„Skarb w skrzyni, skrzynia pośród skarbów”: promocja lokalnego dziedzictwa kulturowego i sztuki poza obiektem muzeum. Studium przypadku Starego Miasta w As-Sulajmanijja

Shayan Al Zangana, Bartosz Kaźmierczak, Anna Kulig, Dominika Pazder

doi:10.37190/arc220109

Streszczenie

W prezentowanym artykule podjęto zagadnienia dotyczące relacji pomiędzy zamkniętą przestrzenią muzeum a otwartą przestrzenią publiczną w kontekście promocji sztuki i dziedzictwa kulturowego. Muzeum traktowane jest w nim jako „skrzynia ze skarbem”, a przestrzeń publiczna jako okazja do wyeksponowania skarbu „poza skrzynią”. Autorzy skupili uwagę na sposobach rozszerzenia oddziaływania muzeum do przestrzeni publicznej i zatarcia granic między obiektem muzealnym a jego otoczeniem. Artykuł ma na celu przedstawienie badania empirycznego opartego na podejściu fizjonomicznym, które może okazać się użytecznym narzędziem promocji kultury i sztuki w miejscu kultury określonym przez autorów jako specyficzny typ przestrzeni publicznej. Wyniki badań przedstawiono na podstawie wybranego studium przypadku, czyli strategii rozszerzenia funkcji muzealnych o przestrzeń publiczną, realizowanych w ramach planowanej interwencji miejskiej.

Podgląd pełnego artykułu jest możliwy wyłącznie na większych ekranach.

2022

1(69)

DOI: 10.37190/arc220109

Shayan Al Zangana*, Bartosz Kaźmierczak**, Anna Kulig***,

Dominika Pazder****

“Treasure in a box, a box among treasures”:

promotion of cultural heritage and art outside of a museum facility.

Case study of Old Town in Sulaymaniyah

Introduction

The issues discussed herein concern relations between

enclosed space of a museum and open public space in the

context of displaying art and material cultural heritage

outside of a museum facility. The underlying assumption

is to promote the values of local cultural heritage and to

expose the historical assets of the built tissue. To attain

this goal, it is necessary to furnish public space with tem-

porary street furniture, whose modern attire and attractive

form may encourage passers-by to spontaneously and

intuitively explore “treasures” that might otherwise be

passed by without being consciously acknowledged. The

authors used a play on words, suggesting that “treasure”

can imply artefacts of culture, art and local heritage dis-

played in enclosed space of a museum as well as public

space which is able to properly expose historical or cul-

tural resources. Pop-up architecture shall be understood as

a method of designating or indicating specic elements of

space, and attracting attention thereto in some volatile and

changeable way, in a general or specic sense, incorporat-

ing historical artefacts or their modern interpretations, in

the form of a single element or their combination. All that

to draw the attention of the viewer to a particular place,

facility or semantic value of space, to provide the viewers

with the venue where a space can be sensed, even momen-

tarily, and to encourage them to further explore the hidden

options. Pop-up architecture might be perceived as a spe-

cic form of a trailer or an advert inviting the visitors to

enter the museum, at the same time, it will visually revive

public space. Pop-up architecture

makes the most of tiny

spaces for maximum aesthetic and visual impact. Tempo-

rary structures of pop-up architecture transgress the bar-

riers of architecture, are light (in the physical sense), yet

their semantic meaning might play a signicant role in the

promotion of vital contents.

The leading theme of the article is the identication of

methods of promotion of local heritage, culture and art

outside of a “box” (here: a museum facility). Such promo-

tion is particularly important because public space is our

common welfare [1], free, accessible and belonging to all

citizens [2]. As such, it stands a good chance to become

a vital data carrier on historical and cultural resources of

a given town. The main idea was to expand the impact

of the “treasure” beyond the enclosed space of a museum

building to include streets, municipal squares, parks and

other types of public space – understood as spaces facili-

tating indirect or direct interaction between individuals

and social groups. The Latin word of public space means:

public, belonging to the state, established, general. Public

space is available to everybody and the only limitations

concerning its use are imposed to maintain law and or-

der [3]. The considerations take into account the role of

https://www.archdaily.com/

* ORCID: 0000-0003-1851-5574. Kurdistan Technical Institute,

Sulaimaniyah Heights, Sulaimanyah, Iraq.

** ORCID: 0000-0003-4933-8451. Faculty of Architecture, Poznan

University of Technology, Poland.

*** ORCID: 0000-0003-2845-0145. Faculty of Architecture, Cracow

University of Technology, Poland.

**** ORCID: 0000-0002-0071-3540. Faculty of Architecture, Po-

znan University of Technology, Poland, e-mail: dominika.pazder@put.

poznan.pl

Published in open access. CC BY NC ND license

104 Shayan Al Zangana, Bartosz Kaźmierczak, Anna Kulig, Dominika Pazder

fers opportunities for pop-up architecture in order to con-

nect the past and the present and to highlight the unique

values that are not always fully accessible or suciently

exposed. The presented research was intended to map the

borderlines of a system of cultural spaces that oer the

best possibilities for installing thereon street furniture

and pop-up architecture facilities, understood here as an

urban intervention introduced to promote local material

culture outside of a museum facility. Cultural venues are

understood as a specic type of downtown public space,

characterized with cultural heritage and modern cultural

assets and with the existing or potential opportunities for

cultural promotion. These may include: complexes of

buildings, urban interiors (streets, squares) or green areas

[23]. Such a system is envisaged to increase the impact of

individual interventions.

The presented studies are intended as a starting point

for further discussions on the necessity to re-dene the role

of museums in Kurdish towns and to identify proper tools

to harness public space as the carrier of culture and local

heritage. In this respect, the article lls in a certain gap in

knowledge as this topic has never been analyzed from this

perspective. It is the goal of this article to diagnose the

problem and to start a scientic discussion thereon in the

sense of broad research.

Within the framework of the adopted methodology of

urban studies, the existing development potential has been

identied and options of how this potential can be used

and promoted have been proposed. The results of such

research have been assumed to underlie the sequence of

urban interventions to be made in the form of elements of

pop-up architecture or street furniture following the pro-

posed strategy. The presented results can easily become

a starting point for further research in the area of ethnog-

raphy, sociology and culture to identify in detail how the

space shall be shaped in harmony with cultural identity

and local needs but also in compliance with quality and

attractiveness in their up-to-date sense. Only subsequent

stages of the multi-faceted studies can fully answer the

question how the presented urban research on

the creation

of places in spatial context and allocating therein elements

of pop-up architecture shall be implemented in practice.

Theoretical background

Re-definition of contemporary role and model

of a museum

From the end of the 19

century, the role of a museum

has undergone many transformations. It no longer focuses

only on the protection of exhibits, but also on the manner

of their exposure and educational opportunities, under an

focused on perception, in which aesthetic criteria represent signicant

guidelines underlying the way urban space is shaped (Granö [16], Le-

wicka [17], Norberg-Schulz [18], Łuczyńska-Bruzda, Środulska-Wiel-

gus [19], Gehl [20], Arnheim [21], [22]).

The article presents options of how the original method tested in

Poland and intended to dene the system of interconnections between

cultural spaces in the downtown area can be applied [23].

a museum in its contemporary meaning, i.e., when it is no

longer an inaccessible temple of art but has transformed

into a more inclusive space, open to visitors and the sur-

roundings, and into a place serving new, utilitarian func-

tions [4], [5].

The research is intended to redene the role of a mu-

seum and its interrelations with public space in the context

of local heritage promotion. “Can an open-air display be-

come a way of allocating new meaning to public space?”

was the main question of our research, which was con-

ducted on a case study of the Old Town in Sulaymani-

yah

. Sulaymaniyah has been selected for the studies due

to its unique cultural values and local traditions but also

for the reason of its spatial and functional problems that

are representative of other Kurdish cities. The city is con-

sidered to have been a hub of the Kurdish culture since the

cen tury. It is even called the “Paris of Iraq”. A popular

saying maintains that “culture drives Slemani”

. UNESCO

has listed Sulaymaniyah as a “Creative city (City of lite -

rature)”

. The Kurdish Parliament called the city the “Ca-

pi tal of enlightenment of Kurdistan”

. The study also

intended to research the problems the city had, i.e., poor

ac cessibility to cultural resources, natural vibrancy of pub-

lic space with no proper urban furniture and illumination

and the Old Town area dominated by commercial and

commu nication functions. What is more, Sulaymaniyah,

as well as other Kurdish cities, absolutely lack any modern

management of museums. Despite the fact that local mu-

seums oer extensive and highly attractive collections,

they are not popular with visitors, including young peo-

ple. This conclusion has become our prevailing objective

to analyze this issue further herein.

The presented research has been limited to the spatial

level. The applied methodology was intended to identify

therein the existing potential and to provide guidelines as

to the development direction (on the basis of a delimited

system of interconnections) that might successfully in-

crease the cultural oer and quality of space via the in-

troduction of art works therein. The empirical survey was

based on the physiognomic approach used in the urban

study

. That method can be used to delimit space that of-

The name Sulaymaniyah is used in English, it, however, originates

from an ocially adopted Arabic name: السليمانية [https://gov.krd/

boi-en/why-kurdistan/region/facts-gures/]. Nonetheless, the Kurdish

name: سلێمانی) has many dierent translations: Slemani, Sulaimaniya,

Sulaymaniah, Sulemania, Sulaimani, Sulaimania, sources: https://kissr.

edu.iq/english/about-slemani/, http://bot.gov.krd/sulaimaniya-province/

sulaimaniya, https://thekurdishproject.org/kurdistan-map/iraqi-kurdistan/

sulaymaniyah-slemani/, https://mapcarta.com/Sulemania_Governorate,

https://movemobility.nl/citylab-housing-conference-in-sulaimani/, Soane [6].

https://www.youtube.com/watch?v=8v1U1UNoEfc

Source: https://en.unesco.org/creative-cities/slemani

https://www.parliament.krd/news

The presented research methodology borders on “action research”

and heuristics, methods focused on solving practical rather than basic

problems. Their research tools include: description, explanation, inter-

pretation, study of literary references, observations [7]. The research

presented herein includes the diagnosis of the existing spatial status quo

in reference to methods of physiognomic assessment used among others

by Lynch [8], Trieb [9], Cullen [10], Ashihara [11], Szolginia [12], Doul-

liez [13], Wejchert [14], Simonds [15], and in reference to the research

“Treasure in a box, a box among treasures”: promotion of cultural heritage and art outside of a museum facility. Case study 105

assumption of a pro-social and cost-ecient orientation.

Thus, museums encourage visitors to engage in self-ed-

ucation and enhance their feelings of dignity and pride.

Conversion of museums into centers of local or regional

development has furnished them with new functions, e.g.,

cultural promotion, active participation in the life of local

communities, co-creation of future values on the basis of

historical legacy, promotion of the internal cultural poten-

tial, etc. Traditional museums are becoming obsolete. We

can observe the trend of replacing museum facilities with

new, highly specialized centers, in particular in the area of

history and technology and local heritage, mainly focused

on the needs of local communities [4]. The key change in

the manner of cultural heritage presentation is its interpre-

tation. The new interpretation entails the educational activ-

ity intended to stimulate the feelings and to create associa-

tions via the application of original artifacts, illustrations

and notes, replacing mere presentation of facts [4]. This

new role of museums further focuses on active discovery

of various layers of heritage by the visitors and users [24].

A contemporary museum should not only facilitate cre-

ation but also allow active reception of art and culture.

It should become space fostering cultural education and,

thus, the museum “templum” formula must give way to

the “forum” formula, i.e., a place where artists, works and

visitors can all meet together. Contemporary museums

are perceived as active centers of cultural and educational

promotion, hosting meetings and discussions to support

the displays of exhibits and combine the usual museum

functions with its educational role [25]. In its denition

of a museum as an institution, the International Council

of Museums (ICOM) stresses four main aspects of a new

museum model in the service of society and its develop-

ment. These include an emotive aspect (perception of

exhibits entails relevant emotions, sensations and cogni-

tion), an aesthetic aspect (a museum satises the need for

contact with beauty), a cognitive aspect (the presented

exhibits are to contribute to quick and easy acquisition of

knowledge) and nally, an educational aspect (acquisition

of humanistic philosophy shall be superior to acquisition

of knowledge only from words that spin just narratives,

here an individual can actually sense the original things).

A new meaning of the museum role refers to the need for

inspiring, stimulating interests, shaping personality and

identity in a sense of a certain continuum. This can give

us all a feeling of safety in a continuously changing world

and strengthen the feeling of group belonging and adher-

ence to a given culture. ICOM recommends displaying

exhibits for the purposes of research, education and en-

tertainment [5].

Wide context, in which contemporary culture operates

at present, requires a new approach to the works that are

its parts. To become acknowledged in public space, they

need to be created but, above all, they must be addressed

to the public audience to foster interaction. The relation-

ship between a work of art and the recipient, understood

as a balancing system for the creator and work, is becom-

ing more and more important. New perception of culture,

through the prism of participation therein, is prevailing

because new cultural undertakings are subjected to assess-

ment of the creative act itself as well as of the artistic or

aesthetic value of the created works, including their capac-

ity for performing relevant social functions [26]. This ap-

proach resembles pragmatist aesthetics [27], which high -

lights a new role of art, i.e contact with art and aesthetic

emotions it evokes can enrich our social relations. John

Dewey [28] was of the opinion that aesthetic emotions

were not limited to the perception of high art because the

aesthetic feeling might be triggered with anything that

was able to properly capture people’s attention and excite

their emotional state [29]. In view of maintaining balance

between an aesthetic feeling and life experience, art is

deemed as a dynamic process that can add value to human

life and progress [30].

Promotion of art and culture might also have impact on

economy. As Krzysztof Broński [31] underlines, in terms

of market economy, heritage related products must be -

nancially measurable, whereas the potential of heritage

assets is almost limitless from the perspective of creating

innovative products in the eld of heritage. Taking advan-

tage of the nancial potential, inherent in cultural heritage,

is a must, accounting for the protection of the resources of

the past, which may lay the foundations for working up

an attractive tourist oer. The specics of creating heri-

tage products consists in balancing the needs of potential

users and the existing cultural assets. This distinguishes

heritage from any other market products. In no other in-

dustry sector, the relation product-consumer is a one-time,

unique relation. Its subjective reception means that one

and the same product seen, visited or listened to by vari-

ous recipients/users/visitors/audience will each time carry

dierent message content. Moreover, due to technological

progress, the same resources can be exposed by a variety

of means selected to satisfy individual tastes of the users

as well as to meet relevant social and economic conditions

[31, pp. 220, 221].

Pop-up architecture makes up a specic type of an in-

tervention characterized with changeable functions and

locations. Temporary pop-up installations play with the

surprise element that enables them to break the limits of an

architectural model of permanence and non-changeability.

Here, all range of innovative solutions can be used, in-

cluding new technologies and media customized to the

current and particular needs of a given place. Pop-up solu-

tions, in-built in the urban tissue, are to maintain the iden-

tiability and local identity and, at the same time, create

space that can be further modied and adapted [32]. This

way, it is possible, without interference with or devasta-

tion of the existing tissue, to dene anew the urban space

models that will refrain from depriving traditional archi-

tecture of its role of a carrier of local identity [33]. It is

important to note that pop-up architecture may also serve

this data carrier role in a situation where the resources of

the surrounding space are not but can be suciently ex-

posed once new, attractive elements are installed therein.

The idea behind pop-up installations is to reach the users

already present in relevant vibrant places [32, p. 63] that

are of poor visual quality, are provided with poor func-

tional oer or are spatially unattractive. The concept of

exhibiting artefacts in public space, outside of a museum

106 Shayan Al Zangana, Bartosz Kaźmierczak, Anna Kulig, Dominika Pazder

boundaries, is also connected with the idea of placemak-

ing – Hiesigkeit [34]. It is based on local social, cultural

and economic conditions arising from specics of a given

place – usually declining or dormant, daily life routines.

Their activation is a real “journey” [35] that entails direct

and numerous contacts between placemaking initiators,

stakeholders and potential key players in the civic society

to induce their need of integration [36].

In this sense, public space that serves the role of art and

local heritage exposure and promotion may be perceived

as a right setting, in which the users will be engaged into

a predened, urban choreography to play their daily life

scenes on the temporary urban stage [37]. It is so as to

stimulate them to actively participate in the cultural oer

and social interaction [23, p. 14]. Piotr Lorens [38] coins

the concept of theming so as to describe this phenomenon.

Theming can be dened as conscious and intentional al-

location of meaning to space through introduction therein

of various architectural forms.

It is important to search for the new and innovative

solutions to improve the level of public space attractive-

ness and bring back pride of local identity. The loss of

a sense of belonging can have a negative impact both on

cities and inhabitants [39, p. 18]. It is also important to

inspire public participation in the preservation of local

heritage through a holistically perceived image of the city

or a place. That can eectively reinforce the sense of be-

longing [40].

Analyzing local heritage and cultural context

of Kurdistan

Kurds are a 40 million nation, their homeland is called

Kurdistan “land of Kurds” [41]. The Iraqi Kurds have

their own independent region called the Kurdistan Region

of Iraq with the population of 5–6 million.

Kurds have a rich culture that has developed through

a variety of lifestyles, starting from the Nomadic lifestyle

in the Zagros Mountains, followed by the period of agri-

cultural settlers, who next, to a large extent, migrated to

the cities for social and political reasons. It is also worth

noting that despite living in a country where Islam pre-

vails, Kurds also have other religions such as Zoroastrian,

Baha’ism, Yazidi, etc. which they keep practicing even to-

day [41]. This diversity combined with modern and global

inuences has rendered a set of unique features that distin-

guish the Kurdish culture.

Hierarchy and Kinship

As for a long part of their history, Kurds used to live

a tribal life, the hierarchy in the family and the community

has become a key element of the culture. It has been so

deeply rooted therein that no modern lifestyle has man-

aged to undermine this socially imposed hierarchy [42].

Privacy and gender separation

This aspect of culture has been strongly inuenced by

religion (the majority of Kurds are Muslims). Privacy has

largely contributed to the culture as well as to the built en-

vironment. Nonetheless, it shall be noted that as compared

to other Muslim nations, Kurdish women enjoy more free-

dom [42].

Hospitality

Kurdish people are very hospitable not only towards

their relatives but also foreigners. This is another aspect

that distinguishes the Kurdish culture.

Entertainment and celebrations

Kurds are very fond of all types of celebrations. Re-

ligious, national and seasonal festivities play an impor-

tant role in the lives of the Kurdish people. Apart from

these, there are also many family occasions celebrated at

homes with relatives [42]. Major events are celebrated in

public urban spaces (in the city centers or resorts popular

for picnics). Religious celebrations are usually more gen-

der separated than the national Banking Holidays such as

“Nawroz” (the Kurdish/Iranian New Year).

Historical and cultural determinants

of the Sulaymaniyah city

Apart from the above described specics, the city of

Sulaimanyah features its own culture that distinguishes it

from any other Kurdish cities. As one of the biggest cit-

ies, it can pride itself on the richest culture and aspire to

the name of the literary center of the Kurdistan Region. It

was founded in 1784 by the Baban Principality [43] and

throughout its history, Sulaymaniyah has housed great

poets, writers and public gures of Kurdistan. This has

created unique atmosphere in the city focused on litera-

ture, education and social activities that blends traditional,

religious and modern approaches thereto.

The Old Town of Sulaymaniyah can be viewed as a hub

of all these literary, educational and social activities. Pub-

lic spaces can testify to many social gatherings, celebra-

tions, and even revolutions. The city has always been

a magnet for social life due to its convenient geographical

location – close to Iran and near the borders with the Ot-

toman and Safavi Empires [44] – and also due to the fact

that major Kurdish Islamic schools were founded there

and attracted many renowned scholars. Moreover, the

city has always been popular with visitors. These contacts

have further facilitated the cross-cultural communication,

trade and social activities within its public realm. How-

ever, today public spaces have lost their historical and

cultural specics. Certain spatial interventions undertaken

with the intention of reviving the spirit of public places

such as installation of sculptures have proven to disregard

the historical and cultural context of the Old Town. They

have failed to reach the goal because in Islamic culture,

publicly displayed sculptures are not acceptable due to

the rules of Islam [45]. There were also other reasons

why the said interventions have failed to prove attractive

to space users, which are indicated in the case study pre-

sented below.

“Treasure in a box, a box among treasures”: promotion of cultural heritage and art outside of a museum facility. Case study 107

Case study research

based on the Old Town in Sulaymaniyah

– propagation of culture and art outside

of a museum facility within the framework

of a system of cultural spaces

The conducted empirical survey that was based on the

physiognomic approach has included the analysis of the

current state of the research on the promotion of assets

of material culture, local heritage and art in public space.

The applied four strata of research methodology com-

prised the urban study and the visual landscape analysis

in selected architectural interiors, and was used to identify

relevant assets of developed downtown tissue to map the

borderlines of a system of cultural spaces. The research

goal was to map, work up the hierarchy structure and link

downtown cultural spaces into a coherent system. Divi-

sion into respective research strata depended on the re-

sults, i.e. results of the analyses made at an earlier stage

provided the guidelines for the studies to be made at any

subsequent stages. Such a division also stemmed from the

adopted method to research the Old Town rst, and next

move on to the selected public spaces, to nally end it

with the assessment of spaces designated within a system

of cultural spaces as the best places for the installation of

street furniture and pop-up architecture facilities. As a re-

sult, it has been possible to develop a relevant strategy of

activities to be undertaken for the purpose of a planned

urban intervention to combine local resources and new

technologies and create a spatial interpretative narration

about the place and its unique features. The strategy may

be perceived as a way of recording a specic type of a dis-

play scenario, with the setting composed of the elements

of the past in the background of contemporary urban land-

scape, enlivened by the town users, inspired to enhance

their spatial experience.

The presented here research method is based on the

stratied analysis, comprising four strata.

A. Stratum I – identication of the existing functional

and spatial situation

This stratum included urban analyses of selected urban

structural elements, the assessment of which has played

an important role in dening the potential of the Old Town

in Sulaymaniyah for the promotion of material heritage,

art and culture in public space. The analyses concerned

identication and evaluation of the existing functional and

spatial status quo, i.e. land designation, value of material

heritage, transport system, quality of public space (Fig. 1).

• Land designation

As of the end of the 1980s, as a result of the policy sup-

porting the rural-out migration, the urban population has

grown rapidly [44]. This has brought about many new

problems. The land use studies conducted by the City Lab

Sulaymaniyah in the period from 2018 to 2019 showed

that about 20% of the Old Town area served the commer-

cial function. Trade made up an important part of the local

culture of the Kurdistan Region in Iraque and prospered.

Diversity of arrangement of market stalls, their vibrancy

and haggling street sellers represented an example of cul

tural traditions and non-material heritage (culture of trade).

Within the Old Town, the area of Bazaar was characterized

with the highest concentration of commercial and trade

services. Domination of trade and its on-going develop-

ment incorporated some other functions that were also es-

sential in creating sustainable urban space [46]. Trade con-

centration also entailed access problems due to insucient

transport infrastructure. The majority of the inhabitants

used their own means of transport because the city did not

have any appropriate public transport system. This gave

rise to a negative phenomenon of demolition of old struc-

tures to reclaim land for the purpose of car parks because

the latter oered higher proceeds to land owners. In con-

sequence, residential areas that often included historical

buildings were irrevocably wiped out from the city map.

• Value of material architectural and cultural heritage

As there are no specic laws on the protection of his-

torical sights, most of the Old Town buildings are in dilap-

idated condition. Less than 2% of real estates is protected.

In eect, this culturally precious area with many interest-

ing, historical buildings is the subject of total neglect and

its architectural and cultural heritage may perish. Only the

historical buildings that serve public functions fall within

the scope of the municipal conservator’s protection. The

old city hall building, the Sera Square as well as the square

at the Great Mosque constitute the most representative

Old Town fabric that comprises many high value facilities,

however, with no spatial or functional connections. Many

visual barriers such as robust solid fence panels delimit-

ing centers for cultural promotion hide the buildings and

translate into their perception as uninviting places. There

are no cultural and educational attractions that many build-

ings could otherwise have oered if they had not been in-

accessible and closed. The space of historical buildings

fails to interact with the public space.

• Transport system

The streets are dominated with the permitted in the

Old Town area dense vehicle trac, as a result car park

space is a huge problem. Furthermore, most of the streets

in the Old Town can be classied as non-walkable [47]. In

the rst quarter of 2019, the city authorities made a deci-

sion to change the direction of trac movement in the

Old Town, at present there are mostly one-way streets.

This solution has, however, failed to solve the problem of

dense vehicle trac in the Old Town area but only caused

new problems such as smaller trac throughput, impedi-

ment to cycling and no zones exclusively used by pedes-

trians. For that reason, access of visitors walking around

the historical area of the city to historical buildings is

largely impeded by predominant cars that pose danger to

pedestrians. Moreover, vehicle trac visually undermines

the aesthetic value of the Old Town.

• Quality of public space

Public space within the Old Town area is far from

comfortable and not fully accessible to pedestrians. It is

characterized by a high spatial potential but a low stan-

108 Shayan Al Zangana, Bartosz Kaźmierczak, Anna Kulig, Dominika Pazder

Fig. 1. Presentation of the existing functional and spatial status quo in the Old Town area in Sulaymaniyah, focused on:

division into streets, transport scheme, land designation and architectural and cultural assets (source: CityLab Sulaimani

)

Il. 1. Identyfikacja istniejącej sytuacji funkcjonalno-przestrzennej w obrębie Starego Miasta w As-Sulajmanijja w zakresie:

szkieletu komunikacyjnego, przeznaczenia terenów oraz wartości architektoniczno-kulturowych (źródło: CityLab Sulaimani

)

dard of public utility infrastructure [48].

To put it shortly,

it is culturally and socially inactive during the day, when

the Old Town is dominated with vehicle trac and trade.

CityLab documentation has been shared by Faculty of Engineer-

ing-Department of Civil Engineering, University of Sulaymaniyah, Sulay-

ma niyah, Kurdistan Region, http://www.viewpioneer.com/en/city-lab/

Only at nights, when the stores are closed but small street

food stalls and cafés remain open, parts of the Old Town

area change its image into more socially interactive and

accommodating. This is despite the lack of urban furni-

ture, lighting and cultural interactions which is an obstacle

to further activation of public spaces. Such a status quo

requires a better integration of high value facilities or

centers of culture with public space in order to increase

“Treasure in a box, a box among treasures”: promotion of cultural heritage and art outside of a museum facility. Case study 109

Fig. 2. Presentation of the existing functional and spatial status quo in the Old Town area in Sulaymaniyah

focused on the most important public spaces (elaborated by Shayan Al Zangana, source of the map: https://wego.here.com/)

Il. 2. Identyfikacja istniejącej sytuacji funkcjonalno-przestrzennej w obrębie Starego Miasta w As-Sulajmanijja

w zakresie najważniejszych przestrzeni publicznych (oprac. S. Al Zangana na podst. mapy https://wego.here.com/)

110 Shayan Al Zangana, Bartosz Kaźmierczak, Anna Kulig, Dominika Pazder

the quality and standard as regards functional and spatial

as well as aesthetic and visual aspects thereof. Apart from

the most important public spaces (Fig. 2), the analyses

have identied also other spaces that could potentially

serve new cultural functions, i.e. the area around the Mufti

public bath and Sabunkaran street, Ashaba-Spi square, the

cross-roads near Sabunkaran street and areas near Sirwan

and Sleman streets.

B. Stratum II – mapping the borderlines of a system of

cultural spaces

This stratum included research focused on the identi-

cation of selected elements of developed urban tissue

featuring cultural assets or places potential for cultural

promotion (Table 1), i.e.:

– identication of the existing cultural assets, compris-

ing elements of local material heritage such as historical

assets and assets of contemporary culture,

Delimited cultural spaces (numbers)

Delimited system connections

Sera square (1)

From Sera square

to the Great Mosque square (masjid-e)

– between (1) and (2)

The square

at the Great Mosque (2)

Mawlawi street

– between (1) and (3)

The square

at the Fara Hotel (3)

The Courts street

– between (2) and (3)

Khanaka square (4) Kawa street – between (1) and (4)

Table 3. Mapping the borderlines of the cultural spaces and their links

on the basis of the defined elements of the developed tissue

and selected elements of public space

(elaborated by authors)

Tabela 3. Wyznaczenie przestrzeni kulturowych oraz łączących je

powiązań na podstawie wskazanych elementów tkanki zabudowanej

i wybranych elementów przestrzeni publicznych

(oprac. autorzy)

Table 1. Identification of the most important elements

of the developed tissue underlying the process of mapping

the borderlines of cultural spaces

(elaborated by authors)

Tabela 1. Identyfikacja najważniejszych elementów

tkanki zabudowanej stanowiących podstawę wyznaczenia

przestrzeni kulturowych

(oprac. autorzy)

Selected elements of the developed tissue

Historical assets

Contemporary

interpretation of value

Cultural

functions

City hall

Creative city

of literature (UNESCO)

Museums

The Great Mosque

(Masjid-e)

Culture of street food

and trade

Traditional cafés

(ChaiKhana)

The Fara Hotel

– the oldest hotel

in the city

Old Town

as a meeting place

Sales of books

Table 2. Identification of the selected elements of public spaces

underlying the process of mapping the borderlines of cultural spaces

(elaborated by authors)

Tabela 2. Wyznaczenie wybranych elementów przestrzeni publicznych

stanowiących podstawę wyznaczenia przestrzeni kulturowych

(oprac. autorzy)

Selected elements of public spaces

Linear

Street/avenue/boulevard

Square-shaped

Square/park

Sera-Masjid-e street Sera Square

The Courts street The square at the Great Mosque

Sabunkaran street The square at the Fara Hotel

Kawa street Khanaka square

Piramerd street Nali square

Nali street Ashabaspi square

– identication of the existing functions of cultural pro-

motion, such as museums, art galleries, etc.

Next, the system of interconnections between the so-

identied components of the urban tissue comprising

a system of public spaces, in this stimulating and restrain-

ing the movement of persons in public interiors (streets,

avenues, boulevards, pedestrian zones versus squares or

parks), was diagnosed (Table 2). Based thereon, the au-

thors hereof have identied a system of cultural spaces

composed of the most promising spaces and elements of

public space that linked them in view of the potential for

cultural promotion (Table 3, Fig. 3).

C. Stratum III – quality assessment of cultural spaces

within the mapped system

Quality of the so mapped system of cultural spaces was

evaluated in reference to four diagnosed problematic is-

sues, namely domination of commercial services, lack of

access to cultural assets or facilities pro moting culture, do-

mi na tion of vehicle trac and low quality of public space.

The listed, four quality assessment criteria of the so

mapped system of cultural spaces included:

– quality of developed tissue elements connected with

cultural values or cultural promotion,

– their inclusiveness,

– accessibility for pedestrians,

– visual and aesthetic quality.

An expert’s opinion was drawn up on the basis of

a 3 point scale assessing the presence of a given param-

eter under the research: high (assigned with 2 points),

medium (assigned with 1 point) and low (assigned with

0 points). The highest quality was assumed to score from

6 to 8 points, yet such assessment was not allocated if

any of the parameters scored the lowest number of points

(Table 4). The score of 3–5 points was assumed to render

medium quality, and 0–2 points – low quality. Thus, the

overall assessment of the quality of cultural spaces was

dened as high, medium or low (Table 5).

“Treasure in a box, a box among treasures”: promotion of cultural heritage and art outside of a museum facility. Case study 111

Cultural

space qualityassessment

high 2

medium 1

low 0

Cultural assets

and cultural

promotion

Inclusiveness

of functions

or the cultural offer

Accessibility

for pedestrians

Visual and aesthetic

quality

Sera Square 1 2 1 1 5

The square at the Great Mosque 2 1 0 1 4

The square at the Fara Hotel 1 0 2 2 5

Khanaka square 1 0 1 0 2

Table 4. Quality assessment of cultural spaces within the mapped system in reference to the four adopted criteria (elaborated by authors)

Tabela 4. Ocena jakości przestrzeni kulturowych w ramach wyznaczonego systemu w odniesieniu do przyjętych czterech parametrów

(oprac. autorzy)

Table 5. Overall assessment of the quality of cultural spaces broken down into high, medium or low potential for expansion

of museum functions to public space (elaborated by authors)

Tabela 5. Podsumowanie oceny jakości przestrzeni kulturowych z podziałem na: wysoki, średni i niski potencjał w zakresie

rozszerzania oddziaływania funkcji muzealnej na przestrzeń publiczną (oprac. autorzy)

Potential for expansion

of museum functions to public space

Sera square

The square

at the Great Mosque

The square

at the Fara Hotel

Khanaka square

High

Medium • • •

Low •

Fig. 3. Mapping the borderlines

of a system of cultural spaces

composed of the defined

elements of the developed tissue

and their links within

the framework of public spaces

in the area of the Old Town

in Sulaymaniyah

(elaborated by S. Al Zangana,

source of the map:

https://wego.here.com/)

Il. 3. Wyznaczenie przestrzeni

kulturowych oraz łączących

je powiązań na podstawie

wskazanych elementów tkanki

zabudowanej i wybranych

elementów przestrzeni

publicznych w obrębie Starego

Miasta w As-Sulajmanijja

(oprac. S. Al Zangana

na podst. mapy:

https://wego.here.com/)

112 Shayan Al Zangana, Bartosz Kaźmierczak, Anna Kulig, Dominika Pazder

The assessment translates directly into high, medium

and low potential of cultural spaces designated for the ex -

pansion of museum functions to public space. The ad-

opted triple quality assessment then constituted the basis

for the determination of importance of links identied

within the system of cultural spaces. The links were bro-

ken down by their importance in view of the expansion

of museum functions to public space. The links between

cultural spaces of the highest quality were deemed as the

most important and those between cultural spaces of the

lowest quality – as the least important.

D. Stratum IV – visual landscape analysis in selected

architectural interiors designated for the installation of

street furniture and pop-up architecture facilities

At this research stratum, the selected places of the sys-

tem of cultural spaces (Fig. 4) were assessed in reference

to the visual landscape values. The evaluation concerned

the designated cultural spaces (Fig. 5) as well as the iden-

tied links (Fig. 6). After the overall process of studies,

the authors hereof have proposed to locate street furniture

and pop-up architecture facilities within the diagnosed

system. Some alternative locations were also considered

(Fig. 7).

Main findings

The applied research method was used to designate

spatial and cultural resources in the area of the Old Town

in Sulaymaniyah, which next served as the basis for the

mapping of a system of cultural spaces. The underlying

assumption was to incorporate the existing layout of pub-

lic spaces as a carrier of aesthetic values and to attempt,

via the implementation of elements of high potential for

cultural promotion, to remedy the four, identied by the

authors, problems of the area of the Old Town in Sulay-

maniyah that to the largest extent undermined its quality

and attractiveness. These were:

– lack of proper accessibility, inclusiveness and “trea-

sure” (local heritage, material culture and art assets) display,

– lack of counter-balance of the dominant commercial

function,

– relatively low aesthetic and visual quality of public

space,

– vehicle trac domination.

The following solutions thereto have been proposed:

– installation of street furniture and pop-up architecture

facilities to promote material heritage, art and culture via

open air exhibitions that could facilitate the process to tak-

ing the “treasure” out of the “box”,

– educational nature of cultural spaces that could popu-

larize local heritage and elevate the space of the Old Town

area to a more prestigious rank – inclusive and of high

visual and aesthetic value for the urban image,

– introduction of new elements into the public space in

places identied as having the highest potential for cultural

promotion within the framework of the designated system

that could inspire the users. Their daily, almost ran dom,

co-participation in culture, will enhance their cul tural ex-

perience and thus, strengthen the feeling of place belong-

Fig. 4. The range of cultural

spaces designated

for the location of street furniture

and pop-up architecture facilities

to promote heritage in the area

of the Old Town

in Sulaymaniyah

(elaborated by S. Al Zangana,

source of the map:

https://wego.here.com/)

Il. 4. Zasięg przestrzeni

kulturowych wyznaczonych

do lokalizacji elementów małej

architektury i architektury pop-up

służących promocji dziedzictwa

w obrębie Starego Miasta

w As-Sulajmanijja

(oprac. S. Al Zangana

na podst. mapy:

https://wego.here.com/)

“Treasure in a box, a box among treasures”: promotion of cultural heritage and art outside of a museum facility. Case study 113

Fig. 5. Analysis of the visual landscape of cultural spaces designated for the location of street furniture and pop-up architecture facilities

in the area of the Old Town in Sulaymaniyah (elaborated by S. Al Zangana, source of the map: https://wego.here.com/)

Il. 5. Analiza widoków i tła krajobrazowego przestrzeni kulturowych wskazanych do lokalizacji elementów architektury pop-up

w obrębie Starego Miasta w As-Sulajmanijja (oprac. S. Al Zangana na podst. mapy: https://wego.here.com/)

ing. Henry Jenkins [49] dened “participatory culture” as

the inclusive culture, which, owing to the use of new me-

dia, can remove barriers of artistic expression and contrib-

ute to the creation of links between all the participants. The

denition sees “participation” as a resultant of all users’ ac-

tivities and opportunities oered by new technologies [50],

– introduction of visually attractive new public space

t-out elements that could contribute to attracting the us-

ers’ attention to the existing, though not consciously ac-

knowledged, architectural and cultural assets, e.g., histori-

cal development,

– creating places that may stop the ow of moving us-

ers to enjoy the relaxation oer created via pop-up archi-

tecture facilities and that may revitalize the space with

little interference therewith. By preventing car park op-

tions on the pavements, such places may restore the bal-

ance between public space accessible to pedestrians and

motorized users.

The system of cultural spaces, mapped as a result of the

conducted research in the area of the Old Town in Sulay-

maniyah, shall lay the foundations for the strategy of ac-

tivities to be undertaken in the form of an urban interven-

tion. Quality of the area depends on the existing cultural

assets which make the basis for the new quality develop-

ment options to expose the present values and the unique

nature of the place. The setting designed for the system

of cultural spaces included street furniture and pop-up ar-

chitecture facilities in the background of the urbanscape.

Their proper location can revitalize the urban stage cho-

reography by encouraging the users to explore space and

to “randomly” enhance their sensory perception of art on

a daily stroll through the Old Town. The strategy of activi-

ties to be undertaken in the form of an urban intervention

has consisted in locating new elements in cultural spaces,

rst in those assessed as oering the best potential for cul-

tural promotion (the highest quality spaces). Further inter-

ventions were envisaged to move in sequence to medium

quality and low quality spaces. This principle has been

consistently applied to all system elements, i.e. cultural

spaces and links between them.

Discussion and conclusions

The studies presented herein are aimed to bring to light

a separate research area that has not yet been satisfactorily

analyzed in any accessible publications, namely the spe-

cics of the Kurdish cities. The physiognomic analyses

have enabled the authors to identify the existing potential

of space and have further underlain the mapping of the

system of cultural spaces. The system can be next used in

the process of developing a strategy to promote the values

of local culture and traditional, both outside and inside of

114 Shayan Al Zangana, Bartosz Kaźmierczak, Anna Kulig, Dominika Pazder

the museum space, by means of proposed spatial interven-

tions. The presented herein physiognomic approach is uni-

versal and can also be applied in other cities that meet the

prerequisites of the mapping methodology. The functional

and spatial problems, identied by the authors, show that

further interdisciplinary research is needed to better ad-

dress the social and cultural specics of the places.

Our research used simplied assessment criteria. This

method was worked up in the form of an expert’s opinion

with the intention of assessing the value of the existing

resources. At this stage of the research, it is a subjective

opinion, which may be further evaluated by way of pub-

lic assessment or veried via extended research or acts

undertaken by local architects, urban planners, museum

curators, artists or cultural experts, e.g., in the formula of

urban mentoring

Locations of pop-architecture elements were indicated

by the authors on the basis of their own method of map-

See urban mentoring description by: Rembarz, Martyniuk-Pęczek

[51], Pietrzykowski, Rembarz, Cenian [52].

ping the cultural spaces, nonetheless, it shall be also noted

that other locations might also be identied via social par-

ticipation in the process or by using additional selection

criteria. In this respect, it is necessary to carry out more

in-depth studies on local conditions such as the unique-

ness of Sulaymaniyah as a creative city, cultural specics

of the Old Town area, value and characteristic features of

collections and exhibits displayed in local museums. In

the opinion of the authors, forms of pop-up architecture

shall be designed by local artists, preferably with the par-

ticipation of local community members because the un-

derlying goal of such structures is to attract the attention

of possibly the widest audience to insucient “exposure”

of exhibits enclosed inside museums. The assumption is

to stimulate the inhabitants, museum curators and artists

to look at their own culture and traditions from a dierent

perspective in order to come up with a method that can

successfully promote the local values in a manner attrac-

tive for contemporary visitors.

Participation of the local community in the process is

the preferred option as there is insucient documentation

of the urban and cultural heritage in Iraq and no public

Fig. 6. Analysis of the visual landscape of links between the cultural spaces designated for the location of street furniture and pop-up architecture

facilities in the area of the Old Town in Sulaymaniyah (elaborated by S. Al Zangana, source of the map: https://wego.here.com/)

Il. 6. Analiza widoków i tła krajobrazowego powiązań przestrzeni kulturowych wskazanych do lokalizacji elementów architektury pop-up

w obrębie Starego Miasta w As-Sulajmanijja (oprac. S. Al Zangana na podst. mapy: https://wego.here.com/)

“Treasure in a box, a box among treasures”: promotion of cultural heritage and art outside of a museum facility. Case study 115

space related research has ever been done in Sulaymani-

yah. The participatory method stands a chance to include

in the research professionals, government ocials and

well as local inhabitants of the old town. Local heritage

combined with current needs and proper urban planning

are the key aspects that underlie the creation of vibrant

public spaces. The participatory approach may have to

pave its way to urban planning in the region, however,

we may observe some good examples of the participatory

approach in Lebanon. Thus, the process may take a long

time, but it stands a good chance to positively inuence

the places of high cultural potential that have never before

been the subject of any conscious planning policies [53].

Islamic culture takes a negative approach to sculptures,

in particular to those presenting human gures, whereas

almost all artistic installations in Sulaymaniyah Old Town

were made in the form of statues. Bearing that in mind, el-

ements of pop-up architecture oer a good alternative for

urban art, denitely more appealing and functional. The

idea of pop-up architecture is new to the city as the only

forms of temporary structures so far erected in the city

have been road side kiosks and old buses used as cafes

but they have never attained the same status as, e.g., com-

mercial pop-ups in Dubai, even if they have operated as

successful businesses

Using pop-up architecture for cultural promotion in

combination with commercial functions can successful-

ly facilitate the attainment of the goals set forth herein.

Some of temporary indoor exhibitions/installations in the

“Culture Factory” (a cigar factory that is at present being

converted into a cultural venue) have already caught the

attention of visitors

. Pop-up architecture may play an

important role in the revival of cultural heritage of the city

and in the re-interpretation of its culture of trade. Thus, it

will translate into new spatial quality of the Old Town of

Sulay ma ni yah, much better responding to the contempo-

rary needs of local inhabitants as well as local and foreign

visitors.

Translated by

Barbara Wesołowska-Marszałek

The price of kiosks in the city has increased according to authors’

ndings.

http://kurdology.univsul.edu.iq/addevent

Fig. 7. Diagnosing opportunities

for the expansion of

the designated system of cultural

spaces with additional locations

of street furniture and pop-up

architecture facilities in the area

of the Old Town

in Sulaymaniyah

(elaborated by S. Al Zangana,

source of the map:

https://wego.here.com/)

Il. 7. Wskazanie możliwości

rozszerzenia wyznaczonego

systemu przestrzeni kulturowych

o dodatkowe miejsca lokalizacji

elementów małej architektury

i architektury pop-up w obrębie

Starego Miasta

w As-Sulajmanijja

(oprac. S. Al Zangana na podst.

mapy: https://wego.here.com/)

Acknowledgements

This research was funded from statutory funds of the Poznan Universi-

ty of Technology, Faculty of Architecture. Number of research subsidies

10/01/SBAD/0294 and 0111/SBAD/0405.

116 Shayan Al Zangana, Bartosz Kaźmierczak, Anna Kulig, Dominika Pazder

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“Treasure in a box, a box among treasures”: promotion of cultural heritage and art outside of a museum facility. Case study 117

Abstract

“Treasure in a box, a box among treasures”: promotion of cultural heritage and art outside of a museum facility.

Case study of Old Town in Sulaymaniyah

This article presents issues inherent in relations between enclosed space of a museum and open public space in view of promotion of art and cul-

tural heritage. A museum is herein perceived as a “treasure box”, whereas public space as a venue, where the treasure can be displayed “outside of the

box”. The article also focuses on methods that might expand museum functions to public space and might erase the borderlines between a museum

facility and its surroundings. The research intended to present an empirical study based on an physiognomic approach. It may prove a useful tool in

promoting culture and art in a cultural venue dened by the authors as a specic type of public space. The research results have been presented on the

basis of a selected case study, i.e., strategies of expansion of museum functions to include therein public space, implemented within the framework

of a planned urban intervention.

Key words: museum, public space, cultural space, local heritage, urban intervention, pop-up architecture

Streszczenie

„Skarb w skrzyni, skrzynia pośród skarbów”: promocja lokalnego dziedzictwa kulturowego i sztuki poza obiektem muzeum.

Studium przypadku Starego Miasta w As-Sulajmanijja

W prezentowanym artykule podjęto zagadnienia dotyczące relacji pomiędzy zamkniętą przestrzenią muzeum a otwartą przestrzenią publiczną

w kontekście promocji sztuki i dziedzictwa kulturowego. Muzeum traktowane jest w nim jako „skrzynia ze skarbem”, a przestrzeń publiczna jako

okazja do wyeksponowania skarbu „poza skrzynią”. Autorzy skupili uwagę na sposobach rozszerzenia oddziaływania muzeum do przestrzeni pub-

licznej i zatarcia granic między obiektem muzealnym a jego otoczeniem. Artykuł ma na celu przedstawienie badania empirycznego opartego na

podejściu zjonomicznym, które może okazać się użytecznym narzędziem promocji kultury i sztuki w miejscu kultury określonym przez autorów

jako specyczny typ przestrzeni publicznej. Wyniki badań przedstawiono na podstawie wybranego studium przypadku, czyli strategii rozszerzenia

funkcji muzealnych o przestrzeń publiczną, realizowanych w ramach planowanej interwencji miejskiej.

Słowa kluczowe: muzeum, przestrzeń publiczna, przestrzeń kulturowa, lokalne dziedzictwo, interwencja urbanistyczna, architektura pop-up

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