THE MUSEUM OF ESTRANGEMENT BOOK Contested States and the Architecture of the in-between YILAN ZHAO_798593
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CONTENT
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CONTENT CHAPTER 1: CYPRUS / NICOSIA THE LAST DIVISION CITY IN EUROPE
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CHAPTER 2: THEORY / HYPOTHESIS THE MUSEUM OF ESTRANGEMENT
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CHAPTER 3: DESIGN PRECEDENTS
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CHAPTER 4: INSTALLATION ESTRANGEMENT
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CHAPTER 5: CONCEPT DESIGN SITE ANALYSIS, BRIEF, PROPOSAL
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CHAPTER 6: FINAL DESIGN
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CHAPTER 1
CHAPTER I
CYPRUS / NICOSIA THE LAST DIVISION CITY IN EUROPE
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TIME LINE
TIME LINE
Cyprus experienced times of overtaken and occupation. In 1960 this island became an independent county the Republic of Cyprus. 4 years later, Cyprus went through 10-year crisis between the Turkish Cypriots and Greek Cypriots. The 10-year crisis led to the division between Turkish Cypriots and Greek Cypriots. The division impacts Cypriots’ daily life and restore the culture and identify on both sides.
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CYPRUS MAP
CYPRUS MAP
Cypriots population distribution
After 1964, the ethno-nation conflicts between Turkish Cypriots and Greek Cypriots intensified. The UN buffer zone was established up to stop ethnic fighting, effectively dividing the island in two: North and South. The two ethnics living space were split completely on each side of
the buffer zone. This spatial division and displacement have created a sense of estrangement within Cyprus that impact on Cypriot culture and the day-to-day lived experiences within the community.
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NICOSIA MAP
THE MOAT IN NICOSIA
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ANALYSIS ON DIVISION OF CYPRUS
“The frontier is a place of contradiction, where the ‘wild’ and the ‘tamed’12 do not cancel each other but play out different roles, sometimes in reciprocity, and with different levels of impact.” (Pullan, 2011)
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Zoom in to the Capital city Nicosia, From the Lusignan period, this city was detached from the outside by the defensive walls. Today, the old walled city of Nicosia keeps the Venetian walls. After the division between north and south, new CBDs and residential areas were built outside of the wall. Thus, the devoid of any human activity and subject to UN control, the buffer zone epitomizes the disintegration of Greek and Turkish Cypriots civic life. Nicosia, the last divided city in Europe, contains the duality of displacement on time-aspect: the walled city, and spatialaspect: the buffer zone. These ‘time’ and ‘space’ phases restore Nicosia to a city of unsettlement. The origin of unsettlement: buffer zone, is a place of contradiction, where the ambiguity happens on devoid or connection through the crossing. It rebuilds the emotion and memory about home and nationhood on both sides.
CHAPTER 2
CHAPTER II
THEORY / HYPOTHESIS THE MUSEUM OF ESTRANGEMENT
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THESIS STATEMENT
The spatial division and increasing estrangement effects of this displacement manifest in a form of nostalgia, which Svetlana Boym has described as a longing for another time (Svetlana Boym, 2007). From a metaphorical, transcendental homelessness to a literal sense of loss, nostalgia becomes experiences as an abstract relationship between past and present, between home, nationhood, and culture, a longing for the last and device through which to mediate the estrangement of aspects of daily life and links to identity, home, and country that have arisen as a result of the conflict and ongoing division.
Fig 1: Viya Zhang. 2019, photo of the moat in Nicosia
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The Museum of Estrangement, located in the moat next to the old walled city of Nicosia, intends to explore the concept and experiences of estrangement though daily objects, arts, and installations that invoke the notions of division, and nostalgia. Through the exploration of the architectural environment, the museum spaces displace estrangement from everyday contexts into an ironic and artistic framework. This spatial play on estrangement reinvents the rhythm of time slowing it down, speeding it up, to create a sense of the uncanny. Detached from reality, the museum creates a ‘third place’, and a formal and ritual space in which to reflect on exile, unsettling remains, and the estrangement of conflict and division.
THEORY DIAGRAM
SPACE
nostalgia
division of
+ prospective
ESTRANGEMENT (algia)
(Svetlana Boym, 2007) (Svetlana Boym, 1996)
+ reflection [ Museum of Estrangement ] + longing + ironic
TIME
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THEORY EVALUATION
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Basing on Boym analysis on the nostalgia in literary, authors like Victor Shklivsky and Joseph Brodsky reflected about nostalgia and estrangement in their work based on their background of left hometown and exiled in a completely different city. Their stories expose a reversed relationship between creativity and unfreedom, art and compromise, theoretical practice and physical survival (Boym, 1996). Through the twisting between the opposite phases, estrangement appears as a device of mediation between art and life (Stiedter, 1989). By abstracting the context of stories and daily objects, the sensation returns to life itself to invoke the experience anew. Artistic estrangement abstracts and deconstructs nostalgia from emotional memory to an objective reflection on time longing. It does not exaggerate depression but accepts the condition of exile and sublime estrangement. For better or for worse, everyday life would remain everyday life, no more and no less. The museum as a third-place plays neutral and uncanny environment to guide time rhythm to meditate the exile from reflection.
CHAPTER 3
CHAPTER III
DESIGN PRECEDENTS
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PRECEDENTS
Fig 2: Steilneset Memorial, photography by Andrew Meredith
Steilneset Memorial
Circuit, 1972
“I employ neon tubes to build places for poetical inhabitants, trying to create dream-like spaces that allow for reflection.” Peter Zumthor
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Things that have broken down or have been ripped apart can be joined and mended. Louise Bourgeois
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/ Peter Zumthor and Louise Bourgeois / Barents Sea in Vardø, Norway, 2011
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Fig 3: Circuit, 1972, photography by Moma
Richard Serra Steel / Moma
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‘Reveal the structure and content and character of a space.’ Inhibiting easy circulation impossible to comprehend the configuration of the space delimited by the sculpture from anywhere but at midpoint the relationship between the body, the sculpture, and the surrounding environment shifts with the changes of steps. ‘all your psychophysical coordinates, your sense of orientation, are called into question immediately.’
Rachel Whiteread Translucent resin New York
Fig 4: Essere Spaziao, 2016, by Massimo Uberti
ESSERE SPAZIO, 2016 Massimo Uberti Permanent installation Led, iron and transformers Installazione permanente Led, ferro e trasformatori Sapri archaeological area
Architecture of the light, simple line work abstract the sense of space and redefine the place.
PRECEDENTS
Water Tower, 1998
Fig 5 : Water Tower, 1998, by Rachel Whiteread, in Moma
Water tower is the iconic architectural feature of the city, and remind themselves that it is often forgotten or overlooked. In this piece, Whiteread plays on her role as an outsider. The resin tower is introduced to the skyline among other objects that initially appear to be almost identical to it. The artwork becomes an immigrant in this context, revealing difference through similarity and causing the viewer to question what differentiates an art object from ordinary objects. Within this aesthetic ambiguity and stealthy oscillation lies a key strength of the piece: it speaks to the background role of the ubiquitous water tank, which works as a particular yet rarely acknowledged characteristic of the New York City skyline.
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PRECEDENTS REFLECTION
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The precedents listed above represent memorial and spatial recreation by various material and methodology. Installation is more than an object but interacting with context. Architecture and art are juxtaposed which restores the approach of both. With unexpected juxtaposition between architecture features and artworks mobilizes revitalization (Schmidt, 2017). How the context cooperates with artworks and reflects on the
theory of estrangement are examined through the installation of Estrangement. Mapping the axiomatic feature of the architecture to experience an abstract environment of openness and closure to the artworks can be explored through the process of the category (Krauss, 1979). The design of installation intends to redact fragments from context then modernizes these to a new framework.
CHAPTER 4
CHAPTER IV INSTALLATION ESTRANGEMENT
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COLLAGE : ESTRANGEMENT
Cataloguing several elements of the framing and moment in Cyprus, the collage intends to represent the ‘distance’, the untouchable feeling. Different window frames from far to near increase layers in-between.
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Fig 7 : Estrangement Collage, 2020, by Yilan, photography by Mitchell Ransome, 2019
INSTALLATION SKETCH
The sketch abstracts architectural figures in Nicosia city, and reassembles by playing with distance. 21
INSTALLATION _ VERSION 1
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The first on-site installation tests the scaffolding structure referring to the UN tower. The inclining structure reversed vertical support to horizontal extension. Planes along the structure become an unreachable platform. The scaffolding is no more for vertical circulation. The vertical movement is split from structure to isolate the journal.
ITERATIONS
N0 1
N0 2
N0 3
N0 4
N0 5
These series of iterations test that the fragments ironically cut and inclined to form interaction with people. The uncommon sense on geometry and structure challenge the experience. 23
INSTALLATION _ VERSION 2
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The installation is located opposite to the un tower at the crossing point of the two parallel references lines, the grids and the rotation direction of the un tower. Other directions of the extrusion are referred to the neutral element: the Ledra Palace and the element of time: the Kyrenia Gate in North and Famagusta gate in South.
INSTALLATION _ VERSION 2
The installation deconstructed the scaffoldings from un tower, then restores and inclines to the referred directions. The thicker and heavier structure frame on the top create a sense of ironic supporting structure. Vertical movement is no more following the scaffoldings but a solid plane. The oblique place cuts through staircases to recreate the circulation experience.
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26 INSTALLATION _ VERSION 2
INSTALLATION _ VERSION 2
The version 2 installation intends to the framing view with the boxing solid space which losses the sense of being tended out. The multiple adventures while moving up are missed in this version. The scaffoldings on the floor can be modified and be more rational.
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28 INSTALLATION _ VERSION 3
CHAPTER 5
CHAPTER V
CONCEPT DESIGN SITE ANALYSIS, BRIEF, PROPOSAL
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SITE ANALYSIS
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Fig 8 : The Moat Analysis, 2020, by Yilan, photography by Viya Zhao, 2019
SECTION _ THE MOAT
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REDACTION_NICOSIA
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Fig 9 : NICOSIA REDACTION PHOTO SERIES , 2020, by Yilan, photography by Mitchell Ransome, 2019
REDACTION_THE MOAT
Fig 10 : THE MOAT REDACTION PHOTO SERIES , 2020, by Yilan, photography by Viya Zhang, 2019
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FRAME THE CONTEXT
+ ironic + cover + protest + reflection
+ longing
+ prospective
ESTRANGEMENT
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+ obscure
+ restrict
The Photo Redaction intends to obscure the artificial objects on the scene to only remain the landscape. With this strategy, the theory of estrangement which is creating the third place by obscuring the context. The redaction reverses the way on how we read artworks and follies in the museum. What appears, what obscures, one object can be read differently by different scenes. These ambiguities stimulated by various interpretations inspire spectators on the reflection of the longing of time. Without context, spectators are isolated into alien condition: the mediated environment.
REDACTION
[ Museum of Estrangement ]
Fig 11 : FRAMING THE MOAT COLLAGE , 2020, by Yilan, photography by Viya Zhang, 2019
FOLLIES OF REDACTION _ DEVELOPING
FOLLIES THEME: NAVIGATION, OBSCURING, FRACTION
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COLLAGE
The Museum intends to frame a new environment to detach from the existing context. By escaping from surroundings, new environment inspires visitors to restore the feeling and reflection from the exhibits. The sense of estrangement inspires visitors to reflect on the division and longing for time.
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III MUSEUM ENTRANCE I. ENTRANCE II. TICKET OFFICE III. HALL-STAND IV. RECEPTION V. ATRIUM VI. SHOP / STORAGE EXHIBITION SPACES I. EXHIBITION ROOMS II. ARCHIVE (open) III. AUDITORIUM IV. DRILL HALL V. RESERVE VI. TECHNICAL AREA VII. AMENITIES VIII. WORKSHOP IX. CAFE
PRIVATE SPACE I. OFFICE II. ARCHIVE III. SECURITY IV. STORAGE VI. TECHNICAL AREA VII. WORKSHOP VIII. LOADING BAY IX. PRIVATE CIRCULATION (GOOD LIFT) X. MEETING ROOMS XI. ARTIST RESIDENCE
MUSEUM PROGRAM
ENTRANCE I. SITE ENTRANCE: PEDESTRIAN ACCESS CAR-PARK ENTRANCE II. EXTERNAL PEDESTRIAN ACCESS (FOLLIES) III. MUSEUM ENTRANCE
EXHIBITION SPACES OUTDOOR I. EXHIBITION FOLLIES II. KIOSKS III. COURTYARDS
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38 FORM FINDING COLLAGE
FORM ANALYSIS
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40 PROGRAM ARRANGEMENT
GROUND FLOOR PLAN
A A
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42 GROUND FLOOR PLAN
FIRST FLOOR PLAN
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44 SECOND FLOOR PLAN
CIRCULATION
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SECTION
SECTION
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RENDERS
NORTH ENTRANCE
EXHIBITION ENTRANCE
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RENDERS
EXHIBITION COURT
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EXHIBITION ROOM
REDACTION IN EXHIBITION
EXHIBITION COURT
EXHIBITION COURT
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50 SPACIAL ANALYSIS DIAGRAM
John Wardle Architects
PRECEDENCE
SOMEWHERE OTHER, 2018
Fig 12: Somewhere other, 2018, by John Waldle Architects edit by Yilan
The installation explores the viewing portal that identifies the way of observation. The wireframes interaction with subtracted panels questions what is real and what is not. The reframing by lightness (the wire) and hardness (the wood panel) evokes contracts between context and the installation.
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52 TITLE
CHAPTER 6
CHAPTER VI
CONCEPT DESIGN SITE ANALYSIS, BRIEF, PROPOSAL
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PROPOSAL DEVELOPMENT
PROPOSAL DEVELOPMENT PROCESS
VERSION I
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VERSION II
PROPOSAL DEVELOPMENT
VERSION III
FINAL PROPOSAL
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ISOMETRIC PROPOSAL
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GROUND FLOOR PLAN
A
B
A
B
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FIRST FLOOR PLAN
A
B
A
B
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FIRST FLOOR PLAN
SECOND FLOOR PLAN A
B
A
B
SECOND FLOOR PLAN
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SECTION AA
SECTION AA
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SECTION BB
SECTION BB
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AXONOMETRIC EXPLODING DIAGRAM
VII
V
IV
VI
VIII
III II
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DETAIL
The copper strips are through the whole journey that provides the sense of unconnected visually. The bright yellowish metal material increases contrast with the cold gray concrete panels to redirect the visual connection and re-frame views. [REDACTION] DETAIL THROUGH THE BUILDING
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FORM
The project is separated into three massing objects which break up the journey with changing between outside and inside. Follies follow the reference of context to increase the experience in the void space. Variety of scales for exhibition purpose are designed in the project.
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II
I
ESTRANGEMENT FOLLIES UNDEVELOPED FOLLIES
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SCALE DEVELOPMENT
MASSING I
MASSING II
MASSING III
PRIVATE SPACE
EXHIBITION SPACE
PUBLIC SPACE
REDACTION WALK
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PERSPECTIVE
I. MAIN ENTRANCE 66
PERSPECTIVE
II. EXHIBITION HALL 67
PERSPECTIVE
III. ENTRANCE ATRIUM 68
PERSPECTIVE
IV. MEZZANINE 69
PERSPECTIVE
V. EXHIBITION HALL 70
PERSPECTIVE
VI. TEMPRARY EXHINITION HALL ENTRANCE 71
VII
72 PERSPECTIVE
PERSPECTIVE
VIII
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CONCLUSION
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The project focuses on the Cyprus division condition to explore the possibility of architecture design. The philosophy of the ‘Estrangement’ inspires on the design concept. The museum of Estrangement reflects the feeling of individuals, which is created by the division between north and south. It intends to become an experience of the sense of nostalgia and an abstract relationship between past and present. Redaction, as an editing method, is examed into architecture to test on the exhibition space and the way to read art pieces. The design process explodes the redaction strategies to visual redacting and the atmosphere disconnection to empower the reflection on the estrangement in the exiling moat.
Pullan,W. (2011). Frontier urbanism: the periphery at the centre of contested cities. The Journal of Architecture. 16:1, 15-35. https://doi. org/10.1080/13602365.2011.546999
REFERENCES
REFERENCE LIST
Fig 1: Viya Zhang. 2019, photo of the moat in Nicosia Fig 2: Steilneset Memorial, photography by Andrew Meredith. https://www.archdaily.com/213222/steilneset-memorial-peter-zumthor-and-louise-bourgeois-photographed-by-andrew-meredith
Boym, S. (2007). Nostalgia and its discontents. The Hedgehog Review, 9(2), 7+. Retrieved from https://link.gale.com/apps/doc/ A168775861/AONE?u=unimelb&sid=AONE&xid=05dabadf Boym, S. (1996). Poetics Today , Winter, 1996, Vol. 17, No. 4, Creativity and Exile:European/American Perspectives II (Winter, 1996), pp. 511-530 Striedter 1989, Erlich 1981, and Steiner 1984. On the connection between the theory of estrangement and romantic aesthetics see Todorov 1985: 13048. Schmidt, L. (2017). Trauma architecture and art: Boros Bunker Berlin. Scape: (Art & Design). 14, 2017 Krauss, R. (1979). Sculpture in the Expanded Field. October , Spring, 1979, Vol. 8 (Spring, 1979), pp. 30-44. http://www.jstor.com/ stable/778224
Fig 3: Circuit, 1972, photography by Moma. https://www.moma.org/collection/ works/181114 Fig 4: Essere Spaziao, 2016, by Massimo Uberti. https://www.massimouberti.it/ Fig 5 : Water Tower, 1998, by Rachel Whiteread, in Moma Fig 6 : The Moat_Site Analysis, 2020, by Yilan, photography by Viya Zhang, 2019 Fig 7 : Estrangement Collage, 2020, by Yilan, photography by Mitchell Ransome, 2019 Fig 8 : The Moat Analysis, 2020, by Yilan, photography by Viya Zhao, 2019 Fig 9 : NICOSIA REDACTION PHOTO SERIES , 2020, by Yilan, photography by Mitchell Ransome, 2019 Fig 10 : THE MOAT REDACTION PHOTO SERIES , 2020, by Yilan, photography by Viya Zhang, 2019 Fig 10 : THE MOAT REDACTION PHOTO SERIES , 2020, by Yilan, photography by Viya Zhang, 2019 Fig 11 : FRAMING THE MOAT COLLAGE , 2020, by Yilan, photography by Viya Zhang, 2019 Fig 12: Somewhere other, 2018, by John Waldle Architects edit by Yilan
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