This study delves into the intricate relationship between cinema and architecture by analyzing how architectural space is transformed into cinematic space, particularly within the framework of historical reality. Both cinema and architecture are mediums through which social and cultural meanings are conveyed. In architecture, spaces are shaped by historical processes and carry layers of social- cultural significance, while in cinema, these spaces are depicted as structures that encapsulate symbolic and cultural signs. Using Roland Barthes' semiotic theory with a focus on the concepts of meaning, connotation and myth, this research focuses on Bodies, an 8-part British miniseries adapted by Paul Tomalin from Si Spencer's graphic novel. The series spans four distinct time periods—1890, 1941, 2023, and 2053—and is examined for its representation of historical reality through the lens of architectural elements, technological advancements, and everyday practices of these eras. The architectural styles explored in this study include Victorian architecture, particularly Gothic revival and Queen Anne styles, as well as modernism, post-modernism, and dystopian futuristic designs that depict the evolution of space over time. This study explores how cinema constructs and reimagines historical reality through architectural representation, emphasizing the polysemic nature of cinematic images and the role of audience interpretation. Drawing on Roland Barthes’ semiotic concepts of denotation, connotation, and myth as articulated in Mythologies, The Death of the Author, and The Pleasure of the Text, the research examines how filmic representations of space render historically constructed meanings as natural and inevitable. In this context, the research presents a semiotic framework for understanding the relationship between cinema and space in social, temporal and cultural contexts and the relationship between cinematic space and historical periods. The study draws attention to the importance of spatial design in visual media and emphasizes how architectural spaces are not only a backstage plan but also function as a historical and ideological narrative tool. The findings contribute to interdisciplinary debates by demonstrating how cinematic space becomes a tool of historical ideology, offering a new semiotic lens to architectural and visual analysis.

In the last two decades, lean product development and design processes, which have rapidly penetrated the automotive industry companies with all their functions and spread globally, have come to life with measurements, benchmarks and flow maps on value creation or value addition in new product project stages. In the literature review, two customer-oriented approaches, namely lean product development and user experience design, have been widely adopted within the discipline of new product design. However, the lack of comparative efficiency measurements or studies addressing their integration in scientific publications constitutes the primary motivation of this research. Furthermore, the selection of the research scope and boundaries is based on convenience sampling, enabled by direct qualitative research with companies managerial or design positions in the Turkish automotive supplier industry. The main objective of this study is to conduct a comparative analysis aimed at integrating user experience activities with lean product development process flows, and to reveal metric values that enhance efficiency through overall system optimization. On the other hand, the most important recommendation of the study is that the basic process will benefit positively by including user experience activities, which are the most important application of customer-oriented design approaches, into the highly efficient lean product development flow. Therefore, the study conducted with the mixed research method was completed under the preference of quantitative face-to-face interview method in the in-depth questioning of the qualitative numerical data obtained by the questionnaire method. User experience activities, which are newer and less widespread than lean product development processes, have also revealed the frequency of project-based, customer-oriented design activities, along with the demographic organizational structure of the participating companies in the automotive industry, such as the age of establishment, number of employees, number of designers, etc.

In a period when the changing living conditions with the Covid-19 pandemic are effective in all areas of life, this research is an example that investigates how the second-year undergraduate Interior Design I applied course, which is carried out in Hacettepe University (HU), Department of Interior Architecture and Environmental Design in formal education, can be efficiently adapted to distance education and develops methods on this subject. A mixed research method combining qualitative and quantitative approaches was used to analyse students’ adaptation, motivation and project outcomes. In the research, it is aimed that the Interior Design I course, which was conducted online in the early period of the pandemic, will contribute to the related courses in case of a transition to distance education system due to different reasons. The course was divided into five different sections. Each section was taught by a different lecturer and a teaching assistant. In addition to the fact that the topics of all sections were the same, the requirements, evaluation criteria and exam dates were designed simultaneously. The research was conducted through the students (16) who chose this course in Branch II and their project studies. Various methods were developed to ensure the efficiency achieved in formal education. In line with the opinions, feedbacks and project outputs of the students who are the subjects of this process, suggestions for the adaptation of distance education to interior design courses have been developed. The findings revealed that students successfully adapted to online design education and achieved creative results comparable to face-to-face learning. The study focused on the adaptation process of traditional hand drawing to the digital environment applied in the distance education period. This study provides insights that can guide the development of flexible and sustainable design education models for future crisis conditions.

The study focuses on the integration of data, deep learning (DL) models, and machine learning (ML) algorithms with geographical information systems (GIS) within the field of spatial planning. An original contribution is provided by addressing the integration of DL and ML into GIS in terms of their advantages, limitations, encountered challenges, and potential directions for development within the context of spatial data and model validation processes. In this context, the objective is to identify the developmental trajectory, challenges, and potentials of spatial studies based on the integration of DL, ML, and GIS. To achieve this aim, 91 research articles published in high-impact journals indexed in the Web of Science (WoS) database were analyzed. The selected studies were evaluated under five main categories: spatial and temporal distribution, applications of DL and ML methods, thematic approaches, employed GIS tools, and data-model validation processes. The findings suggest that artificial intelligence technologies have the potential to serve as significant tools in spatial planning, although the current developmental stage remains in its early phases. While ML algorithms are widely applied across the reviewed studies, the application scope of DL models has expanded in recent years due to the increasing availability of large datasets. Spatial applications predominantly concentrate on land use, natural hazard assessments, environmental issues, and climate-related themes, particularly supported by the extensive use of remote sensing techniques. However, due to the limited accessibility of spatial data in rural areas, the majority of applied studies have been oriented toward urban centers, revealing a noticeable gap in research focusing on rural contexts. Furthermore, studies that implement AI and planning integration in practice demonstrate that the use of spatial data and the necessity of model validation constitute critical requirements. This study may offer guidance for future research by supporting the implementation of applications across diverse thematic domains involving the integration of artificial intelligence, planning, and GIS within spatially oriented processes.

This article examines the dynamics of studentification in İşçi Blokları, Ankara—a 1970s cooperative-housing district adjacent to Middle East Technical University (METU). Originally constructed in 1973 as a workers’ cooperative housing estate, İşçi Blokları today functions as a major student-housing cluster, with many dwellings rented to students. Using a mixed-methods design (survey and in-depth interviews, 2022–2023), the study analyses how student demand reshapes housing affordability, dwelling quality, and neighborhood cohesion. Studentification emerges as a multifaceted urban issue. Residents depict students as a “guaranteed market,” linking their presence to higher property values but also to reduced maintenance and social frictions; yet many support a more balanced citywide distribution and acknowledge students’ economic and cultural contributions. Empirically, we find rent inflation and physical decline in older cooperative stock alongside growth in cafés, study-friendly venues, and youth-oriented services that enhance cultural vibrancy. In response, the paper proposes a new housing model that brings together the municipality, housing cooperatives, and universities. The model sets affordable rent limits (30–35% of household income), creates a revolving renovation fund to repair old buildings, and includes university agreements to guarantee stable student occupancy. Together, these measures aim to keep rents stable, improve living standards, and prevent resident displacement. Overall, studentification in İşçi Blokları is a transformative socio-spatial process requiring inclusive housing policy, multi-scalar governance, and the revitalization of cooperative institutions to balance affordability, diversity, and urban sustainability.

The Basic Design course is a fundamental foundation in design education that introduces students to basic visual principles and creative problem-solving approaches. However, it creates challenges for students transitioning from traditional, rote-based learning environments to more abstract and conceptual thinking. The current study investigated how students comprehend and apply basic design principles through a workshop in the Basic Design I course at the European University of Lefke. The workshop, involving 81 first-year students from four design departments (Architecture, Interior Architecture and Environmental Design – Landscape Architecture – Visual Communication Design) and employed wire art as an applied vehicle for visualising and comprehending theoretical knowledge. The students underwent practical and reflective segments, allowing them to attain in-depth knowledge of design principles like balance, contrast, rhythm, symmetry, proximity, and unity. A guided survey was conducted after the workshop to identify student perceptions of these principles based on demographic factors like age, gender, and academic department. The results showed statistically significant perceptual differences depending on department, with the Visual Communication students especially having a more nuanced consciousness of visual principles. Age also showed significance, especially for the principle of proximity, as a sign of developmental or experiential processes in perception. Moreover, gender differences were found, and male and female students varied in sensitivity to the principles of contrast and symmetry. These findings support the need for integrating physical, three-dimensional workshops within foundation design education. They also highlight the diverse ways students of different backgrounds and disciplines learn about design. Future research must more comprehensively explore how spatial and material experience influences cognitive and creative growth within design learning spaces.

Coworking spaces, beyond being a physical space, represent a new organizational form and a new living style. Although coworking spaces have been widely studied by human sciences and managerial disciplines, academic studies on their spatial characteristics are limited and they are focused on some specific areas. This paper draws a multi-dimensional framework for spatial characteristics that play an important role in users' satisfaction and preference for a coworking space. In this context the paper aims to determine the user-centered spatial characteristics constituting a guide for interior design of coworking spaces and to introduce design considerations based on the research findings. The spatial characteristics are reclassified under technical, functional and behavioural characteristics (Post-Occupancy Evaluation method); an "user-centered design research for coworking spaces" structured with these characteristics is conducted, and design considerations based on research findings are introduced. The research reveals satisfaction and importance levels of spatial characteristics in coworking spaces; identifies the spatial characteristics with low performance that need to be improved; confirms the importance of spatial characteristics in users' preference for a coworking space and reveals that spatial characteristic preferences differ for users with different characteristics. The key findings regarding the user-centered spatial characteristics are “to consider the spatial configuration of noisy and quiet spaces according to the levels of interaction and privacy for users having different work motivations”, “to provide the arrangement of activity spaces, gathering spaces and workspaces (collaboration spaces and private spaces) allowing flexibility and individual control possibility” and “to create a cozy interior atmosphere with a strong IT infrastructure”. As a practical contribution, this paper provides useful information for owners, managers and designers of coworking space, in the process of renovating or establishing a coworking space.

This study examines how Starbucks, as a global brand, employs glocalization strategies in its interior design by incorporating local architectural elements into standardized global formats. The primary objective is to analyze how local and global elements are integrated into the design of the second-wave coffee shops, a globally recognized brand, and to evaluate the balance between these elements from a design perspective. To achieve this, six Starbucks stores, selected as the sample for the current study, located in the EMEA (Europe, Middle East, and Africa), Asia-Pacific, and Japan regions were examined. The research focused on key interior design components, including vertical structural elements, flooring, ceiling features, openings, furniture, and decorative details, assessing them within the framework of local and global characteristics. A qualitative research approach was adopted, employing content analysis to systematically evaluate the selected stores. The originality of this study lies in its structured examination of how glocalization strategies manifest in interior spaces through regional variations. The findings reveal that local elements such as ceiling types, materials, and seating styles were consistently integrated to reflect regional identities, while standardized lighting and furniture layouts preserved the brand's global coherence. Thus, the findings show that integrating local motifs into spatial design enables global brands to establish a meaningful connection with the local cultural context while maintaining their global identity. This balance not only enhances user experience but also reinforces brand identity through culturally resonant spaces. Overall, the research underscores the significance of preserving cultural codes in interior design as a means of fostering commercial success for global brands. By offering a framework for incorporating glocalization strategies in spatial design, this study provides valuable insights for designers and brands aiming to achieve cultural sustainability while maintaining a strong global presence.

Space is a fundamental component of our existence, without which we cannot live or think. During our daily lives, we perceive various components of space concurrently and we build an understanding of the environment in our memories. The spatial properties/qualities of the environment have their own unique place in this context and have been studied in psychological and several non-psychological disciplines such as architecture, phenomenology, sociology and geography. In this frame, imageability theory focuses on the environment’s visuo-spatial quality, whereas space syntax theory focuses on its spatial configuration, and they both enable the systematic evaluation of numerical data. Starting with the question "What makes a space memorable among all its different components/features?", the research aims to investigate the effect of certain spatial qualities on spatial memory through quantitative research on an architectural scale. Within a multidisciplinary framework, the methodology presents a unique approach that integrates space syntax with memory data. Firstly, content analysis was applied to cognitive maps, and the obtained data were redefined according to the configurational (syntactic) and imageability qualities of the real environment they represent. Secondly, the redefined data was tested to evaluate the effect of spatial qualities on memory. 77 participants (age 23-75; 52M/25F) attended the case study and drew the plan schemas of the school building they graduated from. The relation between memory and (1) spatial units’ imageability categories is searched through ANOVA tests, and (2) spatial units’ syntactic values is searched through correlation tests. The significant results reveal that configurational and visual qualities of spaces are essential factors on what will be stored in memory depending on their lead of participants’ spatial experience routines via their formal qualities. Furthermore, the case study presents multidisciplinary data that contributes to architectural design, environment and behavior, and space syntax theories and provides new insight into cognitive research on memory.

This study aims to investigate the role of empathy in the disciplines of cinema and interior architecture, with a particular emphasis on individuals with disabilities. The objective is to assess the potential benefits of this empathetic approach through the learning outcomes derived from a workshop study. Workshops are recognized as effective educational tools, as they facilitate a discussion and evaluation environment that transcends conventional standards of interior architecture education. The primary focus of this research is to cultivate empathy and human-centred thinking skills, specifically through the application of the Scamper method in interior architecture design. This study aspires to provide students with opportunities for abstract and creative thinking while fostering innovative design approaches that integrate various disciplines. The Scamper method is a technique designed to encourage creative thinking and to foster diverse perspectives in the design process. The method encompasses nine key steps: Substitute, Combine, Adapt, Modify, Minify, Magnify, Put to Another Use, Eliminate, and Reverse. It is assumed that the Scamper method will prove effective in the field of interior architecture design education by promoting a problem-oriented approach, enhancing abstract thinking, and cultivating empathy skills, particularly in the context of inclusive design. The objective of this study is to introduce an innovative educational framework for interior architecture design that prioritizes empathy and human-centred design. This approach incorporates the Scamper method within the curriculum, adopts an interdisciplinary perspective, and emphasizes the development of inclusive design practices. Additionally, the study seeks to improve abstract thinking skills in design processes and to explore experimental educational methodologies. It is anticipated that such multidisciplinary strategies and pedagogical innovations will significantly enhance the future of interior architecture design education.