by Michelangela Verardi
The blog is based on the outputs from my DBA in Higher Education Management (University of Bath) thesis entitled: ‘University identity: Statutes and Architectures”
Understanding what a university is – not only what it claims to be – requires a methodological approach capable of grasping identity in motion. Identity in higher education is rarely singular, it shifts across texts, spaces, and lived experience. To capture this complexity, I developed what I call the three‑card trick method: a triangulated approach designed to reveal organisational identity by examining how it is declared, embodied, and interpreted.
This method was tested through work with two Italian private universities that offered naturally contrasting contexts for methodological refinement. Their differences mattered only insofar as they enabled the method to be stretched, challenged, and sharpened.
The three‑card trick draws inspiration from the dynamic model of identity proposed by Hatch and Schultz (2001), who describes identity as a continuous movement between internal culture, expressed identity claims, and the images reflected back from external audiences. Identity, in this view, is not a fixed essence but a circulation. Their caution, following Baudrillard (1997), that identity signs can become detached from underlying reality – drifting into simulacra – reinforces the need for a method that can test alignment between what institutions say, what they materialise, and what people experience.
The three cards I propose are the statutes, the architectures, and the community narratives. Each represents a different mode of institutional expression. The method aims not simply to analyse each card but to understand the dynamics of identity produced by their interaction.
The first card, the normative corpus, includes statutes, codes of ethics, internal regulations, and other formal documents through which universities define their mission, values, and governance arrangements. These texts constitute the institution’s official voice. They are stable, durable, and often crafted with significant care, especially in systems where they must meet regulatory scrutiny. Analysing them involves reading not only what is said but how it is said, what is emphasised, and what is left unsaid. Rather than focusing on legal technicalities, the method treats these documents as identity artefacts: expressions of the university’s formal self‑understanding. To analyse this first card, I carried out a close textual reading guided by legal hermeneutics criteria, paying attention to wording, silences, and framing to uncover the identity logic embedded in formalised norms. The normative corpus provides the frame through which a university declares who it is, what it stands for, and how it intends to act. Yet these documents also reveal strategic adjustments, selective formulations, and silences that may reflect external pressures of bureaucratic control or evolving internal orientations.
The second card, architecture, concerns what the university expresses without words. Buildings, spaces, and material artefacts convey identity continuously, whether intentionally or not. Architecture shapes how people move, gather, celebrate, and learn; it anchors institutional memory; and it projects messages to newcomers, visitors, and the wider public. In this method, campuses are examined as symbolic landscapes. The analysis draws on a researcher‑generated visual archive – photographs, observations, and campus maps – to interpret space in terms of its semiotic and functional qualities. Three types of spaces are considered. Lived spaces are the places in which daily academic life unfolds: classrooms, courtyards, cantinas, shared areas. Representational spaces are used for ceremonies, governance, or ritual moments and often communicate concentrated symbolic meaning. Symbolic artefacts include statues, inscriptions, paintings, or any object that repeatedly signals aspects of identity. For this second card, I applied a visual‑interpretive method, using systematic photo‑analysis to understand how spatial arrangements and artefacts embody identity messages. Architecture is often where identity is most enduring – and where discrepancies become visible.
The third card, community narratives, focuses on identity as lived and interpreted. Through semi‑structured interviews, enriched by tools such as photo‑elicitation, participants are invited to interpret their own spaces and articulate what the university represents to them. This method avoids direct questions about identity, instead creating space for the emergence of themes related to belonging, values, distinctiveness, and institutional meaning. Narratives play a crucial role in understanding how identity circulates. They capture how members internalise or resist official claims, how they interpret symbolic spaces, and how they perceive the institution’s evolution. For this card, I used thematic analysis to draw out recurring patterns across interviews, tracing how individuals make sense of the university’s character and development. Community narratives sit at the intersection of expressing, impressing, reflecting, and mirroring, showing how identity is reproduced or transformed through lived experience.
The power of the three‑card trick lies in combining these forms of evidence rather than treating them separately. Analysing only the normative corpus risks confusing idealised statements with actual practice. Relying solely on architecture risks attributing static identity to institutions that are evolving internally. Listening only to narratives risks privileging individual interpretations without recognising structural or symbolic constraints. Triangulation allows identity to be seen not as a fixed point but as a set of movements. It highlights coherence when the three cards reinforce one another, and it exposes misalignment when one card diverges significantly from the others. Importantly, the method is not designed to declare whether an institution’s identity is true or authentic. Instead, it reveals how identity is declared, embodied, and experienced; how it evolves; and how it becomes contested or stretched under external pressures. When the three cards move in harmony, identity appears legible. When they move apart, the institution may face identity friction – an early signal that adjustment or reflection is needed.
In an era of increasing regulation, marketisation, and pressure to differentiate, universities often feel compelled to communicate distinctive identities while simultaneously conforming to external norms and pressures. The three‑card trick provides a practical, conceptually grounded method for observing identity in this tension. By keeping all three cards in sight, the method helps institutions recognise what they are truly communicating, intentionally or otherwise, and how they might align their identity more coherently as they evolve.
Dr Michelangela Verardi is a senior technologist and grants manager at the University of Milan, where she oversees the legal and organisational frameworks for artificial intelligence research projects in health science. A qualified lawyer, she brings extensive expertise in university governance and institutional legal affairs, following a long tenure as Legal Office Director at Bocconi University. Dr Verardi holds a DBA (Doctorate in Business Administration) in Higher Education Management from the University of Bath and serves as an adjunct professor at Accademia del Lusso. Her research interests include university identity, branding and IP protection, the internationalisation of academic systems, and the judicialisation of university policies.
