C. (2014). Cyprus, British Colonialism and the Seeds of Partition: From Coexistence to Communal Strife. The Journal Of Modern Hellenism, 30, 41-72. Retrieved from https://journals.sfu. ca/jmh/index.php/jmh/article/view/12

Dena L. Hawes. (2007). Crucial Narratives: Performance Art and Peace Building. International Journal of Peace Studies, 12(2), 17.

Kolatan, F. (2016). Oddkin Architecture Istanbul III. Retrieved from https://www.design.upenn.edu/yes2020/oddkin-architectureistanbul-iii.

Editor, Finkelpearl, T. (2001). Dialogues in Public Art: Interviews with Vito Acconci, John Ahearn. MIT Press pbk. ed. Cambridge, MA: MIT Press.

Ewers, C.M. (2018). The Nicosia mater plan: historic preservation as urban regeneration (Master’s thesis). Retrieved from http://hdl. handle.net/1794/23734 .

Foster, H.(2011). The art-architecture complex. London: Verso.

Grey Art Gallery. (2013). Alice Aycock. Drawings. Retrieved from https://wsimag.com/art/2783-alice-aycock-drawings.

Haraway, D. (2017). Making Oddkin: Story Telling for Earthly Survival [Online video]. Retrieved from https://www.youtube. com/watch?v=z-iEnSztKu8&feature=emb_logo

Kozloff, M. (1970). The poetics of softness, in Renderings: Critical Essays on a Century of Modern Art. London: Studio Vista.

Lacy, S. (1997-1999). Code 33: Emergency Clear the Air. Retrieved from https://www.suzannelacy.com/the-oakland-projects/.

Lindley, D. (2007). Historical, Tactical, and Strategic Lessons from the Partition of Cyprus. International Studies Perspectives, 8(2).

224–241. https://doi.org/10.1111/j.1528-3585.2007.00282.x Schmidt, L. (2017). Trauma Architecture and Art: Boros Bunker Berlin. Scope: Contemporary Research Topics (Art & Design), 14, 15–25.

Spencer, C. (2018). Taking the Trouble to Sound It: Mediating [135]

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BIBLIOGRAPHY Conflict in the Work of Rita Donagh. In Spencer C., Applin J., & Tobin A. (Eds.), London Art Worlds: Mobile, Contingent, and Ephemeral Networks, 1960--1980 (pp. 115-132). University Park, Pennsylvania: Penn State University Press. doi:10.5325/j. ctv14gp4cg.11 Technical Committee on Culture. (2020). In culture we trust.

Nicosia, Cyprus: Author

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