Athens Journal of Architecture - Volume 7, Issue 1, January 2021 – Pages 9-36

Building “Working with, not for” into Design Studio

Curriculum
By Saskia van Kampen & Cheryl Giraudy±
Design ManifesT.O. 2020 is a Participatory Action Research project currently
underway in Toronto, Canada and is working with communities to uncover
stories of grassroots placemaking and community building done through
creative practice. An unexpected discovery during data collection highlighted
how communities are still being left out of decision-making processes that
directly affect their collective values and living conditions and are being
disrespected by designers and researchers — exposing very large gaps in the
education of designers in terms of values-based learning, design ethics, and
informed methods for working with communities. This paper interrogates design
pedagogy and practice in order to stimulate further discourse and investigation
into how to successfully integrate ethical and responsible protocols into design
curriculum to support co-design practices where social justice and equity
becomes normalized in practice. In other words: giving students the tools to
―work with, not for‖ communities. Demonstrating social conscience is ethically
desirable in design education but if students are not given the tools required to
work with communities through respectful and collaborative processes then we
are training the next generation of designers to continue a form of hegemony in
design practice that is undesirable.

Introduction

While conducting a research project, which continues to seek information on

grassroots strategies for placemaking through creative practice, the authors were
simultaneously informed about an issue that needs further investigation. The issue
that arose exposed very large gaps in the education of designers in terms of values-
based learning, design ethics, and informed methods for working with
communities. This paper investigates this unexpected discovery in order to open
dialogue for ways to implement the ―working with, not for‖ design mantra into
design curriculum — making it a theory in use rather than espoused approach.
Another way to frame ―working with, not for‖ is through the notion of co-
design — abandoning the traditional designer/client relationship by inviting a wide
range of people to equally contribute and collaborate in order to develop and
create ideas or work towards changing issues and/or resolving problems. English
architect Christopher Day explains how professional designers bring knowledge
and skills to a project, but they do not have the lived understanding that is needed
for socially relevant and inclusive placemaking. Designers need to involve the


Assistant Professor, San Francisco State University, USA.
±
Associate Professor, OCAD University, Canada.

https://doi.org/10.30958/aja.7-1-1 doi=10.30958/aja.7-1-1
Vol. 7, No. 1 van Kampen & Giraudy: Building ―Working with, not for‖ into…

people who live, work, and play in those spaces.1 ―A key tenet of co-design is that
users, as ‗experts‘ of their own experience, become central to the design process.‖2
When design processes remain top-down they reinforce dominant culture norms,
marginalizing certain groups and communities. By working with communities, the
end results tend to be more sustainable as those who will be using the outputs of
the collaboration will have had a voice and even a hand in creating it.3 Essentially,
working with, not for is about cultivating and employing ethically responsible
design practices.
Many North American design programs introduce ―working with, not for‖
into their curriculum by inviting users to test experiences, products, legibility,
digital interfaces, environments, etc. This is a necessary practice and much of what
is discussed in this paper can be applied to these research methods. However, the
type of co-design curriculum that this paper is interrogating is design work done
with communities — communities that have been marginalized and
disenfranchised due to their economic status, race, gender, etcetera, and those who
live at the intersections of multiple identities and experiences.
When discussing co-design ethics, it is important to look to Anthropology as a
model, as many of the research methods used for co-design projects are
ethnographic. This is inclusive of, but not limited to, shadowing, interviews,
participant observations, narrative inquiry, journey mapping, etcetera.
Anthropology recognizes the responsibility of the researcher and the complexity of
the situations that they find themselves involved in. Thus, Anthropology has
developed seven principles or tools to maintain ―an ethical framework for all
stages of anthropological practice — when making decisions prior to beginning
projects, when in the field, and when communicating findings and preserving
records.‖4 The seven practices are: 1) do no harm, 2) be open and honest regarding
your work, 3) obtain informed consent and necessary permissions, 4) weigh
competing ethical obligations due for the collaborators and affected parties, 5)
make your results accessible, 6) protect and preserve your records, and 7) maintain
respectful and ethical professional relationships.5 If designers are using similar
research methodologies as Anthropology it begs the question: where are our
guiding ethical principles?
Design research ethics in the North American higher education systems are
typically regulated by ethics boards — IRB (Institutional review board) in the US,
and REB (Research Ethics Board) in Canada — and are required whenever human
participants are involved in a study or project. Research ethics within the creative
arts and beyond is about protecting institution/organization and the participants —

1. C. Day and R. Parnell, Consensus Design: Socially Inclusive Process. (Burlington,

MA: Architectural Press, 2003), 11.
2. J. Chisholm, Q&A: What is Co-design? Design for Europe. Retrieved from: http://desi
gnforeurope.eu/what-co-design. [Accessed April 2020].
3. D. McCreedy, N. Maryboy, B. Litts, T. Streit and J. Jafri, What does Working ―with‖ (not
―for‖) our Communities Look Like? (Center for Advancement of Informal Science Education,
2018).
4. AAA, Statement on Ethics: Principles of Professional Responsibility (Arlington, VA:
American Anthropological Association, 2012).
5. Ibid.

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Athens Journal of Architecture January 2021

doing no harm (physical or emotional). Research ethics protocols that institutions

adhere to claim that ―all ethical issues can be accessed and resolved ahead of
time.‖6 Yet how can anyone predict what conflicts might arise or what might be a
trigger(s) to participants? Most of the literature on community-based work
discussed below point out the unpredictable nature of human interaction. The
inadequacies of ethics reviews are further described by Sieber and Tolich, authors
of Planning Ethically Responsible Research, who say that institutional research
ethics reviews:

provide a useful, one-time reading of ethical considerations before the research

begins, and that this is better than no review at all. It forces the researcher to
think through the project and to give dispassionate others the chance to review
the researcher‘s ethical considerations. However, to overcome the limitations
of this abstract, one-time review, researchers need to expand their knowledge
of ethical considerations and to take more personal responsibility for their
ethical conduct in the field. This responsibility must be planned for in
advance, meaning that researchers need to be competent, ethical problem
solvers.7

The limitations of an IRB/REB ethics review taking place before the research
starts is a significant limitation to upholding a standard of conduct. There is no
protocol that follows the initial review — unless there is a breach (one of the
commitments made is not followed) or there is a change in processes there is no
need for further IRB/REB consultation or check-in. This means that design
researchers must hold themselves accountable during the project itself. Having
research ethics review boards also endorses the notion that research needs ethical
oversight rather than establishing what Borrett et al. describe as ―a culture of
ethical research.‖8
Another requirement of research ethics is that the participants in any research
project must gain some kind of benefit from engaging. Sieber and Tolich explain
how providing benefits to participants is especially important in field research and
is seen as the duty of the researchers. This is due to the intrusive nature of field
research where the time and lives of the participants are required for the project.
Sieber and Tolich weigh the benefit to risk ratio and state that without benefit, no
risk is permitted. However, they further explain how this is difficult to evaluate
and nothing is easily predictable:

6. J. E. Sieber and M. B. Tolich, Planning Ethically Responsible Research: A Guide for

Students and Internal Review Boards (Los Angeles: Sage, 2013), xvi.
7. Ibid.
8. D. S. Borrett, H. Sampson and A. Cavoukian, ―Research Ethics by Design: A Collaborative
Research Design Proposal,‖ Research Ethics 13, no. 2 (2017): 84.

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Even though degree of risk can never be known for sure, and many hoped for
benefits may not be produced by the research, we can nevertheless consider
what constitutes a favourable if somewhat metaphorical risk to benefit ratio.9

If some project benefits do not materialize for the participants then how are
they benefitting from the project and how are their efforts being reciprocated?
What measures are put into place to monitor that the risks and benefits are indeed
what the researchers state and are then followed through on? If there is no
monitoring of this aspect of a project how are communities being protected by the
research ethics agreement?
Further to this, design programs do not see ethics as a priority: ―Since private
institutions are not required to have IRBs, there is little to no external pressure to
include ethics in their design curriculum.‖10 However, industry is shifting. After
police murdered George Floyd on May 25 2020 in the US, design institutions
around the world began posting statements of solidarity with the Black Lives
Matter movement and the need for social change within the industry. The
international design firm IDEO called out the industry and themselves as being
complicit in the continuation of systemic racism:

At IDEO, we haven‘t listened well enough — not inside our company, nor in
the wider world.…We should have called out the white dominance of the
design industry, and recognized the harsh truths of our industry‘s role in
perpetuating inequity. And we should have acknowledged directly that IDEO,
as a leader, has been part of the problem.‖11

We need to support and foster a more significant shift in how we work at all
levels of the design industry in order to create sustainable, equitable practices.
Accordingly, the key question being interrogated in this paper is how to
successfully integrate ethical and responsible protocols into design curriculum to
support co-design practices. The need for ethics in co-design is summarized by
David Gray when he notes that standards of conduct and values have profound
impact on both the researcher and research subjects.12 This paper will investigate
this question by exploring the literature on various co-design methods, the
aforementioned DM2020 research project, and the DM2020 youth workshop. The
importance of ethically responsible methods of ―working with, not for‖ is to begin
to reverse the hegemonic power structures of designer/client and researcher/
community that have prevailed in the past. This is reflected in the following quote
by Madeleine Sclater, Deputy Principal Editor of the International Journal of Art
and Design Education:

9. Sieber and Tolich, Planning Ethically Responsible Research: A Guide for Students and
Internal Review Boards, 2013, 26.
10. C. Miller, ―Lost in Translation? Ethics and Ethnography in Design Research,‖ Journal of
Business Anthropology 1, no.1 (2014): 71.
11. IDEO, Our Commitments to Centering Equity across IDEO (IDEO, 2020). Retrieved
from: https://www.ideo.com/commitments.
12. D. E. Gray, Doing Research in the Real World (London: Sage, 2004), 398.

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Athens Journal of Architecture January 2021

There is a requirement to explore new ways of configuring our educational

spaces in art and design — theoretically, practically and ethically — to enable
the development of critical citizenship. Creating democratic spaces can help
educators and learners to come together to develop ways of being in the world
— to contemplate, debate, interrogate, feel, connect, reciprocate, create,
problem-solve, feel appreciated and develop insights in ways that allow the
flourishing of selfhood and self-efficacy.13

This shift will help designers/researchers to see clients/communities as equals

in collaborative creative processes,14 while fostering an ‗evolving‘ of the designer
with ethical principles and practices.

The Project – Design ManifesT.O. 2020 (DM2020)

In 1998 six established municipal boroughs were amalgamated (Scarborough,

East York, North York, York, Etobicoke and Toronto City Centre) to form the city
of Toronto — a massive, diverse, and dynamic Canadian city located in Ontario. It
is 242.3 square miles with a population of 2.8 million people. Due to the city‘s
exponential growth, in both population and economy, neighbourhoods have had to
shift, move, or submit to gentrification or neglect. It is during times of this type of
unrest that communities come together to create a sense of place. All across
Toronto incredible people are making incredible things happen and the intent of
our research project was to respectfully capture stories of creative placemaking —
the processes, the challenges, the successes — and to share them widely so that
communities acquire and build upon lessons learned by others.
DM2020 asks how we learn from successful grassroots initiatives to foster
new or reimagined placemaking solutions, including ad hoc or disruptive ideas.
The project has engaged with over 100 Toronto citizens to date — including
seniors, students, art practitioners, grassroots groups, design activists, and youth
between the ages of 17 to 24. We adopted a Participatory Action Research
approach by working and talking with community members to help foster change
via community forums (see Figure 1). The community forums take place at local
community centres and schools and are open to anyone interested in participating.
We invite several story-sharers (chosen based on the work they do within their
community to create place through creative practice) to kick off the discussion.
The story sharers tell their personal narrative of how they make change happen
and the challenges they face and how they overcome those challenges. The rest of
the participants are encouraged to ask questions and to share their own stories. The
second half of the forums are active sessions where groups work together to
navigate changes that they would like to make within their own communities. The

13. M. Sclater, ―Editorial: Creating Spaces: Inclusivity, Ethics and Participation in Art and
Design Education,‖ International Journal of Art and Design Education 38, no. 4 (2019): 744.
14. T. Bieling, G. Joost and A. Müller, Collaborative Potential: Designing Coexistence in
Urban Context. 2010. Retrieved from VIRUS: http://www.nomads.usp.br/virus/virus04/?sec=4&
item=2&lang=en. [Accessed 15 April 2020].

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shared stories of participant actions, researchers‘ observational notes, and the

outcomes of the workshops are representative of the research data that is collected
for this project and take the form of audio recordings, written notes, and diagrams).
The forums are conducted in respectful, ethical, equitable, and reciprocal ways — it
would be remiss to not acknowledge that narrative inquiry or story sharing is an
indigenous method for passing on knowledge. Through these forums we are able
to gather rich qualitative data on placemaking activities but also empower and
support participants to continue or start their own projects.
The audio recordings, notes, and diagrams collected from the community
forums are transcribed and coded using grounded theory methods which allow us
to locate trends and patterns in the issues that individuals face when placemaking
in their own communities. We are able to analyze the stories within each
community in isolation as well as seeing the larger picture across multiple
boroughs.

Figure 1. Participatory Action Research with Community Members at a Local

Forum

The Unexpected Discovery

The discussions that occurred at the community forums lead to unexpected

discoveries that came from comments made by the participants about past
experiences with research and co-design projects. Participants in various sessions
commented on how researchers and collaborators had come before, had asked
questions, proposed ideas, and/or collected data, and then left with no follow up.
This leaves a community wary of ―outsiders‖ and trust becomes harder to build
when actions like this happen. Designers, artists, and researchers who go into
communities all need to understand the ethical dilemma of these types of actions.
These negative situations are supposed to be curtailed by the research ethics
protocols of the academics‘/researchers‘ organization (IRB and REB). As
discussed earlier, academics and researchers need to prove that they understand the
risks involved in their study and how to mitigate those risks by having their project
reviewed and approved by IRB/REB before starting. They also need to prove the
benefit to risk ratio because without benefit for the participants, no risk will be
tolerated.

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Athens Journal of Architecture January 2021

In the first of our project‘s story sharing forums two participants raised the
issue of researchers not following through with the perceived benefits. The
participant comments included the following statements:

– A lot of times [researchers/designers] are not invested and tend to exploit

the community. Institutions and organizations require and pay their
employees for their research efforts while the communities being studied
are once again negated. Communities should not be seen as research
subjects and researchers need to understand what is needed, not what they
think the community needs (transcribed from researchers‘ observational
notes).
– Researchers must build trust, must listen, and have authenticity. The
research projects must have the support [funding] needed to continue
before starting so that they can follow through on their intended projections
(transcribed from researchers‘ observational notes).

These lived experiences of community members who have been exposed to

previous studies, expresses how researchers and collaborators can indeed do harm
— even if their intentions are good. In the book Ethics in Design and
Communication, Mariana Amatullo states that ―the technical expertise of the
design teams in these cases appears at times as a secondary skillset compared to
the mediator role that they play in navigating fluid circumstances with community
stakeholders and project partners.15
All of these examples demonstrate the need for students to have first-hand
experience with communities to develop the required skills for collaboration
without causing unintentional harm. They need to follow research ethics standards
to develop a sense of responsibility in the area of working with diverse
stakeholders in co-design projects. However, because research ethics boards are
linked to a University, once their education is completed, designers no longer have
to comply with any ethics protocols because the industry does not have any formal
ethical standards. These findings lead to the research team investigating these gaps
more closely.

The Gaps in Pedagogy and Industry/Research Methods

Undergraduate students in design courses in North America are required to

work on assignments that mimic ―real-world‖ project briefs but are trapped within
classroom and studio environs. Even if assignments are designed to be ethically
and socially engaged students have limited access to the communities that can give
them key information on social context and human insights. The Center for
Advancement of Informal Science Education wrote a tip sheet on working with
communities where they explain how top-down design processes typically

15. M. Amatullo, ―Caring for what we Leave Behind: Ethical Considerations in Social
Innovation Pedagogy,‖ in Ethics in Design and Communication: Critical Perspectives (ed.) L.
Scherling and A. DeRosa. London: Bloomsbury, 2020, 166.

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reinforce the cultural norms of dominant powers and tends to further marginalize
the communities that the design is aimed to support. Whereas a more bottom-up
process builds on the community‘s assets and lived experiences leading to more
sustainable results.16 Without limited contact with communities, students are less
able to build empathy or deep understanding of the community they are working
with and underqualified at locating strategies for bottom-up collaboration
(activating the assets that the community members possess to truly engage them in
the developmental and/or making processes).
There are many legitimate reasons why it is difficult to include co-design into
design curriculum — especially at the undergraduate level. The main reason being
logistics: How do we get a class of 25–30 students to engage with communities
that are already overburdened. How do we find communities who need the help
we have to offer at the same time that classes and semesters start and end? How do
we find communities that have the capacity and willingness to support student
learning while also running their own organization? How can we build trusting
relationships within the brief timeframe of the semester? ….
Furthermore, communities differ greatly from each other. To say that all folks
with Type 2 Diabetes are the same and can be studied as such does not account for
economic status, gender, race…. An example of this happened recently during the
COVID 19 Pandemic when New York Governor Andrew M. Cuomo, posted a
Tweet on March 31 that read ―this virus is the great equalizer‖. The comment was
well-intentioned and indicated that the virus affects all of us without prejudice.
However, as the virus spread it became apparent that due to many other factors the
number of those affected by the Coronavirus were higher in the Black and Latin
communities17 due to numerous and varied factors. This is a reminder of how easy
and hazardous it is to make assumptions. Arlene Goldbard, author of New Creative
Community explains that ―Community is understood as dynamic, always in the
process of becoming, never static or complete.‖18 Thus, framing community as
something that is constant and can be studied from afar is dangerously misleading
to anyone involved in community-based work.

Industry and Research Methods — Literature Review

There is much scholarship on how to effectively and equitably co-design and

how working in this way can affect society — ―design has been acknowledged by
public agencies … as one of the tools to tackle the complexity of social issues‖19
— and there is much literature on the theories and methods that can be used to
engage in design-lead change. These methods and theories include but are not

16. McCreedy, Maryboy, Litts, Streit and Jafri, What does Working ―with‖ (not ―for‖)
our Communities Look Like? 2018.
17. B. L. Jones and J. S. Jones, Gov. Cuomo is Wrong, Covid-19 is Anything but an Equalizer
the Pandemic Will Strike the Poor Harder around the Globe (The Washington Post, 2020).
18. A. Goldbard, New Creative Community: The Art of Cultural Development. (Oakland:
New Village Press, 2006), 141.
19. A. Emilson, A. Seravalli and P.-A. Hillgren, ―Dealing with Dilemmas: Participatory
Approaches in Design for Social Innovation,‖ Swedish Design Research Journal 11, no. 1 (2011):
23-29.

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Athens Journal of Architecture January 2021

limited to: Participatory Design,20 Participatory Action Research and Critical

Participatory Action Research,21 Community Cultural Development,22 Design for
Social Innovation and Sustainability,23 Inclusive Design/Universal Design,24 as
well as Community Placemaking.25
The Participatory Design movement aims to democratize decisions made in
the design process by involving non-designers in co-designing practices. ―The
main approach to innovation in [Participatory Design] research has been to
organize projects with identifiable stakeholders within an organization, paying
attention to power relations and the empowerment of resources to weak and
marginalized groups.‖26 Chantal Mouffe‘s theory of agonistic discourse27 is seen
as a necessity for Participatory Design to be truly democratic:

the model of ―agonistic pluralism‖ that I am advocating asserts that the prime
task of democratic politics is not to eliminate passions nor to relegate them to
the private sphere in order to render rational consensus possible, but to
mobilise those passions towards the pro- motion of democratic designs. Far

20. R. C. Smith and O. S. Iversen, ―Participatory Design for Sustainable Social Change,‖
Design Studies 59 (2018): 9-36; P. Inguva, D. Lee-Lane, A. Teck, B. Anabaraonye, W. Chen, U. V.
Shah and C. Brechtelsbauer, ―Advancing Experiential Learning through Participatory Design,‖
Education for Chemical Engineers 25 (2018): 16-21; M. Salgado and M. Galanakis, ...So What?.
Limitations of Participatory Design on Decision-making in Urban Planning (PDC ‗14 Companion,
2014); R. Racadio, E. J. Rose and B. E. Kolko, Research at the Margin: Participatory Design and
Community based Participatory Research (PDC ‗14 Companion, 2014); Amatullo, ―Caring for
what we Leave Behind: Ethical Considerations in Social Innovation Pedagogy,‖ 2020.
21. F. Baum, C. MacDougall and D. Smith, ―Glossary: Participatory Action Research,‖
Journal of Epidemiol Community Health 60, no. 10 (2006): 854-857; T. Sandwick, M. Fine, A. C.
Greene, B. G. Stoudt, M. E. Torre and L. Patel, ―Promise and Provocation: Humble Reflections on
Critical Participatory Action Research for Social Policy,‖ Urban Education 53, no. 4 (2018): 473-
502.
22. Goldbard, New Creative Community: The Art of Cultural Development, 2006; C. C. Sonn
and A. F. Quayle, ―Community Cultural Development for Social Change: Developing Critical
Praxis,‖ Journal for Social Action in Counseling and Psychology 6, no. 1 (2014): 16-35.
23. E. Manzini and A. Meroni, ―Emerging User Demands for Sustainable Solutions
EMUDE,‖ in Design Research Now: Essays and Selected Projects (ed.) R. Michel. Walter de
Gruyter GmbH, 2007; V. Margolin and S. Margolin, ―A ‗Social Model‘ of Design: Issues of
Practice and Research,‖ Design Issues 18, no. 4 (2002): 24-30; A. Chick, ―Design for Social
Innovation: Emerging Principles and Approaches,‖ Iridescent 2, no. 1 (2012): 52-64.
24. B. Altay and H. Demirkan, ―Inclusive Design: Developing Students‘ Knowledge and
Attitude through Empathic Modelling,‖ International Journal of Inclusive Education 8, no. 2
(2014): 196-217; Day and Parnell, Consensus Design: Socially Inclusive Process, 2003.
25. L. H. Schneekloth and R. G. Shibley, Placemaking: The Art and Practice of Building
Communities (New York: John Wiley & Sons, 1995); A. Zitcer, ―Making up Creative
Placemaking,‖ Journal of Planning Education and Research 1, no. 11 (2018); E. E. Toolis,
―Theorizing Critical Placemaking as a Tool for Reclaiming Public Space,‖ American Journal
Community Psychology 59, no. 1-2 (2017): 184-199.
26. E. Björgvinsson, P. Ehn and P.-A. Hillgren, ―Agonistic Participatory Design:
Working with Marginalised Social Movements,‖ CoDesign 8, no. 2-3 (2012): 127-144.
27. C. Mouffe, ―Deliberative Democracy or Agonistic Pluralism?‖ Social Research 66, no. 3
(1999): 745-758.

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from jeopardizing democracy, agonistic confrontation is in fact its very

condition of existence.28

Thus, the Participatory Design approach to co-design needs researchers

practiced in communication, negotiation, and conflict resolution skills.
Participatory Action Research and Critical Participatory Action Research
focuses on research whose purpose is to enable action and change through the
collaboration between researchers and participants with an understanding that the
knowledge held by all involved is essential to the process. The criticality lies in the
need for dialogue and disagreement in order to create generative outcomes that
challenge the prevailing power along with the historical and structural inequities
that exist.29 As Khanlou and Peter state ―research using a Participatory Action
Research framework can result in complex ethical challenges.‖30 Emmanuel,
Wendler, and Grady developed seven ethical requirements for research with
human participants: 1) social or scientific value, 2) scientific validity, 3) fair
subject/participant selection, 4) favourable risk–benefit ratio, 5) independent
review, 6) informed consent, and 7) respect for potential and enrolled
participants.31 Emmanuel, Wendler, and Grady acknowledge that these are very
similar to the already specified requirements of IRB and REB but they give very
specific requirements for each which gives researchers a framework on which they
can build ethical practices. Although Participatory Action Research is gaining
acceptance in the field of research its relevance in academia continues to
struggle.32
Social Innovation and Sustainability focuses on the need for humanity to live
better in order to improve both our ecological and social health. It requires us to
rethink unsustainable behaviours and to engage in ―radical social innovation‖
through the use of ―diversified forms of knowledge‖ and the mobilization of
―organizational capabilities.‖33 Social Innovation and Sustainability can manifest
itself in various diverse ways including: ―a principle, an idea, a piece of legislation,
a social movement, an intervention, or some combination of them. The key aspect
is their capacity to simultaneously meet social needs and create new social
relations.‖34 Social Innovation and Sustainability relies heavily on grassroots
creative communities as the initiator of the changes but these efforts need to

28. Ibid.
29. Sandwick, Fine, Greene, Stoudt, Torre and Patel, ―Promise and Provocation: Humble
Reflections on Critical Participatory Action Research for Social Policy,‖ 2018: 475.
30. N. Khanlou and E. Peter, ―Participatory Action Research: Considerations for Ethical
Review,‖ Social Science & Medicine 60, no. 10 (2005): 2333.
31. E. J. Emanuel, D. Wendler, J. Killen and C. Grady, ―What Makes Clinical Research in
Developing Countries Ethical? The Benchmarks of Ethical Research,‖ The Journal of Infectious
Diseases 189, no. 5 (2004): 930-937.
32. Khanlou and Peter, ―Participatory Action Research: Considerations for Ethical
Review,‖ 2005, 2333.
33. Manzini and Meroni, ―Emerging User Demands for Sustainable Solutions EMUDE,‖
2007, 161.
34. Björgvinsson, Ehn and Hillgren, ―Agonistic Participatory Design: Working with
Marginalised Social Movements,‖ 2012, 131.

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transition into a more formal organization in order to ―exist and be effective in the
long term.‖35
Inclusive Design/Universal Design looks at ways to develop designed objects
that are usable by a majority of users, able bodied and otherwise, and is
proportionally appropriate for use by varied body types without fatigue. These
products must also account for diverse sensory communication methods.36 The
Inclusive Design Research Centre at OCAD University describes three necessary
aspects of inclusive design:

1. To recognize the need to move beyond the ―hypothetical average‖ to

include those at the margins and to acknowledge that most individuals
deviate from the average in varied and multi-dimensional ways.
2. To include a diverse pool of participants — ―the design and development
tools should become as accessible and usable as possible‖.
3. To be cognizant of the ―interconnectedness of users and systems‖ and how
objects and their use extend beyond the intent of the producer.37

Inclusive/Universal design ―reframes disability within the design context‖38

and works with varied individuals to create outcomes that are accessible to the
broadest possible range of users. Many researchers are trying to reframe universal
design as not being solely tied to disability.39 The question that arises in Universal
Design is who determines ―the standards that define the legal baseline for minimum
accessibility.‖40 This alludes to the fact that Universal Design still excludes some.
Community Cultural Development is a specific practice that relies heavily on
the efforts of artist-organizers and communities to stimulate social change. It is a
highly collaborative process that ―simultaneously builds individual mastery and
collective cultural capacity while contributing to positive social change.‖41 It can
be seen as a form of activism — cultural action to empower and to develop critical
consciousness.

Community Cultural Development is grounded in reciprocity and authentic

sharing. When parties in conflict are more or less equal in social power,
Community Cultural Development methods can evoke and illuminate
multiple coexisting realities, overcoming stereotyping, objectification and
other polarizing habits of mind. Appreciation for valuable distinctions and

35. Manzini and Meroni, ―Emerging User Demands for Sustainable Solutiuons EMUDE,‖
2007, 178.
36. C. Giraudy and A. Billark, Inclusive Wayfinding in the Social Housing Context (Toronto:
OCAD University, 2011).
37. J. Treviranus, Inclusive Design Research Centre: OCAD University. What do we mean by
Inclusive Design (I. O. University, Producer, n.d.) Retrieved from: https://idrc.ocadu.ca/resources/
idrc-online/49-articles-and-papers/443-whatisinclusivedesign. [Accessed January 2020].
38. Ibid.
39. E. Steinfeld, J. Maisel and D. Levine, Universal Design: Creating Inclusive Environments
(New York: John Wiley & Sons, 2012).
40. Ibid.
41. Goldbard, New Creative Community: The Art of Cultural Development, 2006, 20.

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Vol. 7, No. 1 van Kampen & Giraudy: Building ―Working with, not for‖ into…

deep commonalities can merge from reciprocal communication through arts

media, as participants begin to perceive common interests and possible
compromises where they previously saw only intractable differences.42

Whereas Community Cultural Development is heavily arts related, the

methodologies and ideologies of this practice are easily transferrable to design
practitioners. Community Cultural Development has become widely respected
globally by artists, communities, and activists it has not achieved recognition
beyond those immediately involved.43
Placemaking is a way for communities to turn spaces (public areas that are ill-
used, forgotten, or inappropriate for that community) into places where
community feels at home, welcome, and part of a whole. Placemaking usually
happens at the individual and/or grassroots level, but more and more placemaking
is becoming an area where creatives feel that they can make positive change.

Without our attention, our places are endangered. And when our places are
endangered, as revealed in the current ruins of our inner cities, our poisoned
rivers, our inhospitable offices, and our dilapidated houses, we are at risk. To
decide to be someplace as members of a community demands that we become
active placemakers again, that we participate with others in our communities
in thoughtful, careful, responsible action. At times, this may indeed require
the decision to leave some places, abandoning them as uninhabitable, at least
in the short term. But more often it means starting where we are with the
people of our communities and attending to our places through placemaking
activities.44

Placemaking is a powerful tool that can foster community-building along with

having a positive effect on the social and economic standing of that community.
At the core of Placemaking and all of the other methods and theories mentioned
above is the concept of employing a community‘s strengths and creativity to
reflect its unique identity in the public realm.45
Two key aspects of the above methods and theories are the need to build trust
and for reciprocity. This is not only something that can be found in the literature
but it is something that came up repeatedly in our community forums. One of the
story sharers at our project‘s first forum talked about how patience is needed when
working with communities because trust takes time to build. This same story
sharer remarked on how authenticity and genuine engagement is a necessary
ingredient for trust to occur. Reciprocity is necessary to continue trust in
perpetuity. If the relationship is not reciprocal and trust is not earned the next

42. Goldbard, New Creative Community: The Art of Cultural Development, 2006, 146.
43. Ibid, 20.
44. Schneekloth and Shibley, Placemaking: The Art and Practice of Building Communities,
1995, 18.
45. S. Stewart, Canadian Relationships and Reconciliation for Indigenous Identity and Space
(Future Cities Canada, 2018). Retrieved from: https://www.futurecitiescanada.ca. [Accessed
January 2020].

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Athens Journal of Architecture January 2021

invitation will require that trust to be rebuilt, if the invitation is even accepted. One
notion of reciprocity is that the learning that is shared in a collaboration is in itself
a reciprocal process — where each participant is benefitting and learning from the
other.46 However, many times in research projects the benefits to the researchers
far outweigh the benefits to the community thus rendering an imbalance of
advancement. This perpetuates the discrepancy of power many of these
communities are all too familiar with.
In order to help balance power dynamics in communicating with groups of
diverse people Ballentine, et al. formulated five constraints which they believe can
help overcome ―the many political barriers to genuine communication within an
organization, such as the exclusion of some groups from the decision-making
process, or the restriction of information from these groups.‖47 Basing their work
on Habermas‘ theories, the activation of the five constraints presents a method for
ideal communication or ―moral dialogue‖ to occur:

1. The generality constraint: participation in the discourse must be as wide

as possible, and present the views of all the affected interest groups.
2. The autonomous evaluation constraint: participants must be allowed to
introduce and challenge any assertions and any interests stated.
3. The role taking constraint: participants must give equal weight to the
interests of others alongside their own interests.
4. The power neutrality constraint: a participant should not appeal to any
hierarchical authority to legitimate their argument.
5. The transparency constraint: participants must openly declare their goals
and intentions, so they may be considered alongside everyone else‘s.48

These constraints could support all the above research methods and aid in
creating democratic platforms for discourse between all project stakeholders.
These various theories and methods for collaborative community-based
design all require multiple voices at the table and an open, equal balance of those
voices throughout the process. In many cases community assets (skills found
within the community) are utilized giving the community members not only a
voice but also active, physical engagement with the project. All of this requires
skills in relationship building, communication, negotiation, and the understanding
of personal biases. Through critically reflecting on the assumptions underlying our
intentions we can begin to understand our biases and only then can transformational
learning take place. Transformative learning is when the behaviours of the learner
shifts.49 ―The problem of irresponsible action is not usually a problem of method
but of attitude in intention. The selection of ways of working and the ways in

46. P. H. Lawton, ―The Role of Art Education in Cultivating Community and Leadership
through Creative Collaboration,‖ Visual Inquiry: Learning & Teaching Art 3, no. 3 (2014): 425.
47. Ballantine, J., M. Levy, A. Martin, I. Munro, and P. Powell. ―An Ethical Perspective on
Information Systems Evaluation.‖ International Journal of Agile Management Systems 2, no. 3
(2000): 23-41.
48. Ibid.
49. J. Mezirow, ―Transformative Learning: Theory to Practice,‖ New Directions for Adult
and Continuing Education 1997, no. 74 (2002): 5-12.

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which methods are employed are always rooted in basic assumptions about human
beings and the ultimate aims.‖50 In order to be open to, and respectful of, the
expertise and lived-experiences of others one must reflect on their own biases.
Landscape architect Lynda H. Schneekloth and architect and planner Robert G.
Shibley explain:

The purpose of engaging in critical theory is to deconstruct, and thereby

reveal, socially constructed worldviews. Because the practice of placemaking
is contained in particular socially constructed realities, all actions either
maintain existing worldviews or challenge them.51

The university environment is a safe and fertile ground for questioning one‘s
worldview but this only happens when curriculum is designed to allow for this to
happen.
As part of the larger DM2020 research project our team developed a free
event for Toronto youth to engage in placemaking ideation. This informal
educational opportunity (not part of a course‘s curriculum) took the form of a
Creative Practice as Protest workshop for youth.

The Creative Practice as Protest Workshop

Our initial thoughts were to conduct a workshop culminating in a student

competition. We were unsure of the best approach and following our own mantra
we sought advice from participant and partners about how we should design the
event. In order to be more inclusive we opened up the competition to youth rather
than framing it around students. We also began to see how holding a competition
wouldn‘t work in our context and, in fact, pushed against what we were trying to
achieve. We needed to breakdown the traditional model of having students (youth)
compete against each other for ideas rather than working together. The idea of
assessment by expert judges to establish winners and losers was not inclusive in
nature — yet another hierarchical and colonial model of design engagement. Thus,
we agreed to host a workshop where youth, community leaders and mentors could
work together to discuss and generate ideas around placemaking.

50. Schneekloth and Shibley, Placemaking: The Art and Practice of Building Communities,
1995, 17.
51. Ibid, 13.

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Athens Journal of Architecture January 2021

Figure 2. Open Invitation to the Creative Practice as Protest Workshop Sent to

Youth in Toronto via Social Media, Email, and Poster Printouts

The Participants

The Creative Practice as Protest Workshop (see Figure 2) aimed to gather

youth, community mentors, and placemaking leaders into a space where they
could work and learn together. We partnered with design justice expert Bryan C.
Lee Jr., founder of the non-profit design studio Colloqate.org in New Orleans to
run the first half of the workshop in order to establish what co-design and social
justice (the capacity to organize with others to accomplish ends that benefit the
whole community)52 can be. Bryan is an architect and sees design justice as ―a
deliberate process that centers the voice of the community throughout the timeline
of a project,‖ who‘s practice is ―focused on expanding community access to, and
building power through, the design of social, civic, and cultural spaces.‖53 Youth
from around Toronto were invited to participate in the 12-hour workshop that
would address placemaking issues which emerged from the collected data (the
lived experiences and group discussions) from the DM2020 forums. The invite
was made public and participants were chosen on a first-come, first-served basis.
We invited seven creative mentors six of whom were able to participate. Many
community leaders from a diverse range of organizations were invited to
participate with only three community leaders confirming. Both the mentors and
community leaders‘ duties were to support youth participants with the creative
exercises in order to generate new ideas or practical outcomes to what they
determined were the key issues for exclusion and lack of empowerment in city
planning and design processes (Figure 3). We were able to accommodate 30 youth
participants between the ages of 18–25. On the day of the workshop 26 youth
showed up — 42 youth were on a waiting list. The Creative Practice as Protest

52. M. Novak, Social Justice: Not what you Think it is. Heritage Lectures, no. 1138
(Washington DC: The Heritage Foundation, 2019), 1.
53. Home (Colloqate Design, 2020). https://colloqate.org/.

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workshop was approved by OCAD University‘s REB. Youth participants,

community leaders and mentors all signed an informed consent form and have
thus agreed to the use of their name, image, and ideas in this paper.

Figure 3. Youth Participant Pirathajini Chandrakumar and Mentor Jay Wall

Proposing a Poster Campaign for the Safety of Pedestrian and Cyclist Travel in
Toronto.
Source: Nick Sagar.

The Creative Practice as Protest Workshop

The informal educational workshop sought to introduce youth to collaborative

and respectful processes and to explore how this type of collaboration might work
if expanded. Bryan C. Lee Jr. started the workshop by introducing students to
concepts of power structures, social justice, design justice, and collaboration
methods (see Figure 4). Students were asked to discuss issues of place that arose
from DM2020 as well as issues that were important to them outside of the research
findings. The outcomes of the morning session included some of the following
findings:

1. Recreation: Participants felt that recreation was a way to build community.

They saw a need to find ways to imagine new systems/spaces/models for
recreation and involve the community members in the development of
programs that align with their needs.
2. Shelter: Participants discussed the issue of increasing housing insecurity
and saw a need to create ways to support those affected by or those on
the verge of becoming home insecure.
3. Education: Participants looked at how the school environment does not
reflect the cultural make-up of the student body due to systemic racism.
They saw a need to decolonize the education system. They also saw the
need for accessible funding, afterschool programming, and interactive
learning.

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Athens Journal of Architecture January 2021

4. Transit: Participants were concerned with safe spaces for cyclists and
pedestrians to travel. The city of Toronto created the ―Vision Zero‖ plan
to reduce the amount of traffic deaths to zero which has not been
successful.
5. Safety: Participants looked at the need for public places to feel and be
safe.
6. Civic space: Participants discussed their desire to challenge the power
structures of public spaces in regards to accessibility, governance, and
design by dismantling Western worldviews that undermine these
communities due to the financialization of space. ―It seems as though if
everyone‘s not invited, then this public money, which is meant to benefit
everybody, isn‘t actually providing access to everyone it is meant to
serve‖ (transcribed from researchers‘ observational notes).

Figure 4. Design Justice Expert Bryan C Lee Junior from colloqate.org Speaking
to the Youth Participants at the Creative Practice as Protest Workshop
Source: Nick Sagar.

Each group listed priorities and strategies for community collaborations — a

few of the notes on the brainstorming sheets included the following:

- Co-design (ask people what they need).

- Provide opportunities for feedback.
- Transparency on what the barriers are.
- Giving those with little/no access a platform (a ―voice‖ or ―place at the
table‖).
- Going to the spaces where the community lives/exists.
- Making communities part of the planning process.
- Autonomy and choice (face-to-face).
- Community presentations.
- Building trust + relationships — canvassing.
- Vulnerable communities getting support + solidarity from ―stronger‖
communities (not just performative solidarity).

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- Invite veteran researchers — who understand IRB (ethics and giving

back).
- Seek community-led approval.

Youth reflection on the morning exercise seen in the list above demonstrates
their understanding of the need for equality and justice and how they are trying to
locate ways to shift power dynamics and to give voice to all involved. The student
desire to shift power dynamics is further supported by a youth participant who
acknowledged that their group became aware of the need to work with community
members — they wrote in the follow up survey: ―I appreciate that our discussion
drove us to an unexpected but important place (i.e., methods of getting community
input before creating community programming).‖ In their ―What Does Working
‗With‘ (not ‗For‘) Our Communities Look Like?‖ pamphlet, McCreedy et al. have
composed a list of recommendations when working with communities:

- Identify and work with allies and brokers to build relationships and new
understandings.
- Hold meetings at all partner settings.
- Formally articulate each partner‘s values and goals to clarify expectations.
- Set up leadership and governance models.
- Commit people, resources, and time towards a long-term co-design
process
- Learn the cultural protocols of the communities you wish to partner
with.54

If we compare the youth participant list above to the recommendations made

here, we can see a lot of similarities in terms of giving voice to all people, the need
for building relationships, transparency…. However, the youth participant list does
not indicate that they recognize community strengths beyond voices that can be
leveraged and, if leveraged, can involve the community on a much deeper level —
the fifth point in the list by McCreedy et al. Community members have knowledge,
skills, and assets that they can bring to the table and to the development
processes.55 One youth participant hinted at an understanding of this when they
stated in the follow up survey that ―working with my team was great because I got
to see the different leadership skills each of us brought to the table, and the ideas.‖
This individual acknowledges that their team of youth participants had diverse
skills and ideas which strengthened their group.
Over the lunch break we invited Randall Adjei, award-winning founder of
R.I.S.E (Reaching Intelligent Souls Everywhere) Edutainment and spoken word
artist, to perform and speak with the youth participants. The intention was to

54. McCreedy, Maryboy, Litts, Streit and Jafri, What does Working ―with‖ (not ―for‖)
our Communities Look Like? 2018.
55. T. Anderson and M. K. Milbrandt, Art for Life: Authentic Instruction in Art (New York:
McGraw-Hill, 2005).

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Athens Journal of Architecture January 2021

introduce students to how placemaking through creative practice can happen in

unexpected ways and how Randall is an embodiment of this practice.
The afternoon session gave youth participants a chance to work on the issues
that they had pulled out of the morning session with the support of community
leaders and mentors. The results of this exercise were inspired and included the
following ideas and/or outcomes:

1. Recreation: This group felt that the best way to access space was by
disrupting the existing system and taking over and animating dead or
unused public spaces, with or without permission.
2. Shelter: This group designed a mobile ―home‖ for shelter seekers that
would provide resources about existing neighbourhood services and
facilities (see Figure 5).
3. Transit: This group developed a campaign that critiques the city‘s Vision
Zero plan for cyclist and pedestrian safety in the city (see Figure 5).
4. Safety: This group generated a manifesto for community governance. They
discussed what governance could look like without hierarchical power and
how to create places that centers the people they are designed to serve.
5. Civic space: This group developed an interactive art installation throughout
the six Toronto boroughs which was a way of gamifiying methods for
individuals to voice community needs.

In one of the group projects the participants noted that: ―As a group, we are
wary of replicating capitalist notions of success within this project. Therefore, our
goals should be based on community values that are revisited at regular intervals.‖
This is an amazing insight in how interventions are never truly completed.
Situations and communities evolve and so must the places that they live in.

Figure 5. Photos from Creative Practice as Protest Workshop (left to right) Notes
from Morning Ice-Breaker Exercise. Floor Plan for ―Welcome Home‖ a Mobile
Resource Centre for Home-Insecure Individuals by Youth Participants: Rahul
Bagdai and Neela Imani, and Mentors: Adwua Afful and Marcela Cordero. Notes
from Morning Brainstorm Session
Source: Nick Sagar.

In the follow-up survey students commented that they were happy to have had
a chance to work together with autonomy: ―[the morning session] was an
interesting and novel way to frame our conversation for the rest of the day, in a

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way that was led by the participants rather than the facilitator‖. Probably one of the
most unexpected comment from the follow up survey stated that: ―the workshop
definitely had a little bit of a more intersectional approach than I imaged. Most, if
not all of the youth participants were BIPOC. This statement resonated with the
research team as it speaks to the lack of intersectional opportunities for youth. To
quote feedback given to the research team by one of the mentors: ―It was very
encouraging to know that there are projects that are utilizing design methods to
create lasting change within the community. It was very fulfilling to see such
positive responses from the students‖ (Marcela Cordero, interdisciplinary design
strategy masters graduate).

Assumptions, Limitations, and Questions

The research team is continually learning as we move through the various

stages of this project. The Creative Practice as Protest workshop was a success in
many ways and yet more could have been done in terms of community input and
our own assumptions. While developing the workshop we consulted some of our
participants about how best to organize the day but these conversations were
informal and unstructured. The suggestions that we received from these
conversations were extremely relevant and helped to shape the day but in hindsight
a more formal discussion with community input might have been more productive
in terms of framing the events, the parties involved, the subjects covered, and the
activities worked on.
We also assumed that partnering with colloqate.org would strengthen the day
and provide a bigger draw for students to attend. Bryan‘s session was greatly
enjoyed by all the participants and challenged them in new and unique ways, but
was there somebody in Toronto that could have brought a more locally-informed
perspective to the discussion? Bryan was brought in due to his experience and
expertise in design justice and to draw in youth participants but might not have
been the best choice in terms of the Toronto context and communities. Would a
local speaker have been enough to pique the interest of the youth participants?
The other draw for youth at the event were the mentors and community
leaders. The research team understands that community leaders are not the same as
involving a more diverse representation of community members. However,
targeting a community in advance did not align with the youth-driven aspect of the
workshop. It was impossible for us to foresee which communities the youth would
be interested in working with in advance. This might have been prevented had we
engaged a more community-driven planning of the event as discussed above.
Social innovation and sustainability researchers Bieling, Joost, and Müller explain
how:

Design always deals with people and their experience in individual contexts.
Therefore, designers have to know how to connect to people — considering

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Athens Journal of Architecture January 2021

individual differences, social and cultural background, gender, age, and

more.56

Participatory research into community requires understanding of ―cultural

conditions and challenges [… collecting] many sources and types of testimony and
evidence to construct a multi-layered, nuanced account of cultural life and
conditions.‖57 The Creative Practice as Protest workshop demonstrates that having
a community leader work with youth is not the same as working with a
community as it does not provide the input and exchange of multiple voices and
how to navigate those types of discussions and data. However, the youth
participants did have to create relationships quickly — between themselves, the
community leaders, and mentors as most of them did not know each other — they
were required to work together and pool their resources to build an idea in a very
limited timeframe. Candida Gillis, author of The Community as Classroom, has
students research the community they plan on working with through readings,
guest speakers, and visits into the community. Gillis also expresses the need to
examine and reflect on the personal biases, fears, stereotypes and assumptions of
the students about the community.58 These types of exercises are perhaps more
aligned to a semester length course than a 12-hour workshop but are relevant
suggestions that might alleviate the weight this kind of curriculum could place
onto a community.
Nevertheless, it was challenging enough to get community leaders involved.
The research team sent out multiple invitations — only four agreed to participate
and only three showed up. Some of the responses from the community leaders we
received indicate that they were either too busy or that the honorarium was too
small. This brings us back to one of the main logistical issues with this type of
education — many communities are already overburdened and cannot take on
more tasks. As well, certain people who represent certain communities are
repeatedly asked to embody or speak on behalf of their communities and are no
longer willing to do so without appropriate compensation.
As mentioned above, another limitation of the workshop was the condensed
12-hour timeframe. It is arguable that the brevity of the event required too much of
the participants and did not give them enough time to fully engage in the day‘s
activities with intention and purpose. In the follow-up survey one youth stated that
―the day was too long. I had a hard time concentrating on the afternoon
presentations‖. It is important to note here that the timing of the workshop was
determined by financial restrictions.
The Creative Practice as Protest workshop was a costly endeavor. Bringing in
the guest speaker and his assistant from New Orleans would not have been
possible without the Social Sciences and Humanities Research Council —
Partnership Engagement Grant that we received. All participants, mentors and

56. Bieling, Joost, and Müller, Collaborative Potential: Designing Coexistence in Urban
Context, 2010.
57. Goldbard, New Creative Community: The Art of Cultural Development, 2006.
58. C. Gillis, The Community as Classroom: Integrating School and Community through
Language Arts (Portsmouth: Boyton/Cook, 1992).

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community leaders received a small monetary honorarium; were fed three meals,
snacks, coffee, tea, and juice; and all youth participants were given a gift bag on
top of their honorarium — these were our benefit commitments along with the
educational aspect of the event. We hired a Graduate Research Assistant, Lena
Phillips, to help with community outreach; one student monitor to help with the
day‘s activities; security guards for the building we used; a photographer; and
audio/visual support personnel. If this were to become part of curriculum where
would funding come from to support similar activities? Would the outcome of the
collaboration be sufficient compensation for the communities? What if the
outcome is not successful or simply not usable by the community? How then will
community respond? Will this skew the benefit to risk ratio and create friction
between the school and community? There is also the broader question of
compensation for participants and community members engaged in any
collaborative effort to solve and address issues for community-building, whether
or not through the mechanism of research, planning and/or development, or as part
of educational engagement.
The recognition of our own assumptions demonstrated in this section
illustrates the importance of continuous reflection on our actions and the decisions
that we make and to check in with those around us in order to receive outside
perspectives. Reflection is imperative in co-design. Even though our assumptions
here did not necessarily cause harm, they nevertheless hindered activities and
experiences that might have occurred had those assumptions not been made.
Critical self-reflection, according to MIT social scientist Donald Schön, is already
used by many design faculty.59 By crafting reflective exercises that have students
question their assumptions and by building those exercises into design curriculum
faculty can help establish an educational environment that begins to break down
stigma and bias, leading the way to less hegemony in the practice of design and
design research. Before a student can start ―working with, not for‖ community,
they must question their own biases and assumptions and because of this will
become more socially and politically aware citizens.
Despite these limitations the responses from youth participants were positive
and this feedback demonstrates how these types of opportunities are appreciated
and necessary. As one youth participant wrote ―[The CPP workshop] was the first
time I had participated in such an initiative and it was amazing. Everybody was so
enthusiastic. My mentors […] were extremely helpful while [my group] and I
were trying to navigate some of the issues around our topic. I learned so, so much
from everybody yesterday. It just makes me wish there were similar workshops
like this year-round! I felt a connectedness with my community that I had never
felt before.‖

59. D. A. Schön, The Reflective Practitioner: How Professionals Think in Action (New
York: Basic, 1983).

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The End Results/Outcomes of DM2020 Research Project

Although the research project is ongoing, we are beginning to formulate an

outcome. When we started, the team had notions of what the outcome might be
but this has evolved out of the initial analysis of the data collection at the
community forums and the Creative Practice as Protest workshop. As this project
is utilizing Participatory Action Research methods as well as grounded theory for
data analysis the outcome will be built based on community input and determined
by expressed needs. Ideas for the outcome will be proposed back to the
participants who were involved in the process. If the research team adapts some of
Ballantine et al.‘s constraints that were developed in reference to creating an
environment for ideal communication in which moral dialogue might occur
(discussed earlier), and apply them to the evaluation and dialogue around project
outcomes, we may begin to find a way to produce results that the community will
deem valuable. The three constraints of interest include:

1. The autonomous evaluation constraint: participants must be allowed to

introduce and challenge any assertions and any interests stated.
2. The role taking constraint: participants must give equal weight to the
interests of others alongside their own interests.
3. The transparency constraint: participants must openly declare their goals
and intentions, so they may be considered alongside everyone else‘s.60

Through applying the constraints on an outcome prior to release it will need

to go through community screening, the researchers/designers will need to clearly
articulate the purpose, the intention, and all other pertinent details about the work
so that community members can respond to all facets of the outcome. The
researcher/designer too must weigh in and feel comfortable to defend decisions
and negotiate responses. David E. Gray, Author of Doing Research in the Real
World, states that:

The principles of validity, reliability and objectivity apply as much to

evaluation as they do to many other aspects of research […] Evaluation that
fails to take into account ethical issues will often be doomed to failure. Ethical
approaches include a focus on the individual needs of people rather than the
goals of organizations, on making the purpose of the evaluation transparent to
those being evaluated, and encouraging participation in the evaluation
process.61

The evaluation process is not a new concept to the design student/researcher.

Evaluative dialogue happens in the critique phase of an assignment where
instructor and peers are commenting, making suggestions, and questioning design
decisions. To not take offence or become defensive, to be open to these comments,

60. Ballantine, Levy, Martin, Munro and Powell, ―An Ethical Perspective on Information
Systems Evaluation,‖ International Journal of Agile Management Systems 2, no. 3 (2000): 234.
61. Gray, Doing Research in the Real World, 2004, 181.

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and try to hear what is being said is a very difficult skill to develop. It is a skill that
takes time, is part of the design student/researcher‘s education, and is exercised on
a daily basis. Feedback from outside parties help strengthen outcomes and
ownership of ideas has little place in the community co-design process.

Conclusions

The research team acknowledges that this paper has potentially posed more
questions than provide answers but it is with great optimism that the arguments
posed will support further discourse and investigation into pedagogy that supports
ethical, community-based curriculum that involves respectful methods of
collaboration. The purpose of this paper was to interrogate design education and
ask important questions about ethics in co-design practices. The Creative Practice
as Protest youth workshop demonstrated the desire of the upcoming generation to
make change, to engage in design and social justice, and to build place respectful
of those who live, work, and play in those spaces.
Not all of the responses to the issues raised in this paper need to be
revolutionary in terms of curriculum design. Many methods that have high impact
are small scale and can happen immediately in any design course. One example is
that of Schön‘s notions of critical self-reflection, discussed earlier. Other disciplines
have created resources to help with equitable community-based work.
Organizations such as, The Research + Practice Collaboratory (researchandprac
tice.org) is experimenting with ways to support mutual cultural exchange between
communities in STEM (science, technology, engineering and mathematics)
education. They recognize how:

Too frequently, educational research is conceived and designed in isolation

from practice. We need more collaborative approaches that engage formal
and informal educators, researchers, and students to jointly discuss and design
opportunities for improving STEM education.62

The Collaboratory even has a free toolkit that educators can download for use.
Design communities need to find ways to build these same kinds of resources for
design students, educators, institutions, and researchers. Students that aspire to be
experts in their field must be taught that community-based work is collaborative
and is strongest when all involved are acknowledged for their own expertise and
engaged in the creation of the outcome. Educational institutions can also reach out
to local communities and build reciprocal relationships where students and
communities benefit equally from the exchange.
Finally, should the design community build their own ethics protocols that
specifically define responsible behavior for design — much like the Hippocratic

62. Research + Practice Collaboratory, What we Do (University of Washington Institute for

Science + Math Education, 2015). Retrieved from: http://researchandpractice.org/whatwedo/.
[Accessed January 2020].

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Athens Journal of Architecture January 2021

Oath?63 We can, once again, look at the seven principles that the American
Anthropological Association use to inform their work and to provide support when
ethical issues arise. If the design profession were to develop their own set of
guiding principles, design faculty could teach to a common, collective, ethical goal
for co-designing with communities, and graduates from design programs would
have a lasting set of tools with which they could call on throughout their career.

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