The expansion of interactive technologies and digital media in urban design has created new possibilities for spatial experience. However, technology-oriented approaches in historic contexts may weaken the relationship between technological intervention, place identity, and collective memory. This study aims to develop a framework for the transition from the “smart façade” to the “Urban Cultural Interface” (UCI) and examine the potential of Persian art and literature in interactive urban design, using the historic Baharestan neighborhood in District 12 of Tehran as a case study. An exploratory sequential mixed-methods approach was adopted. In the qualitative phase, UCI components were identified through documentary analysis and semi-structured interviews with 50 experts and analyzed using open, axial, and selective coding. In the quantitative phase, experiential indicators were assessed through a five-point Likert-scale questionnaire administered to 375 residents, employees, pedestrians, and public-space users. Data were analyzed using Pearson’s correlation coefficient and the Friedman test. The qualitative findings identified 64 initial concepts and 24 final codes organized into three structures: “linguistic–narrative,” “visual–artistic,” and “perceptual–contextual.” Quantitative findings showed that historical layers, semantic memory, identity-oriented visual language, and place identity received higher rankings than interactive technology and low-dominance media architecture. Significant positive relationships were also found among UCI, cultural codes, place experience, place identity, and spatial quality. Accordingly, UCI is conceptualized as a context-sensitive mediator connecting narrative, collective memory, art, place, and technology, with technology positioned as a low-intervention medium serving meaning, identity, and place experience.