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Die Baupiloten Berlin

Created on 18-06-2024 | Updated on 29-07-2024

Baupiloten, founded by Susanne Hofmann, is an architecture practice and educational platform at TU Berlin, which engages 4th and 5th year students in participatory design-build projects. Hofmann believes that integrating practice and research in education provides students with a much-needed real-world experience, thus contributing to bridging the gap between architectural education and professional practice. This initiative arose from concerns within German architectural associations about the breach between architectural education and professional practice, with the latter criticising the absence of reality-anchored pedagogies.

 

The purpose is to connect practice and research-oriented learning through building projects, explore the interdependence between design and construction, enhance interdisciplinary connections, foster student motivation by involving them in all project stages, and encourage testing ideas on real projects. Participation is central to Baupiloten, recognising user knowledge as equal to expert knowledge. Despite criticisms of participation, Hofmann argues it can amplify creativity, reduce costs, promote social cohesion, and ensure architectural quality. Through this process, the role of the architect is expanded to include facilitating and moderating interactions, maintaining a balance between technical design and human experience.

 

A key focus of Baupiloten is the use of atmospheres as a tool for communication. Atmosphere, in this context, is understood as the emotional and sensory qualities of a space. By articulating these atmospheres, designers are able to communicate complex ideas, engage users, and ensure the final design meets user needs. The methodology includes team-building, observing users' everyday life, researching their needs, and optimizing the designs based on feedback. This approach ensures students learn through real-world projects, enhancing both their professional competences and interpersonal skills.

Initiating entity
TU Berlin, Susanne Hofmann Architects

Objectives
Prepare students more effectively for their professional life by combining education, practice and research

Educational/participatory methods
participatory design; co-creation; experiential learning

Context
Neighbourhood level

Place
Berlin, Germany

Period
2001 -

Duration
Depending on each project: small projects run part-time and conclude in one semester, larger ones may span over multiple semesters. The projects engage fourth and fifth year students

Stakeholders
Municipalities, public schools, local communities, associations, design & construction professionals

Object of study
Neihbourhood Building Live Project

Description

Overview

The impetus behind the creation of Baupiloten was the growing concern within German architectural associations about the education offered at architecture faculties. At the turn of this century, architectural education in Germany was severely criticised on the basis of its perceived distance from the “practical necessities of the profession”, with students training only in abstract projects that would never be built (Hofmann, 2004, p. 115). The founder and leader, Susanne Hofmann, has been involved both in practice and academia/research and is a firm believer that intertwining these two pillars offers much broader opportunities for students to learn through direct exposure in reality-based conditions, thus bridging the gap between architectural education and professional practice.

In the spirit of restructuring prevalent architectural curricula, the Studienreformprojekt at TU Berlin set forth the following goals, which Baupiloten set to accomplish (Hofmann, 2004, p. 117):       

  1. Develop a connection between practice and research-oriented learning through building projects
  2. Provide opportunities to explore the interdependences between the design and building process
  3. Enhance interdisciplinary connections between the different fields of expertise that can be found in TU Berlin
  4. Foster the project motivation and responsibility of students by allowing them to be a part of every stage, from the conception to the construction stages
  5. Encourage students to test their ideas in a real, tangible project

Participation and atmosphere

Participation of non-experts

One of the core tenets of Baupiloten is the recognition of user knowledge as equally important to that of the “experts”. Users possess a specific kind of experiential, contextualised expertise on spatial arrangement, which, as Hofmann posits, becomes an invaluable source of information that can only be tapped into through real, active inclusion in the design process (Hofmann, 2019). Therefore, participation becomes a central focus in the Baupiloten approach, creating impactful and meaningful designs whose components can be traced back to the actual needs and desires of the people they design for.

While participation has often been criticised on the basis of responsibility and accountability diffusion, superficiality and risks of manipulation and tokenistic practices (Miessen, 2010), Hofmann argues that participation can (1) amplify creativity and invention, both through the multiple perspectives entering the discussion and through the need for creative solutions to facilitate the dialogue (e.g. discussion game design). It can (2) reduce costs and shorten the timeframe, as visions for the desired interventions are jointly shaped, so that time and cost estimations can be measured and planned with fewer amendments during the process. It can (3) promote social cohesion, through the co-existence and interaction of diverse groups. Finally, it can (4) ensure architectural quality of the finished product by securing a clear correspondence between the final design and the user needs (Hofmann, 2018).

While the clear-cut binary of “expert” and “layperson” slowly dissolves, flexibility becomes even more crucial when it comes to the role of the architect; facilitating and moderating skills arise as equally crucial during the process, and effective communication becomes the key to a successful process. This does not mean that space design and production should no longer be the core competence of an architect, but rather that it needs to be expanded and renegotiated to fit the needs of a diverse project team (Hofmann, 2019).

Therefore, one of the focal questions that Baupiloten seeks to answer is how “can communication between citizens, architects, authorities, business, social movements – everyone – be facilitated without a loss of quality?” (Hofmann, 2018, p. 117)

Perception of atmospheres as a means of communication

Within Baupiloten, “atmosphere" is understood as the subjective perception of a space's emotional and sensory qualities, which significantly influences user experience. This concept extends beyond mere aesthetics, encompassing the interplay of light, sound, texture, and spatial arrangements to create a cohesive emotional impact. Baupiloten utilises this understanding of atmosphere to facilitate the communication of design intentions and foster a collaborative co-design process. By articulating the desired atmospheric qualities, designers can convey complex ideas and emotions that are otherwise challenging to express through conventional architectural drawings or technical specifications.

Atmosphere articulation becomes a central tool in the co-design process, engaging users and stakeholders in the creation of a shared vision for the space. Through workshops, mock-ups, and immersive simulations, participants experience and respond to the proposed atmospheres, providing valuable feedback that informs the design development. This collaborative approach ensures that the final design resonates with users' needs and preferences, creating spaces that are not only functional but also emotionally engaging. By focusing on atmospheres, Baupiloten bridges the gap between technical design and human experience, fostering a more inclusive and participatory design process that enhances the overall quality and impact of the built environment (Hofmann, 2019).

Methodology and learning objectives

Methodology

Baupiloten follows a 4-stage methodology aimed at kickstarting the dialogue and subsequent collaborative design process among participating stakeholders (Hofmann, 2018):

  1. Team-building: raising awareness and building a common ground for communication through dialogue and other interactive activities.
  2. Users’ everyday life: observing and recording daily activities.
  3. “Wunschforschung”: researching the needs and desires of the users in a systematic manner.
  4. Feedback: optimising the design according to comments received by the participants.

This methodology includes three broad, equally important categories of participating stakeholders:

  1. Users: the “citizen experts”, bringing the knowledge of the everyday life to the table
  2. Clients: the individuals or entities who commission the project and define the financial constraints that the design and construction must adhere to.
  3. Architects: professionals and experts whose role is to facilitate and moderate the interactions, optimising their level of involvement to meet the process’s requirements.

Projects begin with students developing parallel designs. After a few weeks, the ideas are scrutinised to identify which concepts should be further refined, and students proceed to create and discuss various versions, ultimately selecting the final concept. Once a project is deemed convincing, it is divided into distinct packages for each student to develop independently. These design packages are intended to be sufficiently challenging yet comprehensible enough for the students to carry out successfully.

Overall, projects are divided by planning stages, potentially spanning through multiple semesters, and their schedule is aligned with the academic year to ensure professional management and relevance to real-world contexts. Instead of presenting related topics and themes as abstracted theory within the project (e.g. building regulations, lighting design principles, structural engineering, etc.), students are encouraged to learn experientially, through on-demand contextualising knowledge from related fields and topics as they progress on the project at hand (Hofmann, 2004).

Learning objectives

The learning objectives are separated into two main categories, as follows (Hofmann, 2004):

  1. Fostering professional competences related to the different stages of a project
    1. Developing design skills
      1. Training in designing from concept to construction detail
      2. Learning about cost-calculation and budgeting
      3. Developing self-reflexive and assessment skills and methods
  2. Enhancing interpersonal, communication and teamwork-related skills
    1. Cultivating management skills
    2. Learning how to interact with the various stakeholders involved in a project (clients, public authorities, craftsmen, manufacturers and building contractors)
      1. Learning how to prepare and give effective presentations
      2. Training in performing at and leading client meetings

Notable projects

Erika Mann Elementary School (or “the snuffle of the silver dragon”)

The Erika Mann Elementary School in the Wedding area of Berlin. When the phase 1 of the project was initiated (2003), Wedding had a high unemployment rate and a significant migrant population from non-German-speaking backgrounds. Baupiloten was tasked with initiating a collaborative design process, aiming to enhance the school premises with additional learning and living environments. The aim was to improve the quality of life within the school and make it an important hub for the whole neighbourhood.

Operating under the principle of “Form follows kids’ fiction”, the school students engaged with Baupiloten students and tutors in a series of design workshops spanning two phases: the first taking place in 2003 and the second in 2008, following the extension of the school’s operating hours to all-day. These workshops resulted in a proposal featuring a series of interventions designed to contrast the rigidness of the school’s hallways by creating “fantastical and poetic worlds, culminating in the fictive "Snuffle of the Silver Dragon"”(ArchDaily, 2009).

Kotti 3000

Kotti 3000 (alternatively, Neighbourhood 3000), is an interview tool and game specifically designed to encourage participation from people, such as migrants, whose voices, opinions and desires are often overlooked.

In this game, the players begin with a map of the neighbourhood. Through discussion and interaction, they can place a wide range of pictogram stickers on it. Each pictogram represents a type of urban equipment or function and “costs” a varying amount of points (e.g. cinema=300 points, vegetable garden=100 points). The overarching goal is to collaboratively “spend” the 3,000 points available to the participants on different types of interventions based on their needs and desires (Baupiloten, n.d.; Khafif, 2024).

Alignment with project research areas

This case study predominantly resonates with two of the research areas of the RE-DWELL project: “Design, planning and building” and “Community participation”. It particular addresses (housing) design education and (co-housing, co-design) in the following ways:

  1. Housing design education: Baupiloten promotes a reality-anchored design education, allowing students to come in contact with real conditions and limitations.
  2. Co-housing and co-design: It operates on the principle that “architecture is participation”; user participation and inclusion cover all the facets of the design process, from conception to detailing.
  3. Inclusive design: Inclusive design is one of the overarching goals in the Baupiloten projects. The activities conducted show a special interest in lifting the voices of those less privileged and in working with cultural and language differences. There has been a special focus, illustrated by the number of projects, in addressing and highlighting children’s perspectives and ideas, throughout the participatory processes.
  4. Vulnerable groups: A significant number of projects carried out within Baupiloten address underserved areas and communities in Berlin and beyond.

Design, planning and building

Community participation

Policy and financing

* This diagram is for illustrative purposes only based on the author’s interpretation of the above case study

Alignment with SDGs

Based on the course contents, format and impact, the following Sustainable Development Goals are associated with Baupiloten:

SDG 4 Quality education: Through direct contact and interdisciplinary collaboration on real problems, the students have the opportunity to assess their own responsibility as future professionals in shaping urban spaces. Furthermore, they are able to sharpen their soft/transferable skills relating to communication and collaboration as well as practical/construction skills that enable them to better understand the connections between the different stages in a design project’s life (conceptualisation, design, construction), and the different factors that influence each one. Lastly, they are provided with the opportunity to reflect on the value of participatory practices towards an inclusive and sustainable urban environment.

SDG 10 Reduced Inequalities: Baupiloten has conducted numerous projects in underserved neighbourhoods, addressing and including in its processes people of diverse backgrounds, regardless of gender, language, religion, and education level. By providing a platform where people feel safe to express themselves and voice their opinions, Baupiloten makes a small, yet significant contribution to nourishing people’s trust, self-confidence, in the hope that their participation can result into meaningful change. In parallel, students have the opportunity to come in contact with different people, discuss and collaborate, familiarise themselves with their perspectives and maybe question their own assumptions and biases.

SDG 11 Sustainable Communities and Cities: A special focus is placed on the social sustainability of communities and cities through the Baupiloten projects. Architectural design and urban planning are viewed as inherently participative and inclusive processes that enhance social cohesion. Furthermore, as students are exposed to real-life problems, they have the opportunity to witness an architectural project from its initiation to its construction, thus learning and sharpening their skills through real-time, collaborative praxis.

References

ArchDaily. (2009, July 4). Erika Mann Elementary School / Die Baupiloten. ArchDaily. https://www.archdaily.com/27714/erika-mann-elementary-school-die-baupiloten

Baupiloten. (n.d.). Baupiloten. Retrieved 8 July 2024, from https://www.baupiloten.com/en

Hofmann, S. (2004). The Baupiloten: Building bridges between education, practice and research. Architectural Research Quarterly, 8(2), 114–127. https://doi.org/10.1017/S1359135504000156

Hofmann, S. (2018). Participative Architecture: The Way to More Environmental Justice. Architectural Design, 88(5), 116–121. https://doi.org/10.1002/ad.2352

Hofmann, S. (2019). Architecture is Participation Die Baupiloten—Methods and Projects (1st edition). Jovis.

Khafif, M. E. (2024). In Action: Urban Design Pedagogy for Co-Production. 112th ACSA Annual Meeting Proceedings, Disruptors on the Edge, 827–835. https://doi.org/10.35483/ACSA.AM.112.106

Miessen, M. (2010). The Nightmare of Participation (Crossbench Praxis as A Mode of Criticality).

Related vocabulary

Co-creation

Design Activism

Participatory Approaches

Placemaking

Spatial Agency

Area: Community participation

In a broader sense, co-creation means the joint effort of bringing something new to fruition through acts of collective creativity (Sanders & Stappers, 2008) which can be manifested in both tangible (making something together) or intangible (learning something together) outcomes (Puerari et al., 2018). Recently, the concepts of co-creation or co- production have been applied to describe the processes of participation in urban planning and design. Both terms place particular emphasis on the partnerships formed between citizens and the public sector, in which a high level of citizen involvement is pivotal. Participation has been defined through its different levels of citizen involvement, ranging from non-participation to greater degrees of citizen control (Arnstein, 1969) indicating the different levels of influence a participant can have on a participatory process. From the perspective of urban planning, citizen participation is beginning to be described as co-creation when citizens’ roles become more prominent, presenting aspects of self-organisation, increased commitment and a sense of ownership of the process (Puerari et al., 2018). Recent research is exploring new methods of urban planning in which citizens, the municipality and private organisations co-create new planning rules (Bisschops & Beunen, 2019). However, co-creation along with co-production and participation, often used interchangeably, have become popular catchphrases and are considered as processes which are of virtue in themselves. Furthermore, while there is substantial research on these processes, the research conducted on the outcomes of enhanced participation remains rather limited (Voorberg et al., 2015). This highlights the ambiguity in terms of interpretation; is co-creation a methodology, a set of tools to enhance and drive a process, or a goal in itself? (Puerari et al., 2018). There have often been cases where participation, co-creation and co-production have been used decoratively, as a form of justification and validation of decisions already made (Armeni, 2016). In the provision of public spaces, co-creation/co-production may specifically involve housing (Brandsen & Helderman, 2012; Chatterton, 2016) and placemaking: “placemaking in public space implies engaging in the practice of urban planning and design beyond an expert culture. Such collaboration can be described as co-creation.” (Eggertsen Teder, 2019, p.290). As in participation, co-creation requires the sharing of decision-making powers, the creation of  joint knowledge and the assignation of abilities between communities, while urban professionals and local authorities should draw attention to the active involvement of community members. Furthermore, co-creation does not take place in a vacuum, but always occurs within socio- spatial contexts. This points to the objective of co-creation as a tool to influence locally relevant policy through innovation that is “place-based”. To conclude, co-creation can be perceived as a process that is both transdisciplinary in its application, and as a tool for achieving transdisciplinarity on a broader scale through a systematic integration in existing standard practices in urban planning, housing design and architecture. Despite the persisting ambiguity in its definition, co-creation processes can provide more inclusive platforms for revisiting and informing formal and informal knowledge on sustainable and affordable housing.

Created on 16-02-2022

Author: E.Roussou (ESR9), A.Panagidis (ESR8)

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Area: Community participation

Activism as a term illustrating the urban phenomena of citizen mobilisation and direct action(s) towards political, social and environmental change that emerged during the early 20th century (Hornby, 1995). Seen also as a “means of overcoming alienation” (Graeber, 2009, p. 231), numerous forms of activism were significantly influenced by the Situationist International, which advocated the creation of spontaneous, subversive “situations” as a response to the increasing commodification and individualisation of everyday life (Debord, 1992). In this sense, activism can be seen as a means to repoliticise and breathe meaning into an everydayness[1] characterised by passive bystanding and to create instances where people are able to redefine their agency as urban dwellers and political subjects[2] (Graeber, 2009). Design activism has been defined as any practice that “draws attention to change in the context of design through positive experimentation and action, introducing a designerly way of intervening into people’s lives” (Mallo et al., 2020, p. 102). According to Markussen (2013), it reflects the role and potential of various design fields in (1) promoting social change, (2) express values and beliefs in a tangible way and (3) question the systemic constraints that impact people’s daily lives. Due to the rising levels of precarity, caused by the increasing neoliberalisation of politics, policies and everyday life on a global scale (Brown, 2015), design activism in architecture and urban planning (often associated with DIY urbanism) has been gaining traction over the past decades among scholars and practitioners, as a transformative means of renegotiating the role of architecture and planning within the mechanisms of spatial production, as well as reasserting citizens’ agency over their urban environment (Markussen, 2023). Design activism in architecture may operate both symbolically, in order to illustrate and highlight socio-spatial injustice (e.g. Santiago Cirugeda’s[3] insect house) and pragmatically, through the creation (disruptive) of spatial configurations “across a number of people and artefacts” (Mallo et al., 2020, p. 102), in a direct-action manner, with the aim of improving people’s livelihoods. Direct action can be “any collective undertaking that is both political in intent and carried out in the knowledge that it might be met with hostility […]” (Graeber, 2009, p. 359). The element of direct action emphasises both the immersiveness, the astute responsiveness to actual circumstances and the moving away from a general, pre-defined, vague and ultimately co-opted “social good” (Fuad-Luke, 2017), towards a more situated understanding of urban space and people’s needs. Collaborative, “unalienating” acts of urban creativity, connect (architectural) design activism to practices such as participatory design, co-creation and concepts like spatial agency, all of which employ different means to reassert urban dwellers’ position as crucial and indispensable parts in decision-making processes. Scholarly criticisms towards design activism focus on its temporal and experimental nature, which renders quantifying and crystallising the long-term effect on urban landscapes and dwellers difficult (Mallo et al., 2020). Arguably, its situatedness may also pose an obstacle towards the creation of any universal toolkit, strategy or course of action that could be transferable to different contexts and employed to tackle varying circumstances. It remains, however, a vital phenomenon towards fostering agency and a shared sense of citizenship and camaraderie, repoliticising architecture and planning practices, as well as nurturing a culture of working (ant)agonistically towards incremental change in the cities, one intervention at a time.          [1] Georg Simmel described and everydayness where bystanding and lack of concern are primary “symptoms of what he called “blasé attitude”. This term emerged so as to illustrate the overstimulating everydayness of the sprawling capitalist metropolises of the late 19th - early 20th century that renders individuals idle (“The metropolis and mental life”, first published in 1903). Contrary to Simmel, Michel de Certeau posits that individuals operating under imposed regulations and conditions, may find ways to interpret them differently, even subvert them, often by unconsciously utilising systems of socio-cultural references that may deviate from the dominant one(s) (De Certeau, 1984). [2] “A subject develops an understanding of itself as a political subject only by executing decisive political actions” (Calcagno, 2008) [3] More information on this project can be found here: https://unprojects.org.au/article/architecture-on-the-fringes-of-legality-santiago-cirugeda-kyohei-sakaguchi/ & here: https://www.cca.qc.ca/actions/fr/node/82

Created on 13-02-2024

Author: E.Roussou (ESR9)

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Area: Community participation

According to the Oxford English Dictionary, participation is “the act of taking part in an activity or event”. Likewise, it can also mean “the fact of sharing or the act of receiving or having a part of something.” It derives from old French participacion which in turn comes from late Latin participationem, which means “partaking” (Harper, 2000).  References to participation can be found in many fields, including social sciences, economics, politics, and culture. It is often related to the idea of citizenship and its different representations in society. Hence, it could be explained as an umbrella concept, in which several others can be encompassed, including methodologies, philosophical discourses, and tools. Despite the complexity in providing a holistic definition, the intrinsic relation between participation and power is widely recognised. Its ultimate objective is to empower those involved in the process (Nikkhah & Redzuan, 2009). An early application of participatory approaches was the Participatory Rural Appraisal (PRA) which exerted a significant influence in developing new discourses and practices of urban settings (Chambers, 1994; Friedmann, 1994). In the late 1970s increasing attention was paid to the concept by scholars, and several associated principles and terminologies evolved, such as the participation in design and planning with the Scandinavian approach of cooperative design (Bφdker et al., 1995; Gregory, 2003). Participation in design or participatory design is a process and strategy that entails all stakeholders (e.g. partners, citizens, and end-users) partaking in the design process. It is a democratic process for design based on the assumption that users should be involved in the designs they will go on to use (Bannon & Ehn, 2012; Cipan, 2019; Sanoff, 2000, 2006, 2007). Likewise, participatory planning is an alternative paradigm that emerged in response to the rationalistic and centralized – top-down – approaches. Participatory planning aims to integrate the technical expertise with the preferences and knowledge of community members (e.g., citizens, non-governmental organizations, and social movements) directly and centrally in the planning and development processes, producing outcomes that respond to the community's needs (Lane, 2005). Understanding participation through the roles of participants is a vital concept. The work of Sherry Arnstein’s (1969) Ladder of Citizen Participation has long been the cornerstone to understand participation from the perspective of the redistribution of power between the haves and the have-nots. Her most influential typological categorisation work yet distinguishes eight degrees of participation as seen in Figure 1: manipulation, therapy, placation, consultation, informing, citizen control, delegated power and partnership. Applied to a participatory planning context, this classification refers to the range of influence that participants can have in the decision-making process. In this case, no-participation is defined as designers deciding based upon assumptions of the users’ needs and full-participation refers to users defining the quality criteria themselves (Geddes et al., 2019). A more recent classification framework that also grounds the conceptual approach to the design practice and its complex reality has been developed by Archon Fung (2006) upon three key dimensions: who participates; how participants communicate with one another and make decisions together, and how discussions are linked with policy or public action. This three-dimensional approach which Fung describes as a democracy cube (Figure 2), constitutes a more analytic space where any mechanism of participation can be located. Such frameworks of thinking allow for more creative interpretations of the interrelations between participants, participation tools (including immersive digital tools) and contemporary approaches to policymaking. Aligned with Arnstein’s views when describing the lower rungs of the ladder (i.e., nonparticipation and tokenism), other authors have highlighted the perils of incorporating participatory processes as part of pre-defined agendas, as box-ticking exercises, or for political manipulation. By turning to eye-catching epithets to describe it (Participation: The New Tyranny? by Cooke & Kothari, 2001; or The Nightmare of Participation by Miessen, 2010), these authors attempt to raise awareness on the overuse of the term participation and the possible disempowering effects that can bring upon the participating communities, such as frustration and lack of trust. Examples that must exhort practitioners to reassess their role and focus on eliminating rather than reinforcing inequalities (Cooke & Kothari, 2001).

Created on 17-02-2022

Author: A.Pappa (ESR13), L.Ricaurte (ESR15), M.Alsaeed (ESR5)

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Area: Community participation

Placemaking in the urban realm is a holistic approach that foments the collaborative transformation of public spaces into vibrant, inclusive and engaging places. The core objective of placemaking is reflected in David Engwicht’s analogy: “placemaking is like turning a house into a home” (Placemaking.Education, no date), that is, to transform a mere physical location or space into an emotionally resonant and socially connected place. Placemaking encompasses not only the planning and design of spaces but also their sustainable management (Project for Public Spaces, 2016). The placemaking theory has been developed on the principle that urban and architectural projects should prioritize people and their emotions over cars and shopping centres. This idea originated in groundbreaking work of intellectuals from the 1960s, such as Jane Jacobs[1] and William H. Whyte[2]. Building upon their work, the term ‘placemaking’ started being used in the 1970s by architects and planners to describe the process of transforming public spaces into enjoyable destinations. Since then, a number of placemaking organisations, most notably the pioneering Project for Public Spaces (PPS)[3], have played a pivotal role in guiding community leaders toward the value of reinvesting in existing communities instead of pursuing endless urban sprawl. These organisations have raised awareness that this approach is both economically and environmentally more sustainable (Ellery, Ellery and Borkowsky, 2021). Over the last few decades, placemaking has been extensively used to describe various approaches in urban development, ranging from community-driven emancipatory practices, such as reclaiming underused neighbourhood spaces, to top-down strategic plans for neighbourhood revitalisations. Theoretical discussions have attempted to categorize placemaking processes with regards to ignition, goal, scale, budget and involvement, among others (Courage et al., 2021). One widely adopted classification among placemaking scholars is Wyckoff’s (2014) distinction of four types:    Standard Placemaking (or simply placemaking) aims at creating quality places and reviving existing public spaces. This approach is pursued by the public, non-profit, or private sector, employing community participation into a variety of projects and activities. These projects are often incremental, such as street and façade improvements, residential rehabs, which may encompass public spaces and small-scale projects. Tactical Placemaking focuses on creating quality places using a deliberate approach to change, developed in phases that begin with quick, short-term commitments and realistic expectations. Over time, short-term activities and projects achieve gradual transformations in public spaces. Tactical placemaking can be initiated by local development strategies or from bottom-up. It includes activities such as parking space conversions, self-guided historic walks, outdoor music events, and temporary conversion of buildings. Creative Placemaking utilises arts and cultural activities to strategically shape the identity of a neighbourhood, city, or region. The processes include revitalisation of buildings, structures and streetscapes, often improving the local business viability and public safety. Strategic Placemaking is targeted at achieving specific goals, such as raising the economic, social and cultural prosperity of a community in addition to creating quality places. This can be achieved by interventions that attract talented workers in certain locations, such as mixed-use places that are pedestrian-oriented, bike-friendly, as well as supporting recreation, arts and housing options. Naturally, implementing placemaking processes come with their own risks. Similar to other forms of civic participation, placemaking can sometimes become a buzzword for urban renewal programmes, especially when used to drive economic development of an area through spatial upgrade. When the goal is to replace an existing place with one considered an improvement, it is likely that the affected people may experience negative effects, such as direct or indirect displacement. In this regard, as placemaking strategies, aimed at revitalising underutilised spaces into vibrant places, consequently enhancing the location’s attractiveness and value, are often criticised for potentially fuelling gentrification trends rather than alleviating them (Placemaking Europe, 2019).   [1] In her work, epitomised in her book The Death and Life of Great American Cities (1961), Jacobs introduced the idea of “eyes on the street” that advocates for citizen ownership on the street. [2] Whyte’s groundbreaking work The social Life of Small Urban Spaces (1980), summarises his extensive research on the Street Life Project in New York, in which he recorded the human behaviour in the urban setting, concluding to the essential elements for creating social life in public spaces. (see more at Projects for Public Spaces, William H. Whyte) [3] Organisation led by Fred Kent and consisted of an interdisciplinary team, has been advancing placemaking processes since 1975 originally in the US and recently globally. Developing roadmaps and toolboxes that place community participation at the centre of action they have engaged with more than 35000 communities in 52 countries (About — Project for Public Spaces, no date), while at the same time sharing their placemaking experiences and principles (see Project for Public Spaces Inc., 2015) through networking activities and courses.

Created on 08-11-2023

Author: A.Pappa (ESR13)

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Area: Community participation

 “Spatial agency”, a term popularised by Jeremy Till, Tatjana Schneider, and Nishat Awan (Awan et al., 2011; Schneider & Till, 2009) emerged from two growing demands: firstly, the need to decentralise the normative practice and role of architecture within spatial production, and secondly to expand the profession, by elevating diverse human and non-human actors, and various practices that move beyond the confines of what is typically understood as architecture (Lorne, 2017). Ignited by Cedric Price’s call for disrupting the idea that a building is the direct and solely available solution to spatial matters (Matthews, 2006), and drawing upon Lefebvre’s notion of “right to the city” (Lorne, 2017; Purcell, 2014), spatial agency aims to challenge the hegemonic status quo in spatial production by shifting the focus from the urban environment as a collection of tangible objects, to a dynamic socio-political process, and an entanglement of actors and practices that shape it and are shaped in return. Spatial agency Space, according to Lefebvre is a social product (1991, p. 360). This acknowledgment primarily highlights three facts: (1) there is no neutrality when it comes to the production of space. Space is the result of an agonistic relation between the components of the conceptual triad of space[1], resulting from the various conflicts and clashes between social groups with different interests, values, and backgrounds (Awan et al., 2011; Lefebvre, 1991). (2) There is a clear distinction and yet a “contradictory unity” between the exchange value, i.e. the usefulness of a commodity in terms of its capacity to generate economic revenue within the market, and the use value, i.e. the usefulness of a commodity in terms of its effective response to an actual need (Pitts, 2021, p. 36). Within the current economic system, more often than not, the exchange value overpowers the use value (Purcell, 2014). (3) To ensure that the use value of a given space is guaranteed, spatial production should not be the sole domain of experts and those who hold power, but rather citizens and stakeholders should engage in “real and active participation” (Lefebvre, 1991, p. 145; Purcell, 2014). Spatial agency All of the above attempt to answer the question on who should have agency over spatial production, beyond the mandates of the current economic system. Anthony Giddens defined “agency” as a notion in a perpetuate dialectic relation with “structure” (1987, p. 220). While agency is the capacity of an individual to decide and act freely, structure outlines the framework of rules, constraints and limitations that shape a society, and both function as interrelated notions (i.e. none may exist without the other). Awan, Till & Schneider follow Giddens’ take on agency, which dictates that no one -and nothing- is either “completely free […] or completely entrapped by structure” (2011, p. 32), but rather somewhere in between.  This means that space neither entirely shapes society, nor is it entirely defined by society, and “spatial agents” neither act in full freedom nor are they fully restrained by structure. This creates a contextual dependency (different contexts bear different “restraints”) that emphasises the situatedness of any practice within the scope of spatial agency. Spatial agency Spatial agency refers to the capacity of individuals or groups to actively shape and transform their built environment. It is a term that transcends and expands architecture, re-emphasises the need for a critical and politically conscious approach in spatial production and seeks to illustrate both an education and practice of synergies that puts “spatial judgement, mutual knowledge and critical awareness” at the forefront (Awan et al., 2011, p. 34; Lorne, 2017). Through spatial agency, one may embrace the uncertainties that emerge within the highly agonistic and dynamic nature of spatial production.       [1] The conceptual spatial triad, as iterated by Henri Lefebvre: space is not a monolith of tangible, physical elements, but rather it exists on different planes of understanding. Those planes are the perceived space (spatial practice), i.e. what one can see and feel around them, the lived space (representational space), which reflects the everydayness, the activities and the social life, and the conceived space (representations of space), i.e. the projections, plans and ideas on how a space could be used. 

Created on 30-01-2024

Author: E.Roussou (ESR9)

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Related publications

Charalambous, N., Panayi, C., & Roussou, E., (2022, August-September). Community-engaged design: learning through live projects in residential environments. In European Network for Housing Research (ENHR) Conference 2022. Barcelona, Spain.

Posted on 30-08-2022

Conference

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Charalambous, N., Roussou, E., & Panayi, C. (2022, August-September). Co-creating urban commons through community-engaged pedagogies. In EAAE Annual Conference, Madrid, Spain.

Posted on 31-08-2022

Conference

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Roussou, E., & Pappa, A. (2023, May). From teaching the commons to commoning teaching: towards a reflexive architectural education. In SMOOTH: Educational Commons and Active Social Inclusion Conference, Volos, Greece.

Posted on 14-10-2024

Conference

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Blogposts

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Navigating Two Realms: A Comparative Exploration of Community-Engaged Architectural Education in Spain and the UK

Posted on 04-12-2023

Embarking on two distinct secondments—one in the vibrant city of Valencia, Spain, from October to December 2022, and the other in heart of Sheffield, UK, from late September to late November 2023—provided me with a unique opportunity to delve into the realms of community-engaged architectural education. Each experience not only offered insights into the diverse approaches of two renowned institutions, the Polytechnic University of Valencia and the Sheffield School of Architecture, but also shed light on the nuances that exist when navigating language barriers and cultural disparities.   Spain: Bridging the Language Gap My first secondment in the Polytechnic University of Valencia presented an initial challenge: a language barrier that I had yet to conquer. My rather non-existent proficiency in Spanish restricted my direct engagement with students, but it did not hinder my ability to observe the innovative pedagogical methods employed by the institution. During my time in Valencia, I witnessed a series of exercises designed to cultivate creativity and empathy among students. These exercises pushed boundaries, encouraging students to think beyond conventional architectural norms. Despite the linguistic challenges, I was able to appreciate the universality of architectural exploration as a means of fostering innovation and expanding students' perspectives. One noteworthy initiative was the participatory design & build activity, "JugaPatraix." Collaborating with the local architectural practice FentEstudi, students engaged in creating small-scale, acupuncture interventions in the Patraix neighbourhood. Drawing inspiration from the unobstructed exploration of toddlers in urban surroundings, these interventions transformed the streets into playful landscapes. The project demonstrated that, with enthusiasm and a modest budget, transformative architectural endeavours can thrive, transcending language barriers.   UK: The Dynamics of Mentorship in Sheffield In Sheffield, my second secondment involved shadowing the "Live Projects" studio—a powerhouse within the Sheffield School of Architecture. Often referred to as the juggernaut of the Architecture School, Live Projects operates as a student-led studio that has built a reputation extending beyond city borders. A notable distinction was the choice of nomenclature; the term "mentor" took precedence over "tutor." This seemingly subtle shift in language encapsulated the essence of the Live Projects studio. Here, teaching staff assumed a guiding role, providing support when necessary, as opposed to the conventional tutorship that typically directs the entire process. This departure from the traditional model showcased a student-centric approach, emphasizing autonomy and self-direction.   Comparative Reflections Both experiences offered invaluable insights into the multifaceted world of community-engaged architectural education. Despite the contrasting contexts, a common thread emerged: the importance of fostering creativity, empathy, and innovation within architectural pedagogy. In Spain, the emphasis on unconventional exercises and participatory design highlighted the potential for transformative architectural interventions, even in the face of language barriers. The JugaPatraix project exemplified how collaborative efforts, driven by a shared passion, can reshape urban landscapes on a tight budget. On the other hand, the Live Projects studio in Sheffield showcased the power of student-led initiatives and the significance of mentorship over traditional tutoring. The dynamic, boundary-crossing reputation of Live Projects underscored the impact that a student-centric model can have, transcending institutional and national boundaries.   Conclusion In retrospect, these secondments were more than a mere exploration of architectural education—they were windows into the dynamic intersection of culture, language, and pedagogy. The experiences in Spain and the UK illuminated the universal capacity of architecture to transcend barriers and foster transformative change. As I reflect on these enriching experiences, I am immensely grateful for the insights gained, the lessons learned, and the enduring impact on my perspective as a participant both in the global discourse of architectural education and in the local context of the University of Cyprus. As I move on to the next phase of my fieldwork, all the questions I carry forward with me begin with the same two words: What if...?   Acknowledgements I would like to thank my co-supervisor, Carla Sentieri for making my stay at UPV as fruitful as possible, and Míriam Rodríguez and Fran Azorín Chico (members of FentEstudi) that allowed me to tag along, ask questions and observe their activities. Then, I would like to thank Karim Hadjri and Krzysztof Nawratek at Sheffield School of Architecture for facilitating all the paperwork as well as Carolyn Butterworth, Daniel Jary and Sam Brown for being more eager to help me out that I would have ever hoped for, Finally, a big thank you to my colleagues Aya Elghandour and Mahmoud Alsaeed for making my stay in Sheffield memorable within and beyond the confines of the Architecture School.

Author: E.Roussou (ESR9)

Secondments, Reflections

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Something is blooming in Nicosia: community-engaged design & build activities at UCY School of Architecture

Posted on 21-07-2023

Learning is never confined solely to an institutionalised classroom. - bell hooks, Teaching Community: a pedagogy of hope, 2003     At the end of June, the 1st official iteration of the co.design.build module at the University of Cyprus in Nicosia wrapped up successfully. A semester-long process, based on the co-creation and design & build methodologies resulted in the designing and building of a shaded sitting/meeting platform. The platform, named “Take a seed”, designed for the Latsia Highschool courtyard, aims to encourage user appropriation and foster a feeling of collectiveness, also considering educational aspects around native plants through the inclusion of a system for planting and seed distribution.   The co.design.build module involved three different courses: The Y2 housing co-creation studio, titled “co-creating urban commons: from the home to the neighbourhood”, in which students were tasked with critically think about the notions of “housing”, “sharing”, “co-living” and the “commons”, and designing housing that reflects their own positioning about these concepts. They were also asked to contemplate on the role of the local high school in Latsia’s suburb as a potential focal point in the future neighbourhood and spatially translate their vision in collaboration with the Y3 & Y4 students and with the high school students that participated in the semester-long co-creation workshops; The Y3, Y4 co-design course, titled “co-design, co-build, co-inhabit: co-creation from design to construction”, in which students collaborated with with high school students to co-design in detail small-scale spatial interventions answering to the actual needs of the school users, while promoting social interaction, encouraging appropriation; and The Y2, Y3, Y4 summer course, titled “co-design, co-build, co-inhabit: all hands on deck!”, in which students were tasked with constructing a selected project from the co-design course and delivering it to its users.   All of these different educational activities were created to both illustrate the dependencies of architecture, but also to challenge the ever persisting modernist, hetero-patriarchal norms, behavioural codes and stereotypes of the architect as an identity (what Jeremy Till refers to as “architecture culture” [1]), as well as their role in society. In the hopes of subverting false ideas of a detached practice, often unconsciously perpetuated within architecture schools, students were asked to navigate diverse situations, not necessarily confined to what would traditionally be considered “architectural”: from translating concepts into spatial elements, to conversing with stakeholders; or from managing social media campaigns, to solving material shortage problems. In essence, students were asked to find their bearings within a continuous fluctuation between real-world conditions and abstract imaginaries, beyond architecture and into spatial agency [2].   Specifically, during the final stage of the co.design.build module – the “building phase” –, students were asked to assume different mantles; builder, communicator, researcher, carer, mediator, enabler, among others. Within three weeks of continuous shifting between roles, of collective effort towards a goal with real impact on the high school community, students exhibited increasing levels of confidence in their own abilities, and their growing eagerness to take initiative and their ability to work together was translated into instances of self-organisation. Ultimately, this stage allowed each member of the group to bring in their own unique set of capabilities and personality and contribute in diverse, yet equally meaningful ways.   While all the activities of which the co.design.build module consists fall under a mode of learning called “experiential”, i.e. learning through experiencing [3], this final stage is perhaps a learning environment that ties experiencing with empathising. All this mantle-changing, the different roles and situations to which students are exposed, shifts “being” an architect, into “becoming” a spatial agent. While “being” signifies the uncritical appropriation of the norms and stereotypes that have been dominating architectural education, “becoming” implies motion, a constant re-working and re-discovery of the self, the knowledge and the tools we use, a joyful thrusting into new frontiers [4]. Architectural education, especially in challenging local contexts (post-colonial, developing, etc.), needs pedagogical vessels that fundamentally challenge architecture culture, which operate through tactical and direct action within the margins of the market economy, towards the creation of meaningful spaces for local communities.   There is still a lot of work to be done, but the aspiration for the co.design.build module for the future is to become a threshold, a gateway from architecture into spatial agency, and a medium through which the Architecture School of the University of Cyprus can become a crucial actor in matters concerning spatial interventions in Nicosia. After all, as Harris & Widder say, “the reality of building can only be experienced by building reality” [5].   If you would like to meet this year’s team, follow this spring semester’s project(s) and browse through past ones, follow us on social media: https://www.instagram.com/cocreationstudio.ucy/  https://www.tiktok.com/@takeaseed/                 [1] Till, J. (2009). Architecture Depends. The MIT Press. [2] Awan, N., Schneider, T., & Till, J. (2011). Spatial Agency: Other Ways Of Doing Architecture. Routledge. [3] John Dewey was a scholar of education who first developed the theory around experiential learning in 1938. [4] Sewell, J. I. (2014). “becoming rather than being”: Queer’s double-edged discourse as deconstructive practice. In Journal of Communication Inquiry (Vol. 38, Issue 4, pp. 291–307). SAGE Publications Inc. https://doi.org/10.1177/0022002714553900 [5] Harriss, H., & Widder, L. (2014). Architecture live projects pedagogy into practice.

Author: E.Roussou (ESR9)

Reflections

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