This work examines the critical theory of public participation through a case study of the post-shipyard area redevelopment in Gdańsk, Poland, interrogating the relevance of such processes in a context where cultural heritage is crucial, but there is also an urgent need for new development. This centrally located, (post)industrial waterfront has undergone multiple restructuring attempts over the past 30 years. The negotiation between a vision for an integrated inner-city district and commemorating its heritage value as the cradle of the Solidarność (Eng. Solidarity) movement have stood in the way of substantial progress.

The narratives of the stakeholders and participants involved revealed the importance of positioning the most recent consultations in the wider history of public involvement in this area. Examining the latest participatory consultations not in isolation, but rather as a consequence of earlier grassroots initiatives, allows to trace their evolution from bottom-up to top-down. The interviews revealed differences in the meaning behind notions such as heritage, naming, values, and conflicts used by the participants, suggesting these discrepancies can influence dialogue in participation. Finally, the work links the findings back to the critical theory of public participation, using the concepts of crossbenching (Miessen, 2010) and agonism (Mouffe, 1999) to describe the mechanisms found in the case study.

This project stems from an interest in institutions and the materialisation of politics within them, implicit and explicit. Art and architecture both have the capacity to be a scaffolding upon which protest and proposition of alternative relations can be built and communicated. While museum and art has always been implicated in commercial and political reality of power and authority, with the retreat of public funding and an increase in private, there is a gap which museums try to fill by adopting business strategies of shopping malls to cover the huge costs of heating, cooling and dehumidifying their expansive interiors in addition to competing with the private art market. At the same time, they strive to maintain their authority through institutional responsibility towards the society.

The aim of my project is to question the role and impact of architecture in the politics of a museum, with an understanding of the complex reality of museum-making. The interrogation of the original competition brief for the new Museum of Contemporary Art in Antwerp (M HKA) with regards to the budget, the spatial ambitions or demands, and the fundamental sustainability of resources, led me to propose why an alternative proposal for the M HKA could and should be put forward. The economic and spatial arguments, together with my position towards the climate crisis and research on the history of the institution, have resulted in a proposition radically different from the original brief, but still very much connected to it and resulting from it.

Adapting the existing courthouse building on site for a public archive of contemporary art not only allows a more intelligent budget distribution, but forces different power relations with regards to public funding, its responsibilities and sense of permanence. Densifying and reducing the amount of space required for art encourages more targeted architectural decisions, other types of spaces, actually fitting more appropriately into the existing courthouse building.

This project inscribes itself in a trend of public archives, while at the same time taking a critical position of an outsider-insider. The adaptation of the courthouse for the new MHKA allows a unique focus on the processes before and during the construction, acting as an event in the city, making transparent the process of change and adaptation.

The architecture of the new museum will be an expression of its positioning towards art, the public and the city. As my graduation project, it also expresses my position towards an uncritical building culture of competitions, ethical and professional sensitivity to the larger social and environmental context. By preserving the court building, I argue that embodied carbon is as valid an argument against demolition as heritage value and by interrogating and negotiating the demands of the competition brief against its budget, type of institution and the current economic, political and ecological reality, I question the role and responsibility of the architect in the face of multiplicity of crises.

This thesis examines the relationships between architectural pedagogy and practice within the context of feminist methodologies from the point of view of a student. If the condition of the profession reflects the (changing) reality, I enquire what implications it consequentially has on (architectural) education. By problematising the personal-political circumstances which triggered the emergence and disappearance of feminist architecture cooperative Matrix, operating between the 1980s and 1990s in London, and their methodology in professional practice and education, particularly the Women into Architecture and Building access course, this work reflects on the mutual influences between the role of a teacher and the role of the architect in their approach. Process-oriented practice and thinking-by-doing are put forward as key elements of Matrix’s radically feminist methodology. Through the use of testimonies of practitioners, teachers and students, their writings, lecture recordings and archival material, links between engaged pedagogy and a participatory design process are analysed. The reasons for, and implications of, a feminist approach to design and user involvement are situated within the larger socio-economic and political context to enquire how historical analysis of the conditions within which the production of architecture becomes a mutually-empowering practice can be translated into contemporary circumstances.