Urban Furniture in Sustainable Historical Urban Texture Landscapes: Historical Squares in the Walled City of Nicosia

Abstract

Historical city textures are living history that embody public spaces of former civilizations, their landscapes, and their traditional life culture, carrying them to the present and giving them life. Squares as public spaces have been important gathering hubs for social life. Urban furniture is an important element of public spaces, and it reflects city identity and improves quality of life. Additionally, it improves the reflection of culture in historical city textures and their usability. The walled city center of Nicosia has a very rich historical texture, incorporating the cultural heritage of various civilizations in the history of Cyprus. Within the framework of texture, public spaces, which have acquired the features of squares with their functions throughout the social history of Nicosia, are still important social spaces for its community. This study analyzed Asmaaltı and Selimiye Squares, two important spaces of the walled city, through examining the urban furniture in terms of its material, shape, functionality, and conformity with the historical texture. Its deficiencies and nonconformities with the historical texture were identified accordingly. In consideration of such examples, urban furniture in historical city textures was also analyzed from the perspective of architectural styles and social, cultural, and economical characteristics, and relevant recommendations are proposed. Pursuant to the study findings, urban furniture used in both squares is not compatible with the whole traditional texture, as it is not designed in a manner that blends modern and traditional aspects. Moreover, most of it is not in good condition and will soon lose its functionality due to the lack of maintenance. Our recommendations are addressed to the relevant literature domain and historical texture in general.

1. Introduction

Historical city textures are cultural treasures that accommodate lifestyles, cultures, and social and economic structures of various civilizations through their histories. Public spaces, which create such textures and positively contribute to socialization, are today alive with the effect of landscape elements, as urban furniture provides them with functionality and authenticity.

Urban furniture comprises urban and environmental tools, landscape elements, and design and decoration elements, and it is open to the use of all people regardless of their age, gender, or financial status. While they are designed and located to serve as means for relaxation, recreation, information purposes, etc., these elements also contribute to the sustainable development of such public spaces and enhance urban comfort and quality of life by creating various activity centers in the city.

Since the beginning of its urban formation, the historical city texture of Nicosia has continued up to today, with its open-air museum quality reflecting the influence of many different civilizations. While supporting the walled city of Nicosia, public spaces have become the main gathering, shopping, and entertainment centers throughout all historical periods. Even though the historical texture has undergone extensive deterioration and destruction, it is still attractive due to cultural identity and surviving architectural structures.

The historical urban texture of Nicosia, the capital of Cyprus, has been crucial since its formation due to its influence on public spaces, together with its highly substantial architectural elements. Although some studies are available related to the public spaces within the historical urban texture of Nicosia, there are no comprehensive studies about the functionality of recent arrangements in the public spaces with regards to the historical texture or on various new urban furniture and its conformity with the historical texture. Hence, this study is important for addressing this aspect.

Our study is also vital for its further contribution to the literature due to the lack of studies elaborating the sustainable use of Nicosia’s walled city and its squares. The study emphasizes the significance and necessity of urban furniture, which enables sustainability in historical squares, and analyzes it in terms of its materials and functionality; therefore, the study findings are considered to direct the concepts of preservation and restoration towards a different direction.

This study aims to analyze the public spaces in the historical urban texture of Nicosia, which is an important cultural heritage area, together with urban texture as a complementing element of landscape planning. Therefore, this study also aims to examine the conformity of urban furniture with the texture through two important squares in the walled city of Nicosia, with the view of making assessments and presenting proposals accordingly.

The scope of the study comprises historical urban texture, public spaces, the concept of urban furniture, and the use of urban furniture in two important squares in the historical urban texture of Nicosia. The study concludes with recommendations and an assessment of urban furniture’s conformity with the historical texture.

The study is structured around the analysis of the compatibility and functionality of urban furniture in the squares of Nicosia’s walled city in relation to the historical texture. The study’s conceptual limitations are the historical city, public spaces, squares, and urban furniture. The boundaries of the field research are Asmaaltı and Selimiye Squares, which are in the historical urban texture of Nicosia, Cyprus. Another limitation is generated due to the renovation works conducted in the related research areas, as the results were insufficient and incompatible with the texture. The data collection was only performed with field work so that the findings would only be based on direct user opinion.

Our study only covers the urban furniture in historical squares, with the intention of underlining its historical and cultural importance and value, as well as the necessity of its protection. Another reason for the study is that the domain of study has been increasingly used for commercial, educational, social, and cultural purposes; however, it is exposed to incompatible and unfunctional renovation works.

2. Theoretical Framework: Urban Furniture in Historical Urban Texture and Landscape

2.1. Historical Urban Texture and Landscape

Historical urban textures are the spaces of living history from the past that stretch into the future. They are cultural heritage areas, beginning with their formations and developing and being shaped with the influence of different civilizations. Historical urban textures are valuable assets that establish a bridge between the present and past, in addition to connecting with the social, cultural, and economic structures involved in their formation processes, and they are reflected in architectural works and public spaces [1]. The recommendation decisions issued and adopted by UNESCO in 2011 define the concept of historical urban landscapes as urban spaces covering a broader urban context and geographical setting beyond the historical center and buildings that express the cultural and natural values and features of historical spaces [2].

A historical urban landscape includes all natural, environmental, and urban characteristics of a specific area such as topography, physical nature, hydrology, infrastructure, historical monuments, and open spaces, as well as social and cultural assets and economic properties. The improvement of historical urban landscape spaces increases their social, cultural, and functional use while facilitating improvement in the quality of life [3]. Historical urban texture and landscape are significant cultural heritage elements that form and evolve as a result of positive or negative human activities. Because they incorporate physical indicators of civilizations, such spaces exemplify a precise, balanced model of mastership of landscape planning, architectural buildings, and coherent transportation links. They also attract admiration due to their socio-economic nature, life philosophy, assets, forms, and general outlook. Because historical urban textures and landscapes are planned as per human scale, they are informative. They also positively improve the social and cultural relationships among people, as they create common values together in places where they feel the importance of living [4].

Historical urban textures and landscapes are almost like outdoor museums exhibiting life throughout history in a world with constantly changing modes of living and production. People feel happy and learn about the creativity and mastership of others from the past when they try to comprehend and assess such spaces and spend time there. Although their former residents are no longer around, the significance remains for present and future generations that could find their traces, visit monumental trees, wander around meandering streets, and discover places [5].

Towards becoming cultural mosaics, historical cities are influenced by structures from various periods, public spaces, lifestyles, and cultures. Cultural accumulation from the past, which is formed when people widely use public spaces for gathering and recreational purposes, and their functionality show that these spaces add importance and richness to the historical texture and reflect the characteristics of the traditional textures of the historical city [6,7].

They are spaces for various functions such as trade, political, and social activities that were embodied with the permanent settlement of people in historic processes. Squares are public spaces used as gathering, socialization, and recreation centers while contributing to the socialization of people [8]. Scale, location, visual–aesthetic structure, intended activities, diversity of plant components, and urban furniture are vital in enhancing the spatial quality of squares [9]. Squares, which are important socialization spots, must have functionality as public spaces so that people can socialize, have a good time, and feel safe. Hence, squares should be enclosed, with the feeling of being enclaved, and have sound boundaries while allowing people to easily walk around. These four main physical features are grouped as spatial enclosure, continuation of boundaries, pedestrian circulation, and ratio/scale. Therefore, the most prominent features of squares are enclosure and confinement, both of which are the most important elements of public spaces. People feel safer in confined spaces with certain boundaries and use such spaces more than others. An urban space can be defined as a square only if it has explicit boundaries with architectural structures and landscape components. Historical squares are more enclosed in nature due to organic evolution caused by the influence of past civilizations and interwoven meandering paths [10,11]. It is possible to use architectural structures, sculptures, fountains, monuments, plants, water elements, and other furniture components to identify boundaries within a square. The availability of boundaries affects the control of privacy, security, and pedestrian and vehicle traffic. The bordering buildings and other elements in the square must be consistent, simple, and sustainable in terms of their size, form, color, and design. Otherwise, it would be confusing for its users, and the borders may start losing their absolute lines [12]. Squares are major stops in public spaces for thoroughfares such as streets and avenues. The circulation at squares and connecting avenues and streets should be constant, accessible, and free from vehicle traffic, which would invite users and would make such places much more livable. The physical features of pedestrian mobility should provide equal access for all individuals and be compatible with urban texture, which would contribute to urban identity as well [13]. The size of squares, surrounding architectural buildings, landscape elements, and their proportions to one another impact the formation of such spaces. The users would comprehend the notion of the square feeling safe when the ratios of such spaces are consistent with human scale, which would be possible through the planned and appropriate use of landscape elements (sculptures, fountains, monuments, plants, etc.) [14].

Public spaces are outdoor areas and the buildings surrounding them [15]. Open areas are defined as openings or spaces outside of architectural structures that provide for rest or agricultural use, while green areas are urban areas arranged with plants and structural landscape elements of public spaces [16]. Urban spaces contribute to the increase in land value and job opportunities in the regions where they are located. They constitute a center of attraction for the people of the city for recreation, sports, art, educational activities, and socialization. They provide protection of wildlife and biodiversity and regulation of urban climate. They allow creating an organic order in cities and establishing a balance in accordance with the human scale [17,18]. Squares are public spaces with a central character located among architectural structures or green elements in cities. They consist of a combination of hard ground and green areas and much urban furniture such as seating units, sculptures, and water elements [9,19].

In the era of modern culture, we want to understand and maintain historical urban textures that have some effects on our lives. The positive impact of this era on historical texture and landscapes is the capacity to access all kinds of data with regard to the formation and evolution of textures, i.e., cultural heritage throughout history. With the Industrial Revolution in the second half of the eighteenth century, urban identities, historical textures, and landscapes changed due to several factors such as developing technology, industrialization, and the pursuit of change due to social needs. Moreover, the changes in worldwide conditions and lifestyles led to a consumption-oriented perspective, and the values of old diminished as some people wondered about the new and wanted to live in luxury. Such conditions, together with unplanned and uncontrolled developments, caused major problems and irremediable destruction in historical areas. Politics, economy, population, and planning might be listed as the factors that cause deterioration in historical texture and landscape.

Laws, which are drafted with specific objectives to establish regulations on all elements affecting living spaces and human life, and policies as the methodology for law implementation are crucial for the protection of historical texture and landscapes. Just like in every aspect of life, the notion of economy is important in actions taken to preserve and restore historic cities. Insufficient and inappropriate use of economic funds contributes to damaging historic cities and landscapes. Moreover, population, which is defined as all residents of an area, has direct impact on the development, preservation, and destruction of historic environments. The formation of historical urban textures is based on specific plans and their associated principles. Historical textures and their structural elements evolved based on environmental conditions, vital needs, and existing necessities. Conservation may refer to the activities aimed at handing our natural and cultural heritage down to future generations in the best way possible. The concept of conservation is defined under the charter of ICOMOS as the total activities for the preservation of historical texture and its renewal and promotion in accordance with the appropriate principles [20].

The first step in the conservation and restoration of historic cities is the organization of architectural buildings and their courtyards. The second step is related to all green spaces with streets, avenues, and squares that have direct links with such structures and spaces. All elements should be considered as a whole in the performance of conservation activities due to their specific features as they come together, social relations networks, traditional living culture, use of space, nature–human relations, and types of production [21].

Concerns for the conservation of cultural heritage elements occur and evolve for different purposes varying based on the conditions, requirements, and perspectives of their time. The sense of conservation is at times shaped by economic, social, and political conditions as well as religious, national, and aesthetic feelings. Hence, it is possible to say that conservation is different in every era. The first steps towards contemporary conservation originate back in the end of the 19th century, when numerous comprehensive works were performed in Italy [22]. Today, there are international efforts for conservation and restoration of historical urban textures through adopted laws and regulations.

2.2. Urban Furniture and Its Use in Historical Textures

Urban furniture comprises accessory elements put in the service of people to meet their needs in public spaces, which are important features of cities. In other words, urban furniture comprises features complementing public spaces, giving them an identity, and adding positive effects aesthetically and psychologically [23]. Urban furniture, which reflects the cultures of a city’s people and shapes its spaces, is divided into four main classes [24].

One of the four main classes is urban furniture designed according to its aims, which are divided under two headings as functional and visual. Functional urban furniture aims to meet the needs of people in public spaces, and it includes the elements commonly used by the society. Functional urban furniture is for protection, recreation, sanity, shopping, communication, sheltering, directing and informing, limitation, and decoration. Visual urban furniture, on the other hand, possesses values such as semantic, monumental, symbolic, and aesthetic values, and it gives visual values to cities. Based on their location, decorative elements in public spaces provide meaning and function. These spaces are divided into four main groups as parks, resting and entertainment areas, sports or children’s games areas, and organized pedestrian areas. Another urban furniture class is based on technical equipment. This class is divided into two as either connected to infrastructure or independent from infrastructure. Road and space illuminators, traffic lights, square clocks, bus stops, kiosks, and water elements are urban furniture connected to infrastructure, whereas paving and border elements, information signs, advertising and announcement panels, shading elements, park and picnic area elements, litter bins, and statues are independent of infrastructure. The final class is urban furniture designed according to mobility. Most of the urban furniture in public spaces is used as immobile elements, although this depends on their fields of function and use. However, some urban furniture can be used as mobile or semi-mobile elements. Litter bins are one of the examples of mobile urban furniture. Urban furniture comprises elements with different functions and characteristics, and each requires a different design process. Culture, traditions, environment, history, perception, and psychology affect the design process. However, the perceptibility of the urban furniture is the most important point. Moreover, time and method, both of which are essential for the formation process of each element, can show differences [10,25,26,27]. The design process includes three different stages. The first stage is the emergence of demand. Public spaces in cities where people spend their lives meet many different needs of individuals, and public spaces are made up of urban furniture. Urban furniture becomes more essential due to the increase in construction volume and demands with the intention to improve the quality of life and space of people living in ever-condensing cities [28]. The second stage is the determination of needs. The demand for the necessary urban furniture also paves the way to crystallize and plan for the needs [29]. The last stage is data collection, which is basically the research during which methods such as surveys, experiments, and observations are used to evaluate the expectations of the users of a space. As a result of the research, it is determined which urban furniture is needed in that specific space, and application is carried out to produce functional conclusions [30].

Urban furniture is classified into paving elements, sitting units, illumination elements, signs and information panels, limitations, water elements, shaded elements, artistic elements, and other decorative elements, and these various elements are explained based on their design criteria [31]. The first category of urban furniture is paving elements that are stone, timber, concrete, asphalt, and botanic (grass) elements. Therefore, elements that are suited to the environmental conditions and the characteristics of the area should be used accordingly. The second category is sitting elements such as benches, chairs, and sitting groups. They should be functionally designed with proper size and shape for their users. The next category is illumination elements, which are road and space illuminators. In the design of illumination units, it is important to ensure their harmony with the texture of the space in terms of material, shape, and color, and they should be efficient and durable. Another category is direction and information panels. Direction and position finders are made up of data communication panels. They should be visibly designed and should be comprehensible, simple, durable, and sustainable. There is also a restrictive category that deters or limits for safety surrounding elements, and it includes pedestrian and traffic barriers. Their construction materials should be coherent with the environment and should create positive effects aesthetically, functionally, and psychologically. Water elements such as ornamental pools, fountains, water canals, and water tunnels are another urban furniture category. They should be designed based on their location and should have positive psychological and aesthetic effects. There are also top cover elements such as bus stops, shades, and pergolas. Their design should ensure that they serve aims such as providing shade and protection from rain. Another category is artistic elements. These consist of objects or statues that are symbols of the space and complement the landscape composition of their surrounding area. They should reflect the identity of the space and should be designed to be compatible in material, shape, and size. The last category is miscellaneous accessory elements. This category comprises game elements, litter bins, flower beds, square clocks, bicycle parking stations, and botanical elements. Their design should include materials that are compatible with the environment, and they should possess functional qualities in size and shape [32,33,34].

Urban furniture is one of the most important components in providing functionality to areas with the aim of enhancing the use of public spaces. Urban furniture that is planned, compatible, well designed, and reflects urban identity increases the availability of these spaces and affects the protection of their historical values. There are several principles to be followed towards this aim [35].

Foremost, unity in visual balance, rhythm, repetition, proportional relations, color, texture, line, and form should be established among design elements, surrounding historical buildings, and other components. It should be noted that urban furniture should be compatible with and relatable to the unique nature of its historical environment in shape, order, character, and functionality. Thus, traditional design elements should be selected rather than modern elements. Different, eye-catching, mobile elements should be preferred to add richness to the texture without disrupting the characteristics. It is important to use comprehensible, non-complicated elements to bring out the components in the historical textures. The selected elements should be suitable to human measurements and reflect the characteristics and cultural aspects of the historical texture by exhibiting traces of them. Applications that will cause damage to the historical environment should be avoided in placing urban furniture. The main goal when urban furniture is placed is the protection of historical cities and sustainability.

2.3. Public Open Spaces in Historical City Texture of Nicosia

The island of Cyprus has one of the oldest recorded histories in the world [36,37,38]. Cyprus has a strategically important location in the Mediterranean. The island has been under the control of many monarchs and kingdoms due to its geographical location and its commercial importance. Therefore, Cyprus has a great cultural mosaic. The empires on the island also had an important influence on the physical development of the city of Nicosia, which has a history dating back to 7000–3000BC [39].

Nicosia is in the middle of Cyprus island, which is the third-largest island of Mediterranean [40]. Nicosia has always been a hub due to its rich geographical resources and sheltered location. The city was founded around 2250 years ago. The first settlement established where the current Nicosia is located is known to be Ledra/Lidra/Ledrae, set up 150 m. above sea level. Although there are not any certain references about this era, the research findings indicated that Nicosia is settled on the area where the ancient city of Ledra was located [41]. The archeological excavations held to obtain data on the history of Nicosia revealed ruins at the south-southwestern part of Nicosia from the early Chalcolithic (3900–2500BC), Bronze (2500–1050BC), Geometric (1050–750BC), Archaic (750–480BC), Classical (480–310BC), Hellenistic (310–30BC), and Roman (30BC–AD330) Ages. Pursuant to the excavations, there are much older settlements than Ledra where Nicosia is located [42,43]. The historical settlement of Nicosia was formed during the Eastern Roman (Byzantine) period. At the end of the eleventh century AC, urban plans were initiated through which Nicosia became the administrative and military center of Cyprus, and Orthodox churches were built during this period [44]. Cyprus was recovered from the Byzantine Empire in 1191 by the British King Richard the Lionheart with the support of Guy de Lusignan and sold to the Templar Knights in 1192 for 100 thousand gold Byzantine coins. As the new rulers of the island, the knights chose Nicosia as the capital, constructed Catholic buildings under the influence of the papacy, and provided new structural, administrative, and commercial reorganization. The Templar Knights could not handle the rebellions resulting from the new organization and returned the island to King Richard by the end of 1192 [42].

In the same period, Lusignan bought Cyprus for 60 thousand gold Byzantine coins from King Richard, which launched the more-than-three-hundred-year rule of the Lusignan Administration on the island (1192–1489) [42]. Nicosia was selected as their capital, and they built the 9-mile-long city walls surrounding the city with 6 towers and 6 gates [45]. They built churches, cathedrals, palaces, mansions, and houses, as well as public spaces with large orchards within the walls. Thus, they contributed to the commercial, cultural, and social development of Nicosia, which left many traces for its visitors and travelers, which are still alive in numerous memoirs. According to the memoirs, Nicosia was a green city with large vegetable gardens and orchards [46], and a part of the Kanlıdere/Pedieos river passed through central Nicosia, which positively nurtured the public spaces of the city [47]. Nicosia’s historical urban texture with its rich landscape showed significant formation and development during the Lusignan administration.

Venetians ruled the island between 1489–1570, and Nicosia remained as capital city during their administration. However, the development of the city decelerated, and its existing status was affected due to the intention of Venetians to make Cyprus their transit business warehouse and negative impacts of natural disasters and drought. On the other hand, Venetians destroyed many buildings to downsize the city as part of their defense strategies against the Ottoman Empire. During the destruction of 1567, many trees were cut down; monasteries, churches, palaces, and houses were demolished; the route of Kanlıdere/Pedieos was changed to travel outside of the walls; and a circular 3-mile-long new wall was built with 11 bastions (Flatro (Zeytinli-Kandil Söndüren), Loredano (Cevizli-Derviş-Söğütlü), Barbaro (Musalla), Quirini (Cephane), Mula (Zahra), Rokkas (Kaytaz Ağa), Tripoli (Değirmen-Mezarlık), D’ Avila (Kara İsmail), Kostanza (Bayraktar), Podokataro (Sazlı), and Graffa (Altun)) and 3 gates (Paphos Gate (Porta di S. Domenico), Kyrenia Gate (Porta del Proveditore), and Famagusta Gate (Porta Giuliana) [42]. The first census data of Nicosia are not certain and eligible, yet they are generated from the census every four years. The city population was initially around 15–20 thousand and grew to 30 thousand in 1596–1597. The 1571 census data identified that 56 thousand people live in the city [48].

The Venetian administration slowed down the historical urban texture development and caused destruction and demolition. The city landscape was majorly affected, particularly by the change in the Kanlıdere/Pedieos river’s route.

In 1570, with the rule of the Ottoman Empire, Nicosia stayed as capital (1570–1878). The Ottomans built inns, hammams, mosques, fountains, and houses, and they supported the commercial and social development of the city [41]. The whole city transformed, with new buildings with a touch of Turkish architectural style, and courtyards, house–street, and street–square connections were shaped with curved paths, narrow streets, and plant elements. Traveler memoirs reflected such changes as bazaars, fruit trees in courtyards, and many fountains. On the other hand, some visitors indicated in their memoirs that destruction and disorder dominated the city [49].

The Nicosia population from the Ottoman period was estimated as 2000 families in 1806 and 12,000 in 1841 [48,50]. The census held just before the island was taken over by the British administration in 1878 announced the city population as 10,874 [50].

Nicosia, which was the capital of the Ottoman Empire for around 308 years, showed major development in trade and social life with an improvement in urban development and landscape.

Nicosia stayed as the British capital after they leased the island in 1878 from the Ottomans (1878–1960), with further development and transformation making it the era of welfare and improvement. New architectural buildings were constructed; streets and squares were re-shaped; and the city expanded outside the walls with more population [45]. The first comprehensive and planned census was performed in this period, and the transport network of city changed with the introduction of motor vehicles for the first time [8]. This change was considered as a major transformation for its residents. The visiting researchers noted in their memoirs that Nicosia was back then an organized city with regards to its public spaces and other architectural buildings [49]. Nicosia was a green city with rich public spaces and urban landscapes formed by religious, administrative and household courtyards. Between the years of 1881 and 1960, censuses were held in every decade. Based on the first and last census in 1881 and 1960, the population was 11.513 and 45.940, respectively [51].

The British Administration, which was ended in 1960, majorly contributed to the commercial, social, and cultural development of Nicosia. Moreover, the architectural buildings influenced the formation of the current historical texture. The landscape in public spaces was considered much more important than before, so efforts were put towards improvement.

The city was divided in 1963 by a boundary for ceasefire following the route of the Green Line, which was then determined by the British General Peter Young to prevent the conflicts between two communities (Turkish Cypriots and Greek Cypriots). The Green Line was adopted as an official boundary in 1974. The division majorly affected the historical identity and spatial integrity of Nicosia [52]. The walled city in Nicosia, which is still divided as north and south, experienced different developments. The border, which is in the middle of the territory, is like frozen land without any function [53]. In 1979, despite the unfavorable conditions and circumstances, the architects, town planners, engineers, and municipality officials from the divide initiated activities that would establish the Nicosia Master Plan, and they managed to deliver important developments for the protection of architectural heritage and rehabilitation of Nicosia [54].

The first legal text on the preservation and restoration of historical texture was first drafted and implemented during the British Administration (1878–1960). The laws on protection, which were included in the Constitution under two topics, were directly associated with the protection of antiquities. Firstly, “Chapter 31. Antiquities Law” was enforced in 1935 as the first legal step towards the protection and improvement of historical buildings. It aims to list and protect any antiquities constructed earlier than A. D. 1700. This law was then amended and revised in 1949 and 1959 [55,56]. The second law, called “Chapter 96. Streets and Buildings Regulation Law”, was adopted in 1946 and amended on 27 December 2018. This law, which was drafted as the Planning Law, aims to protect the historical textures [57]. The Planning Law, which was adopted in 1989, is another legal text regulating the preservation and restoration of historical texture in North Cyprus. Pursuant to this law, Nicosia’s walled city is declared as a protection area, while Chapters 5, 6, and 7 regulate the protection and restoration of historical textures; work principles, duties, and responsibilities of relevant planning institutions and bodies; and penalties and sanctions to be imposed on any individuals that would damage the historical texture [58,59].

The walled city center, where the historical texture of Nicosia lives, is still maintained as an open-air museum possessing a highly rich cultural heritage, with its indoor and outdoor spaces and architectural works from various civilizations in the history of Cyprus (Lusignan, Venetian, Ottoman, British, Republic of Cyprus periods) [45].

Public spaces of Nicosia have always been intensely used as the centers of attraction for various purposes. Through the historical buildings in these public spaces, the traditional city culture contributes to the spaces’ use by both local people and visitors. New urban furniture elements are added to these places as part of renovation and organization works in order to enhance the usability of public spaces. Two important squares of the walled city of Nicosia can be examined to assess the compatibility of this urban furniture with the historical texture.

3. Methodology

This study is conducted based on literature review and qualitative research based on field study. Literature review was performed by examining books, dissertations, articles, and documents about the city in order to obtain essential information and visuals from the past about the historical formation and development processes of Asmaaltı and Selimiye Squares, which are the focus of this study. Subsequently, the urban furniture in the squares were examined on-site for their materials, shapes, and functionality. The field study was supported by present-day photographs taken by the authors. Interviews were carried out with the Nicosia Turkish Municipality and its Parks and Gardens Unit, which are responsible from the arrangements of urban furniture in squares, in an effort to obtain information about their projects. An interview was also carried out with the artist of the sculpture in Asmaaltı Square to collect data about his work. Conformity and functionality of the established materials and styles of the urban furniture were assessed, and deficiencies were established accordingly. Consequently, several proposals were delivered regarding the design criteria for urban furniture in historical texture (see Figure 1).

3.1. Case Study: Asmaaltı Square and Selimiye Square

Asmaaltı Square is located between Sarayönü Square, which has been the administration center since the Lusignan period—which is the beginning of the formation of the city’s historical texture—and Selimiye Square, which is a religious Kumarcılar Inn from the seventeenth century, during the Ottoman period of Cyprus. During the British and Republic of Cyprus periods, several buildings were constructed around this area, which contributed to the formation of the square, and the increase in business activities gave a new identity to it. Additionally, the construction of the Great Inn (Büyük Han) in 1572, which is today located on the south-west of square, shaped the boundaries of Asmaaltı Square. The Great Inn has been a business center, accommodation facility, and cultural and arts center throughout its own history. The functions of the Great Inn influenced the formation and development of Asmaaltı Square and created its identity [60,61,62].

Kumarcılar Inn, which makes the square a central location, has been re-opened for business after the final restoration work in 2016, conducted by the responsible official institution (Ministry of Tourism and Environment). The rooms in the inn are now used as shops selling various hand-made, home-made goods; restaurants; and cafeterias. This planning approach enhanced the characteristics of Asmaaltı Square as a business center, and it has become a more actively used place (Figure 2 and Figure 3) [8,42].

Today, Asmaaltı Square has Kumarcılar Inn in the north, the Great Inn in the south, and shops and food andbeverage places in its surroundings. The square gained a new look with the “Asmaaltı Area Pedestrianization Project”, designed in 2013 by the Nicosia Turkish Municipality and completed in 2017–2018.

With the aim of giving the square a urban space identity, power and telephone lines were placed underground and the water pipe system and rain drainage lines were renewed during the renovation works. The front of the Kumarcılar Inn, facing south, is designed as a small square, with new lighting elements, litter bins, benches, and flower beds. Moreover, the asphalt paving was replaced with cobblestones of various sizes and colors, with special cobblestones laid for visually impaired individuals, and hydraulic barriers were installed to control the entrance of vehicles (Figure 4) [64].

Selimiye Square is in the historical Selimiye Neighborhood. It is important to preserve its existence, as it is the most important religious center of the city since the formation of the historical urban texture. The square was shaped by the construction of St. Sophia Cathedral (1208–1326) during the Lusignan period and continued its development with the construction of the Latin Archbishopric building (1329) in the same place. Another historical building that shaped the square was the St. Nicholas Church, built on the south-west of the Cathedral in the fourteenth century. During the Venetian period, when the boundaries of Selimiye Square were starting to be formed, the Chapter House was built in the south-east corner of the cathedral, and the Venetian House was built towards the east. Selimiye Square continued its development as a religious center during the Ottoman period with the construction of new architectural works (Sultan Mahmut II Library, Great Madrasah, Little Madrasah, Deveciler Inn (Camel Riders’ Inn), Mısırlı Inn), and with the buildings from previous periods having changes in their function. Selimiye Square expanded during the British and Republic of Cyprus periods, and it became an urban space (Figure 5 and Figure 6) [66,67].

Today, Selimiye Square is surrounded by Selimiye Mosque in the south and various historical buildings used as restaurants, bars, educational centers, and offices. The square has gained its present look after two separate renovation works by the Nicosia Turkish Municipality. The first batch of renovation was the pedestrianization project carried out during 2000 and 2001. The square was closed to vehicle traffic as a part of this project and organized through pedestrianization works. The second renovation activity was the “Project for the Revival of Selimiye Square” in 2018, during which new urban furniture was added to the square (Figure 7).

Consequently, the square is now a place for entertainment, meetings, festivals, and various activities. The surroundings of Selimiye Mosque, where restoration works are performed, are bordered with metal sheets for the safety of the restoration area. Therefore, the present state of the proximity of the mosque in the south of the square is not visible.

3.2. Instrument

Two different 3-point Likert scales with 10 items were developed to examine and evaluate the current status with respect to material properties, functionality, and compatibility of urban furniture in two important squares in the historical urban texture of Nicosia. The first scale consists of compatible, partially compatible, and incompatible aspects, whereas the second scale includes functional, partially functional, and unfunctional aspects. The first scale was used to analyze the material characteristics of urban furniture and their compatibility with the historical texture from a design perspective. The second Likert scale analyzed the functionality of urban furniture elements in terms of their number, maintenance, and structure. The findings and assessments are presented in the table together with their associated abbreviations as compatible (C), partially compatible (PC), incompatible (IC), functional (F), partially functional (PF), and unfunctional aspects (UF).

3.3. Data Collection and Analysis

The sampling units were selected due to their historical significance, recent renovations, and intensive use. The data were collected through observation, analysis, and assessment. In data analysis, urban furniture was considered as materials. The furniture’s problems and deficiencies were identified, and recommendations regarding the contribution of squares to their city and urban identity were proposed. Data were collected in Asmaaltı and Selimiye Squares, which are located at two central points on the northern façade of the historical urban fabric of Nicosia. The field work in the research area was completed in 3 months between December 2021 and March 2022. The research area was visited at different times, both weekdays and weekends, during the day and evening.

Based on the on-the-spot assessments and observations, three different criteria were used to analyze the data collected in the research area. The first criterion concerns the comparison of the traditional material details of the urban furniture and historical texture. Hence, the compatibility with the texture was analyzed. Secondly, the urban furniture in our research area was compared with the criteria determined in previous studies for the functional properties of urban furniture. Thus, the functionality of urban furniture was analyzed. Thirdly, the durability and destruction of the urban furniture were analyzed, and its usability was evaluated. No data were collected from the users of spaces. The urban furniture elements were individually analyzed, measured with a measuring tape, and observed during field studies (see

Table 1. Parameter Diagram for Data Analysis.

Harmony (Visual Feature)	Harmony with the History of the Squares	Functionality (Functional Feature)	Availability
	Harmony with the Environment		Accessibility
	Proportion and Scale		Relationship with Environment
	Variety of Designs		Circulation
	Material Detail		Qualification in Numbers
	Abuse, Neglect		Material Durability

).

4. Findings and Discussion

The data generated from the observations and assessments of the use and compatibility of urban furniture at Selimiye Square and Asmaaltı Square are elaborated as explained in the methodology.

4.1. Findings

The following section explains the data from the observations and assessments regarding the use and compatibility of urban furniture in the historical Selimiye Square and Asmaaltı Square (see

Table 2. Asmaaltı Square Urban Furniture Evaluation Form.

Evaluated Item	Visual							Harmony with the Historical Texture		Functionality in Terms of Using
Flooring materials								IC		PF
Seating units								PC		IF
Lighting elements							Le₁	PC	Le₁	IF
							Le₂	PC	Le₂	IF
	Le₁		Le₃		Le₃		Le₃	PC	Le₃	IF
Boundary elements								IC		PF
Bins							B₁	IC	B₁	IF
	B₁			B₂			B₂	IC	B₂	IF
Flower beds							Fb₁	IC	Fb₁	IF
	Fb₁			Fb₂			Fb₂	IC	Fb₂	IF
Top cover elements								IC		IF
Bookshelves								C		IF
Artistic Objects								C		PF

Compatible (C), Partially Compatible (PC), Incompatible (IC); Functional (F), Partially Functional (PF), Infunctional (IF).

and

Table 3. Selimiye Square Urban Furniture Evaluation Form.

Evaluated Item	Visual							Harmony with the Historical Texture		Functionality in Terms of Using
Flooring materials								IC		PF
Seating units							Su₁	IC	Su₁	IF
	Su₁			Su₂			Su₂	IC	Su₂	IF
Lighting elements							Le₁	PC	Le₁	IF
							Le₂	C	Le₂	PF
	Le₁		Le₂		Le₃		Le₃	C	Le₃	IF
Boundary elements								C		IF
Bins							B₁	IC	B₁	IF
	B₁			B₂			B₂	IC	B₂	IF
Flower beds							Fb₁	C	Fb₁	PF
							Fb₂	C	Fb₂	PF
	Fb₁		Fb₂		Fb₃		Fb₃	IC	Fb₃	IF
Top cover elements								IC		IF
Bike parking station								IC		IF
Signs and Boards							Sb₁	IC	Sb₁	IF
							Sb₂	C	Sb₂	F
	Sb₁		Sb₂		Sb₃		Sb₃	IC	Sb₃	IF
Artistic Objects								C		PF

Compatible (C), Partially Compatible (PC), Incompatible (IC); Functional (F), Partially Functional (PF), Infunctional (IF).

).

Flooring Materials:

Rectangular, 20 cm × 40 cm, diagonally laid yellow and grey cobblestones are used in the center of Asmaaltı Square and surrounded by 10 cm × 20 cm straight rectangular cobblestones. Additionally, the fronts of shops in the west and the front and surroundings of Kumarcılar Inn in the north are covered with 10 cm wide graveled concrete.

On the other hand, rectangular, alternately laid concrete cobblestones of 10 cm × 50 cm are used in Selimiye. Moreover, some parts of the north-west and south-east of the square are covered with a 100 cm wide band of concrete with gravel of various sizes.

4.1.1. Seating Units

The seating units in Asmaaltı Square are made of concrete and wooden materials. The semi-circle banks of 60 cm × 150 cm size with backs are made with horizontally lined wood, and the sides and side parts of the backs are from concrete. There are three seating units in the east of the square and two in the west, placed side by side, with the possibility for seating a maximum of three people.

The two different types of seating units in Selimiye Square are made of concrete and wooden materials. Six sitting units for six people are placed towards the south-east and south-west sides of the square in groups of three. These sitting units are hexagonally shaped, with concrete backs and stands. These 150 cm long sitting units are made of wooden materials 18 cm × 30 cm in size, arranged side by side. The second type of benches sit two people each, and four of them are placed around the monument in the north-east of the square. These are 30 cm × 150 cm, rectangular, concrete stands without backing, and the sitting parts are made of wooden decks laid side by side.

4.1.2. Lighting Elements

The pole-type lighting elements in Asmaaltı Square are steel. Some of these elements have a single armature, while others have three. The lighting poles are about 500 cm in height, with 1 in the west of the square and 3 in the east, 800 cm apart from each other. Moreover, electric cables with LED lamps on them are attached to lighting poles crosswise.

The lighting elements in Selimiye Square have a single armature and are about 500 cm high, made of steel, and painted black. Three of these are placed in a triangular formation in the south-east of the square, six of them are located side by side in the north-west, and two are placed in the north of the square. In addition to these, there are movable LED projectors in aluminum cases placed on the ground in 300 cm intervals around the Selimiye Mosque. Other lighting elements in the square are five LED lamps placed on the south side of the Küçük Mehmet Building (today known as Yunus Emre Institute), which is at the north of the square. These lamps are used to illuminate the outer façade of the building, but they also contribute to illuminating the square.

4.1.3. Boundary Elements

A state-of-the-art vertical mobile hydraulic mushroom barrier system ensures the safety of Asmaaltı Square by specifying the borders and controlling the vehicle entrance hours to the square. The shells of the 50 cm high boundary elements are made of stainless steel, and the top covers are aluminum. These cylindrical elements are lined up at the meeting points of the square with the adjoining streets at intervals of 160 cm.

The 30 cm high boundary elements in Selimiye Square are made of black steel in a cylindrical form with flat tops. They are placed side by side, 60 cm apart from each other at the conjunction points of streets that surround the square.

4.1.4. Bins

Two different types of bins are used in Asmaaltı Square. The baskets of both types are made of metal sheets and black oven-dried pipes, with the inner bucket made of galvanized metal. The first type of litter bin has forged cast-iron legs, and the other type, fixed onto concrete, has plastic covers. A total of 5 bins of 110 cm in height are placed in the east and west diagonally.

Some of the bins in Selimiye Square are made of white painted concrete, including their cylindrical carrier systems. The inner buckets are 60 cm in height and made of galvanized sheets. Furthermore, 4 of these bins of approximately 90 cm in height are placed towards the south-east of the square, side by side, and 1 is placed towards the north-east. The other type of litter bins are 120 cm in height, rectangular in shape, and made of green colored plastic material with metal handles, and they have wheels as well. There are two of these bins in the south-east of the square.

4.1.5. Flower Beds

The flower beds in Asmaaltı Square are circular concrete pots and square white plastic pots. There are 3 concrete pots, 60 cm in height, placed in the east of the square, and 4 plastic pots, 40 cm in height, placed in an adjacent manner in the north.

Some of the flower beds in Selimiye Square are rectangular with legs and are made of wooden materials approximately 40 cm × 120 cm in size. Other flower beds are gray and brown plastic pots, square or circular in form, about 30 or 50 cm in height. They are randomly placed by the surrounding cafes and restaurants.

There is an approximately 30-square-meter landscape area to the east of the Fighters Monument, surrounded by a wall made of cut stone material and covered with an 80 cm high concrete coping. This area has a shape created by superposing the north-east and south-west corners of two entangled rectangular forms directed to the east and west. There are two Cupressus trees, one Melia Azedarach tree, one Ficus Benjamina, and one Nerium oleander in this landscape area. There is a Date tree (Phoenix) to the east of the monument, which is about 6 square meters, rectangular in shape, covered with cut stone material, 90 cm in height, and covered with concrete coping.

4.1.6. Top Cover Elements

The top cover elements in Asmaaltı Square are 4 umbrellas, 4 m × 4 m in size, from polyester fabric of yellow, red, and blue colors, on aluminum structures about 300 cm in height. These umbrellas, standing on top of aluminum stands reinforced with concrete parquet, are placed at the center of the square in a triangular formation.

The restaurant on the east side owns the two top cover elements in Selimiye Square. These are made of beige-colored acrylic textile canvas. They each have 2 approximately 300 cm high vertical steel carriers with wheels. There are horizontal carriers between them that have a system of movable elements mounted in both directions to enable opening and shutting.

4.1.7. Bookshelves

Two book boxes are placed at Asmaaltı Square. They are rectangular, with wooden sides and inner shelves and glass covers, and have iron stands. The stands have 2 different heights, 90 cm and 70 cm. The book boxes are 45 cm in width, 50 cm in height, and 30 cm in depth, and they are placed side by side in the west of the square.

4.1.8. Bike Parking Station

The bicycle parking station in the north-west of Selimiye Square, with fifteen-bike capacity, is placed by the Nicosia Turkish Municipality in association with Velespeed (Bicycle Sharing System). The floor of the station has galvanized sheets, and bicycle parking slots are made of hard plastic material.

4.1.9. Signs and Boards

The info board at the south-east of Selimiye Square, indicating the square is closed for vehicle traffic but open to pedestrians and cyclists, is a circular galvanized sheet on a metal pole about 300 cm in height. The information panel with the map of the Nicosia sightseeing train is at the north-east of the square. This panel is made of hard plastic material and is 80 cm × 110 cm in size. The bearings are metal poles 220 cm in height. Moreover, there is an information board at the north-west of the square providing information about the Nicosia Turkish Municipality, with a charging point for wheelchairs. This urban furniture is made of metal, with its exterior painted with durable polyester-based electrostatic powder paint, and its shade is made of galvanized sheets.

4.1.10. Artistic Objects

The statue placed in the center of Asmaaltı Square as an artistic object is 200 cm in height and reflects botanic and human figures. Its internal material is plaster, and the outside is polyester. In an interview with Ceylan Dimililer, the artist who designed the statue, she stated that she was inspired by the grapevine that was there in the past and the folk dance “Sarhoş Zeybeği” (Drunk’s dance), a glimpse of Cypriot culture.

The Fighters Monument is in the east of Selimiye Square within an uneven geometric area of approximately 50 square meters. It is surrounded by cut stone material, about 90 cm in height, and accessed by 4 rises from the level of the square. The monument is made of a crescent-shaped piece of wall on its west side, made from natural stone material, 200 cm in height. The eastern part of the monument is a castle-shaped structure in a cylindrical form, made of natural stone material and 150 cm in height. A brass Fighters emblem is placed on the west façade of the monument, together with an information sign engraved on natural stone. There are flag poles about 800 cm in height on the north and south of the monument. There is also one Ficus Elastica and one Melia Azedarach tree. The Fighters Monument was built in 1967, giving the square the function of a military ceremonial place [66].

4.2. Discussion

Several field studies were conducted at Asmaaltı and Selimiye Squares in the walled city of Nicosia to identify the compatibility of urban furniture within historical city textures. The assessments were conducted based on the findings about material, style, and functionality of the urban furniture (sitting elements, litter bins, lighting elements, boundary elements, artistic objects, bike parking stations, flower beds, bookshelves, signs and information panels) (see Table 2 and Table 3).

Concrete flooring materials and ground paving in both squares, as contemporary construction materials, are incompatible with the characteristics of historical texture. Additionally, the dents in parts of Selimiye Square obstruct the pedestrian traffic and cause visual pollution.

Seating units are made with a combination of concrete and wooden materials in both squares. Although wooden details blend with the texture, the extensive use of concrete material creates a contradiction with the historical character of the texture. The seating units, which are nonfunctional because of their sizes and shapes, are damaged and worn out due to physical environmental effects and lack of maintenance.

The materials of lighting elements are compatible with the historical texture; however, their forms cause a contradiction, and they do not provide sufficient light to the square. The projectors at Selimiye Square are in line with the texture, and they especially contribute to lighting the Selimiye Mosque. Thus, most of these elements, including pole-type lighting elements, are either broken or dismantled, hence, nonfunctional.

The materials and forms of the boundary elements at Asmaaltı Square are made with contemporary technology that contradicts the historical texture. Although the boundary elements in Selimiye Square are compatible in terms of their material and form, they create visual pollution due to the lack of maintenance.

The bins in Asmaaltı Square do not create unison because of their different forms. Further, their functionality is insufficient because of their number and lack of maintenance.

The flower beds placed in both squares do not fit with their environment due to their modern materials and different shapes, sizes, and colors. The fact that flower beds are mostly used for vegetation makes them insufficient to meet the need for creating public spaces, and they do not have functionality.

The top cover elements, which belong to restaurants in both squares, contradict the texture because of their features and random placement.

The bookshelves in Asmaaltı Square are in harmony with the texture due to their material. However, their shapes negatively affect their functionality. Moreover, the lack of maintenance has caused extensive damage to the bookshelves.

The bike parking station, made of modern materials, is incompatible with the texture of Selimiye Square. The station, which is not any different from those placed outside the walled city, shows that the historical city texture was not considered enough in that regard.

With their insufficient functionalities, the information panels in Selimiye Square are not in harmony with the texture because of their materials. The information sign about the touristic train is made with materials compatible with the texture. The sign with municipal information, which is also a wheelchair charging station, is incompatible with the texture due to its modern material. Moreover, it fails to function properly due to the lack of maintenance.

The statue in Asmaaltı Square creates unity with the texture through its theme about the city’s cultural history. However, the statue was greatly damaged because of vandalism, and the renovation works disrupted its form. Moreover, the lack of landscape at the statue does not provide any means for the people to understand the artwork, making it ineffective.

Stone, a traditional material, is used for the construction of the monument in Selimiye Square, which is overall compatible with the texture. However, the lack of essential organization, maintenance, and cleaning around the monument and in the landscape areas to the east and south result in visual and environmental pollution and damage the historical importance of the monument.

The Fighters Monument (1967) was constructed upon the first division of island in 1963, and the square had started to be used for ceremonies, which is an added value for the political fight of Turkish Cypriots. However, the existing status of monuments deteriorates such historical and political significance.

The public spaces in the northern part of Nicosia had become vital in 1963, followed by the perpetual division in 1974. The need for public spaces is shaped by individual aspects. Squares started to meet the needs of not only the residents of Nicosia but also the whole Turkish Cypriot community. On the other hand, the division triggered ghetto-style living and major changes in social and demographic characteristics in the northern part of Nicosia, both of which influenced the function and formation of public spaces, as people with different needs and demands do not have any cultural connection with the historical texture [69].

Public spaces in historical urban textures are dynamic and attract attention, as they are planned according to the human scale. They have positive impact on social and cultural relations and create common values. Currently, public spaces like Asmaaltı and Selimiye Squares have again been put into service. However, lack of attention in planning and development eliminate identity and perspective. Change and transformation are inevitable in existing circumstances, yet the relationship between human environment and human history is an indicator for the direction of change. Protection of historical heritage is not an obstacle for change. The most vital aspect of change is to create a bond between new and old, which work in harmony.

Cities have acquired their existing identities through the influence of previous civilizations. The identity of historical urban texture is shaped by challenging times and processes. Its continuity is the most important aspect that makes human life meaningful. So-called modernization, which was considered as inevitable for cities, is an indicator of change in human life, which people experienced after the Industrial Revolution that distanced them from social and cultural values. Therefore, historical elements should not be placed in museums but be preserved as living history.

Throughout the history, public spaces as the focal points of cities always had a strong role in shaping social culture by providing people areas to meet, share, and cooperate. With the same agenda, the protection of historical textures is a requirement, not a request, which would integrate public spaces in life with the possibility of meeting modern life expectations.

5. Conclusions and Recommendations

5.1. Conclusions

The historical Asmaaltı and Selimiye Squares, selected from the historical urban texture of the walled city of Nicosia, are cultural heritage areas that formed and developed under the influence of various civilizations in the history of Nicosia. Both squares were renovated during the 2000s through pedestrianization works and have become functional with the addition of urban furniture.

Pursuant to the study findings, most of the urban furniture in historical Asmaaltı and Selimiye Squares is incompatible with the traditional characteristics of the texture, as it is made with modern construction materials. Moreover, almost all of the urban furniture is damaged and would lose its functionality due to lack of maintenance and ill usage.

The following recommendations about urban furniture are developed based on this study related to urban furniture in historical city textures within the scope of Asmaaltı and Selimiye Squares in the walled city of Nicosia.

Traditional materials compatible with the historical city texture should be used as paving material. Seating units should be made from traditional materials such as wood and iron and should be durable, functional, comfortable, and sufficient in number without taking too much space in squares.

The lighting elements should be made of durable materials, such as steel, in compatible form, and able to illuminate and emphasize structures in the texture and botanical elements. Boundary elements should be made with authentic-looking iron, steel, or durable composite materials to ensure integrity with the historical texture and have functional characteristics. Bins should have an authentic look, made of durable wood, iron, or steel materials. They should be of a single type and sufficient in number.

Flower beds should be wood and compatible with the historical texture. The plants that would be used should be relevant to the cultural background of the historical texture and the geographical characteristics of the region, and they should enhance the landscape. Top cover elements should be made of wood and in the shapes of pergolas and arbors, integrated with plants such as vine.

The bookshelves should be built with materials that are compatible with the historical texture by considering the climate conditions and other environmental factors, and they should be placed close to the seating areas. The bike parking stations should be iron or steel and placed in a way that does not limit the use of recreative space.

The signs and boards should be of a single form within the historical texture. It is crucial that such signs should fulfill their proper functions with materials that are compatible with the texture. The artistic objects and monuments in public spaces within historical textures should be compatible with the history of the texture and cultural values of the city and should be integrated with landscape arrangements. The existing monumental elements in the historical texture should be repaired and maintained to reflect their origins.

The municipality officers who were a part of renovation works in Asmaaltı and Selimiye Squares noted that there is not any design process for urban furniture. The most visually appropriate furniture is supplied from the manufacturers after a delicate process. They also mentioned the scarce financial resources and insufficiency of preservation planning. As such, design development that would comply with texture and needs assessment based on user opinions are essential factors for sustainable renovation activities.

Overconsumption is the most important outcome of the modern era of urbanization. Construction of similar buildings, limitation of public spaces, lifestyles that distance people from production, and particularly leaving behind traditional living make capitalists richer while the majority of society becomes poorer. On the other hand, sustainable preservation and renovation of historical urban textures would generate an income for social development and maintain and promote culture as modern human expectations are met in parallel.

In a world of changing life and production styles, historical urban textures and landscapes are like open-air museums exhibiting conditions in the past. People feel happy and learn about former mastership and creativity as they try to comprehend and perceive such places while wandering around. Their former owners may not be around, yet finding their fingerprints, seeing monumental trees, walking between winding streets, and exploring spaces have an utmost importance for us and future generations.

Renovation work on public spaces with urban furniture should take historical building materials, historical identity, and social functions into consideration. Modern and traditional building materials should be merged in accordance with the urban identity, and digital technological tools would facilitate preservation and restoration in heritage areas. In addition to the professionals from relevant domains, users should be included in the process through co-creation practices (surveys, field works, project competitions, research activities, etc.). This approach would ensure a stronger sense of ownership, cooperation, interaction, efficiency, and sustainability in public spaces.

5.2. Further Recommendations

Various works, including renovation, were performed in public spaces within historical textures to improve their use, one of which is related to urban furniture design and its placement. Urban furniture has different aims such as providing comfortable places for meeting the needs of users in public spaces and creating a positive psychological effect. Therefore, certain criteria should be followed in their design. While preservation is a priority in historical cities, it is important that design should follow the rules of preservation.

The formation and development of public spaces, which are part of historical urban texture and still maintain their importance, should be analyzed and considered separately. We believe that such research would be a source for future studies on the renewal of public spaces. Analysis and evaluation regarding the current situation of other important public spaces in the historical city of Nicosia, which is an important cultural heritage site, and making recommendations will bring benefits for the protection of the city. However, our study reflects that the inclusion of users and professionals during the research process would have positive impacts.