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DOI: https://doi.org/10.34069/AI/2023.70.10.20
How to Cite:
Işıkören, S.H. (2023). Evaluation of exhibition space design within the scope of art museums in North Cyprus. Amazonia
Investiga, 12(70), 220-228. https://doi.org/10.34069/AI/2023.70.10.20
Evaluation of exhibition space design within the scope of art museums
in North Cyprus
Kuzey Kıbrıs'taki Sanat Müzeleri Kapsamında Sergi Alanı Tasarımının Değerlendirilmesi
Received: September 2, 2023 Accepted: October 28, 2023
Written by:
Serkad Hasan Işıkören1
https://orcid.org/0000-0001-6928-9250
Abstract
In the recent decades, educational institutions
have played a role in fostering artistic production
in Northern Cyprus since 1974. An illustration of
this contribution is the Günsel Art Museum,
established within the Near East University. This
museum has not only served as a venue for art
exhibitions but has also played a crucial role in
promoting the creation and appreciation of art in
the region. The research was conducted through
a comprehensive case study, with a specific focus
on the Günsel Art Museum. The results of the
study reveal a positive influence of the museum
on artistic production in North Cyprus. It has
provided a platform for local artists to showcase
their works and implemented educational
programs that have introduced young individuals
to the world of art. This article aims to explore
the artworks and exhibition spaces in the NC
post-1974, emphasizing the contributions of
educational institutions established in NC during
that period to artistic endeavors.
Key Words: Exhibition, Space, Design,
Museum, Art.
Introduction
In the historical process, artistic content, socio-
political factors, and changing technological
developments have changed, and the adaptation
of exhibition spaces to this has also changed in
parallel with the historical process.
The word "exhibition" in the Turkish Language
Institution dictionary is defined as "a collection
of things arranged for the viewer to see and
choose, and the place where these objects are
displayed," "products and artworks arranged in a
1
Near East University Faculty of Architecture, Department of Architecture, Cypre. WoS Researcher ID: JVE-0691-2024
suitable way for the public to see and get to
know," and "a place where the specific
agricultural, industrial, etc., products of a place,
a country, or various countries are exhibited to
promote them in an appropriate way" (NND,
2023).
In all three definitions, the need for "suitability"
and "organization" that can prepare the ground
for the viewers, or "spectator's," preference and
mutual need for suitability and organization
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mentioned here is parallel to the creation of the
right communication is emphasized. This
atmosphere to understand/appreciate the content
of artworks.
According to Çiğdem Demir, who asserts that
this need for exhibition and its reasons stem from
an instinctive impulse, defines exhibition as
follows: "Exhibition is the act of showing,
presenting, proposing, and revealing objects or
works; Velarde answers these questions with
'having something to exhibit and a story to tell.'
(Dernie 2006) states that exhibition is an activity
inherent in human nature, pointing out that every
individual's home is actually an exhibition area,
and individuals exhibit objects to provide
information about themselves, their lives, and
their needs" (Demir, 2009).
In the historical process, artistic content, socio-
political factors, and changing technological
developments have changed, and the adaptation
of exhibition spaces to this has also changed in
parallel with the historical process. In this study
the universal design principles will be used to
evaluate the exhibition spaces.
Research Questions/ Hypothesis:
Within the objectives and goals of the study, the
aim of the study is to examine developing and
changing museum design history, modern
approaches of space design principles, and
analyse latest museum design example of Art
Museum in North Nicosia through observation
and to offer suggestions. Space design is not
efficient itself to create full perception for
viewers, but it should be considered in an
interdisciplinary approach. Hence, it is suggested
to evaluate the design criterias as space design
(including infographics), exhibition design and
lighting design should be considered together.
The following fundamental queries were
addressed within the purview of this study:
1. What is the design principles that shapes
contemporary museums?
2. How space design, exhibition design and
lighting design should work togheter?
3. What are the latest applications/trends in
North Cyprus on museology?
Literature Review
The historical process that began with the rise of
religious spaces in Italy in the 15th century
during the Renaissance, becoming important
buildings that exhibit art, saw the first examples
of exhibitions due to the interest of the new
bourgeoisie, which emerged as a result of
merchants setting out to explore new trade routes
brought by the Renaissance, and their economic
advancement over time. The collections acquired
by noble families and their openness to the
public, as well as the exhibitions organized
during this process, can be counted as examples.
In this sense, Palazzo Medici See Figure 1, built
by the Medici family in Florence in the 1440s,
can be considered the first modern museum in
Europe. Following this, the exhibition space
where Vasari organized the private collection of
the Medici family at the Uffizi Palace's 2nd floor
See Figure 2 can also be considered the first
exhibition space in the historical process up to
the present day (Çolak, 2011).
Figure 1. Palazzo Medici Exterior (Günal, 2016)
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Figure 2. Palazzo Medici Interior (Tuscany, 2023).
In the 18th century, with the abandonment of
monarchical regimes, royal palaces turned into
exhibition spaces, and royal archives became
exhibitions that filled these spaces or new spaces
organized in this sense. The best examples of
these are the Louvre Museum in France and the
British Museum in England. The new way of life
that started with the Industrial Revolution before
the 20th century influenced art and,
consequently, exhibition space designs.
However, this approach before the 20th century
was generally based on the principle of
collecting, preserving, and exhibiting artworks in
chronological order, and the priority of space
design was not visible in these spaces. The
“Salon de Refuse” exhibition See Figure 3,
which showcases the artworks of rejected artists
in a public exhibition with special permission,
can be called alternative spaces that bring
artworks to the public independently, providing
information about themselves, their lives, and
their needs. (Demir, 2009) The understanding of
modern art in the 20th century, unlike traditional
art, requires a specific intellectual background,
necessitating the correct alignment with the
audience. Traditional art, being a product of
shared common culture (religion, history,
mythology, etc.), establishes easier
communication with the audience, allowing it to
be perceived by broader audiences. The first
challenge faced by modern art in this context was
the exhibition called the "Armory Show," held in
1913 in America. This event marked the
encounter of European art with the American
audience, which did not yet possess the evolution
and experience of European art, leading to the
inevitable discomfort of American art observers
with this new form of art.
Figure 3. Salon des Refusés (Refuses, 2023)
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The situation that needs to be focused on from
the planning stage to completion is to ensure
proper communication with the audience and to
create the desired atmosphere for the audience.
There is no single formula for exhibition design
types, and different solutions can be prepared in
different situations (Kandemir, & Özlem, 2015).
Therefore, considering the specific elements of
exhibition spaces that will be selected for the
works to be displayed before exhibitions and the
exhibition types in these exhibition spaces are
important for successful exhibition designs.
Here, the need for exhibition design that
accurately facilitates communication between
the art work and the audience, ensuring the
correct interpretation, becomes crucial for the
audience of 20th-century art (Tokay, 2009). This
need is directly proportional to the decrease in
the audience capable of understanding the
content provided by the artwork, which has led to
a diminishing interest in art (Aybay, 2017).
The working on the planning and design of
exhibition spaces, the following key points
should be taken into account (Mace, 1997):
• Equitable Use
• Flexibility in Use
• Simple and Intuitive Use
• Perceptible Information
• Tolerance for Error
• Low Physical Effort
• Size and Space for Approach and Use.
Consequently, exhibition spaces and designs
have undergone significant evolution throughout
history, adapting to changes in artistic content,
socio-political factors, and technological
advancements. Successful exhibition design
focuses on creating an environment that
encourages communication between the artwork
and the audience, enhances the visitor's
understanding and appreciation of the works, and
ensures the safety and preservation of the
artworks (Goulding, 1999). Consideration of the
specific elements of exhibition spaces and the
planned types of exhibitions is essential for
successful exhibition designs. In this study, space
design/ exhibition design and lighting design of
Günsel Art Museum will be evaluated according
to universal design principles.
Methodology
This study consists of three stages. In the first
stage of the method, a literature review was
conducted regarding the historical development
of the design of exhibition spaces and the concept
of exhibition space. Within the scope of the
research, books, academic studies, projects, and
articles on the subject were scanned. In this study
seven aspects of universal design principles such
as; ‘equitable use’, ‘flexibility in use’, ‘simple
and intuitive use’, ‘perceptible information’,
‘tolerance for error’, ‘low physical effort’, and
‘size and space for approach and use’ was used
to evaluate the exhibition spaces. Nicosia, the
capital of the island of Cyprus, was chosen as the
main scope of the study because it is a city where
art is performed most intensely, where cultural
and social density is high, and has art
center/museum venues. Günsel Art Center in
Nicosia and Dr. Küçük museum as first example
of design planning in North Cyprus were
examined. The analysis of these art centers was
evaluated in the context of space design. In the
second stage, space analysis was carried out in
the context of space research based on the
selected building mass to determine the current
situation. During the analysis phase, the
exhibition spaces on the plans of the selected art
center/museum buildings were examined in the
context of their current status determinations. In
the last stage, observations were evaluated in the
findings section of the study in order to
determine the relationship between exhibition
space designs and art designs.
.
Results and Discussion
Results
The history of Turkish Cypriot art, it is rooted in
artists who completed their education abroad at
the beginning of the 20th century. During the
Ottoman period, there is no evidence of the
existence of Turkish Cypriot artists through
research. Towards the end of the 19th century
and the beginning of the 20th century, some
Greek Cypriot artists attracted attention with
their Impressionist-style works, including copies
of Renaissance paintings during the British
Colonial period. Turkish Cypriot artists emerged
on the Cyprus art scene around the mid-20th
century (İnatçı et al., 2005). However, the
national aspirations of Greek Cypriots in the
1930s, who wanted to break free from British
colonial rule, ignited events that would influence
the social and cultural lives of both communities
for more than half a century. The increasing
pressure and policies imposed by Greek Cypriots
on Turkish Cypriots after 1950 led to the
foregrounding of the struggle for survival and
existence in Turkish Cypriot art, philosophy, and
intellectual development (Kaymak, &
Faustmann, 2009). With the 1960 agreement, the
two communities found their place in the modern
world and became a rising value in the Eastern
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Mediterranean. The presence of 25 museums and
24 cinemas and theaters in Varosha (Maraş),
which is currently uninhabited, is an example of
cultural and artistic development. However, the
tension between the two communities continued
after the 1960 agreement and lasted until the
1974 peace operation, hindering the development
of the Turkish Cypriot community in all areas.
Examining Turkish Cypriot modern art, it can be
said that artworks with aesthetic concerns have
emerged in the last 30-35 years (İnatçı et al.,
2005).
I addition, the universities established in the
north of the island as a result of economic
policies after the declaration of the Turkish
Republic of Northern Cyprus in 1983 paved the
way for intellectual development. The support of
academics working within the university has
greatly contributed to the development of
museology and exhibition design in Northern
Cyprus. The graphics and exhibition
arrangements designed by Dr. Gökhan Okur (see
figure 4), an instructor at the Faculty of Fine Arts
of Near East University, for the Dr. Fazıl Küçük
Museum, serve as an important example of well-
planned exhibition and informative design,
highlighting the positive contribution of well-
planned ergonomics criteria to visitors'
experiences.
Figure 4. Dr. Fazıl Küçük Museum infographics (Okur, 2019)
At the same time, Near East University, one of
the universities on the island, has made
significant strides in museology, organizing
exhibition openings for the collection of the
Cyprus Modern Art Museum, which is still under
construction. The upcoming Günsel Art Museum
also serves as an example of Near East
University's investment in the development of art
on the island with a contemporary museological
approach.
There are various formulas for touring museum
areas and determining potential trends. This
system varies depending on the layout and
content of the exhibition area. In organizing the
exhibition area, an access graph suitable for the
layout is prepared, and visitors' possible trends
are evaluated based on this graph. Züleyha Aykut
suggests five possible graphic proposals for these
circulation Patterns (Kaymakçı, S., & Sever, İ. A.
2022; Aykut, 2017). See Table 1.
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Table 1.
Circulation types (Aykut, 2017)
1- Main road type circulation (Aykut, 2017)
2- Comb type circulation (Aykut, 2017)
3- Star Type circulation (Aykut, 2017)
4- Block Type circulation (Aykut, 2017)
5- Chain Type circulation (Aykut, 2017)
After examining the circulation types graphics, it
is understood that the most suitable type for the
current layout of the Günsel Museum is the star-
type circulation. The museum, designed on the
ground floor, shows a distribution towards the
exhibition areas from the central point accessed
by stairs. See Figure 5. To make this circulation
type operate more efficiently, infographics and
way finding signs can be added to the existing
layout to facilitate the audience's navigation.
Figure 5. Günsel Art Museum, Ground Floor Plan, Scale 1/50 (Ergün, 2023)
Direction and information graphic applications in
the museum, which has 15 exhibition areas, had
designed by Prof. Erdoğan Ergün, the head of the
Graphic Design Department of the Faculty of
Fine Arts and Design at Near East University,
who is also the director of the Günsel Art
Museum.
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It is observed that the directional and
informational graphics are designed according to
universal design principles, allowing the viewer
to have an easier and more perception-oriented
visit in terms of the 7 points mentioned earlier.
Exhibition spaces are not perceived as ordinary
places, part of daily life, but rather as spaces that
open the door to another world. This is because
the artworks they contain or display are also like
that. Richard Leppert describes images in his
book "The Sight of Meaning in Art" as follows:
"Images show us not the real world but a world
from worlds. Images represent these things;
representation, that is, re-presentation. Indeed,
the things represented by images may not be in
"reality"; they may only exist in the world of
imagination, fantasy, desire, dream, or fantasy"
(Leppert, 2002: 14). Inviting the viewer into this
world and enabling the communication between
the viewer and the image presented as part of this
world will only be possible with the right
creation of the atmosphere of this world. The
communication of art depends not only on the
artwork and the viewer but also on a time/space
need (temporal and spatial). In other words,
displaying art requires a specific space and time.
The lighting units, which are crucial for all these
conditions, are observed to be designed in
accordance with contemporary museology at the
Günsel Art Museum. The lighting units that are
effective in perceiving the artworks offer a two-
stage lighting design with main lighting
illuminating the main lines during exhibition
circulation and portable spotlights revealing the
artworks more. See Figure 6. Thus, viewers can
find their way between exhibition areas and gain
a better understanding of the artworks, allowing
people of all ages to perceive the artworks more
effectively. Therefore, by establishing the right
communication between the artwork and the
viewer, the content of the artistic message
becomes more understandable.
Figure 6. Lighting units in Günsel Art Museum (Günsel, 2023).
The analyses conducted reveal that the museum's
lighting design, spatial layout, and exhibition
methodology possess qualities in harmony with
universal design principles explored in the
literature review. Additionally, the strategic
placement and design of info graphics and
directional elements within the space will guide
visitors in finding their way and exploring the
artworks, enhancing the quality of their visit.
Consequently, when appropriately implemented,
these elements will transform the space into a
holistic environment functioning effectively in
every aspect.
In this context, the large wall marked in purple
(which welcomes visitor at the entrance) on the
museum plan provides information about the
general museum circulation. The numbering
method to be used in the yellow areas will guide
visitors in navigating the exhibition spaces.
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Figure 7. Günsel Art Museum suggested info graphics and number plates (Author, 2023)
: Info graphic : Number Plates for exhibition rooms
Discussion
Regarding to the research questions mentioned in
introduction, some points can be discussed as
outcomes of the analysis. In the context of
contemporary design principles, museum design
is characterized by an interdisciplinary approach
that incorporates education and research on a
global scale. In this sense, various disciplines
such as graphic design, interior architecture,
architecture, art history, museology, and
ergonomics collaborate in a cooperative effort to
create modern museum spaces. The easy
perceptibility of informational graphics, along
with the support of illumination for exhibited
works, museum spaces, and guidance, is a crucial
indicator of the necessity for collaborative efforts
in exhibition design and lighting design. By
aligning itself with the trends that have been
developing and implemented worldwide, North
Cyprus has simultaneously made significant
progress in the field of modern museology. The
experience gained from these initial
implementations foresees an improvement and
advancement in the near future.
Conclusions
The educational institutions established after
1974 play a crucial role in the education of art
students, directing and supporting the students in
academic research, and thus contributing
significantly to the discussion and adoption of art
in society. Especially over the past decade, the
symposiums and workshops organized by these
institutions and artists, showcasing artworks
produced and exhibited during these events, can
be cited as examples of increasing awareness. In
the context of this research, a temporary modern
art museum established within the Near East
University in the last 15 years, a city museum,
and ongoing construction of the largest modern
art museum in North Cyprus, alongside the
Günsel Art Museum, serve as examples of the
contributions of these educational institutions.
Simultaneously, ongoing art production is
regularly visited by the community, academics
and students affiliated with the institution
through monthly exhibitions. Artworks created
for significant days in the collective memory of
society and special exhibitions also serve to
refresh cultural memory. In this regard, the
cultural expression of art meets with artists from
different countries, enhancing diversity and
contributing to the cultural richness of the
Cypriot community.
As observed in the examples of the Dr. Fazıl
Küçük Museum and the Günsel Art Museum, the
steps taken in contemporary museology with the
contribution of experts in the field are indicators
that global practices are approached in
museology in Northern Cyprus. The efforts made
to participate in international competitions every
year and the effort to be present in these
competitions are inevitable results of all these
initiatives, indicating that Northern Cyprus will
participate in the race in terms of artistic
activities in the future and can be a visible
cultural showcase.
Art, in all its branches, is the most important
influence reflecting the cultural language and
history of a society. The more developed the
visual memory in art in a society, the higher the
culture and welfare level of the society will rise,
and it will gain an equivalent position among
modern civilizations.
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In addition, academic-based cultural initiatives
and initiatives, over time, become part of
everyday cultural cycles, nourishing the society.
Especially, activities carried out in places where
the public frequently visits not only bring the
culture of the North Cyprus to the international
platform but also integrate into the visual culture
of the people of North Cyprus, encouraging and
educating future generations to undertake more
comprehensive initiatives.
Recommendations
Based on the analysed data from this study, there
is a need for info graphics to be added to the
museum space and a numbering system to ensure
proper circulation. It has been observed that in
European practices, layers and colour systems
are considered for museums. Integrating the most
suitable system determined by graphic designers
into this museum would be beneficial in making
the museum more conducive to a comfortable
visit. The determination of these
recommendations through collaborative efforts
of the appropriate disciplines is the subject of
future studies and research.
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