Architecture as an object of diary

252 Pages·2011·7.9 MB·English

by  Alex Antoniou

A r c h i t e c t u r e a s a n
o b j e c t o f d i a r y :
u
o
i
n
o
t
n
A

x
e
l
A

©
N o s t a l g i a e v o k e d t h r o u g h
e m b o d i e d m e m o r y
2
A r c h i t e c t u r e a s a n
o b j e c t o f d i a r y :
u
o
N o s t a l g i a e v o k e d t h r o u g h
i
e m b o d i e d m e m o r y
n
o
t
n
A
Alexander Anthony Antoniou

x
e
l
A

©
W.S.A. yr. 5
2010 - 2011
a dissertation in partial fulfillment of the
degree of
M.Arch at Cardiff University
_ 3 _
u
o
i
n
o
t
n
A

x
e
l
A

©
4
u
Abstract
o
For the fulfillment of its artistic potential, the constant foirward-looking attitude
n
of design requires an understanding of the past. By highlighting nostalgia in the
o
context of personal and cultural memory, this piece aims to bring nostalgia to the
t
forefront as a legitimate and important judging tool for architectural spaces
n
through the analysis of users’ individual memory links to the use and presence of
A
a city square (in this example, that of Eleftheria Square in Nicosia, Cyprus). Can
an architecturally uninspiring d esign still influence people and their link to a
x
space shared, full of cultural experience?
e
l
A

©
5 _
u
o
i
n
o
t
n
A

x
e
l
A

©
1
_6
1“(...) Memory’s unreliable. (...)
Facts, not memories; that’s how you
investigate. (...) Look, memory can
change the shape of a room, it can
change the colour of a car, and
memories can be distorted. They’re
u
just an interpretation, they’re not a
o
record and irrelevant if you have
i
the facts. (...)
n
o
He took away my (...) memory.
t
n
He destroyed my ability to live.” 2
A

x
e
l
A

©
1_ 'Memento', dir. by Christopher Nolan, (United States: Pathé, 2000), p. 113 minutes
2_ Nolan, 2000, Memento
7 _
C o n t e n t s
u
I.considering the attributes 011
o
_Measurable and immeasurable_ 012
i
n
_Urbanistic anchor s_ 017
o
_Memor y, nostalg ia and architecture_
024
t
n

II.memory and nostalgia A 027
_Rememor y 029
x
_Psycholog ical under staending of memor y_ 030
_Philosophical underlstanding of memor y_ 033
A
_Nostalg ia in the context of memor y_ 039

_/time/memo©r y/nostalg ia/space/place/time/memor y/ 057
_nostalg ia/space/place/_
III.a site in conflict 059
_The divided capital_
078
_A guarded reaction from a traditional public_ 081
_8
083 VI.the shared architectural hinge
u
084 _From minor past too major present_
085 _The essence of what is ibeing remembered_
n
087
_The arcohitectural hinge space_
089 _memor y - tnostalg ia - culture - event_
n
A V.Appendixes
092
093
_Appendix A - inter views_
x
127 _Appendix B - scans and documents_
e
172 l _Appendix C - Public letter s_
A
184
_Appendix D - newspaper ar ticles_

194
© _Appendix E - blogs_
230 _Appendix F - Author’s photos_
241 VI.Bibliography
245 VII.Filmography
247 VIII.Newsletters and Periodicals
249 IX.Websites
9 _
u
o
i
n
o
t
n
A

x
e
l
A

©
_10
u
o
“Why does the mind cling to a particular memory, to a particular experience, hold on to
i
a belief which has lost all meaning; why? (...) Either he is incapable of seeing the facts,
n
or he likes to live in an illusion, in a make-believe, which has nothing whatsoever to do
o
with actuality. The actuality being what is taking place now. Or, he separates the
t
experience, the idea, the ideal, the belief, as being not accurate but holds onto them
n
because intellectually he is incapable of investigating. (...) Have you any belief that you
A
hold onto? And if you hold onto a belief, what is that belief? How is it coming to be?” 3

x
e
l

A

©
3_ 'Is There Security, Psychologically', in ‘Can Goodness, Love and Faith Be Born of Discipline’, dis. by Krishnamurti Foundation of America, (Switzerland:
Krishnamurti Foundation of America, 1976), p. 58min 31sec