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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 IV positions the studio as a memory-centered, narrative-driven platform based on the design of an Urban Memory Forum—a civic space dedicated to preserving, interpreting, and activating the collective memory of the city. The studio explores how interior architecture can translate urban narratives into spatial experiences, transforming archives, oral histories, artifacts, and everyday memories into immersive environments. Rather than functioning as a static repository, the Urban Memory Forum is envisioned as a living, participatory space that fosters dialogue between past and present, individual and collective memory, and tangible and intangible heritage. Through critical inquiry, spatial storytelling, material experimentation, and community-oriented programming, the studio investigates how design can serve as a medium for remembering, reinterpreting, and sustaining urban identity. Centered on the adaptive reuse of modern heritage, the course challenges students to transform an existing structure into an Urban Memory Forum conceived as a compact, mixed-use civic environment. The program is structured around an Archive and Research Zone that anchors preservation, documentation, and scholarly inquiry. Supporting this core are a Memory Lab for recording, digitization, and co-creation; Exhibition and Immersive Media Spaces that translate urban narratives into spatial experiences; a Civic Forum for dialogue, workshops, and public gatherings; and a Café and Bookshop that integrate memory into everyday social life.
To preserve memory is not to freeze the past, but to sustain the fragile dialogue between time and place. Urban memory does not reside solely in material fabric; it unfolds within spatial frameworks, as Maurice Halbwachs reminds us, where collective remembrance is anchored in the physical environment. Conservation, therefore, becomes less an act of replication and more a critical recognition of what endures—of age, patina, design intent, and layered histories. As Brandi suggests, restoration is a methodological moment of acknowledging both the historical and aesthetic polarity of a work, aiming not to cancel time but to transmit its potential unity to the future. In the city, memory is neither a monument nor a replica; it is a living construct shaped by use, perception, and reinterpretation. To preserve is to negotiate—between authenticity and change, material integrity and social meaning—so that heritage remains not a museumified relic, but an active civic presence embedded in contemporary urban life.
Students integrate functional, aesthetic, historic, and sustainable criteria while addressing user needs and spatial context within the adaptive reuse of modern heritage. They investigate materiality, spatial organization, environmental performance, and archival conditions to develop design strategies that support preservation, research, and public engagement. Here, the focus shifts from production to preservation and activation: not modern throughput, but memory-centered processes of documenting, archiving, interpreting, and sharing. Through iterative research, spatial experimentation, and curatorial thinking, students transform modern heritage into an accessible, civic-facing archive of collective memory—where preservation becomes dynamic, participatory, and socially embedded.
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Course Content
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This studio focuses on the spatial construction of an Urban Memory Forum, transforming selected modern heritage site into compact, archive-centered civic infrastructures. Students will develop an Archive & Research Core as the intellectual and atmospheric nucleus of the project, integrating climate-aware storage, reading environments, and living archival systems. Around this core, they will choreograph Exhibition & Immersive Interpretation spaces and Urban Memory Forum programs that enable dialogue, public engagement, and collective reflection. Interventions must remain reversible, minimal, and authenticity-aware, ensuring that preservation principles guide spatial decision-making. The course bridges conservation theory with curatorial strategies, sustainable environmental design, and civic programming. Sub-theme tracks structure research-through-design, informing tactics for spatial hierarchy, circulation, visibility of the archive, and the activation of memory within contemporary urban culture.
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Course Methods and Techniques
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Lecture, Demonstration, Discussion, Question and Answer, Practice, Desk Critiques, Research Assignments, Presentation.
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Prerequisites and co-requisities
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( IAD 301 )
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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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- Avrami, E. Mason, R. & Torre, M. (2000). Values and Heritage Conservation. Los Angeles: The Getty Conservation Institute. - Bastéa, E. (2004). Memory and architecture: Contemporary viewpoints. University of New Mexico Press. - 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. - 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: Routled
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Course Notes
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- Avrami, E. Mason, R. & Torre, M. (2000). Values and Heritage Conservation. Los Angeles: The Getty Conservation Institute.
- Bastéa, E. (2004). Memory and architecture: Contemporary viewpoints. University of New Mexico Press.
- 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
- Lynch, P. (2020). Reuse, renew, recycle: Recent architecture with recycled and upcycled materials. Prestel Publishing.
- Lynch, K. (1972). What time is this place? MIT Press.
- Lowenthal, D. (1985). The past is a foreign country. Cambridge University Press.
- 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.
- Zumthor, P. (2006). Atmospheres: Architectural environments, surrounding objects. Birkhäuser.
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