The Transformation of Metro Stations in the Context of Public Art and Socially Responsible Design

Abstract

This study addresses the significance of socially responsible design in public interiors and emphasizes the necessity of transforming metro stations from mere transit spaces into social environments that embody identity, belonging, and aesthetic value. The main objective is to evaluate metro stations not only as functional circulation areas but also as public stages that generate individual and collective experiences. Selected metro stations in Stockholm, Moscow, Naples, and New York constitute the scope of the research. The study is significant in demonstrating that, while modern cities’ speed- and function-oriented planning tends to reduce metro stations to what Marc Augé conceptualized as “non-places,” artistic and aesthetic interventions have the potential to transform them into memorable spaces that foster a sense of belonging. In this context, public art is argued to be a tool that transforms everyday experiences, reflects cultural identity, and fulfills a social responsibility function. Methodologically, the study employed descriptive and qualitative content analysis through visual materials. The selected international metro cases were examined in terms of aesthetic contribution, user experience, social function, social responsibility, and spatial quality, and the findings were interpreted in relation to the conceptual literature. The results indicate that art and design in metro stations not only enhance visuality but also reshape user experience, social belonging, and urban identity. The combination of rock textures and color in Stockholm, the sensory memory evoked by light and mosaics in Naples, the participatory atmosphere of mosaic art in New York, and the monumental aesthetic approach in Moscow transform metro stations from transit spaces into environments that contribute to aesthetic and collective memory. In contrast, Istanbul’s Gayrettepe line, with its monotonous and repetitive design, approaches Augé’s definition of a “non-place,” reducing the user to a mere object of circulation. In conclusion, the study highlights the necessity of transforming metro stations through principles of public art and socially responsible design. The findings demonstrate that, as seen in international examples, artistic interventions can produce identity, belonging, and social awareness, while identityless corridors such as Gayrettepe can be reconfigured through local themes, aesthetic arrangements, and participatory art practices. In this regard, the study contributes to rethinking transportation infrastructures not only as technical facilities but also as multilayered spaces encompassing social memory and aesthetic experience.