Effrosyni Roussou
ESR9
Host university
B6 - Department of Architecture, University of CyprusSupervising team
Nadia Charalambous (Supervisor) Carla Sentieri (Co-Supervisor) Andreas Savvides (Co-Supervisor)
Effrosyni Roussou is an architect hailing from Nafplion, Greece. She holds a BSc and MSc degree from Democritus University of Thrace in Architectural Engineering (2015), and an MSc degree from Chalmers University of Technology in “Architecture and planning beyond sustainability” (2018). She is currently undertaking the challenge to illustrate the benefits of a commons-oriented and community engaged design & build pedagogy, and develop an educational framework and provide the tools for employing hands-on participatory design methodologies in architectural education through transdisciplinary design-and-build activities.
She has worked as a research assistant in several projects as well as a course assistant, coordinator, and project manager for the design-and-build summer course “Dare to Build” at Chalmers University of Technology. Additionally, she is one of the co-founders of the webradio station "Anarres.fm" and a graphic designer and illustrator for the self-organised publishing group "Athanor", based in Athens, Greece.
Her main interests revolve around the interplay between politics, social perspectives, architecture and sustainability and its impact on the shifting role of the architect. A central concept, encompassing all the activities she is engaged in, is the commons: her master thesis at Chalmers (“Co-existing in a crisis-ridden city: Exploring architectural ways to induce commoning practices within an economic crisis context”) aimed at questioning the role of the architect within an anti-hegemonic way of space production and safeguarding the commons.
August, 29, 2023
April, 11, 2022
September, 17, 2021
A pedagogy of the commons: the co.design.build housing studio
In the face of intricate global socio-political and environmental challenges exacerbated by ongoing systemic failures, accessing affordable and sustainable housing and neighbourhoods has become increasingly elusive for a growing number of people, particularly in contexts where welfare policies are limited. The role of architects in spatially shaping these realities has faced criticism for its detachment from real-world concerns, ethical considerations, and its role in reinforcing dominant systems, a detachment that illustrates architecture's historical ties to modernity and capitalism.
Architectural pedagogy and education have contributed significantly to the way architects practice architecture. A significant number of scholars have criticised the underpinnings of the cornerstone of architectural education, the housing design studio, by addressing both the premise, structure, and syllabus, and the hidden curriculum. The traditional housing design studio is designed to operate in isolation from the realities of people, (e.g. increased population mobility, climate crisis, extreme financialisation of housing and commodification of urban life etc.) fostering self-indulgence, self-reference, competitiveness, and a false sense of primacy in spatial matters.
Efforts have emerged to challenge this studio framework. Experimental teaching practices aim to open up architectural education to politically engaged and transdisciplinary learning practices. Participatory design and co-creation methods entered the educational discourse as a way to reconsider both the knowledge, the way it is produced and who gets to be involved in its production. Design & build projects, grounded in reconnecting the architect with the material, increasing their accountability towards users and communities, and aiding them to understand architecture as a node in a web of real-world dependencies. Both of these have sought to decentralise the self-perceived role of the architect within social (re)production and destabilise the stiff boundaries of the discipline.
However, despite the significant proliferation and popularisation of such approaches in recent years, albeit as acupuncture, the persisting stalemate between them and the hegemonic discourses permeating architectural education leaves prospective spatial practitioners with insufficient skills to navigate current realities. This project argues that alternative approaches to architectural education need to be re-contextualised within the broader anti-hegemonic discourse of the commons, and profoundly challenge (1) the nature of the produced knowledge, the way and by whom it is produced,exchanged, and transferred, (2) the hegemonic relations, the culture, norms, and values (re)produced -within and beyond the classroom- that shape the identity and the role of the architect within socio-spatial production and finally (3) the discipline itself, its boundaries, and the formal and informal rules that determine what is acknowledged as (sustainable) architecture.
The project will be carried out mainly qualitatively, by combining Participatory Action Research and Autoethnographic methods, having as a basis of operations the University of Cyprus, and focusing on the broader region of the European South, as crisis-ridden contexts. The educational framework (co.design.build housing studio) that will be developed through this exploration, will be tested in several iterations, to gain insights on its impact primarily on students, and secondly on local participating communities.
Finally, this project aims to contribute to the ongoing discussion about the need to reimagine architectural education at the bachelor level, within and beyond its staple component, the housing design studio, for future spatial practitioners to be able to navigate the increasingly uncertain and volatile current realities. Additionally, through its practical, hands-on socio-spatial outreach and collaboration with local actors, this project aspires to rethink academic institutions as commoning spaces and important actors within spatial production. The final aim of this project is to discuss the need for a critical approach to transdisciplinary collaborations as learning processes, through the notion of commons/commoning. Therefore, the research questions that this project seeks to answer are the following:
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What are the underpinnings and pedagogical impact of an effective, engaging, and impactful studio that combines critical co-creation methodologies with a design and build learning environment (co.design.build)?
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How can a co.design.build housing studio become an important actor both in deconstructing norms perpetuated within architectural education through the traditional housing design studio and in advocating-in-action for equitable, affordable and sustainable neighbourhoods, especially in the context of the European South?
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How can the learning process be transformed into a commoning process among students, teachers, and stakeholders through the co.design.build housing studio?
Reference documents
From creator to enabler: the underpinnings and implications of the co.design.build studio
Despite the significant proliferation in the understandings of an architect’s role within a multitude of (spatial) agencies, architectural education remains relatively isolated and impermeable to a radically political interpretation of architecture within the real world. While affordable and sustainable housing & neighbourhoods (ASHN) become an increasingly pressing need towards a sustainable future, the neoliberalisation of strategic visions for the future, such as sustainability, provides a fertile ground for the fragmentation of contemporary challenges in ASHN, leaving room for vague, disconnected and ultimately ineffective responses. In this neoliberal context, rethinking architectural education and bridging the gap between design practice and studio pedagogy becomes imperative.
Praxis, as opposed to a traditionally simulative approach, in the form of design-and-build and/or co-creation studios, have been exploring alternative approaches in an attempt to break the isolation of architectural education from contemporary challenges and (re)introduce architecture schools as crucial actors in local communities, especially in northern European and north American contexts. Exposure to real contexts, through co-creation (people needs) or design and build studios (construction/material needs), has aided students in gaining a better understanding of the implications of design for ASHN. There is, however, limited research on the theoretical and methodological underpinnings, as well as the impact of a co-creation and co-design and build studio, especially in the European South.
Drawing from critical theories mainly on urban commons, (commoning), participation (cross-benching) and social ecology, the main questions explored through this project are as follows:
- What are the underpinnings and pedagogical impact of an effective, engaging and impactful transdisciplinary studio that combines critical co-creation methodologies with a design and build learning environment (co.design.build)?
- How can a co.design.build studio become an important actor within a more radical understanding of affordable and sustainable housing systems/networks especially in the context of the European South?
This project will adopt an action research methodology consisting of four main components: (1) planning, i.e. positioning the project idea within the literature, identifying and analysing relevant study cases, understanding the context and developing the components, strategies, methods and structure of the (2) action, where the idea/pilot syllabus will be tested. During this part (3) systematic data collection will take place, through e.g. observation, interviews, questionnaires in different facets of the process, which will be followed by (4) reflection, analysis, evaluation of the collected data, and the subsequent synthesis into a revised syllabus to be re-tested.
The expected outcome of this research is a theoretical and methodological framework for an effective, engaging and impactful co.design.build studio that promotes a radical understanding of sustainability through transdisciplinary, direct action from co-conception to co-construction, and also insights both on the opportunities and implications of its implementation in a southern European context, but also on its applicability in others. Finally, this project aims to contribute to the ongoing discussion on the role of architecture schools -and academic institutions in general- within the affordable and sustainable neighbourhoods vision; as active co-stakeholders, able to achieve a direct and positive impact with and for the communities they are situated in, universities could provide high quality and meaningful education while contributing to a paradigm shift towards a sustainable future.
Reference documents
From creator to enabler: the underpinnings and implications of the co.design.build studio
Contemporary architectural education, especially in southern European contexts, remains widely ineffective in addressing the increasingly complex and ever-shifting realities that urban dwellers are called to face. While economic fluctuations, climate change and the various political agendas are spawning challenges that are profoundly transforming living environments and reshaping contemporary housing provision, architectural education remains widely unchanged. Persisting normative approaches result in the architect as a detached figure, operating top-down, in a purely theoretical plane and completely cut off from the socio-cultural aspects and implications as well as the end users of their work.
Even though design-build courses, as part of architectural curricula around the world, have shown promising results in challenging the archetype of the architect as an omnipotent creator the current focus is -to a large extent- on the development of students’ technical and managerial skills. This project aims to explore the opportunities for radical change within architecture schools, especially in the European south, through the implementation of transdisciplinary, collaborative/multistakeholder co.design.build courses within a social and environmental sustainability framework and a focus on acupuncture interventions on the neighbourhood scale.
The research approach that will be followed is community-based participatory action research (CBPAR), which will unfold in two stages: (1) co-creation of the course structure, aims, objectives and approach through workshops with faculty and prospective students and (2) course implementation and testing in two separate iterations (spring & autumn 2023). The second part will involve close monitoring of participants’ (students, teachers, local stakeholders) views and perceptions on the course and their own involvement, before, during and after the completion of each iteration.
The expected outcome of this research is a set of strategies in creating and running a transdisciplinary, multistakeholder co.design.build course that “thinks globally but operates locally” as well as a thorough and reflexive evaluation of the experimentation process.
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.
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.
Reflections
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Kick-off of a new adventure!
Posted on 18-07-2021
So, this is it. I am here, in 40°C Nicosia, and I’m -digitally- surrounded by awesome people who are going to be my peers and colleagues for the next three years. I must say, I feel a mixture of awe and agitation at what lies ahead of me in this journey. This is why I paired this text with an image of Bilbo Baggins, about to leave Hobbiton behind; because I see a bit of myself in him: clearly out of my comfort zone but nonetheless excited to join this journey!
On the 3rd of July we began our 4-day kick-off sessions as a digital meet-and-greet and tuning-in workshop. It felt quite awkward in the beginning, as it is expected when 40+ people meet online for the very first time, but very productive too. I was happy to listen to different perspectives on the meanings of key terms in this endeavour, such as sustainability and transdisciplinarity and try to understand or imagine where everyone’s definitions and opinions come from, what has influenced their way of thinking and steered them in a certain direction.
But I was more than happy to already feel a sense of community with my team members, the 14 ESRs with whom I will be working. Through our shared confusion on what happens next, the everyday struggles to settle in new places, surround ourselves with new people and build a new “home” and the hints of insecurity peeking through those moments of sharing all the aforementioned, made me realise that I am indeed not alone in this, neither professionally, nor mentally. And there’s nothing better than finding such ties, or “making kin”, in a world that pushes us to compete, so that the strongest can survive and succeed. After all, as Jack Halberstam* once pointed out, the notion of a universal definition of success is rooted in the western economic system under which we live.
But to not wander further away, I’ll just say that it was a highly enjoyable 4-day session, albeit overwhelming at times and I’m looking forward to delving deeper into everyone’s insights on this complicated task we are called to tackle. I really look forward to sharing knowledge and learning from everyone and that’s what I’m primarily here to do. I am here to learn, and the truth is I will never stop being “here to learn”. I will leave you with a quote from a beloved book that has accompanied me since I was a teenager:
"[…] I will face my fear.
I will permit it to pass over me and through me.
And when it has gone past, I will turn the inner eye to see its path.
Where the fear has gone there will be nothing. Only I will remain."
- Frank Herbert, in Dune
*If you’d like to delve deeper into how our perception of success is shaped by heteronormative capitalism, check out Halberstam’s book “The queer art of failure”.
Workshops
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DARE to Build, Chalmers University of Technology
Created on 04-07-2023
'DARE to build' is a 5–week (1 week of design – 4 weeks of construction) elective summer course offered at the Department of Architecture and Civil Engineering at Chalmers University of Technology in Sweden. The course caters for master-level students from 5 different master programmes offered at the Architecture and Civil Engineering Department. Through a practice-based approach and a subsequent exposure to real-world problems, “DARE to build” aims to prove that “real change can be simultaneously made and learned (Brandão et al., 2021b, 2021a). The goal of this course is to address the increasing need for effective multidisciplinary teams in the fields of architecture, engineering and construction (AEC) in order to tackle the ever-growing complexity of real-world problems (Mcglohn et al., 2014), and the pervading lack of a strong pedagogical framework that responds effectively to this challenge. The two main foci of the “DARE to build” pedagogical model are: (1) to train students in interdisciplinary communication, to cultivate empathy and appreciation for the contributions of each discipline, to sharpen collaborative skills (Tran et al., 2012) and (2) to expose students in practice-based, real-world design projects, through a problem-and-project-based learning (PPBL) approach, within a multi-stakeholder learning environment (Wiek et al., 2014). This multi-stakeholder environment is situated in the municipality of Gothenburg and involves different branches and services (Stadsbyggnadskontoret, Park och Naturförvaltningen), local/regional housing companies (Familjebostäder, Bostadsbolaget), professionals/collectives operating within the AEC fields (ON/OFF Berlin, COWI), and local residents and their associations (Hyresgästföreningen, Tidsnätverket i Bergsjön).
Design & Build through CDIO
By showcasing that “building, making and designing are intrinsic to each other” (Stonorov et al., 2018, p. 1), students put the theory acquired into practice and reflect on the implications of their design decisions. Subsequently they reflect on their role as AEC professionals, in relation to local and global sustainability; from assessing feasibility within a set timeframe to the intangible qualities generated or channelled through design decisions in specific contexts. This hands-on learning environment applies the CDIO framework (conceive, design, implement, operate, http://www.cdio.org/), an educational framework developed in the MIT, with a particular focus on the “implementation” part. CDIO has been developed in recent years as a reforming tool for engineering education, and is centred on three main goals: (1) to acquire a thorough knowledge of technical fundamentals, (2) to sharpen leadership and initiative-taking skills, and (3) to become aware of the important role research and technological advances can play in design decisions (Crawley et al., 2014). Therefore, design and construction, combined with CDIO, offer a comprehensive experience that enables future professionals to assume a knowledgeable and confident role within the AEC sector.
Course structure
“DARE to build” projects take place during the autumn semester along with the “Design and Planning for Social Inclusion” (DPSI) studio. Students work closely with the local stakeholders throughout the semester and on completion of the studio, one project is selected to become the “DARE to build” project of the year, based on (1) stakeholder interest and funding capacity, (2) pedagogical opportunities and the (3) feasibility of construction. During the intervening months, the project is further developed, primarily by faculty, with occasional inputs from the original team of DPSI students and support from professionals with expertise relevant to a particular project. The purpose of this further development of the initial project is to establish the guidelines for the 1-week design process carried out within “DARE to build”.
During the building phase, the group of students is usually joined by a team of 10-15 local (whenever possible) summer workers, aged between 16-21 years old, employed by the stakeholders (either by the Municipality of Gothenburg or by a local housing company). The aim of this collaboration is twofold - to have a substantial amount of workforce on site and to create a working environment where students are simultaneously learning and teaching, therefore enhancing their sense of responsibility. “DARE to build” has also collaborated - in pre-pandemic times - with Rice University in Texas, so 10 to 15 of their engineering students joined the course as a summer educational experience abroad.
The timeline for each edition of the “DARE to build” project evolution can be schematically represented through the CDIO methodology, which becomes the backbone of the programme (adapted from the courses’ syllabi):
Conceive: Developed through a participatory process within the design studio “Design and Planning for Social Inclusion”, in the Autumn.
Design: (1) Teaching staff defines design guidelines and materials, (2) student participants detail and redesign some elements of the original project, as well as create schedules, building site logistical plans, budget logs, etc.
Implement: The actual construction of the building is planned and executed. All the necessary building documentation is produced in order to sustain an informed and efficient building process.
Operate: The completed built project is handed over to the stakeholders and local community. All the necessary final documentation for the operability of the project is produced and completed (such as-built drawings, etc.).
In both the design and construction process, students take on different responsibilities on a daily basis, in the form of different roles: project manager, site supervisor, communications officer, and food & fika (=coffee break) gurus. Through detailed documentation, each team reports on everything related to the project’s progress, the needs and potential material deficits on to the next day’s team. Cooking, as well as eating and drinking together, works as an important and an effective team-bonding activity.
Learning Outcomes
The learning outcomes are divided into three different sets to fit with the overall vision of “DARE to Build” (adapted from the course syllabi):
Knowledge and understanding: To identify and explain a project’s life cycle, relate applied architectural design to sustainability and to describe different approaches to sustainable design.
Abilities and skills: To be able to implement co-creation methods, design and assess concrete solutions, to visualise and communicate proposals, to apply previously gained knowledge to real-world projects, critically review architectural/technical solutions, and to work in multidisciplinary teams.
Assessment and attitude: To be able to elaborate different proposals on a scientific and value-based argumentation, to combine knowledge from different disciplines, to consider and review conditions for effective teamwork, to further develop critical thinking on professional roles.
The context of operations: Miljonprogrammet
The context in which “DARE to Build” operates is the so-called “Million Homes Programme” areas (MHP, in Swedish: Miljonprogrammet) of suburban Gothenburg. The MHP was an ambitious state-subsidised response to the rapidly growing need for cheap, high-quality housing in the post-war period. The aim was to provide one million dwellings within a decade (1965-1974), an endeavour anchored on the firm belief that intensified housing production would be relevant and necessary in the future (Baeten et al., 2017; Hall & Vidén, 2005). During the peak years of the Swedish welfare state, as this period is often described, public housing companies, with help from private contractors, built dwellings that targeted any potential home-seeker, regardless of income or class. In order to avoid suburban living and segregation, rental subsidies were granted on the basis of income and number of children, so that, in theory, everyone could have access to modern housing and full of state-of-the-art amenities (Places for People - Gothenburg, 1971).
The long-term perspective of MHP also meant profound alterations in the urban landscape; inner city homes in poor condition were demolished and entire new satellite districts were constructed from scratch triggering “the largest wave of housing displacement in Sweden’s history, albeit firmly grounded in a social-democratic conviction of social betterment for all” (Baeten et al., 2017, p. 637) . However, when this economic growth came to an abrupt halt due to the oil crisis of the 1970s, what used to be an attractive and modern residential area became second-class housing, shunned by the majority of Swedish citizens looking for a house. Instead, they became an affordable option for the growing number of immigrants arriving in Sweden between 1980 and 2000, resulting in a high level of segregation in Swedish cities. (Baeten et al., 2017).
Nowadays, the MHP areas are home to multi-cultural, mostly low income, immigrant and refugee communities. Media narratives of recent decades have systematically racialised, stigmatised and demonised the suburbs and portrayed them as cradles of criminal activity and delinquency, laying the groundwork for an increasingly militarised discourse (Thapar-Björkert et al., 2019). The withdrawal of the welfare state from these areas is manifested through the poor maintenance of the housing stock and the surrounding public places and the diminishing public facilities (healthcare centres, marketplaces, libraries, etc.) to name a few. Public discourse, best reflected in the media, often individualizes the problems of "culturally different" inhabitants, which subsequently "justifies" people's unwillingness to work due to the "highly insecure" environment.
In recent years, the gradual (neo)liberalisation of the Swedish housing regime has provided room for yet another wave of displacement, leaving MHP area residents with little to no housing alternatives. The public housing companies that own MHP stock have started to offer their stock to potential private investors through large scale renovations that, paired with legal reforms, allow private companies to reject rent control. As a result, MHP areas are entering a phase of brutal gentrification (Baeten et al., 2017).
Reflections
Within such a sensitive and highly complex context, both “DARE to Build”, and “Design & Planning for Social Inclusion” aspire to make Chalmers University of Technology an influential local actor and spatial agent within the shifting landscape of the MHP areas, thus highlighting the overall relevance of academic institutions as strong, multi-faceted and direct connections with the “real-world”.
Even though participation and co-creation methodologies are strong in all “Design and Planning for Social Inclusion” projects, “DARE to Build” has still some ground to cover. In the critical months that follow the selection of the project and up to the first week of design phase, a project may change direction completely in order to fit the pedagogical and feasibility criteria. This fragmented participation and involvement, especially of those with less power within the stakeholder hierarchy, risks leading to interventions in which local residents have no sense of ownership or pride, especially in a context where interventions from outsiders, or from the top down, are greeted with increased suspicion and distrust.
Overall “DARE to build” is a relevant case of context-based education which can inform future similar activities aimed at integration education in the community as an instrument to promote sustainable development.
Relevant “DARE to build” projects
Gärdsåsmosse uteklassrum: An outdoor classroom in Bergsjön conceptualised through a post-humanist perspective and constructed on the principles of biomimicry, and with the use of almost exclusively natural materials.
Visit: https://www.chalmers.se/sv/institutioner/ace/nyheter/Sidor/Nu-kan-undervisningen-dra-at-skogen.aspx
https://www.mynewsdesk.com/se/cowi/pressreleases/cowi-hjaelpte-goeteborgs-stad-foervandla-moerk-park-till-en-plats-att-ha-picknick-i-2920358
Parkourius: A parkour playground for children and teens of the Merkuriusgatan neighbourhood in Bergsjön. A wooden construction that employs child-friendly design.
Visit: https://www.sto-stiftung.de/de/content-detail_112001.html https://www.mynewsdesk.com/se/familjebostader-goteborg-se/pressreleases/snart-invigs-bergsjoens-nya-parkourpark-3111682
Rural Studio
Created on 16-01-2024
“Theory and practice are not only interwoven with one’s culture but with the responsibility of shaping the environment, of breaking up social complacency, and challenging the power of the status quo.”
– Sambo Mockbee
Overview – The (Hi)Story of Rural Studio
Rural Studio is an off-campus, client-driven, design & build & place-based research studio located in the town of Newbern in Hale County in rural Alabama, and part of the curriculum of the School of Architecture, Planning and Landscape Architecture of Auburn University. It was first conceptualised by Samuel “Sambo” Mockbee and D.K. Ruth as both an answer to the lack of ethical backbone in architectural education and a critique on the separation of theory and practice illustrated through the curriculum (Freear et al., 2013; Jones & Card, 2011). Both of these reasons mirrored and reinforced the way architecture was practised in the professional world in the early 1990s when, following the dominance of post-modernism, US architects were more preoccupied with matters of aesthetics and style, rather than the social and environmental aspects of their work (Oppenheimer Dean, 2002). Mockbee and Ruth aspired to create a learning environment and shape a pedagogy where students would be introduced to a real-world setting, combining theory with hands-on work and at the same time inscribing incremental, positive change on the Hale County underserved communities.
This incremental change is enabled by three main factors: (1) Auburn University’s commitment to providing stable financial support to the studio, paired with the various sponsorships that the studio receives from individual benefactors, (2) the broad network of collaborations that have been established over the years including local governing officials, external professional experts and consultants, non-profit organisations, schools, and community groups, among others, and (3) the studio’s permanent presence -and the subsequent accountability this presence fosters- in Hale County.
Unlike most design-and-build activities and programmes that adopt a “live” approach (i.e. work with/alongside real stakeholders, in real settings), Rural Studio has continuously implemented various types of projects ranging from housing and parks to community activities (e.g. farming and cooking), with five completed projects per year in Newbern and the broader Hale County area since its launching in 1993 (Freear et al., 2013; Stagg & McGlohn, 2022).
Studio structure and learning objectives
Within the Rural Studio, there are two distinct design-and-build programmes addressing third-year and fifth-year undergraduate students. As currently designed, the third-year programme primarily focuses on sharpening technical skills and exploring the process of transitioning from paper to the building site. In contrast, the fifth-year programme places greater emphasis on the social and organizational aspects of a project. Students may opt to join the Rural Studio activities either once during their third of fifth year, or twice, after spending their first two years on campus and having acquired a solid foundation in the basic skills of an architect.
Third-year programme
The third-year programme accommodates up to 16 students per semester, inviting them to reside and work in Newbern on the construction of a wooden house using platform frame construction. Until 2009, the fall semester focused on design, from conception to technical details, while the spring semester concentrated on construction, culminating in the handover of the completed project to clients or future users. However, several issues called for a profound restructuring, such as the uneven distribution of skills (with students specializing in either design or construction, rarely both), a lack of a continuous knowledge transfer from past to current projects, and students’ limited experience in collaborating with larger teams.
In its current iteration, the third-year programme is dedicated to refining technical skills – such as understanding the structural and natural properties of wood- by implementing an already designed project in phases, while complementing this process with parallel modules on building a knowledge base(Freear et al., 2013; Rural Studio, n.d.).
Seminar in aspects of design – students delve deeper in the history of the built environment of the local context, as well as the international history of wooden buildings.
“Dessein” – in this furniture-making course, students focus heavily on sharpening their wood-working skills by recreating chairs designed by well-known modernist architects.
Fifth-year programme
The fifth-year programme consists of up to 12 students, organized into teams of four, who dedicate a full academic year on a community-focused design-and-build project. These projects, collaboratively chosen by the Rural Studio teaching team and local community representatives, ensure alignment with residents’ needs and programmatic suitability for future users. The programme is student-led, requiring participants to engage in client negotiations, manage financial and material resources, and navigate the local socio-political landscape, among other tasks. Projects can be either set up to be concluded within the nine-month academic year or compartmentalized into several phases, spanning several years. In case of the latter, students are invited to stay a second year, overseeing project progress or completion, if they wish, and become mentors to the next group of fifth-year students.
Curriculum and learning Outcomes
In the Rural studio, “students learn by researching, exploring, observing, questioning, drawing, critiquing, designing, and making” In the Rural studio, “students learn by researching, exploring, observing, questioning, drawing, critiquing, designing, and making” (Freear et al., 2013, p. 34). The annual schedules, or “drumbeats,” as they are called, serve to organise and frame the activities throughout each semester. These activities are designed to enhance the skills and knowledge of students, encompassing technical and practical aspects (such as workshops on building codes, structural engineering, graphic design, and woodworking), theoretical understanding (including lectures and idea exchange sessions with invited experts), and communication skills (involving community presentations and midterm reviews). These activities are conducted in a manner that fosters a team-building approach, with creative elements like the Halloween review conducted in fancy dress, and using food as a unifying element.
In terms of learning outcomes, there are four main categories identified*:
Analysis & Synthesis (researching, exploring, observing, questioning). Students learn how to identify, analyse and navigate the parameters that can influence a design-and-build process and lay out a course of action taking everything they have identified into account.
Design & Construction (drawing, designing, making). Students learn how to navigate a project from conception to construction, and develop a deep understanding of construction technologies, environmental and structural systems, as well as the necessary technical skills to perform relevant tasks.
Teamwork & Management (exploring, questioning, critiquing, designing, making). Students learn how to work in large teams, prioritise and allocate tasks, voice their opinion, negotiate, and manage human and material resources.
Ethos & Responsibility (observing, questioning, critiquing). Through place-based immersion in the local community over the span of 4 to 9 months, students get a deeper understanding of their own role and responsibility as architects within the local sustainable development, especially in contexts of crises, and learn how to trace and assess the socio-political, financial and environmental factors that influence a project’s lifespan.
*author’s own assessment and categorisation, based on relevant readings
Context of operations: Hale County, AL
Hale County, located in Alabama, is a black, working-class area and ranks as the second poorest county in the state (Oppenheimer Dean & Hursley, 2005). Historically, southern states like Alabama and Mississippi have been either the locus of an aestheticisation of the rural life and traditions of the past, especially in popular culture (Cox, 2011), or regarded as socially “backward”, marked by elevated levels of social tension, including discriminatory, racist and white supremacist attitudes (Bateman, 2023). Since the decline in cotton production, which began shortly after the American Civil War, Hale County has faced increasing precarity, with its the local economy heavily reliant on low-wage agricultural industries, like dairy. Given the predominant home-ownership culture in the USA and insufficient welfare safety-nets, the poorest members of communities like Hale County are grappling with urgent housing and living issues, resulting in a sizeable portion of the population facing homelessness or residing in precarious conditions, such as trailer parks (Freear et al., 2013).
Rural Studio provides students from other areas of Alabama and beyond, often hailing from middle-class families, with an opportunity to engage with and be exposed to the harsh realities of a version of the USA they may not have encountered or interacted with before.
Notable initiatives and projects
20k House
Initiated in 2005, the 20K House programme engage students in the creation of affordable housing prototypes tailored to the needs and financial capacity of prospective clients: 20,000 USD is the rough amount a minimum wage worker in the USA can receive as a mortgage. Beyond the immediate provision of housing, the programme aspires to draw academic interest in “well-designed houses for everyone” (Freear et al., 2013, p. 202). Additionally, the initiative incorporates post-occupancy evaluations as integral components of both the pedagogical approach and the continuous improvement of services provided to the local community.
Front Porch Initiative
Launched in 2019, this program revolves around the pressing issue of insufficient housing. Its primary goal is to establish an adaptable, scalable, and robust delivery system for high-quality, well-designed homes designated as real property. The design process takes into account the overall costs of homeownership over time, addressing specifically matters of well-being, efficiency and durability. (Rural Studio, n.d.; Stagg & McGlohn, 2022)
Rural Studio Farm
As part of the Newbern strategic plan, the Rural Studio Farm project seeks to immerse students in the realities of food production, exploring its social, cultural, financial, and environmental implications. Simultaneously, the project addresses the rapid decline in local food production in West Alabama (Freear et al., 2013; Rural Studio, n.d.).
Die Baupiloten Berlin
Created on 29-07-2024
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):
Develop a connection between practice and research-oriented learning through building projects
Provide opportunities to explore the interdependences between the design and building process
Enhance interdisciplinary connections between the different fields of expertise that can be found in TU Berlin
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
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):
Team-building: raising awareness and building a common ground for communication through dialogue and other interactive activities.
Users’ everyday life: observing and recording daily activities.
“Wunschforschung”: researching the needs and desires of the users in a systematic manner.
Feedback: optimising the design according to comments received by the participants.
This methodology includes three broad, equally important categories of participating stakeholders:
Users: the “citizen experts”, bringing the knowledge of the everyday life to the table
Clients: the individuals or entities who commission the project and define the financial constraints that the design and construction must adhere to.
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):
Fostering professional competences related to the different stages of a project
Developing design skills
Training in designing from concept to construction detail
Learning about cost-calculation and budgeting
Developing self-reflexive and assessment skills and methods
Enhancing interpersonal, communication and teamwork-related skills
Cultivating management skills
Learning how to interact with the various stakeholders involved in a project (clients, public authorities, craftsmen, manufacturers and building contractors)
Learning how to prepare and give effective presentations
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).
Co-creation
Design Activism
Spatial Agency
Sustainability
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
Read more ->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
Read more ->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
Read more ->Area: Community participation
Sustainability is primarily defined as 'the idea that goods and services should be produced in ways that do not use resources that cannot be replaced and that do not damage the environment' (Cambridge Advanced Learner’s Dictionary & Thesaurus, n.d.) and is often used interchangeably with the term “sustainable development”(Aras & Crowther, 2009). As defined by the UN, sustainable development is the effort to “meet the needs of the present without compromising the ability of future generations to meet their own needs” (United Nations, 1987) and is often interpreted as the strategies adopted towards sustainability with the latter being the overall goal/vision (Diesendorf, 2000). Both of these relatively general and often ambiguous terms have been a focal point for the past 20 years for researchers, policy makers, corporations as well as local communities, and activist groups, among others, (Purvis et al., 2019).
The ambiguity and vagueness that characterise both of these terms have contributed to their leap into the global mainstream as well as the broad political consensus regarding their value and significance (Mebratu, 1998; Purvis et al., 2019), rendering them one of the dominant discourses in environmental, socio-political and economic issues (Tulloch, 2013). It is, however, highly contested whether their institutionalisation is a positive development. Tulloch, and Tulloch & Nielson (2013; 2014) argue that these terms -as they are currently understood- are the outcome of the “[colonisation of] environmentalist thought and action” which, during the 1960s and 1970s, argued that economic growth and ecological sustainability within the capitalist system were contradictory pursuits. This “colonisation” resulted in the disempowerment of such discourses and their subsequent “[subordination] to neoliberal hegemony” (Tulloch & Neilson, 2014, p. 26). Thus, sustainability and sustainable development, when articulated within neoliberalism, not only reinforce such disempowerment, through practices such as greenwashing, but also fail to address the intrinsic issues of a system that operates on, safeguards, and prioritises economic profit over social and ecological well-being (Jakobsen, 2022).
Murray Bookchin (1982), in “The Ecology of Freedom” contends that social and environmental issues are profoundly entangled, and their origin can be traced to the notions of hierarchy and domination. Bookchin perceives the exploitative relationship with nature as a direct outcome of the development of hierarchies within early human societies and their proliferation ever since. In order to re-radicalise sustainability, we need to undertake the utopian task of revisiting our intra-relating, breaking down these hierarchical relations, and re-stitching our social fabric. The intra-relating between and within the molecules of a society (i.e. the different communities it consists of) determines how sustainability is understood and practised (or performed), both within these communities and within the society they form. In other words, a reconfigured, non-hierarchical, non-dominating intra-relationship is the element that can allow for an equitable, long-term setting for human activity in symbiosis with nature (Dempsey et al., 2011, p. 290).
By encouraging, striving for, and providing the necessary space for all voices to be heard, for friction and empathy to occur, the aforementioned long-term setting for human activity based on a non-hierarchical, non-dominating intra-relating is strengthened, which augments the need for various forms of community participation in decision-making, from consulting to controlling. From the standpoint of spatial design and architecture, community participation is already acknowledged as being of inherent value in empowering communities (Jenkins & Forsyth, 2009), while inclusion in all facets of creation, and community control in management and maintenance can improve well-being and social reproduction (Newton & Rocco, 2022; Turner, 1982).
However, much like sustainability, community participation has been co-opted by the neoliberal hegemony; often used as a “front” for legitimising political agendas or as panacea to all design problems, community participation has been heavily losing its significance as a force of social change (Smith & Iversen, 2018), thus becoming a depoliticised, romanticised prop. Marcus Miessen (2011) has developed a critical standpoint towards what is being labelled as participation; instead of a systematic effort to find common ground and/or reach consensus, participation through a cross-benching approach could be a way to create enclaves of disruption, i.e. processes where hierarchy and power relations are questioned, design becomes post-consensual spatial agency and participation turns into a fertile ground for internal struggle and contestation.
Through this cross-benching premise, community participation is transformed into a re-politicised spatial force. In this context, design serves as a tool of expressing new imaginaries that stand against the reproduction of the neoliberal spatial discourse. Thus, sustainability through community participation could be defined as the politicised effort to question, deconstruct and dismantle the concept of dominance by reconfiguring the process of intra-relating between humans and non-humans alike.
Created on 08-06-2022
Read more ->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
Read more ->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
Read more ->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 06-10-2024
Conference
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