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Language of Instruction
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English
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Level of Course Unit
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Bachelor's Degree
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Department / Program
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Interior Architecture and Environmental Design (English)
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Type of Program
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Formal Education
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Type of Course Unit
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Compulsory
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Course Delivery Method
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Face To Face
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Objectives of the Course
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Design Studio III positions the studio as an education-first, alternative learning platform for cultural and educational exchange—a dynamic, inclusive environment that catalyzes knowledge sharing, social interaction, and cultural engagement beyond conventional classroom models. Centered on the adaptive reuse of post-industrial space, the course challenges students to transform existing sites into compact, mixed-use settings organized around an Education Core (studios, seminars, critiques), Production (bench-scale, reversible tests), and a Public Program & Commons (pop-ups, open juries, talks). Students integrate functional, aesthetic, historic, and sustainable criteria while addressing user needs and spatial context; they probe materiality, spatial organization, and environmental performance to produce measurable learning outcomes (portfolios, pop-up showcases, readers). Here, “production” is reframed—not industrial throughput, but learning-led reproduction: iterative making, curating, and sharing that activates heritage responsibly and turns the studio into a civic-facing engine of ideas.
In Şişli, Istanbul, Bomontiada reactivates the historic Bomonti Beer Factory as a creative campus, integrating live performance, exhibitions/workshops, and gastronomy within a restored industrial ensemble. The public-realm design by SANALarc (2015) frames the site as a “laboratory for post-industrial Istanbul,” while restoration/adaptive-reuse works led by Han Tümertekin keep the industrial fabric legible. Today, anchors such as Babylon and the Ara Güler Museum sit alongside flexible venues like ALT, supporting rehearsals, prototyping, and public programs. As a mixed ecology of making, gathering, and showcasing, Bomontiada provides a ready context for our education-first studio brief—positioning the site to host a compact Studio School/Learning Commons that produces assessable outputs (crits, pop-up exhibitions, performance, reader) while remaining reversible and sensitive to heritage. Situated in a dense cultural–academic corridor, the site amplifies our education-led agenda by enabling public critiques, pop-up showcases, and swift collaborations with nearby universities and museums.
Design Studio III is a comprehensive course focusing on complex interior design challenges. The course aims to enhance students' ability to integrate functional, aesthetic, historic and sustainable design solutions while considering user needs and spatial context. Students will explore design methodologies, materiality, spatial organization, and environmental considerations to create innovative interior spaces.
This studio course explores the adaptive reuse of post-industrial space, focusing on the transformation of these spaces into mixed-use environments while offering a new mode of learning. In this studio, production becomes learning-driven reproduction—cycles of learning and research that re-articulate the building’s cultural, social, and immaterial logics.
The course challenges students to consider the balance between conserving the historical essence of industrial architecture and integrating modern design elements that cater to contemporary needs. Emphasis will be placed on authenticity, reversibility, sustainability, flexibility, community impact, and innovative use of materials and technologies. Students will be tasked with a comprehensive design project that transforms an existing industrial site into a vibrant mixed-use facility, incorporating aspects such as core educational spaces, colloborative artisanal or artistic production areas, and community spaces.
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Course Content
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This studio specializes in the adaptive reuse of post-industrial interiors, transforming existing sites into compact, mixed-use learning ecologies. Students will prototype an education-first Learning & Teaching Core (studios, seminars, critique forum), integrate Production infrastructures (material labs, digital fabrication, media), and choreograph Exchange & Display programs (pop-ups, open juries, talks) while keeping interventions reversible, minimal, and authenticity-aware. The course couples conservation theory with sustainable design, community engagement, and new modes of production. Sub-theme tracks (Music & Performance; Craft & Material; Digital Production & New Media; Architecture & Spatial Systems) guide research-through-design, with case-based learning from dynamic schools and summer academies informing your tactics for programming, circulation, and heritage activation.
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Course Methods and Techniques
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Ders Anlatımı, Gösterim, Tartışma, Soru-Cevap, Uygulama, Masa Başı Eleştirileri, Araştırma Ödevleri ve Sunumlar.
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Prerequisites and co-requisities
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( IAD 202 )
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Course Coordinator
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None
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Name of Lecturers
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Asist Prof.Dr. Hüma Tülce Uman huma.tulce@ankarabilim.edu.tr
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Assistants
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None
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Work Placement(s)
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No
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Recommended or Required Reading
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Resources
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Alfrey, J. Putnam,T. (1992). The Industrial Heritage: Managing Resources and Uses. London and New York: Routledge - Avrami, E. Mason, R. & Torre, M. (2000). Values and Heritage Conservation. Los Angeles: The Getty Conservation Institute. - Binggeli, C. (2013). Materials for interior environments (2nd ed.). John Wiley & Sons. - Brandi, C. (2005). Theory of Restoration. Rome : Istituto centrale per il restauro. - Brooker, G., & Stone, S. (2018). Re-readings: Interior architecture and the design principles of remodelling existing buildings (2nd ed.). RIBA Publishing. - Douet, J. (2013). Industrial Heritage Re-tooled: The TICCIH Guide to Industrial Heritage Conservation. London and New York: Routledge. - Cengizkan, A. (2009). Fabrikada Barınmak: Erken Cumhuriyet Döneminde Türkiyede İşçi Konutları: Yaşam, Mekan ve Kent. Ankara: Arkadaş Yayınevi. - Darley, G. (2003). Factory. London: Reaktion Books Ltd. - English Heritage. (1995).
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Course Notes
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- Alfrey, J. Putnam,T. (1992). The Industrial Heritage: Managing Resources and Uses. London and New York: Routledge
- Avrami, E. Mason, R. & Torre, M. (2000). Values and Heritage Conservation. Los Angeles: The Getty Conservation Institute.
- Binggeli, C. (2013). Materials for interior environments (2nd ed.). John Wiley & Sons.
- Brooker, G., & Stone, S. (2018). Re-readings: Interior architecture and the design principles of remodelling existing buildings (2nd ed.). RIBA Publishing.
- Douet, J. (2013). Industrial Heritage Re-tooled: The TICCIH Guide to Industrial Heritage Conservation. London and New York: Routledge.
Lynch, P. (2020). Reuse, renew, recycle: Recent architecture with recycled and upcycled materials. Prestel Publishing.
- Macdonald, S. Normandin, K. & Kindred, B. (2007). Conservation of Modern Architecture. Shaftesbury : Donhead.
- Plevoets, B., & Van Cleempoel, K. (2019). Adaptive reuse of the built heritage: Concepts and cases of an emerging discipline. Routledge.
- Prudon, T. H. M. (2008). Preservation of Modern Architecture. Hoboken, N.J.: Wiley.
- Schneiderman, S., & Adams, S. (2015). New industrial spaces: Flexible and adaptable workspaces in former industrial buildings. RIBA Publishing.
- Stark, A., & Rowlands, T. (2014). Designing for change: Adaptive reuse strategies for industrial heritage sites. Architectural Design, 84(2), 78-85.
- Stratford, H., & Giddings, B. (2022). Industrial reuse and revitalization: The transformation of manufacturing spaces. Architectural Press.
- Stratton, M. (2000). Industrial Buildings Conservation and Regeneration. London: Taylor & Francis.
- Van Heuvel, D. (2004). Re-use of industrial buildings: Design guidelines for adaptive reuse. NAi Publishers.
- Alfrey, J. Putnam,T. (1992). The Industrial Heritage: Managing Resources and Uses. London and New York: Routledge
- Avrami, E. Mason, R. & Torre, M. (2000). Values and Heritage Conservation. Los Angeles: The Getty Conservation Institute.
- Binggeli, C. (2013). Materials for interior environments (2nd ed.). John Wiley & Sons.
- Brandi, C. (2005). Theory of Restoration. Rome : Istituto centrale per il restauro.
- Brooker, G., & Stone, S. (2018). Re-readings: Interior architecture and the design principles of remodelling existing buildings (2nd ed.). RIBA Publishing.
- Douet, J. (2013). Industrial Heritage Re-tooled: The TICCIH Guide to Industrial Heritage Conservation. London and New York: Routledge.
- Cengizkan, A. (2009). Fabrikada Barınmak: Erken Cumhuriyet Döneminde Türkiyede İşçi Konutları: Yaşam, Mekan ve Kent. Ankara: Arkadaş Yayınevi.
- Darley, G. (2003). Factory. London: Reaktion Books Ltd.
- English Heritage. (1995). Modern Matters: Principles and Practice in Conserving Recent Architecture. London: English Heritage.
- Jokilehto, J. (1999). A History of Architectural Conservation. UK: Butterworth-Heinemann.
- Jokilehto, J. (2009). Conservation Principles in the International Context, In A. Richmond & A. L. Bracker (eds.), Conservation: Principles, Dilemmas and Uncomfortable Truths (pp.73-84). London and New York: Routledge.
- Jokilehto, J. (2011). ICCROM and the Conservation of Cultural Heritage: A history of the Organization’s first 50 years, 1959-2009. Rome: ICCROM.
- Lang, P. (Ed.). (2013). Makers: A new wave of production, design, and entrepreneurship. Thames & Hudson.
- Lynch, P. (2020). Reuse, renew, recycle: Recent architecture with recycled and upcycled materials. Prestel Publishing.
- Macdonald, S. Normandin, K. & Kindred, B. (2007). Conservation of Modern Architecture. Shaftesbury : Donhead.
- Madran, E. & Özgönül, N. (1999) International Documents Regarding the Preservation of Cultural and Natural Heritage. METU: METU Faculty of Architecture Press.
- Madran, E. & Özgönül, N. (2005). Kültürel ve Doğal Değerlerin Korunması. Ankara: Mimarlar Odası.
- Madran, E. & Kılınç, A. (2008). Korumada Yeni Tanımlar Yeni Kavramlar Endüstri Mirası. Ankara: TMMOB Mimarlar Odası Genel Merkezi.
- Oevermann, H. &
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