Panayi, C., Roussou, E., Charalambous, N. (2025). Architectural Design Studio: Embracing a Transdisciplinary Approach. In: Barosio, M., Vigliocco, E., Gomes, S. (eds) School of Architecture(s) - New Frontiers of Architectural Education. EAAE AC 2023. Springer Series in Design and Innovation , vol 47. Springer, Cham. https://doi.org/10.1007/978-3-031-71959-2_30
Posted on 29-08-2023
The Co-creation design studio, at the Department of Architecture, University of Cyprus, has been acting as a meeting place for students, educators, researchers, citizens, and external stakeholders since 2021, aiming to bridge gaps between architectural research, pedagogy, civil society, and local governance bodies through a transdisciplinary pedagogical framework. Acknowledging that many societal challenges are complex and multifaceted, and cannot be adequately addressed by any single discipline or sector alone, the Co-creation studio focuses on the co-production of knowledge with stakeholders outside of academia. This entails involving them from the outset of the project, as well as co-designing design activities and proposals that are relevant to their needs and interests, ensuring a grounded process in real-world challenges.
The studio's pedagogical framework and methodology have been designed, implemented, and evaluated three times until now, through participatory action research methodology, investigating the impact on the design result, on the development of skills for the students, and their attitude towards their role as future professionals. The paper highlights the findings of these three years of research, with a reflective way, suggesting future steps for improvement. Its long-term repetition will gradually build a knowledge base, aiming to revisit existing educational methods, to respond to current and future challenges in an efficient and inclusive way.
Related cases
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).
Related vocabulary
Co-creation
Urban Commons
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
Urban commons are shared resources in the city that are managed by their users in a collaborative and non-profit-oriented way. The concept is based on the idea that urban resources and services that represent fundamental rights in the city should be accessible to and governed by the urban dwellers, to support the social capital and the sustainability of the urban communities. Hence, their value lies mostly in the social benefit produced during their use and they are therefore different from commodities that follow traditional market principles of profit maximisation and private ownership (Dellenbaugh-Losse et al., 2015).
The concept of urban commons is an extrapolation in the urban context of the notion of commons which historically refers to natural resources available to all and not owned by any individual, such as air, water and land. The commons discourse became significantly popular thanks to the fundamental contribution of Elinor Ostrom (1990) and particularly after she was awarded the Nobel in Economics in 2009. Ostrom presented cases and design principals for the collective management of common resources by those that use and benefit from them, challenging the predominant negative connotations that had peaked with Garret Hardin’s (1968) Tragedy of the Commons where he analysed the impossible sustainability of common pool resources due to individual benefits.
During the last fifteen years, a vast body of academic literature on urban commons has been produced, linking the notion to other urban theories, such as the right to the city (Harvey, 2008; Lefebvre, 1996), biopolitics (Angelis & Stavrides, 2009; Hardt & Negri, 2009; Linebaugh, 2008; Parr, 2015; Stavrides, 2015, 2016), peer-to-peer urbanism and sharing economy (Dellenbaugh-Losse et al., 2015; Iaione, 2015; Iaione et al., 2019; McLaren & Agyeman, 2015; Shareable, 2018).
The notion of the urban commons encompasses resources, people and social practices (Dellenbaugh-Losse et al., 2015):
Commons resources are urban assets of various types, characteristics and scales (Dellenbaugh-Losse et al., 2015). Examples of commons resources include physical spaces, such as community gardens, street furniture and playgrounds; intangible elements such as culture and public art; services such as safety; digital spaces, such as internet access. Urban commons literature and practices have attempted to determine several typological categorisations of the urban commons resources, the most notable being that of Hess (2008), who classified them as cultural, knowledge, markets, global, traditional, infrastructure, neighbourhood, medical and health commons.
The commoners are the group that uses and manages the urban commons resources. It is a self-defined and organically formed group of individuals whose role is to collectively negotiate the boundaries and the rules of the management of the commons resources (Dellenbaugh-Losse et al., 2015). In a neighbourhood setting, for example, the commoners may be individual residents, or community groups, cooperatives, NGOs and local authorities. De Angelis and Stavrides (2010) points out that commoners might include diverse groups or communities that are not necessarily homogenous.
Commoning refers to the collaborative participatory process of accessing, negotiating and governing the commons resources. The term was introduced by Peter Linebaugh (2008) and refers to the “social process that creates and reproduces the commons” (Angelis & Stavrides, 2010). Commoning is a form of public involvement for the public good (Lohmann, 2016). Commoning implies a commitment to solidarity and cooperation, to the creation of added value to the community, to democracy and inclusiveness and is connected to a hacking culture(Dellenbaugh-Losse et al., 2015). Hence, commoning practices can include various activities such as co-creation, capacity building and placemaking, support through learning, innovation, performing art, protest, urban gardening and commuting.
In contemporary societies in crisis, the urban commons theory is often used as a counter-movement to the commodification of urban life and as a response to complex issues, proving essential for the well-being of marginalised communities and for the provision of affordable and sustainable housing. Urban commons management conveys the re-appropriation of urban values (Borch & Kornberger, 2015) breaking silos of expertise and knowledge by adopting a collaborative approach to defining and solving the problems at stake. The practice of urban commons helps to build values of openness, experimentation, creativity, trust, solidarity and commitment within stakeholder groups.
Created on 14-10-2022
Read more ->Blogposts
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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