Assembling Authorship in Participatory Design The Ten Eekhovelei as a Collaborative Inquiry

This paper examines the evolving concept of authorship in design-driven participatory action research, focusing on the Ten Eekhovelei in Deurne, Antwerp, as a case study. Developed through collaboration between scholars and students from the Interdisciplinary Studio for Territories in Transition (ISTT) at the University of Antwerp, non-academic partners, and local residents, this project exemplifies a collective mode of knowledge production and authorship. It explores spatial interventions through co-creative processes, intertwining academic inquiry, community engagement, and local expertise to propose alternative urban transformation.

The research project includes various elements that engage ‘others’ in knowledge production and insight generation, resulting in multiple authorships. Firstly, it features co-design, where designs are collaboratively created with diverse stakeholders. Secondly, every participant is regarded as a co-researcher, moving away from the conventional researcher role (Kindon et al., 2008). Thirdly, architecture students are integral to the project. Lastly, the implementation aligns with the notion of Live Projects (Denicke-Polcher and Khonsari 2015). This active collaboration raises an essential question: who is the author?

Türkkan (2022) critiques the traditional notion of authorship in architectural design research, often characterised by a singular, heroic perspective. She argues that this model is outdated, failing to capture the collaborative and interdisciplinary nature of contemporary architectural research. Relating authorship to its etymological counterpart authority, Türkkan highlights the power dynamics inherent in traditional authorship, where authority is concentrated in the hands of a single individual, often marginalising the contributions of collaborators and other stakeholders. She proposes that authorship should evolve into a dynamic and iterative practice marked by fluid delineations of roles for individuals, groups and clusters.

Issues of representation and ownership are central to this critique. In architectural research, representation – often through drawings – serves as a critical medium for capturing and communicating ideas. Traditionally seen as evidence of the architect’s creative spirit, such representations are instrumental in claiming authorship. Türkkan (2023) argues that an overemphasis on individual authorship narrows the understanding of creative work, obscuring its inherently collective and iterative nature. She calls for ethical and equitable practices that recognise diverse contributions to architectural research. Moving beyond the singular-heroic model, Türkkan advocates for a fluid, dynamic concept of authorship. This approach better reflects the collaborative and evolving nature of contemporary research and practice.

In Architecture of Multiple Authorship, Denicke-Polcher and Khonsari (2015) explore collaborative and non-hierarchical practices in architectural education. Their socially engaged ‘Live Projects’ integrate students into real-world scenarios, emphasising community outreach, hands-on construction, and locally sourced materials. They argue for educational reform that extends projects across multiple academic years and student cohorts, challenging traditional notions of architecture and the architect’s role. This model fosters continuous community engagement and practical experience, preparing students for professional practice and civic involvement.

The Ten Eekhovelei project exemplifies this collaborative ethos. In 2022, a participatory design process was established between the UA (University of Antwerp), SAAMO (a local community centre), AG Vespa (the city’s real estate management company), and a group of community members. The initial engagement involved a series of public workshops at the community centre, where residents shared concerns about displacement and aspirations for the future. UA scholars and SAAMO supervisors conducted door-to-door surveys to reach marginalised groups, ensuring diverse perspectives shaped the project vision. Engaging residents, including marginalised groups, the project facilitated tangible outcomes such as resident-led design proposals for green spaces and advocacy for preserving culturally significant local spatial practices. Next to that, a neighbourhood atlas was produced. The atlas highlights local patterns that testify to a richness of spatial practices and includes inclusive spaces that support and promote (trans-) local traditions and behaviours that are not yet seen.

Students served as mediators, facilitating participatory mapping sessions and co-design workshops. In these gatherings, residents and students collaboratively developed design solutions. These efforts were complemented by narrative-building exercises, where residents shared personal stories that informed culturally sensitive design strategies. As a result, students started to formulate their own hypotheses from these insights, fostering a sense of authorship. They presented the community members’ vision to city officials, enhancing their influence in the development process. By integrating interdisciplinary perspectives, the project questions traditional notions of a single author and encourages new forms of collective knowledge production.

This case study highlights how several participants generate situated knowledge. For instance, during a counter-mapping session, residents marked areas of cultural significance and identified environmental concerns. These maps were refined iteratively through feedback sessions, ensuring the final designs addressed both immediate needs and long-term aspirations. The concept of authorship becomes a negotiated construct, reflecting the diverse voices and tensions that shape the project. Participatory methods provide a framework for assembling fragmented contributions into meaningful, but provisional, narratives, contributing to contemporary debates on originality and ownership in architectural research.

The architecture of multiple authorship recognises the collaborative nature of design, promoting inclusivity, equity, and innovation. By valuing the contributions of all stakeholders and encouraging interdisciplinary collaboration, it fosters holistic and impactful architectural solutions.

The Ten Eekhovelei project serves as a compelling example, demonstrating how participatory design can reimagine authorship to align with the complexities of contemporary urban and architectural challenges. It states that participatory design transforms authorship into an open-ended, inclusive, and dynamic endeavour. It examines how authority and authorship can be restructured in collaborative projects. These insights lay the groundwork for further investigation into how these concepts influence architectural practice and larger creative domains.

In line with the project’s collaborative spirit, four co-researchers will present the project’s assembly of insights at CA2RE Milano 2025. This presentation will be based on the artefacts produced, including models, a diorama and design proposals. The argument will challenge traditional academic conventions by highlighting the ‘collaborative inquiry’ of knowledge creation and distribution.