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The purpose of this paper is to look into the knowledge‐intensive work that entangles the use of various visual representations such as drawings, CAD images, and scale models. Rather than assuming that knowledge is exclusively residing in the human cognitive capacities, most knowledge‐intensive work integrates a variety of perceptual skills and the use of language.

A case study of a Scandinavian architect bureau, including semi‐structured interviews with architects, design engineers and managers, was conducted.

The study shows that architects mobilize and use a variety of visual representations in their day‐to‐day work. Such visual representations serve a variety of roles and purposes but actually more generally enhance communication between colleagues and external stakeholders. The paper concludes that visuality and visual representations deserve a more adequate analysis in the knowledge management literature.

The paper contributes to an understanding of how visual representations are constitutive of knowledge and central to architect work. Rather than residing in language or being embodied, knowledge is developed through the use of a variety of tools and aids.

This study investigates the transformation of the architect's role as portrayed in written texts by analyzing discursive practices concerning architectural education in Turkey between 1963 and 2000.

The research employs critical discourse analysis (CDA) to examine selected texts published in the Mimarlık journal, representing the Chamber of Architects of Turkey. By embracing M. Bakhtin's “dialogism” approach, it aspires to foster new discussions on architectural education and establishes a “dialogical landscape” showcasing various voices and arguments. The research supplements its methodology by mapping the dialogical landscape, illustrating the relationality of discursive practices.

The paper contends that alterations in the missions, goals, and priorities of the architectural discipline significantly impact architectural education. Rather than focusing on individual perspectives, the creation of new dialogical platforms, emphasizing the interplay of diverse and conflicting viewpoints, offers more comprehensive pathways to guide the future of architectural education.

Debates and conflicts regarding the architect's role are central to architectural education. This article offers a novel perspective on the history of architectural education in Turkey by analyzing shifts in the definition and role of the architect as expressed in the Mimarlık journal. By integrating the principles of dialogism into the study of educational discourses and revealing the relationality between material-discursive practices, it aims to enrich the discourse and contribute value to critical studies on architectural education.

Architects and craftspeople work together on complicated built heritage projects as part of a diverse multidisciplinary team. Effective interactions and collaborations between them can lead to a more successful project outcome; however, differing perceptions of each other can cause professional relationship tensions, communicative barriers and disharmony.

Through the analysis of online surveys completed by architects and craftspeople, this study examines the contemporary relationship between the two groups, including the architect's perceptions of the function of traditional building craft within their day-to-day role.

Findings suggest that whilst both groups agree that the craftsperson is an essential specialist on a built heritage scheme, there are contradictory perceptions with regard to the architect's role. Despite these differences, the results suggest that architects are open to accommodating more exposure to craftspeople and traditional building craft within their day-to-day role – believing they would learn more about building materials, make better practical decisions and understand craftspeople better. More importantly, this study proposes that a focus on craft would break down communicative and perceptual barriers, in turn improving relationships and project outcomes.

The study strongly suggests that traditional building craft can form an essential, tangible bond between architects and craftspeople by increasing focus on relationships and learning. The insights offered are relevant not only to those in the fields of architecture and traditional building craft but also to those involved in heritage management, as well as other professional roles, who may benefit from the use of craft as a method to repair professional relationships, as well as historic buildings.

This paper investigates the role of the architect in post-disaster reconstruction and questions their ability to facilitate permanent building solutions. There is an ever-increasing population of refugees and internally displaced persons due to disasters and conflicts who have a basic need for shelter. To date, housing solutions for such people has tended to focus on short-term, temporary shelter solutions that have been largely unsuccessful. This increasing demand for shelter has led to an emerging group of architects skilled in post-disaster reconstruction. These architects acknowledge that shelter is critical to survival, but believe architects should focus on rebuilding in a manner that is quick, durable but permanent. They believe that an architect skilled in post-disaster reconstruction can produce solutions that meet the requirement of the emergency phase, through to semi-permanent and even permanent homes, without wasting time and money on interim shelters. Case Study Research was used to examine and evaluate the assistance provided by Emergency Architects Australia (EAA) to the Kei Gold community in the Solomon Islands after the 2007 earthquake and tsunami. The results indicate that an architect’s response to a disaster must go beyond providing temporary shelter; they must create permanent building solutions that respond to the site and the culture while servicing the needs of the community. The vernacular reconstruction methods implemented by EAA in Kei Gold Village have been successful in developing permanent housing solutions. Further research and development is required to gain a broader understanding of the role of the architect in disasters of varying scales and typologies.

Design and build is becoming an increasingly adopted procurement solution for construction projects. Characterised by its integrated team approach, it allows the construction contractor to take a more central role in the design process than its traditional alternatives. Its global popularity and rate of adoption necessitate greater understanding by those involved, particularly client organisations whose primary business is not construction. This research is focused on understanding the team dynamics at the pre‐tender stage. Employing a grounded theory methodology and semi‐structured interviews, the central theme of “short‐circuiting” the tender development process by architects emerged. Four major themes responsible for short‐circuiting are: the quality and distribution of the “employer’s requirements”; architect’s unwillingness to realign their role with design and build; clarity of the contractor’s communication channels; and client’s misunderstanding of the time required to successfully procure buildings. The short‐circuiting manifests itself in a confusion of roles and responsibility of the parties involved, leading to client dissatisfaction in the finished construction product.

Interpreting the meaning structure of architects' actions, behaviours and performances enacted in a building information modelling (BIM) environment is implausible by returning to the classic and ideal imagery of an architect as a natural leader. Yet, little has been empirically explored on how architects perceive their identity and most critically, how they act, behave and perform their way into it in such an environment. Consequently, architects' failing to adapt their core identity to the varying circumstances may lead to their irrelevance and being side-lined merely as aesthetic building surgeons. The current study therefore seeks a better understanding of their perceptions and experiences in manifesting their identities in the phenomenon.

Drawing upon the interpretive phenomenological approach, ten architectural trained individuals were selected for in-depth, semi-structured interviews, and written accounts exercise to disclose their lived experience. The study was conducted in a Malaysian architectural consultancy practice (ACP) setting.

The data analysis resulted in the following five performance identity themes that revolve around the core identity of a successful designer: “performing as a design strategist”, “performing as a design translator”, “performing as a design facilitator”, “reinstating the identity of a design coordinator” and “performing as a design innovator”.

The study serves as groundwork for professional institutional bodies to further reconstruct a career road map alongside the professional development framework towards elevating, developing and facilitating the hybridity of architects' performance identities in such environment.

The study serves as a groundwork for professional institutional bodies to reconstruct the existing continuing professional development (CPD) programmes, materials and framework so that they reflect the performances of future architects practicing in a BIM environment. The elicited experiences may also inform architectural curriculum designers of the appropriate approaches of teaching and learning in architecture that could promote the hybridity of architects' performance identities in such an environment.

The study contributes to the identity literature by yielding valuable new insights about the experiences and behaviour of architects practicing in a BIM environment. Understanding such complexity would not be possible merely based on the theoretical lenses of professional identity and organisational identification as adopted in previous studies.

The architect’s role in any building project cannot be overstated. It is crucial for library planners to bring the architect early into the design process and work continuously with him/her throughout the entire building phase. Thomas A. Findley, an award‐winning architect from the firm of Leo A. Daly, spoke with the author at length about his role in enabling library planners to develop the kinds of buildings that will both satisfy present demands and enable future needs to be met.

The purpose of this paper is to contextualise the architect–client relationship and evaluate the factors responsible for its deterioration, and then define the impact of these factors on the future needs of architects and clients, including how such knowledge can help emerging architects to develop an understanding of the profession at an early stage. It will attempt to reveal new insights and build consensus around issues, such as functionality and aesthetics, per cent-based fee structure, conflict of interest amongst architects, contractors and clients.

A combination of qualitative online survey, semi-structured interviews and online focus group discussions under the comprehensive umbrella of the case study method has been used to construct a pragmatic framework. The data collection was focused on revealed preferences rather than stated preferences, in terms of likes and dislikes, in a standard survey.

Overall, this paper strengthens the idea that the predicament of the profession and the marginalisation of architects is due to their detachment from clients. The findings suggest that the fee structure might be a major source of discontent and there is an urgent need for alternative routes of procurement, particularly for private residential clients. While most clients prefer functionality over aesthetics and want architects to be affordable, they are more willing to invest their trust in architects who can deliver from concept to completion.

The arguments contested in this paper attempt to demystify the dynamics that are at play during the construction stage. It looks at power sharing, responsibilities and silent hierarchies that transpire between architects, clients and contractors, particularly in private residential projects.

The main recommendation of this paper is that to secure the future of the architecture profession emerging architects need to be trained more in client-centric skills than design-centric aptitude.

In a construction project, “participants’ satisfaction” is one of the main dimensions used for measuring the successfulness of a project. Designers perform a major role in attaining the project goals and managing project complexity during production. The purpose of this paper is to examine the designers’ performance as evaluated by the main participants: the client, the project consultant/manager and the main contractor, and to identify the main success factors of designer performance using the participants’ evaluation. The study also aims to examine how the economic size of a project affects the project participants’ assessment of the designer’s performance. It is assumed that as the size of a project increases, so does the complexity of the project, which will affect the scope of work and demands on the designers’ operational performance for the specific project level.

The Finnish project evaluation and benchmark database was used in this study as empirical data. The quantitative data consists of surveys on the project level and are based on a multi-dimensional standard evaluation wherein the main participants evaluate each other’s performances. The client, project consultant and main contractor evaluated the designer’s performance. The data of the study consisted of a total of 892 evaluations. ANOVA analysis was used to examine the differences between the project participants’ assessments based upon the different economic sizes of the projects.

Contractors were satisfied with the designers’ performance in small projects, whereas the client and the project consultant/manager rated the designers’ performance most successful in large projects. This result may be due to small projects are typically simple and less complex, in which case design solutions are generally well-defined. Nonetheless, the participants’ level of satisfaction follows the same factors. The main problems in the designers’ performance were related to the design content: the flawlessness and comprehensiveness, as well as the compatibility and consistency of designs. These factors were emphasized particularly in the client’s low satisfaction of the designer’s performance. However, project participants were satisfied with the collaboration with designers; however, room for improvement could be found in internal communication and collaboration within the design teams. The findings illustrated that the assessment of the success rate of a project was party-specific, which was clearly affected by the size of the project, as large projects appeared to be more complex than smaller ones.

The findings suggested that there is a need to develop project-specific practices in managing multidisciplinary design teams. Additionally, particularly in large projects, designers should focus more on solving problems and design requirements occurring at the construction site. However, this should be implemented in such a way that this does not interfere with the design activities conducted with the client and project management. While client satisfaction is low in the small projects, designers should focus more on customer-oriented methods to serve client needs better.

In construction project management studies, there is a need to measure the importance that various participants assign to different success factors. Since project success factors depend on project type, a more project-specific approach is suggested to identify the main parameters for measuring project success. This study provides a holistic approach of the designers’ performance, which contributes to the theory of project success and designers’ performance improvement.

The purpose of this paper is to explore the “event” of the construction of Naguib Mahfouz Square. Drawing on the memory of Gamaet-Aldowel-AlArabyia Street, it attempts to uncover the socio-cultural structures inherited in the Egyptian urban street.

This study adopts Foucauldian discourse on institutions of “knowledge and authority” to approach the power relations between the actors involved. This discourse was constructed through in-depth, unstructured interviews with architects and involved government personnel as well as other archival resources that included national newspapers and magazines.

This discourse reflected an institutional controversy between these actors over the perception and design of the Egyptian street, highlighting the alienation of the designer, and the user/lay-people, from the urban institution. Naguib Mahfouz Square presented a considerable deviation from the established norms of street design in Egypt at that time through its commemoration of a contemporary figure in literature, the architect’s involvement in the design process and the unfencing of urban space. This event thus questions the perception of the urban street beyond our socio-cultural inheritance, and towards street design as a performative urban act that embraces the everyday activities of lay-people in the street.

The paper utilises Foucauldian discourse on power to approach a case study of an urban event and space in Egypt, which has not previously been investigated thoroughly. It thus holds potential towards the resolution of inherited conflict between the urban street and the urban institution.