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This paper introduces the YouWalk-UOS mobile application, a tool that revolutionises the assessment of urban open spaces (UOS). The paper demonstrates how integrating real-time, on-ground observations with users’ reactions into a digital platform can transform the evaluation of urban open spaces. It seeks to address the existing shortcomings of traditional UOS assessment methods and underscore the need for innovative, adaptable and inclusive approaches.

Emphasizing the necessity of UOS for mental and physical health, community interaction and social and environmental resilience in cities, the methodology involves a comprehensive analysis of a number of theoretical frameworks that have historically influenced urban open space conceptualisation, design and assessment. The approach includes a critical review of traditional UOS assessment methods, contrasting them with the capabilities of the proposed YouWalk-UOS application. Building on the reviewed theoretical frameworks, the methodology articulates the application’s design, which encompasses 36 factors across three assessment domains: functional, social and perceptual and provides insights into how technology can be leveraged to offer a more holistic and participatory approach to urban space assessment.

YouWalk-UOS application represents an important advancement in urban space assessment, moving beyond the constraints of traditional methods. The application facilitates a co-assessment approach, enabling community members to actively participate in the evaluation and development of their urban environments. Findings highlight the essential role of technology in making urban space assessment more user-centred, aligning more closely with community needs and aspirations.

The originality lies in the focus on the co-assessment approach and integration of mobile technology into urban open space assessment, a relatively unexplored area in urban design literature. The application stands out as an innovative solution, offering a new perspective on engaging communities in co-assessing their environments. This research contributes to the discourse on urban design and planning by providing a fresh look at the intersection of technology, user engagement and urban space assessment.

Challenges of conducting site visit activities, a vital component of architecture learning during the recent pandemic have proved our unreadiness in facing the digital future. The lack of understanding of learning technology has affected the education experience. Thus, there is a need to investigate immersive learning technology such as immersive virtual reality (IVR) to replace students’ concrete experience in the current learning setting. This study aims to answer: (1) What is the influence of IVR in experiential learning (EL) in enhancing the personal spatial experience? (2) Does IVR in EL influence students' approach to learning during the architecture design process?

The research was conducted as an action research design approach. Action research was employed in the first-year architecture design studio by the lecturer as a practitioner-researcher. The personal spatial experience survey was performed in the earlier phase to identify the students’ prior spatial experience. Architectural Spatial Experience Simulation (ASES) a learning tool was implemented and assessed with Architecture Design Learning Assessment (ADLA) rubric, which was developed to evaluate EL and student’s approach to learning during the architecture design learning process.

The outcomes revealed that ASES as a learning tool in EL could improve the participants’ spatial experience, particularly those with minimal prior personal spatial experience. ASES was recognized to enhance the participants’ EL experience and encourage changes in student’s approach to learning from surface to deep learning.

This research benefits the architecture design learning process by offering a learning tool and a framework to resolve challenges in performing site visit activities and digital learning. It also contributes by expanding the EL theory and students’ approach to learning knowledge in the architecture education field.

City planning and construction have embraced circular economy principles, converting them into various indicators. Particularly in the European context, the question “what architecture for circularity?” is answered with policies focusing on techniques, materials and disassembling construction. This paper analyzes a new approach to sustainable design and explores the concept of Km0 architecture. The objective is to demonstrate the design strategies of a contemporary architecture based on local resources and knowledge, an architecture that works with the shortest possible loop in circularity, i.e. with the cycle that consumes the least amount of energy.

The paper presents two ways of understanding sustainability in architecture: the first as a result of policies and the second associated with the design and innovative-based New European Bauhaus initiative. Within the scope of this last understanding, the authors analyze three cases on the Spanish Mediterranean coast that have recently received media attention and prominence. The selection responds to a specific climate adaption through a certain typological and functional diversity of the works.

The studied cases exhibit a more equitable and cost-effective circularity based on the time factor, have long life-cycle designs and serve as repositories of cultural identity. Km0 architecture reduces emissions using local resources and mitigates environmental conditions by combining traditional and modern design strategies.

This paper fulfills an identified need to study the local understandings of the built environment that would ensure a more fair and inclusive European green transformation.

Adaptive reuse processes aim to preserve heritage values while creating new values through the architectural interventions that have become necessary. This claim provokes a discussion about the meaning of values, how we can preserve them in practice and how we can translate them into architectural qualities that users experience. Riegl's understanding of the different perspectives of heritage values in the past and present opens up the possibility of identifying present values as a reflection of current social, material and political conditions in the architectural discourse.

This qualitative and practical study compares two Belgian projects to trace the use of values in adaptive reuse projects from an architectural design perspective. The Predikherenklooster, a 17th-century monastery in Mechelen that now houses the public library, and the C-Mine cultural centre in Genk, a former 20th-century coal mine, are compared. The starting point is Flemish legislation, which defines significance through values, distinguishing between 13 heritage values.

The study demonstrates the opportunities that axiological questions offer during the design process of an adaptive reuse project. They provide an overarching framework for tangible and intangible aspects that need to be discussed, particularly in terms of the link between what exists, the design strategy and their effect.

Adaptive reuse can draw on approaches from both heritage conservation and contemporary architecture and explore values as a tool for “re-designing” built heritage.

This research purpose was to explore the meaning of historicism, architectural historicism, the architectural attributes, design principles, elements and ornamentations of churches in medieval Western architecture, and how they were reflected in contemporary churches' design in Jordan.

This research used the historical descriptive–interpretive qualitative research method. Around 24 Western medieval churches were selected, studied and analyzed to explore the common design attributes of each historical era. The design attributes of each era were segmented under three categories: Design principles (plans' typology, facades, shapes, details, composition and building form), design elements (openings, towers and entrances) and ornamentation (sculptures, paintings and interior decoration). Additionally, three modern Jordanian churches were analyzed using the same method to compare with the historical churches through personal observations, field trips, researchers' memories, site visits, archival records, plans, images, books, slides, details and note-making. Different types of evidence were used, such as determinate, contextual and inferential. In addition, different tactics for analysis were used in analyzing the historical churches: site familiarity, use of existing documents, virtual and visual inspection and comparison with conditions elsewhere. Credibility was achieved when the results were reviewed and compared with the original and similar information.

Early Christian design principles, elements and ornamentations were reflected in Jordanian churches more than in Byzantine, Renaissance, Romanesque and Gothic. The design principles of Western medieval architecture were reflected in the selected Jordanian churches more than in ornamentation and design elements. Moreover, this research found that the highest reflection of Western medieval architecture on Jordanian churches was in designing the plans, which is a basilica with a central nave and aisles followed by opening styles, façade, shapes, entrances design, composition, painting and the minimum reflection was in sculptures. Additionally, there was no reflection on tower design and interior decoration.

This research encourages architects to enhance architectural historicism by focusing on historical styles in contemporary designs and using design elements, principles and decorations of historical styles in medieval architecture to enrich the variety and originality of architectural design and create new modern stylistic architecture. Architectural historicism increases historical self-awareness and helps a generation of architects to answer the question: In what style should be built.

Learning the design principles, not copying the past, is becoming a trend for most architects. Architectural historicism introduces new temporal elements, gives a new meaning and primary function to architecture to become socio-temporal and contextual contrast and reflects the essential points of references of the past through design methodology to express the present. The advantage of this research is to put an end to architects' role in syncretism and subjectivism. Instead, historicism architects equipped with the necessary knowledge and supported by the published research and inventors of historical architecture, can choose, imitate, adapt, borrow and use the correct historical forms that originated in a given period.

This paper aims to examine how the interrelation between architecture and the physical environment came to prominence and influenced the pioneering modernist architects to acquire the features of modern architecture that the British modernists later adopted. How the post-war urban poor of Britain, suffering from ill-health and dire need of sun, air and a good environment, played an essential role in alleviating the environmental concerns of the modern movement architects.

The methodology of this research involves a comprehensive architectural analysis of the Finsbury Health Centre alongside an in-depth historical investigation of modernist design principles. This review article examines books, articles and some archival materials, such as recordings, pictures, etc. on the early phase of British modernism and its environmental dimension by looking at the works of historians, architects and critics.

Design based on modernist principles. While it can be seen as the political agenda of the Labor Party, this building was not only functionally efficient but also represented the biometric concerns of modern architecture with the most natural means.

While this study provides valuable insights, it may be limited by historical documents and data availability.

The originality and value of this paper lie in its examination of the Finsbury Health Centre as a case study, shedding light on the environmental rhetoric of modernism in historic architecture. By providing a holistic assessment of the building’s environmental aspects, this research contributes to both architectural history and contemporary sustainable design practices.

This study aims to demonstrate how women's involvement in urban planning and design in Gulf cities improves urban space's inclusivity and strengthens identity through cultural heritage revitalisation. It also promotes the participation of women in architecture and city-making by showcasing how shaping urban spaces offers local communities opportunities for social interaction and a more inclusive environment.

The paper critically compares two case studies in the Gulf region—one in the United Arab Emirates and the other in Bahrain—according to four inclusion criteria: context connection, cultural sensitivity, community engagement and choices of amenities. These inclusion criteria are also applied to an experimental project by women architects' students in Saudi Arabia to inspire the future female architects of the Gulf region. From urban to architectural scales, the project offers a glance into the heritage design by women architects.

In light of this critical analysis, this study highlights the sensitivity to issues related to the revitalisation of urban areas by women architects. The case studies identified show the role of the female architect in making architecture and linking cultural heritage with contemporary themes. These projects stitch the past with the present and link cultural identity with aspects related to sustainable architecture. Therefore, valorising women's architectural experience is necessary to contribute to sustainable urban development in the Gulf region and beyond.

The present study addresses the importance of the role of women architects in the Gulf region. The research promotes the full and equal participation of women in the architecture and construction of the city to recognise their achievements by increasing their involvement in the work in a more integrated and balanced way.

This paper considers the exhibition: UnDoing. This research-through-curation project examined interactions within existing spaces and situations. This established links between the selected exhibits, the gallery, the city and with the continuum of the previous exhibition.

Carefully selected architects, designers and artists were invited to contribute—those who pursued a contextual approach; whose practice explored the way buildings, places and artefacts are reused, reinterpreted and remembered.

Through the act of curation, this research uncovered a series of different approaches to constructed sites and existing buildings, from layered juxtaposition, the refusal to undo, to interventions of new elements within architectural works.

Curation offered the opportunity to consider works of architecture and of art through the same lens, for direct comparisons to be made and the influence of one upon the other to be comprehended.

The examination processes the architect employs is similar to that of the artist; the development of an understanding of place, and from this synthesis, creative interpretation. However, despite the similarities in the starting position, the elucidation developed by the artist can be vastly different to that of the architect.

The juxtaposition and new classifications created by the exhibition encouraged visitors to look at art, architecture and the city in a different way; to grasp the direct link between the different subjects; and the possibilities created.

The two driving factors for UnDoing were places of previous occupation and the city of Manchester. The qualities of surrounding constructed environment combined were combined with attitudes towards existing structures and places.

This article explores the impacts of the changing land-use on urban heat island (UHI) in an urban transformation zone in Ankara (Türkiye). Identifying a characteristic rural landscape until the 1950s, the study area experienced a drastic land-use change by razing the fertile landscape of the city and replacing it with a sealed surface. Development of the squatter houses after the 1960s and, subsequently, the implementation of a new housing morphology have introduced new sceneries, scales and surface conditions that make the study area a noteworthy case to analyze.

Regarding the drastic spatio-temporal change of the study area, this research assesses the impacts of the changing land-use on UHI based on three periods. Using 1957, 1991 and 2021 aerial imaginaries and maps, it analyzes the temperature alteration caused by the changing land-use. To do so, different surface types, green patterns and built-up areas have been modeled using Ankara climatic data and transferred to ENVI-Met to calculate the Universal Thermal Climate Index (UTCI) values.

The calculation has been developed over a transect covering an area of 40 m × 170 m, which includes diversity in terms of architecture, landscape and open space elements. To encourage future design strategies, the research findings deliberate into three extents that discuss the lacking climate knowledge in the ongoing urban transformation projects: impervious surface ratio and regional albedo variation, changing aspect ratio and temperature variation at the pedestrian level.

Urban transformation projects, being countrywide operations in Türkiye, need to cover climate-informed design strategies. Herein, the article underlines the critical position of design decisions in forming a climate-informed urban environment. Dwelling on a typical model of housing transformation in Türkiye, the research could trigger climate-informed urban development strategies in the country.

Analysis of architectural space is commonly conducted by examining architectural drawings that project spatial information by means of walls and partitions. To capture the lived experience of space, which is richer than what we can see from drawings, a new method is proposed to quantify the cognitive dimension of space and re-present it as an audible format.

Using an urban vernacular house in Seoul as a case study, this research takes a syntactic approach to quantify one's changing perception through their movement from the main gate to the most private reception room. Based on Luigi Moretti's theory of hollow space, a new method is proposed to measure the level of spatial pressure exerted on a navigating body. The numerical data of spatial pressure are then converted to a sound using musical techniques of the chromatic scale and chorale textures.

Building on Moretti's abstract concept, it has been shown that a rule-based quantification of users' spatial perception is possible. In addition, unlike conventional approaches of treating architecture as a static entity, this study showed an alternative approach to represent it as a sequence of sensorial experience that can be readily converted to a sound of music.

This research developed a quantification method to measure the perception of pressure inside buildings by revisiting Luigi Moretti's theory proposed in 1952. It has been also demonstrated that the visual stimuli in space can be translated into an audible experience. This new method is applicable to a wide range of buildings including important historic architecture.