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While the COVID-19 outbreak affects all aspects of life in the world, there is also a global impact in the field of education. Within the scope of the measures to control the epidemic, distance education was started shortly after the starting of the spring semester in all primary and secondary schools and universities. In this process, architectural design courses, which are one of the most fundamental courses of architectural education, started to be held in online studios. The purpose of this paper is to investigate the evaluations of architecture students about the online design studio courses carried out during the COVID-19 outbreak.

This research used a qualitative approach to evaluate the ideas of first, second, third and fourth grade students of architectural design studios in the host university. A questionnaire was directed to students in order to see their opinions about the online design studio education.

Results shows that students think the most prominent benefit of online studios appears in the use of digital tools. Another important result is that if they are equipped with the necessary tools and given the chance to realize themselves, students can work efficiently even in the distance education process.

This study is important in terms of learning the expectations of students from the online process and to identify important issues that should be considered for the next semesters. In addition, this study will serve as a basis for comparative evaluation of architectural education during and after the epidemic. In this context, the study will shed light on future academic research.

The objectives of this paper are to present the development of an indicative multi‐phase systematic framework for performance appraisal of architectural design studio facilities, and to present the findings of the post‐occupancy conditions of an architectural design studio facility as a case study to demonstrate the applicability of the developed framework.

The authors carried out a number of activities. These include reviewing the published literature to address the significance of the architectural design studio as a resource for students majoring in architectural design, and ascertaining the significance of post‐occupancy evaluation as a performance appraisal methodology in educational facilities. On the development of the proposed framework, the authors carried out a case study in one of the studios of the Architecture Department at King Fahd University of Petroleum and Minerals, Dhahran, Saudi Arabia. The authors utilized a series of data collection methods, including photographic documentation, observations through walkthrough inspection, questionnaires and interviews.

The developed framework consists of four phases. It entails identifying the performance requirements of the architectural design studio; collecting data – through conducting walkthrough inspection, questionnaire survey and interviews – to ascertain the present performance level of the architectural design studio; analyzing the data gathered from the preceding steps and subsequent reporting of findings on the degree of user satisfaction with the architectural design studio space and facilities; and developing a plan of actions in the form of recommendations to improve the conditions of the evaluated design studio. The case study served as a validation of the developed performance appraisal framework.

The architectural design studio is known to be the place where students majoring in architectural design generate, review and display their design projects. Previous research on the performance appraisal of educational facilities indicates that the comfort of the architectural design studio space is a significant aspect to be considered and maintained for the success of the architectural education process. The paper provides a systematic approach for evaluating the major performance requirements of an architectural design studio. It is of practical value to space planners, design professionals, facility managers and administrators involved in the planning, design, operation and management of such facilities.

Education in the Department of the Built Environment (Eindhoven University of Technology) aims to prepare students for multidisciplinary design teams. The Bachelor program offers a broad range incorporating essentials of urbanism, architecture, structure, building physics, real estate, construction, services et cetera. This broad BSc program lays a foundation for students and is followed by a Master program that focuses on specialization. There are six specializations: Architecture, Urban Design & Planning, Structural Design, Building Physics & Services, Real Estate Management & Development and Construction Management & Engineering.

Multidisciplinary in the BSc is more than offering a variety of knowledge in courses and lectures. The Department also puts a lot of effort to train students to gain experiences in integral design teams. This takes shape in studios but is best expressed in the Multi-project (a semester assignment in the last year of the Bachelor). This assignment is organized by 9 coaches (from all specializations in the Master). The assessment is always a practice-based issue, and students have to cooperate as a design team during one semester. Developing the Multi-project has been a long route that took place over many years with several adjustments according to experiences and information gathered by student inquiries.

This paper gives a very global overview of the present setup to contextualize this assignment. After that, the main part of this paper focuses on the kickoff (first 2-3 weeks). Here students start in parallel studios, meant to put them on track for integral design. Each studio combines two disciplines and compels students to precede design by analyzing all kind of issues in the light of the specific assignment.

Because of the complexity of this assignment we frequently ask students to fill in an enquiry. Because of this we are now able to draw conclusions from major changes during the last 10-14 assignments (2007 – 2013).

Fashion documentaries are many. Although their behind-the-scene access presents some undeniable interest, the author suggests that while revealing information about the creative process, the economic priorities are understated.

The author reviews Frederic Tcheng’s Dior and I documentary, which brings the viewer inside the storied world of the Christian Dior fashion house with a look at the creation of Raf Simons’ first haute couture collection as its new artistic director.

The author analyses the documentary with the literature on tensions between creativity and economy to bring some light into the observed frictions. Digging deeper, the literature is also used to reveal several issues that are overlooked in the documentary, small glimpse of the organization.

The paper voices what is easily silenced around creative work in the fashion industry, as well as and more globally in creative industries.

With the rise of digital media and content marketing, business-to-business (B2B) technology firms increasingly use narratives in their marketing strategy. If research has studied the impact of narrative on audiences, the structuration of the narrative strategies is still an overlooked area. The purpose of this paper is to understand the structuration of narrative strategies.

Authors studied the cases of narratives on the Internet of Things produced by two leading technology firms, IBM and Cisco, between 2012 and 2016. Material includes advertising campaigns, blogs, written customer cases, white papers, public speeches and selling discourses.

The research highlights the importance of metanarratives as the core of the structuration of seemingly different contents. It also shows how firms tap into fundamental mythic archetypes and broader sociocultural narratives to try and legitimate the emerging technology. Finally, research also introduces the concept of transmedia strategy and illustrates its use by the two firms studied.

The results are based on only two cases of multinational firms, limiting the generalization of the findings.

The results of the research may encourage firms to use more narrative branding strategies. They also offer directions for the key elements to manage when elaborating a narrative strategy (defining key metanarratives, identifying and using broader sociocultural narratives, designing a transmedia strategy).

The paper is among the first to try to understand the structuration of narrative branding strategies. While exploratory, it contributes to research on B2B branding and digital branding by bringing the narrative into B2B branding research.

The aim of this paper is to develop understanding of how open-access (OA) studios as creative social enterprises (CSEs) can negotiate coexisting creative, social and economic missions, and manage the motivations of stakeholders. In particular, it explores how this affects management practices and ways in which diverse social actors engage with the organisation and each other. This paper expands on the existing literature on social enterprises in relation to multiple value and stakeholder management and also contributes to the makerspace and wider creative industries literature.

This paper uses a qualitative, single-case case study of an OA studio established as a social enterprise based on analysis of secondary texts, interviews and observation.

It is identified that a multifaceted value system creates both challenges and opportunities in relation to communal resource management and community development. Tensions between the creative and economic priorities of members and both the economic imperatives of the organisation and its social mission are also highlighted. It is suggested that despite these challenges, the OA model presents an opportunity to develop more collective forms of creative practice and support a reframing of the creative economy.

As a single case study in the geographical context of the United Kingdom, limited generalisations on OA management in other countries can be made without further investigation.

There are practical implications for OA and other CSE founders in relation to resource and membership management and facilitating inclusive access. There are creative industries policy implications in the encouragement of more sustainable collaborative approaches.

This paper contributes to the literature on social entrepreneurship, makerspaces and the creative industries by developing the understanding of OA studios and CSE management and the internal dynamics that influence organisational and social outcomes.

This paper aims to discuss the potentials of interdisciplinary exercises that bring together art and design methodologies in expanding as well as redefining the given methods and principles of basic design in architecture education. The primary purpose is to improve the conventional, well-established principles and methodologies of basic design studios into fresh perspectives.

Focussing on the case study of a basic design studio assignment that translated Richard Serra's Verb List (1967-68) into space-generating operations, the authors analyse how a diagonal interdisciplinary approach to studio pedagogy opened up the basic design studio into the exploration of new concepts and approaches. The assignment encouraged architecture students to productively and creatively engage with a significant art historical work for the purposes of design thinking and exploration.

Findings reveal that the students explored the possible reciprocal influences between materials, actions, and issues of form and organisation, thereby operating in an interface between art, architecture and design surveying the possible interactions between these disciplines. Based on the outcome of this studio exercise, the authors argue that designing assignments that would bring together various and sometimes even conflicting approaches of different fields allow us to reassess and conceptualise anew the pedagogical aims and modi operandi.

The research is original in the ways in which it suggests many possibilities of dialogue, interaction and collaboration between art, design and architecture studios.

Design studio courses take place at the core of education disciplinary design such as architecture and interior architecture. Studios in which design studio courses are conducted can also be used for other practical courses as well. Another important feature of these studios is that they are extensively used by students for individual or group work other than during class hours. Since the students, either on their own or with the project coordinator, experience design process in these studios, their spatial characteristics are highly significant to conduct this process effectively. Within this scope, the aim of the research is to evaluate open and cell type studios commonly used in traditional architecture education through Post-occupancy evaluation (POE) approach, to discuss to what extent these studios meet the spatial requirements of today’s instructional methods and to develop a suggestion for design studio spatial use by taking the strengths and weaknesses of these studios. Accordingly, technical, physical and behavioral variables determining the performance of design studios within the context of spatial requirements have been identified through reviewing the related literature. In framework of a case study, a survey formed with the aforementioned variables was administered to architecture and interior architecture students studying in open and cell type design studios in order to measure their spatial performance. Followingly, in the final part of the study, referring to survey results and evaluation of spatial requirements of today’s instructional methods and tools, a combi design studio space organization has been suggested.

Empirical investigation into the e-learning innovation, FUSE Studios, is both timely and relevant because FUSE is rapidly expanding domestically and abroad and there is continued interest in the interdisciplinary fields of information and learning sciences in the constructs of choice and interest as they relate to the provision and design of learning experiences. In particular, this paper aims to contribute to scholarly and design-based conversations on how e-learning innovations – especially those situated within the digital youth and constructionism strands of research – can be designed in ways that support robust opportunities for learning for young people (Reynolds et al., 2019).

Drawing upon a large corpus of mixed-methods data including computer-generated activity log data, youth survey data and studio facilitator interview data, this paper examines patterns of use and interest-related experience among young people in a range of FUSE Studios settings across the USA.

The results suggest that student choice within FUSE’s curricular and Studio model tends to support a broad exploration of interests across a wide range of youth, rather than a deep dive into particular Science, Technology, Engineering, Arts, and Mathematics (STEAM) content areas.

Alongside the broad exploration that was found to characterize the patterns of student choice in FUSE Studios, a striking number of students from those surveyed reported that FUSE supported their interest development: they liked the FUSE challenges, were always able to find something of interest to do in the FUSE Studios and saw the FUSE challenges are supportive of their current and future interests. (See similar findings in Stevens et al., 2016). We understand these student self-reported experiences as evidence that the FUSE Studios model did well to encourage meaningful, interest-driven learning experiences for youth.

Committed to making research usable for practice, this paper offers implications for future e-learning designs that seek to make choice and interest central to the organization of activity and environment.

The purpose of this paper is to document and describe an omni-disciplinary ethnography of a complex arts and cultural regeneration organisation in Durham (TESTT Space). The organization and its art spaces are hybrid combination tools explicitly designed to test and experiment with ideas, social forms, human interactions and arts practice. Its ground or practice is a repurposed meanwhile space in a city centre embedded in a unique cultural landscape of local communities, a University and a World Heritage Site. The research attempted to understand its groundwork, its interactions and its civic mission and aspirations in a time of radical change and rupture.

The authors assumed an ethnographic approach, working with and within this organisation for a year, thinking of the research as embedded, intimate research and committed to social change. It was a work of co-production – working with studio-holders, curators, artists and facilitators using a range of triangulated qualitative research methods. These include structured interviews, auto-ethnography, ethnography of spaces, arts-led research, art as research and research as art.

TESTT Space has allowed both the retention of artists in the city and the propulsion of artists into the world. It has offered different ways of engaging in the complex lives of artists and curators, allowing them to test aesthetics and try out new social models. It has thought up its own network as a thinking practice, has developed its own politics, civics and imagined a set of new futures.

The paper documents interactions and aspirations, describing the lived phenomenological experience of being in this experimental space.