Reclaiming public space
Basic information
Project Title
Reclaiming public space
Full project title
Interventions in public space: promoting social interaction, encouraging sense of responsibility and
Category
Regaining a sense of belonging
Project Description
In the village of Lympia (Cyprus), bordering the buffer zone, over the last three years residents have begun to reclaim their public spaces, adding colour and energy through artistic interventions. Without any warning on social media, residents gathered at project sites and spread the word of the interventions by word of mouth. To date, every project outing has turned into a street party, uniting the community.
Geographical Scope
Local
Project Region
Lympia village, Cyprus
Urban or rural issues
It addresses urban-rural linkages
Physical or other transformations
It refers to a physical transformation of the built environment (hard investment)
EU Programme or fund
No
Description of the project
Summary
One would expect that public spaces would be a vibrant element of the community in a village of around 3k inhabitants. But on a Mediterranean island with the most warm days of the year and little vegetation, cars determine the movements of the inhabitants, even if they are short journeys. Public spaces automatically lose their value and often become parking lots. Public walls remain unkempt and are a 'challenge' for any kind of intervention.
In 2020, the government provided the village square of Lympia (Cyprus) with beautiful paving and trees, but it remained without users, only cars could be seen driving through or parking in the space. The applicant wanted to draw villagers' attention to this situation. She found a wall facing the public square, obtained permission from the owners and produced a creative design concept.
The action did indeed attract people's attention. Neighbours, community leaders and drivers passing by stopped to see what was going on. After we showed the result on social media, people expressed their willingness to get involved in the actions. One project after another was born. We needed a group without no’s, without words like ‘wrong’, a group that knew no boundaries. This was a chance for people to create in the spirit of collaboration. More and more people of all ages joined the group for each activity, each project was sponsored by people or businesses from Lympia, and each time the drawing outing turned into a street party where neighbours opened their homes and cooked for everyone. The residents of Lympia are reclaiming public spaces of their village by taking care of it. After each project, the villagers got to know each other, strong bonds of communication and cooperation were formed. Everyone was welcome, drawing skills were not essential. The willingness of everyone to act, to offer something, to reclaim the public space and to give something back to the village and the community, arose.
In 2020, the government provided the village square of Lympia (Cyprus) with beautiful paving and trees, but it remained without users, only cars could be seen driving through or parking in the space. The applicant wanted to draw villagers' attention to this situation. She found a wall facing the public square, obtained permission from the owners and produced a creative design concept.
The action did indeed attract people's attention. Neighbours, community leaders and drivers passing by stopped to see what was going on. After we showed the result on social media, people expressed their willingness to get involved in the actions. One project after another was born. We needed a group without no’s, without words like ‘wrong’, a group that knew no boundaries. This was a chance for people to create in the spirit of collaboration. More and more people of all ages joined the group for each activity, each project was sponsored by people or businesses from Lympia, and each time the drawing outing turned into a street party where neighbours opened their homes and cooked for everyone. The residents of Lympia are reclaiming public spaces of their village by taking care of it. After each project, the villagers got to know each other, strong bonds of communication and cooperation were formed. Everyone was welcome, drawing skills were not essential. The willingness of everyone to act, to offer something, to reclaim the public space and to give something back to the village and the community, arose.
Key objectives for sustainability
Sustainable practices support environmental, human and economic health and vitality and meet the needs of current generations without compromising the needs of future generations. The goals of sustainability are at the heart of the project and its main objectives; the project proposes five main goals related to sustainability. Firstly, the ecological factor, to improve the overall ecological aspects of the public space and incorporate planting initiatives. Secondly, the human factor, to create a sense of community, socialisation, coexistence and cooperation between villagers. Thirdly, the economic factor to promote local artisan businesses and create a place for tourism development. Fourthly, the health/well-being factor, to improve the general well-being of the community through the events themselves and to energise the village (vitality).
These objectives were achieved through the following measures: Ecologically improved spaces through planting, garbage cans, benches, a cleaner environment and less rubbish. Residence (human factor),embrace the effort and they come together for a common goal. Economically, thanks to the activity of its inhabitants, the village has become a tourist destination and is attracting more and more events. This provides the inhabitants of the village with an economic livelihood. In terms of health/well-being, life has been given back by improving spaces, socialising and reducing loneliness. Vitality was evident, with results that strengthened relationships between residents, promoting cooperation, respect and solidarity. People who wanted to give back to the community found a creative way to do so.
These objectives were achieved through the following measures: Ecologically improved spaces through planting, garbage cans, benches, a cleaner environment and less rubbish. Residence (human factor),embrace the effort and they come together for a common goal. Economically, thanks to the activity of its inhabitants, the village has become a tourist destination and is attracting more and more events. This provides the inhabitants of the village with an economic livelihood. In terms of health/well-being, life has been given back by improving spaces, socialising and reducing loneliness. Vitality was evident, with results that strengthened relationships between residents, promoting cooperation, respect and solidarity. People who wanted to give back to the community found a creative way to do so.
Key objectives for aesthetics and quality
In Lympia, a village on the buffer zone with local boundaries and movement restrictions due to the occupied territory, villagers came together to reclaim public spaces in their village.
The main objectives of the project in terms of aesthetics and the quality of the experience for people were:
- To produce work/art by the people for the people.
- To encourage collaboration between the inhabitants of the village to reclaim the public space
- To produce an aesthetically acceptable result in the 'place' that enhances the quality of the public space and thus the quality of life of the residents.
- To make everyone welcome and accepted during the activities
The above was achieved by:
- The appeal to the residents of the village was open. The message was passed on that the action would not be announced via social media, but by word of mouth. The villagers learned that when they saw a gathering of people, colours, brushes and music, they could be integrated into the group on the spot. No previous artistic knowledge or special skills were required.
- Those who wanted to contribute to all phases of the implementation of a project approached the organizer or another person who participated in all the excursions and asked to be involved at the stage of brainstorming, preparing the space, materials, etc.
- Everyone's opinion was important. Even if there were differences of opinion, a joint recommendation was reached through dialogue. The rule was that no one would put limits on the ideas and thoughts of the participants, the words 'no' and 'can not' were not part of the discussion. Life and modern societies already place so many limits and 'no's' and 'can'ts' on humanity that it would be refreshing if people could contribute and produce freely.
- The participants who directly saw how the ideas and the project were realized could feel the satisfaction and motivation to continue the action.
The main objectives of the project in terms of aesthetics and the quality of the experience for people were:
- To produce work/art by the people for the people.
- To encourage collaboration between the inhabitants of the village to reclaim the public space
- To produce an aesthetically acceptable result in the 'place' that enhances the quality of the public space and thus the quality of life of the residents.
- To make everyone welcome and accepted during the activities
The above was achieved by:
- The appeal to the residents of the village was open. The message was passed on that the action would not be announced via social media, but by word of mouth. The villagers learned that when they saw a gathering of people, colours, brushes and music, they could be integrated into the group on the spot. No previous artistic knowledge or special skills were required.
- Those who wanted to contribute to all phases of the implementation of a project approached the organizer or another person who participated in all the excursions and asked to be involved at the stage of brainstorming, preparing the space, materials, etc.
- Everyone's opinion was important. Even if there were differences of opinion, a joint recommendation was reached through dialogue. The rule was that no one would put limits on the ideas and thoughts of the participants, the words 'no' and 'can not' were not part of the discussion. Life and modern societies already place so many limits and 'no's' and 'can'ts' on humanity that it would be refreshing if people could contribute and produce freely.
- The participants who directly saw how the ideas and the project were realized could feel the satisfaction and motivation to continue the action.
Key objectives for inclusion
The main objectives of the project in terms of inclusion was for:
- People of all ages (children to the elderly)would be able to participate.
- Organisers would ensure people with disabilities and people with fewer opportunities would have the opportunity to engage.
- The activities were based on a voluntary offer, so there were no participation costs for the participants. It was social work people offering in their village without money directing or controlling any part of the action.
The above was achieved through:
- The participation of people aged 4 to 70, people with disabilities and fewer opportunities were integrated into the group. In addition to the actions, children with delinquent behaviour were integrated after the mediation of a social worker to perform the social work imposed on them by the court.
- The only financial costs of the actions were the purchase of materials and equipment, which were covered each time by the people in the village and by companies that wanted to support the action financially. At no time were sponsors approached, on the contrary, the sponsors approached the people carrying out the actions to make their offer.
- People of all ages (children to the elderly)would be able to participate.
- Organisers would ensure people with disabilities and people with fewer opportunities would have the opportunity to engage.
- The activities were based on a voluntary offer, so there were no participation costs for the participants. It was social work people offering in their village without money directing or controlling any part of the action.
The above was achieved through:
- The participation of people aged 4 to 70, people with disabilities and fewer opportunities were integrated into the group. In addition to the actions, children with delinquent behaviour were integrated after the mediation of a social worker to perform the social work imposed on them by the court.
- The only financial costs of the actions were the purchase of materials and equipment, which were covered each time by the people in the village and by companies that wanted to support the action financially. At no time were sponsors approached, on the contrary, the sponsors approached the people carrying out the actions to make their offer.
Results in relation to category
Regaining a sense of belonging.
The results of the above action were the reclaiming of public space by local residents, the activation of local residents, the redefinition of public space as a place, the warm embrace of all local residents for the effort and the coming together of the community for a common goal.
The result was strengthening relationships between residents, fostering collaboration, respect and solidarity. People who wanted to give back to the community found a creative way to do so. Many children were involved and we believe that the experience is now a memory for them, like a seed planted in their minds that can sprout and blossom in the future.
In addition, Lympia is a village that is connected to the buffer zone and can only expand to a limited extent due to its geographical location. The buffer zone is to the north of the Island of Cyprus, the highway to the south of the village, the industrial area to the east and another village to the west. Nevertheless, in response to the activity of its inhabitants, the village has developed into a tourist destination and is attracting more and more events. Art festivals, music festivals, bars and cafés have opened, markets are set up in village square, an art museum is about to open in the village, young people are organizing events like treasure handing(using the art interventions in public space as reference points to solve the puzzle) with hundreds people attending from all over island. Any benevolent action can attract similar actions. Human energy invested in a place attracts attention and thus creates perspectives.
The results of the above action were the reclaiming of public space by local residents, the activation of local residents, the redefinition of public space as a place, the warm embrace of all local residents for the effort and the coming together of the community for a common goal.
The result was strengthening relationships between residents, fostering collaboration, respect and solidarity. People who wanted to give back to the community found a creative way to do so. Many children were involved and we believe that the experience is now a memory for them, like a seed planted in their minds that can sprout and blossom in the future.
In addition, Lympia is a village that is connected to the buffer zone and can only expand to a limited extent due to its geographical location. The buffer zone is to the north of the Island of Cyprus, the highway to the south of the village, the industrial area to the east and another village to the west. Nevertheless, in response to the activity of its inhabitants, the village has developed into a tourist destination and is attracting more and more events. Art festivals, music festivals, bars and cafés have opened, markets are set up in village square, an art museum is about to open in the village, young people are organizing events like treasure handing(using the art interventions in public space as reference points to solve the puzzle) with hundreds people attending from all over island. Any benevolent action can attract similar actions. Human energy invested in a place attracts attention and thus creates perspectives.
How Citizens benefit
The villagers were the beginning and the end of the projects. From deciding on the location where they wanted to interact, to the ideas for concept design, funding and implementation. Even after the drawing projects were completed, they were the ones enjoying them and guiding tourists to their discovery.
Even people who were not involved in the whole process are actively benefiting from the public space, which now plays a different role in the community. The village square is no longer only used by cars, but also by other people. Art festivals, bazaars, social events such as Christmas parties, events, weddings, lectures, hidden treasure games involving paintings in solving puzzles and involving hundreds of people, etc. are organised on it. A museum with the theme 'lithography art' is also being set up in a building on the square‘. A new café has opened its doors on the square and the church in the middle of the square is currently being restored.
The candidate's initial reflections on the under-functioning of the village square, on the need to redefine the meaning and function of public space and the square in particular, thus seem to have yielded some results. Art and local engagement in the way described above was the way through which the use and meaning of the public space was redefined.
Even people who were not involved in the whole process are actively benefiting from the public space, which now plays a different role in the community. The village square is no longer only used by cars, but also by other people. Art festivals, bazaars, social events such as Christmas parties, events, weddings, lectures, hidden treasure games involving paintings in solving puzzles and involving hundreds of people, etc. are organised on it. A museum with the theme 'lithography art' is also being set up in a building on the square‘. A new café has opened its doors on the square and the church in the middle of the square is currently being restored.
The candidate's initial reflections on the under-functioning of the village square, on the need to redefine the meaning and function of public space and the square in particular, thus seem to have yielded some results. Art and local engagement in the way described above was the way through which the use and meaning of the public space was redefined.
Physical or other transformations
It refers to a physical transformation of the built environment (hard investment)
Innovative character
The main actions of the project were the appropriation of public space and the creation of art interventions in this space. The action was carried out by the residents of the community on a voluntary basis and the cost of the materials was sponsored by residents and local businesses who wanted to help in any way they could, in their case financially.
The innovation of the above actions lies in the fact that the organization's approach was in the spirit of free expression, with no one dictating the development of each project. We believe that this is the reason why this action was able to last for 3 consecutive years, during which over 30 art interventions were carried out in the village.
The whole action ultimately served as a mechanism for residents to reactivate public spaces, socialize, interact and cooperate with each other and with the local government. On a personal level, the participants managed to get out of the 'box' that modern society, technology and the coronavirus impose on people. They were able to care for and love each other, both in public spaces and more generally in their wider home, their village.
Normally there is no continuity in art interventions in space after the individual execution of the project. The artists who are invited to visually intervene in the space are individuals who alone realize the work, which remains in the space for as long as it lasts, and it is accepted that in street art there will eventually be another art intervention in the same place, whether wisely or unwisely.
In contrast, in the example in Lympia village, the project was carried out by the residents of the village and has lasted over 3 consecutive years so far. This simultaneously created a sense of respect, as all plans were maintained without informal interventions by individuals.
The innovation of the above actions lies in the fact that the organization's approach was in the spirit of free expression, with no one dictating the development of each project. We believe that this is the reason why this action was able to last for 3 consecutive years, during which over 30 art interventions were carried out in the village.
The whole action ultimately served as a mechanism for residents to reactivate public spaces, socialize, interact and cooperate with each other and with the local government. On a personal level, the participants managed to get out of the 'box' that modern society, technology and the coronavirus impose on people. They were able to care for and love each other, both in public spaces and more generally in their wider home, their village.
Normally there is no continuity in art interventions in space after the individual execution of the project. The artists who are invited to visually intervene in the space are individuals who alone realize the work, which remains in the space for as long as it lasts, and it is accepted that in street art there will eventually be another art intervention in the same place, whether wisely or unwisely.
In contrast, in the example in Lympia village, the project was carried out by the residents of the village and has lasted over 3 consecutive years so far. This simultaneously created a sense of respect, as all plans were maintained without informal interventions by individuals.
Disciplines/knowledge reflected
During the design and implementation of the project, a variety of key disciplines were involved. The team coordinator is an architect/artist and an active member of the community of Lympia. Through her multiple roles these key areas of knowledge are reflected in the design and implementation of the project.
As an architect, she reviews the selection of the appropriate surface for interaction; as an artist, she guides the team to make an aesthetic drawing proposal with the right messages. She was also able to see the pathology of the building or surface to be interacted with in order to talk to the material supplier about the right methodology and materials to use.
The community leader informed about other technical issues that could affect the action, such as problems with sewerage and water supply in certain places, future plans for interaction with the government in the proposed areas and solutions for lighting the public space.
Furtermore after each drawing, the local council became involved in the actions and installed seating/benches and garbage cans to support the newly created meeting place.
As an architect, she reviews the selection of the appropriate surface for interaction; as an artist, she guides the team to make an aesthetic drawing proposal with the right messages. She was also able to see the pathology of the building or surface to be interacted with in order to talk to the material supplier about the right methodology and materials to use.
The community leader informed about other technical issues that could affect the action, such as problems with sewerage and water supply in certain places, future plans for interaction with the government in the proposed areas and solutions for lighting the public space.
Furtermore after each drawing, the local council became involved in the actions and installed seating/benches and garbage cans to support the newly created meeting place.
Methodology used
It was not a one-man show, but a community project. Co-creation and participatory methods were applied and everyone was welcome to participate simply by showing up at an event. Those who participated more regularly were added to a group chat on social media to coordinate each event. We called this group ‘Ta Lympiana’ (which means 'people from Lympia'). As previously documented, there was no ‘no’ and no wrong with opinions, thoughts and ideas. We needed an environment where everyone could freely express their ideas and implement or develop them under the care and love of more people. We believe that this method is the reason that people stick with these actions and that these events have continued for over 3 years, with 30 drawings in the public space of the villages.
Each action was coordinated so that the people who wanted to participate (the number of participants ranged from 10 to 40 people of all ages) had paint and brushes available to join in immediately. Therefore, there was a coordinator for each activity who was responsible for distributing the work to the participants and monitoring the progress of the painting. The coordinator was also the one who could recognise the skills or weaknesses of the participants in terms of the artistic level of the painting and assign them difficult or easy points accordingly. The ‘Lympiana’ (the people who formed the core and were present at each drawing) undertook to collaborate with the coordinator, and as they carried out the project, they helped the participants with any difficulties or questions. The core of the team was the backbone of each action, responsible for the success and completion of the project and also supporting the 'flesh', the other participants who showed up and wanted to get involved.
Each action was coordinated so that the people who wanted to participate (the number of participants ranged from 10 to 40 people of all ages) had paint and brushes available to join in immediately. Therefore, there was a coordinator for each activity who was responsible for distributing the work to the participants and monitoring the progress of the painting. The coordinator was also the one who could recognise the skills or weaknesses of the participants in terms of the artistic level of the painting and assign them difficult or easy points accordingly. The ‘Lympiana’ (the people who formed the core and were present at each drawing) undertook to collaborate with the coordinator, and as they carried out the project, they helped the participants with any difficulties or questions. The core of the team was the backbone of each action, responsible for the success and completion of the project and also supporting the 'flesh', the other participants who showed up and wanted to get involved.
How stakeholders are engaged
Community leaders and community workers were the main supporters of the actions. Most of the sites were public, so permission had to be obtained from the local council. Sometimes the site had to be cleaned or repaired before painting. In some cases we were asked by the council to paint certain places. Everyone saw the positive impact on the public space and embraced the idea, thinking about where the change could also take place by suggesting possible areas to paint. Funding was also an important point. The local council sponsored enough projects, the villagers also provided money for this purpose and also businesses who generally support community change projects.
Global challenges
Technology plays a dominant role in people's lives and is the driving force behind 'modern' society and lifestyles. Its use can easily take on harmful proportions, cutting people off from themselves and society. The gap between people is widening because of the screen, which is an extension of our being, and the public space (once a space of communion and gathering of people) is beginning to lose its value and role. As social bonds become further apart, so do our methods of communication with one another. It is important to redefine public space as a place and perhaps adapt to the new data of the 'modern' technological world and tackle these issues of socialization and communication before it is too late.
Therefore, people living in small communities can keep the sense of communalization, coming together, collaboration and voluntarism alive through actions like these, claiming public spaces through art. Change is easier if it starts locally and then spreads globally.
Therefore, people living in small communities can keep the sense of communalization, coming together, collaboration and voluntarism alive through actions like these, claiming public spaces through art. Change is easier if it starts locally and then spreads globally.
Learning transferred to other parties
The whole action could be carried out in villages or towns in Cyprus, within the EU and Internationally, either by the group to which the action refers or by new groups seeking concrete change in their locality. The methodology and concept are relatable to all and can be adopted by all members of the community. All that is needed is for at least one key person to take the first step in organization. One person with pure intentions and no pursuit of financial gain, following the initiation more people will follow; sponsors and funding opportunities will emerge.
The importance of the methodology is that it does not dictate a specific design or design outcome. The methodology promotes co-creation and participatory design of citizens, allowing all members to participate, create and enjoy in the context of their public spaces.
The importance of the methodology is that it does not dictate a specific design or design outcome. The methodology promotes co-creation and participatory design of citizens, allowing all members to participate, create and enjoy in the context of their public spaces.
Keywords
Art
Public Space
Inclusion
community projects
public interaction
