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In the wake of the Egyptian revolution, the role of the youth and their sense of belonging, the level of their understanding and responsibility have all been reevaluated in the society at large. It was a general belief that the youth were disconnected from the surrounding political events, their living environment, their history and any consideration of the future. The revolution challenged many of these convictions and this resonated in educational institutions. This paper presents a design studio experiment where students were given an area at the heart of the city, which carries historical significance, both in terms of events and its built environment. The area witnessed drastic change over the years, transforming it from elegance to chaos, where listed buildings have come to decay, occupied by ill uses. The area rarely attracts the youth who instead are attracted to emerging hubs in the city. The paper explores an important pedagogical query; the capacity of the design studio to reinforce issues of identity, sense of ownership and belonging. It also raises questions of the role of the teaching staff in fostering cultural responsibility. Literature strongly recommends relating academic scope to the students' surroundings and environment and for topics to be discussed in an integrated manner. It also suggests that the studio offers the ideal setting for integrating knowledge; where synthesis and application, reflection and action take place and where a student's architectural identities develop. Less is mentioned in literature of a student's cultural identity and sense of belonging. Through a project in 2012, the students were divided into groups tackling four main aspects for a given location (the social, economic, physical and environmental aspects), then discussed and debated among themselves, facilitated by the tutors, in an active learning environment. Students collected their data using surveys, interviews, observations and document analysis which informed their design of a master plan and single buildings in the area. A critical pedagogy was adopted in the studio, encouraging students to think critically about the area reflecting on experiences and social contexts in which they are embedded. The studio experience was assessed using focus groups, interviews and individual project content analysis at two stages over the students' final year. Assessing the learning experience over a long term, clarified the changes that occurred to the students' vision towards the issues and problems that their design projects dealt with os well as their affiliation with the historic area. Results have implications both to the quest of identity and to the methods used to support a critical pedagogy. [ABSTRACT FROM AUTHOR]

Contemporary Memorial landscape (CML) integrated within the city and people's life is rapidly growing. It is a landscaped space commemorating individuals or events of the past and keeping them in the memory of people, through physical representation in public areas, by being active rather than passive spaces. Users experience these memorials through engagement with different perceptions, as a result of senses experienced at that space. Placing CML in everyday life and allowing users to engage strengthen their memory and place attachment. This research carries an analysis of CML classification, urban physical configuration, and user sensual experience. The research is carried through literature review and analytical studies for three examples; 9/11, Diana's, and Jewish memorial. This research highlights the difference between monuments, memorials, and CML. The research concludes a theoretical framework, based on user's interpretation highlighting their sensual perception, helping the designers bridge their ideas to the user, leading to memorial success. [ABSTRACT FROM AUTHOR]