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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.

Utilizing creative campus partnerships, alliances, and mergers, libraries can move from a traditional support role to a more participatory role that actively engages a university’s academic mission. Libraries, as centralizing, politically neutral hubs for information, can serve as catalysts for collaborative planning that paves the way for creating innovative campus spaces and services in conjunction with other academic or general campus units. By forging alliances and merging services and resources with campus partners, such as Information Technology (IT) and the English and Communication departments, the library can address student need and initiate transformational changes—changes that are broader in scope than those within traditional library functions. The case study in this chapter provides an exploration of the merging of library services with a writing center, an effort which was enhanced by adding an oral communication support service. It provides examples of what can be accomplished through visionary leadership and teamwork in 21st-century academic libraries, focusing on how student need and library use prompted institutional change at a mid-sized regional comprehensive university. The authors highlight the essential structural and operational mergers and alliances involved in integrating existing and developing library and campus initiatives to create a unique integrated service point for research, writing, and oral communication in the heart of the university’s main library. The case study also identifies continued partnership and collaboration, and briefly outlines methods through which libraries might initiate similar transformational changes and mergers at their own institutions, serving as a model for similar alliances in other settings.

A common way for academic libraries to support student success is through partnership with writing centers. Practices such as applying service design thinking to develop and inform integrated library and writing center services can lead to a student-focused space. This chapter outlines how service design, studio pedagogy, and peer learning informed the setup and ongoing services in The Undergrad Research and Writing Studio (URWS or, the Studio), a shared space in the Oregon State University Libraries. The URWS model is grounded in studio pedagogy, which employs a “propose-critique-iterate” approach to student writing development (Brocato, 2009). Research and writing consultants assist student writers when they have a question, mirroring libraries’ point of need service approach. Librarians and studio faculty collaborated on the training curriculum, which emphasizes how research and writing are intertwined processes. Peer consultant reflection and assessment inform the ongoing development of the overarching program, service, space, and training, ensuring alignment with the ethos of centering students and their learning.

The purpose of this paper is to analyse how contemporary artists construct and position their “person brands” and reflects on the extent to which artist brand building results from strategic brand management.

A conceptual framework proposes a spatial perspective on artist brand building to reach an analytical insight into the case of visual artists in London. The empirical analysis is qualitative, based on serial and in-depth interviews, complemented by participant observations.

Artist brand building relies on the creation and continuous redefinition of “in-between spaces” that exist at the blurred boundaries separating an individual and isolated art studio, and the social and visible art scene. Artist brand building is a bundle of mechanisms that, mainly occurring without strategic thinking, are “nested” within the art production process throughout which learning, producing and performing are heavily intertwined.

This study was undertaken with a focus on visual artists and specific operations and spatialities of their individual art projects. Further empirical research is required in order to fully explore the manifold of practices and spatialities that constitute contemporary artistic practice.

This study fosters artists’ awareness of branding effects that spillover from artistic production, and thus potentially opens the way to a more strategic capitalization on these.

The adopted spatial perspective on the process of artist brand building helps to uncover “relatively visible” and “relatively invisible” spatialities that, usually overlooked in branding debate, play a significant role in artist brand building.

This paper explores the spatial and material context of a creative production project. Taking the music recording project as an empirical setting, it explores the creation of a pop song and reveals the highly situated character of its management and organization. Making a creative product such as a pop song is a complex endeavor, requiring a large number of decisions involving highly subjective and often contested and contestable judgments. The purpose of this paper is to understand how this is achieved.

The study is based on observation of musicians and a music producer during the creation of a pop song in a mid-sized recording studio. Interviews were also conducted with the participant musicians and 24 music producers based in the UK. The resulting qualitative data were analyzed using a socio-material perspective to trace the spatial relationships and explore the material organization of the project.

Producing musical product is achieved through establishing spatial and material relations in order to regulate tasks and roles and manage the challenge of making decisions within temporarily assembled teams engaged in tasks characterized by high levels of uncertainty.

This paper tackles a neglected aspect of creative management, the physical context in which it is carried out. Other sites within the creative industries such as design and film studios, theatre and other performance spaces can usefully be analyzed using the approach and perspective of this research.

This study aims to explore the need for space (demand) and the provision thereof (supply) in the Faculty of Architecture building at Thammasat University Rangsit campus using variables from the designing an accommodation strategy (DAS) framework; these variables are incorporated to test and improve the framework. Another purpose is to examine the planning and development of the faculty building to understand its strategy, which serves as a means to contribute to the planning and development theory.

A case study of the Faculty of Architecture building was conducted at Thammasat University in Thailand. The DAS framework was used to reconstruct and examine the development process of the building to determine the gaps between supply and demand in terms of building space, to reflect on the building plan and process and to make suggestions as to how the DAS framework might be improved. Research methods included interviews and document analysis concerning space requirements and provision in the Faculty of Architecture building.

The gaps between supply and demand in terms of the faculty building space are affected by the condition of the building (i.e. building obsolescence), the number of building users and the changing environmental context. This study shows that both pre-design and post-occupancy evaluation are essential to collect data concerning the match or mismatch between supply and demand of space and to assess users’ needs and preferences concerning the faculty building. Regarding the building development process, factors impacting the step-by-step planning of the real estate interventions include the organisational context (public/private sector) and the management of the construction project (time, cost, quality). The DAS framework is found to be useful for structuring the information-generating processes necessary to determine gaps between demand and supply in terms of space and for making decisions regarding real estate interventions.

Additional case studies in different environmental and organisational contexts are required to test the DAS framework and improve data validity. This study was conducted during the COVID-19 pandemic period, which affected data accessibility.

The results provide insight into the influence of various factors on the decision of corporate real estate. The DAS framework can be used to explore the range of demand for and supply of space and to find an optimal match.

This paper shows valuable steps in planning and development of educational real estate and a first application of the DAS framework in Thailand. The findings confirm the importance of the physical learning environment of architecture schools, particularly the studio spaces required in architecture education.

This paper aims to present the responses of students to various aspects of a cluster of discrete modules delivered using a studio-based learning pedagogy.

A variation of a case study approach was used that included observations and a survey of student opinions on six constructs or themes after a period of eight weeks into the semester about their experience of studio-based learning in a three-module cluster. This paper only reports on the findings of the analysis of the self-administered survey of the views of students.

The student responses were analysed using SPSS (version 22). It is evident that the distinguishing features of the studio-based learning form of instructional delivery were reflected in their views despite the instructional space being far from ideal. However, given that this was their first experience they were apprehensive about the benefits of the approach to them personally especially in terms of whether their acquired knowledge base was broad enough for them to be confident about their future careers. The mapping of the learning outcomes of the modules against the project phases demonstrated that only the mode of transmission had in fact changed. Students were reticent about taking responsibility for their own learning possibly because they perceived that as being too risky.

The research is limited because the findings are based on a single case and a sample of students who had experienced eight weeks of studio-based learning of a cluster of three discrete modules in a revitalised construction program.

The findings of this study have implications for the way construction programs are delivered at institutions of higher education.

Literacy research exploring multimodal composition and justice-oriented children’s literature each have rich landscapes and histories. This paper aims to add to both of these bodies of scholarship through the emerging assemblage of Studio F, a fifth-grade classroom. The authors share poststructural analytic encounters with attention to the unexpected multimodal relationships and the justice-oriented talk and texts that emerged, as well as the classroom conditions that produce them.

The authors think with assemblage theory to examine the newness that emerged as one small group of students wrestled with the emerging instances of racism present in Freedom Summer by Deborah Wiles.

Together, the living arrangement of bodies, materials and discourses created openings for students’ explorations of race and racism.

This paper offers teachers and researchers space to rethink what is possible in the literacy classroom when the authors re-envision classrooms as vibrant assemblages, support emergent multimodal composing processes and follow students’ critical encounters toward justice-oriented literacies.

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.

The chapter is concerned with the policy led by Paris and London towards the visual artists during the XXth century up to the present day. It examines in detail the evolution of the political system developed in France – as Paris was the center of artistic culture – from philanthropic initiatives, the “cités d’artistes,” to the introduction of painters and sculptors in social lodgings in the 1920s by the City of Paris. This impulse was supported by the Ministry of Culture. The expression of welfare state promoting artists in Paris is opposed to the emergence of “arts infrastructure” in the former industrial buildings of London through various artists’ associations, such as Space and Acme. From an historical research and a sociological analysis concentrated on Paris and its suburbs, our fieldwork, we studied an emblematic example, Montmarte-aux-artists, located in the 18th arrondissement the evolution of the welfare politics concerning artists’ studios in the urban renovation of Paris up to the present day. In contrast, the social support concerning the artists living in London is opposite and the effects on the urban area are different. Our research is inspired from the School of Chicago methodology. The main results of our research underline how the introduction of artists’ studios in social lodgings reveals an utopian dimension linked to the artist. So, the artist is considered as a singular inhabitant who can encourage the empowerment in the social housings or who can contribute to the phenomenon of gentrification in an area. However, the utopian role given to the artists is limited to the social and political system.