Professional Studies by Alia Paschali

PROFESSIONAL STUDIES PASCHALIA PASCHALI_09027682

CONTENTS

004

PART 1 - TECHNICAL WORK

007_Scenario introduction 008_ARB/RIBA client protection 010_Easements and Covenants 012_Fee & Services proposals 018_Project programme 022_Procurement 028_Briefing and Specifications 030_Planning Consent 032_Listed Building Consent 034_Value management and cost control 036_Construction legislation 038_Reflective Commentary

040

PART 2 - REFLECTIVE WORK / ESSAY

043_Introduction 044_1.0 - The Architect 1.1 - The Architect’s Role and Social Perceptions 1.2 - The Title of the ‘Architect’ 048_2.0 - The Architectural Profession 2.1 - Emerging Opportunities within the Construction Industry 2.2 - Architectural Practice 052_3.0 - Reforming Architectural Education 3.1 - The Structure 3.2 - The Content 057_Conclusion 058_References 063

Part 1 Appendices

PART 1

TECHNICAL WORK

PART 1

SCENARIO

The client, a family businesswoman, has inherited the Edgar Wood building as part of her business. The building is a traditional 1900s office building, with cellular load-bearing walls, structural timber floor and a slated pitched roof; due to expansion and modernisation the building is no longer fit for purpose. It is a Grade II listed building that sits within the Reddish Park conservation area. The building has been well maintained but never upgraded to current standards. Thus, the proposed project involves the refurbishment of this Grade II listed building, in order for it to be converted into a community facility, to house committee and meeting rooms, teaching spaces and a craft shop. The project also involves the construction of a new large hall with a floor area of 100m2 to be built as an extension to the rear of the building. The maximum budget for the project is ÂŁ500,000, which includes all construction, fitting out, all fees, surveys, application charges, expenses and VAT. 7

PASCHALI architects 38 City Road East Manchester M15 4QL +44 (0) 7763 843781 aliapaschali@paschaliarchitects.co.uk 20th September 2014 Mrs Jane Atkinson Apt 409, Madison Court 52 Broadway Salford M50 4UD REF: 17/1990/01/AP RE: Client Protection Enquiry Dear Mrs Atkinson, Thank you for your email dated 28th September 2014, in which you enquired about the protection offered to you, the client, by appointing PASCHALI Architects as your project’s architectural service provider. Firstly, individual architects are required to be registered with the Architects Registration Board and are subject to its Code and the disciplinary sanctions in relation to complaints by clients. PASCHALI Architects is a RIBA chartered practice and our architects are both registered with the ARB and are RIBA chartered members. Since the ARB’s primary role is public protection, all registered architects are required to comply with the standards of professional behaviour, set out in the Code of Conduct and Practice (2010). Thus, as a client, you benefit from a number of assurances that PASCHALI Architects offer; we promise to: - Be competent, honest and act with integrity - Promote our services honestly and responsibly - Manage our business competently - Consider the wider impact of our work - Carry out our work faithfully and conscientiously - Be trustworthy and look after our clients’ money properly - Have appropriate insurance arrangements - Maintain the reputation of architects - Deal with disputes or complaints appropriately - Co-operate with regulatory requirements and investigations - Have respect for others Additionally, the RIBA’s objective is to promote architecture through the quality of its members. As such, all its members are required to comply with the Code of Professional Conduct. Honesty, integrity and competency, as well as concern for others and for the environment, are the foundations of the RIBA’s three principles of professional conduct; see enclosed document. 8

PART 1 Due to these codes of conduct, a client benefits from a number of assurances, such as confidence in their honesty and competence. Most importantly though, as a client, you are protected in the unfortunate case that you are displeased with the service we provide, since we are also subject to the disciplinary sanction of the ARB in relation to complaints of unacceptable professional conduct or serious professional incompetence. PASCHALI Architects aim to provide a professional standard of service, but should you feel there are any issues or discrepancies in the service we provide, please bring the issue to our attention as soon as possible and we can discuss how to resolve the issue between ourselves; if this is not successful, complaints should be made in writing to the ARB. Where disputes arise that cannot be resolved between the two parties, the arbitration services at Manchester City Council will be called upon. In accordance with the ARB Code of Conduct, PASCHALI Architects hold Professional Indemnity Insurance up to ÂŁ5 000 000; we will continue to maintain sufficient insurance to cover the works for a period of no less than six years from the date of practical completion. We hope this letter has helped you understand why you are better protected by appointing a registered Architect, RIBA chartered member and RIBA chartered practice for your project. Kindly feel free to contact us should you require further clarifications. Yours sincerely,

Alia Paschali, BA (Hons), March, RIBA Director PASCHALI architects

PASCHALI architects 38 City Road East Manchester M15 4QL +44 (0) 7763 843781 aliapaschali@paschaliarchitects.co.uk 28th September 2014 Mrs Jane Atkinson Apt 409, Madison Court 52 Broadway Salford M50 4UD REF: 17/1990/02/AP RE: Easements and Covenants Advice Dear Mrs Atkinson, Further to yesterdayâ&#x20AC;&#x2122;s conversation, this letter explains the need to check for easements, covenants and any other rights, before commencing work on the project. An easement is a right enjoyed by one landowner over the land of another; this could be a right of way, providing access. For your project, this might be essential to the separate access needed for special events. Covenants are contractual and can be positive or negative. A positive covenant is a promise to do something, such as maintaining a boundary fence. A negative/restrictive covenant is an undertaking not to do a specific thing, such as build above a certain height. Covenants also restrict certain uses for land/assets, for example selling alcohol, which might be important for your project. Therefore, easements and covenants are capable of both limiting and facilitating the use of land. They are vital to the projectâ&#x20AC;&#x2122;s feasibility and might greatly affect the design. Even though interference with an easement is a nuisance, not a trespass, infringement of neighboursâ&#x20AC;&#x2122; Rights of Light can result in money compensation to them and costs to yourself, if deemed actionable. For example, if a new building limits the amount of light through a window and the level of light inside falls below the accepted level, it constitutes an obstruction and the window owner would be entitled to take legal action against the landowner. However, the law recognises that some loss of light is acceptable and the fact that there is less light does not necessarily give a landowner a right to complain. A development may be prevented or altered due to a Right of Light, even if Planning Permission has been granted, making it essential to check such procedures in advance. Moreover, the Party Wall etc Act 1996 affects both yourself and adjoining landowners; the Act provides a framework for preventing and resolving disputes in relation to party walls, boundary walls and excavations near neighbouring buildings. We have enclosed an explanatory booklet of the Act, but in summary, if we intend to carry out work of the kinds mentioned, we must give adjoining owners notice of our intentions. They can then agree with your proposals or agree on certain changes with you on how to carry out the works. Where a dispute arises, the Act provides for their resolution by a surveyor. As you can understand, this could cause delays and unnecessary costs. 10

PART 1 As architects, we will gather information in order to identify any constraints and then capture them with the development brief; these will be reviewed as designs develop and risks will be managed to avoid any infringements that might result in issues with the projectâ&#x20AC;&#x2122;s success. We hope you now have a better understanding of the necessity of checking easements and covenants in advance; please do not hesitate to contact us if you have any further questions. Yours sincerely,

Alia Paschali, BA (Hons), March, RIBA Director PASCHALI architects

PASCHALI architects 38 City Road East Manchester M15 4QL +44 (0) 7763 843781 aliapaschali@paschaliarchitects.co.uk 14th October 2014 Mrs Jane Atkinson Apt 409, Madison Court 52 Broadway Salford M50 4UD REF: 17/1990/03/AP RE: Fee and Services Proposals Dear Mrs Atkinson, We are pleased to submit our outline fee and services proposals for the proposed Edgar Wood building conversion and extension project. SERVICES Based on the ‘RIBA Plan of Work 2013’, our services will include: Stage 0 - Strategic Definition • Identify clients’ business case, strategic brief and other core project requirements Stage 1 - Preparation and Brief • Develop project objectives eg quality, sustainability, budget • Develop Initial Project Brief and undertake feasibility studies Stage 2 - Concept Design • Prepare concept design, including outline proposals for structure, building services, specifications and preliminary cost information; produce final project brief Stage 3 - Developed Design • Prepare developed design including coordinated and updated proposals for structural design, building service systems, etc • Prepare and submit relevant planning and building control documentation Stage 4 - Technical Design • Prepare technical design, including all architectural, structural and building service information, specialist subcontractors design and specifications • Prepare and distribute tender documentation; evaluate and submit tender report Stage 5 - Construction • Administer building contract, including regular site inspections, progress reviews and resolving on-site design queries Stage 6 - Handover and Close Out • Building handover and conclusion of building contract Stage 7 - In Use • Post-occupancy evaluation and project performance review 12

PART 1 Our services will be carried out in accordance with the Terms and Conditions set out in the RIBA Standard Form of Appointment 2010 (2012 Revision). ROLES AND RESPONSIBILITIES We expect your project will require the work of a Director (myself), Associate, Architect and Architectural Assistant. I will be working with another Architect to develop the building’s design throughout and the Architect will be responsible for producing a full set of drawings, with an Architectural Assistant helping with the drafting and organisation of the drawings. An Associate will manage our design team, ensuring that the design meets the briefs developed with the client and that all team members follow agreed procedures, timeframes and costs. As agreed, PASCHALI Architects will act as both lead consultants and lead designers on the project. As the client, you will be responsible for appointing the following consultants to assist us: Quantity Surveyor: to provide expert advice on construction costs and ensure good value for money Structural Engineer: to design, assess and inspect structures to ensure they are efficient and stable Building Services Engineer: to plan. Design, monitor and inspect systems (heating/ventilation, water/ drainage, lighting/power, etc) to make the building comfortable, functional, efficient and safe CDM Co-ordinator: to ensure health and safety issues are properly considered throughout the project’s development to reduce the risk of harm. EXPLANATION OF FEES The proposed fee for the architectural services for the whole contract period is £42,310.53 (excl. VAT), with works expected to take 48 weeks from appointment to completion; as discussed, the fee is based upon a traditional procurement route. Fees will be invoiced every four weeks and settled by you within 28 days from receipt of invoice; the amounts to be invoiced will be issued to you in the form of a Payment Schedule. Changes to the agreed timetable by yourselves and any additional work not stated in our proposed fee will incur extra costs, charged at our standard hourly rate (all figures exclude VAT): Director £115.00 per hour Associate £75.00 per hour Architect £55.00 per hour Architectural Assistant £35.00 per hour EXPENSES All applications for planning, listed building consent and building regulations are charged individually and are not covered in the above fee; the client will pay these to the appropriate authority. Additionally, there will be further professional fees for the project, including those for the appointment and services of consultants; we will make recommendations on these appointments but, as agreed, the responsibility for this and costs incurred will remain with yourselves. We look forward to working with you; please feel free to contact us if you have any queries. Yours sincerely,

Alia Paschali, BA (Hons), March, RIBA Director PASCHALI architects 13

PART 1 INTERNAL FEE CALCULATION

PART 1

PASCHALI architects 38 City Road East Manchester M15 4QL +44 (0) 7763 843781 aliapaschali@paschaliarchitects.co.uk 21st October 2014 Mrs Jane Atkinson Apt 409, Madison Court 52 Broadway Salford M50 4UD REF: 17/1990/04/AP RE: Project Plan / Programme Dear Mrs Atkinson, We are pleased to attach a preliminary programme timetable for the Edgar Wood building conversion and extension project. The predicted project duration is a total of 48 weeks from appointment to completion, with a construction period of 18 weeks. As we are working within a conservation area and an existing building, it is likely that unforeseen circumstances will arise, affecting the proposed programme, particularly during construction; we have therefore allowed a certain amount of contingency within the programme. Nonetheless, project duration may be extended should any larger issues arise. At this point, we would also like to explain the project manager’s role and relevant options for your project. In summary, the project manager is an appointed person who is responsible for the successful planning, execution, monitoring, control and closure of a project. Project managers can act on behalf of a client on various activities, including design team and contractor appointments, managing resources, monitoring project development, etc. Traditionally, this role was carried out by Architects, who were deemed the professionals most suited to lead the building/design team; this is no longer necessarily the case as the role can be carried out by numerous people, such as a member of the design team, a quantity surveyor or a contractor. There are two types of Project Manager, each with different contractual relationships. The first acts as the employer’s representative, making decisions and appointing consultants on their behalf. The second performs the role of Contract Administrator, with all certificates and instructions issued solely by them; an Architect normally undertakes this role. The Project Manager’s overall responsibilities are outlined below:

• Understanding the needs of the client and helping him/her define and establish the brief • Advise and manage consultants’ appointments • Ensure all members of the design team are motivated, supported and provided with all the information needed to achieve the desired outcomes 18

PART 1

• Keeping the client informed on project’s status • Co-ordinating the work of different consultants within the project team • Establish communication between all parties and ensure they meet all key areas of the contract, including quality of works and materials, budgets and timeframes • Monitor the construction process and resolve any issues/disputes that may arise

Due to the nature and scale of the project, we believe that an external project manager is not necessary as a further appointment. If you would, however, like to appoint a project manager, we can offer this as an additional service to our design fee. PASCHALI Architects have significant experience in project management, especially in conversion projects, and this arrangement would allow us to manage relationships between parties effectively, thus reducing the possibility of any conflicts arising. As a client, you would benefit by having a project manager who is an integral part of the design team and can, therefore, keep you better informed on the project’s progress. Kindly feel free to contact us if you have any further questions or if you would like to discuss details of the services PASCHALI Architects can provide. Yours sincerely,

Alia Paschali, BA (Hons), March, RIBA Director PASCHALI architects

PRELIMINARY PROGRAMME PRELIMINARY PROGRAMME TIMETABLE TASKS & ACTIONS

STRATEGIC DEFINITION First client meeting 0 Assemble project team (in‐house) Outline programme Strategic brief PREPARATION AND BRIEF Client meetings Site visit & survey 1 Establish project objectives Establish initial project brief Establish project roles Feasibility study CONCEPT DESIGN Initial concept design Outline specification Review project programme Consider Health and Safety Consider construction methods 2 Prepare sustainability strategy and risk assessment Third party consultations Conservation Officer consultation Preliminary cost information Client meetings Issue final project bried DEVELOPED DESIGN Further third party consultations Developed design Revise structural strategies Review sustainability and maintenance strategies 3 Review health and safety strategies Revise cost information Review project programme Submit Planning Application Planning Application process and decision TECHNICAL DESIGN Prepare technical design Review sustainability and maintenance strategies Building Control consultation Prepare and submit Building Regulation Approval Building Regulation Approval process and decision Review construction 4 Review health and safety strategies Review and update project execution plan Review project programme Revise cost information Prepare and distribute Tender Documentation Tender process and reply Complete technical design Produce Tender Report and Appraisal CONSTRUCTION Administer the building contract Provide any further information as required 5 Review specialists' information Review project programme if necessary Compile 'as constructed' information HANDOVER AND CLOSE OUT Handover of building 6 Conclude contract Update project information Update 'as constructed' information IN USE 7 Post‐Occupancy evaluation Review project

PART 1

PROGRAMME (WEEKS) 18

PART 1

PASCHALI architects 38 City Road East Manchester M15 4QL +44 (0) 7763 843781 aliapaschali@paschaliarchitects.co.uk 28th October 2014 Mrs Jane Atkinson Apt 409, Madison Court 52 Broadway Salford M50 4UD REF: 17/1990/05/AP RE: Types of Procurement, Tender and Contract Documentation Dear Mrs Atkinson, Further to your enquiry today, please find enclosed a short report explaining the various procurement routes and types of tender available for your project; please read the attached information carefully. As discussed, we recommend a traditional form of procurement under the JCT Building Contract 2011 be used for this project. Even though this route takes slightly longer than others, it provides a reasonable certainty over the project’s cost; this is key given the limited budget flexibility. Moreover, with such contracts, the client’s team retains control over the design, which is essential given the building’s listed status and your desire for high quality. We also recommend using a single stage selective tender, following the preparation of all project documentation. This form of tender enables the calculation of a realistic price for the project and allows us to control the quality of all applicants, ensuring the main contractor is experienced in working with historic and/or listed buildings. If you decide to follow our advice, the following documentation is required prior to tender: • Letter of invitation to tender • Form of tender; form of contract, contract conditions and amendments • Preliminaries (including pre-construction information and site waste management plan) • Bill of Quantities and Work Schedules (drawing, door, window, etc) • Full set of design drawings • Building Regulations Consent • Specifications Please feel free to contact us if you wish to discuss further; we look forward to your decisions. Yours sincerely,

Alia Paschali, BA (Hons), March, RIBA Director PASCHALI architects 23

TYPES OF PROCUREMENT, TENDER AND CONTRACT DOCUMENTATION REPORT Edgar Wood building conversion and extension project A. CONTRACTOR SELECTION PROCESS Tendering can be a one or two stage process. A single stage tender is used when all the information necessary for contractors to calculate a realistic price is available when tendering commences. A two stage tender is used to allow early appointment of a contractor, prior to the completion of all the information required to enable them to offer a fixed price. Thus, the first stage is a limited appointment and the second stage is the negotiation of a fixed price. Outlined below are the three tendering options available to you for the project. Open Tender The employer advertises the project publicly; any number of contractors may apply. This can lead to a large number of unsuitable firms tendering for the work, with low tenders returned by contractors trying to establish themselves or may have overlooked certain elements. This can result in wasted time and effort in the selection process. Selective Tender The employer/architect selects a number of suitable contractors who are invited to tender based on their proven record in relation to the type and size of contract and their reliability. This ensures that only relevant tenders are received and all applicants are qualified for the job and allows clients to base their decision on costs without compromising the quality of the work. Negotiated Tender These are usually used to employ a contractor of a specialist nature or to extend an existing contract. The contractor is invited to submit a bid for the tender and any discrepancies in their tender prices can be negotiated. This form of tender is usually used when the client already has a well-established relationship with a contractor or the contractorâ&#x20AC;&#x2122;s expertise suits the specific project.

PART 1 B. TYPES OF PROCCUREMENT AND CONTRACTS 1. TRADITIONAL CONTRACT (RECOMMENDED) In this form of contract, the design and construction processes are separated; the contractor builds to a defined scope of works provided by the employer. Prior to tendering, the design is completed, along with the scope of works, and costs are defined; full documentation is supplied ahead of a competitive tendering process or appointment through negotiation. The contractor has no design responsibility and carries out the work according to the architect’s drawings and specifications.

ADVANTAGES: • Single point of responsibility for construction • Client’s team retains design control • Fixed defined scope means competitive pricing levels and programme clarity • Simple client/contractor relationship – roles/responsibilities are well understood and con- tractually defined, providing clear accountability • The client often continues to employ the architect, who acts in client’s interests throughout DISADVANTAGES: • Complete separation of design and construction processes can extend the pre-contract programme since the design needs to be complete before tender • Limited opportunity for contractor/subcontractor/specialist buildability expertise • Risks generally lie with the client, therefore increased risk of additional costs; balanced against competitive tender and contingency within the budget • Can be confrontational if not handled properly

2. DESIGN & BUILD CONTRACT Design and build contracts are characterised by the contractor assuming responsibility for both the design and construction of the project for an agreed sum, thus mitigating the client’s risk. The extent of the contractor’s design input varies, with initial designs often provided by the client and their architectural team. The design team develops a substantial set of client’s requirements that are used for a competitive tender. After the tender, the contractor ‘develops and constructs’; this is done by the contractor appointing new consultants, or using their own in-house teams or through the novation of the client’s design team.

ADVANTAGES: • Design can run in parallel with construction, potentially reducing overall project duration • Project can be tendered early, depending on the level of information sent to tenderers • Single point of responsibility for both design and construction • All major risks lie with the contractor • Provides high degree of cost certainty, provided employer’s requirements are fully defined DISADVANTAGES: • Client loses control and influence over the design • Is mainly price, rather than value/quality, driven so not really suitable for projects requiring high design level • Quality and overall design dictated by contractor and can be compromised if employer’s requirements were not correctly communicated • Higher tender price, including a premium to cover contractor’s risks • Design changes are expensive; hence limits flexibility • Comparing tenders can be difficult since there is no standard design • The client must commit to a design early on in the project • Not really suitable for refurbishment projects, since they involve too many unknowns

PART 1 3. MANAGEMENT BASED CONTRACT Management contracting is a method by which construction works are completed using a series of separate works or trade contracts managed by a central contractor and often let by separate competitive tenders. The main contractor does not directly undertake any of the construction, though a sum is paid for the management responsibilities following appointment through a tendering process or by negotiation. The management contractor can be appointed early in the design process and a cost plan is used to control development costs. This method is generally used for large complex projects, where procurement and packaging is commercially beneficial.

ADVANTAGES: • Client maintains control over design by appointing design team and contract administrator to prepare drawings, specifications and cost plan, thus protecting building quality • Design can run in parallel with construction, potentially reducing overall project duration • Project gets early input from contractor, such as buildability information and programme • Single point contractual and payment arrangements for client with contractor • Greater scope for client changes, as long as they do not affect works packages already let by main contractor DISADVANTAGES: • Low risk strategy for contractor with little responsibility for package contractor defaults, bankruptcy, etc; risk and cost implications borne by client • Cost increases can be substantial; cost plans tend to be adjusted upwards • No certainty over cost at the outset, with final cost not known until the final works package is let; client assumes greater financial risk • Should be non-confrontational but often is • Large amounts of administration • Responsibility for design and construction lies with a range of parties

PASCHALI architects 38 City Road East Manchester M15 4QL +44 (0) 7763 843781 aliapaschali@paschaliarchitects.co.uk 7th November 2014 Mrs Jane Atkinson Apt 409, Madison Court 52 Broadway Salford M50 4UD REF: 17/1990/06/AP RE: Briefing and Specification in Design Development Dear Mrs Atkinson, This letter explains the process of briefing, as well as the different specification types and their use. BRIEFING Briefing is an iterative process produced at key points in the project’s development, formalising timely decisions and instructions. It involves identifying a client’s need and finding appropriate solutions. This process results in a brief, which can be prescriptive, descriptive or performance based; generally, a good brief is comprised of all. There are three stages in the briefing process, carried out during and in parallel with the design process: 1. Pre-project The designers work alongside the client to identify and set the project’s context and goals, by testing strategic options; this produces a Strategic/Outline Brief. Activities include identifying the user’s need, matching it with current resources (including buildings) and identifying different options. The strategic brief is prepared by considering: who makes decisions and when; communication strategy; priorities/objectives; organisation’s nature; context; user expectations; functions; size/capacity; environmental qualities; quality; procurement route; time/budget. 2. Project The design team produces the Project Brief, a development to the Strategic Brief, by developing and testing a series of design options; this is the design’s key document. The concept’s performance, time and costs are agreed and drawings, models and schedules are produced, including: scheme design statement; site location/information; planning/consents; accommodation schedule; spaces/ elements’ dimensions; detailed environmental systems; confirmed cost plan; operational brief; performance measures; project completion. 3. Post-project A maintenance brief is issued and the briefing results are reviewed. Upon project completion, reviewing the whole process identifies the team’s performance and how this might be improved. A postoccupancy evaluation provides the design team and client valuable insights for future projects. 28

PART 1 The evaluation should involve both quantitative and qualitative measuring methods and can focus on product (if it is fit for purpose), process (how well the team operated against the set criteria) or performance (how well the building operates against the goals and objectives set). SPECIFICATION A specification is basically a ‘brief’ to a contactor/supplier; it is a detailed description of dimensions, construction, workmanship, materials, etc of work done or to be done. As such, a Specification Document describes in words what can’t be shown on drawings/visualizations and should be used at all stages of design and construction. The specification needs to address: Preliminaries/Project Management (contracts, tendering, site set-up/safety, limitations, quality control), Work Sections (systems/ products, performance/execution/completion requirements) and Schedules (type/definition schedules). There are three main types of specification, but in practice, almost all projects involve a mixture of these types: 1. Proprietary The naming of manufacturers’ products that the design team deem appropriate for the project; often used where products are selected for their visual appearance (eg floor finishes) 2. Prescriptive The client and design team determine and describe all product, material and workmanship requirements for carrying out work (often by reference to Standards); the contractor is usually free to select products and materials that comply. This is often used where products are functional and provided by several manufacturers (eg plasterboard). 3. Performance The design team defines the performance that a completed element or component is required to achieve, for example thermal and fire insulation of a wall; the contractor proposes solutions that meet these requirements. This is often used where detailed design is provided by a specialist manufacturer or contractor (eg specialist cladding systems). As the project’s architects, we will work closely with you in producing the various briefs iteratively, to ensure your project’s success. Specifications will also be developed iteratively alongside the design. We will be responsible for providing an outline specification at the end of Stage 3; by tender stage they should describe every aspect of the building in a way that allows no uncertainty about what the contractor is pricing. Please do not hesitate to contact us if you have any questions on any of the above. Yours sincerely,

Alia Paschali, BA (Hons), March, RIBA Director PASCHALI architects

PASCHALI architects 38 City Road East Manchester M15 4QL +44 (0) 7763 843781 aliapaschali@paschaliarchitects.co.uk 14th November 2014 Mrs Jane Atkinson Apt 409, Madison Court 52 Broadway Salford M50 4UD REF: 17/1990/07/AP RE: Planning Consent Requirements Dear Mrs Atkinson, Further to your enquiry concerning the Planning Application process, we are pleased to provide an outline of the planning consent requirements, as well as procedures and timings, for your project. Firstly, the local planning authority (LPA) is responsible for deciding whether a development / project should go ahead. Planning permission is required not only for the construction of new buildings or extensions, but also for a material change of use of buildings/land. As your project involves both of the above, planning permission needs to be granted by the local authorities. Secondly, to apply for planning permission, one needs to submit a formal planning application; submissions can be made either by hard copy or online. The application must be made up of the necessary plans of the site, the required supporting documentation, the completed form and the correct fee. For this project, we will need to submit a Full Planning Application (FPA). In addition to the full planning application, a Listed Building Consent is required due to the building’s Grade II listed status; the two are combined into one joint application. A combined planning and listed building application of this nature will require a fee of £770, payable to Manchester City Council. The completed FPA form needs to be accompanied by a number of supporting documents and drawings. These include, but are not limited to, the following:

• Location plan • Site plan • Plans, sections, elevations (existing and proposed) • Detailed contextual drawings • Ownership certificate • Design and Access statement (since the site sits within a Conservation area) • Heritage statement • Disabled Access statement • Landscape / ecology / environmental impact • Sustainability considerations 30

PART 1 Finally, once the LPA has received the formal planning application, it will display public notices and/or write to homes and businesses near the proposed site, inviting comments. The LPA will then decide whether to grant planning permission for your project based on its development plan; their decision is mainly based on material considerations and does not usually take into account whether local people want it. In most cases, planning applications are decided within eight weeks. Please note that if your project needs planning permission and you do the work without getting it, you can be served an â&#x20AC;&#x2DC;enforcement noticeâ&#x20AC;&#x2122; ordering you to undo all the changes you have made. It is often a good idea to meet a planning officer for an informal discussion prior to submitting an application and due to the sensitive nature of the project, we strongly advise you to do this. Kindly feel free to contact us if you have any further questions on the matter. Yours sincerely,

Alia Paschali, BA (Hons), March, RIBA Director PASCHALI architects

PASCHALI architects 38 City Road East Manchester M15 4QL +44 (0) 7763 843781 aliapaschali@paschaliarchitects.co.uk 21st November 2014 Mrs Jane Atkinson Apt 409, Madison Court 52 Broadway Salford M50 4UD REF: 17/1990/07/AP RE: Listed Building Consent Requirements Dear Mrs Atkinson, Further to your enquiry concerning the Listed Building Consent, we are pleased to provide an outline of the listed building consent requirements, as well as procedures and timings, for your project. As you might be aware, in the case of a listed building, such as the Edgar Wood building, any works to alter, extend or demolish the building in a way that affects its character as a building of special interest require listed building consent from the local planning authority. Applications for listed building or conservation area consent for part or the whole of the same works as those covered by a planning application should be applied for at the same time and considered together. An application for listed building consent is made to, and determined by, the local planning authority (LPA); this can be submitted either as a separate document accompanying the Planning Application or as part of the Full Planning Application form. In our experience, it is best to submit the joint application form, ‘Application for Planning Permission and listed building consent for alterations, extension or demolition of a listed building’. Submissions can be made electronically or by hard copy; as discussed, this application requires a fee of £770, payable to Manchester City Council. The information required to support a listed building consent (LBC) application is considerably more detailed than that which would be required for a regular planning application. We have enclosed a document providing a more thorough explanation of the documents required for a LBC application; these include, but are not limited to, the following:

• Completed application form • Site location plan - scale of 1:1250 or 1:2500 • Site plan - scale of 1:500 or 1:200 • Plans, sections and elevations (existing and proposed) -scale of 1:100 or 1:50 • Detailed drawings for specific items of work and detailing - scale of 1:20 or larger • Photographs of all areas of the building where the intended work / alterations are proposed • Completed and dated Ownership Certificate • Design and Access Statement (also providing information needed for a PPS5 statement) 32

PART 1 Once all project documentation has been submitted, there will typically be an eight week processing period before a decision is made by the LPA. Please note that carrying out unauthorised works to a listed building is a criminal offence; individuals can be prosecuted and punished by a fine or term of imprisonment. Additionally, the local planning authority can insist that all work carried out without consent is reversed. Kindly feel free to contact us if you have any further questions on the matter. Yours sincerely,

Alia Paschali, BA (Hons), March, RIBA Director PASCHALI architects

PASCHALI architects 38 City Road East Manchester M15 4QL +44 (0) 7763 843781 aliapaschali@paschaliarchitects.co.uk 28th November 2014 Mrs Jane Atkinson Apt 409, Madison Court 52 Broadway Salford M50 4UD REF: 17/1990/09/AP RE: Achieving Viability, Value Management and Cost Control Dear Mrs Atkinson, This letter is in response to your concerns on achieving viability, value management and cost control for your project at all stages. Value can be defined as the best you can afford within a budget or as a long term investment, saving running or replacement costs. One can achieve value for money by setting and agreeing a budget and then managing that budget through cost control. Cost planning is an integral part of our design process and we will work hard to achieve good value for money at every stage of the project, with a particular focus on design quality and durability. Clear roles and objectives will be established for all involved and we will all work to create a high quality design, aimed at reducing the buildingâ&#x20AC;&#x2122;s running costs and thus providing a long-term solution to the site. For example, on elements such as furnishing and finishes, we will select higher quality products; this will be more costly now but will minimise future costs on maintenance and early replacements. The chosen procurement route, contractor and market conditions also affect costs and methods of achieving good value. As the project is under a traditional contract, you, the client, can request from the contractor to source competitive quotes from sub-contractors and suppliers in order to reduce your overall costs. The suggested single stage tendering process will also allow us to obtain competitive prices as all pricing will be done on the same basis. The tender documents will be prepared to a high degree of detail, resulting in very few variations to occur later in the project. At this point, we strongly suggest appointing a competent and qualified Quantity Surveyor, who will focus on key issues such as costing, value for money and quality control. This will also allow detailed and rigorous cost control throughout all stages of the design and construction processes and reduce the risk of the project exceeding its budget. The quantity surveyors will also be able to accurately balance costs between different parts of the project and help redistribute costs where unforeseen expenses may arise, maintaining quality standards throughout. We will be working very closely with the QS and exchanging information regularly and in line with the RIBA Plan of Work 2013 stages. At the end of Stage 1, we will order a Cost Estimate and then formal 34

PART 1 Cost Plans will be created throughout Stages 2-4, enabling cost checking. At the end of each stage, reports will be prepared by ourselves, as well as the structural and building services engineers; the QS will then price these and check them against the Cost Plan, before you can sign the work off and we proceed to the next stage. If a Project Manager was also appointed, they can help ensure the project is delivered on time, within the budget and to the required quality standards. Kindly feel free to contact us if you have any further concerns or queries. Yours sincerely,

Alia Paschali, BA (Hons), March, RIBA Director PASCHALI architects

PASCHALI architects 38 City Road East Manchester M15 4QL +44 (0) 7763 843781 aliapaschali@paschaliarchitects.co.uk 3rd December 2014 Mrs Jane Atkinson Apt 409, Madison Court 52 Broadway Salford M50 4UD REF: 17/1990/10/AP RE: Construction Legislation - Building Regulations, Equality Act 2010 and CDM Regulations Dear Mrs Atkinson, We are now in a position to consider our approach towards building regulations. At this stage, we are obliged to inform you of our duties under construction legislation. BUILDING REGULATIONS Building Regulations set minimum standards for buildingsâ&#x20AC;&#x2122; design and construction, ensuring a safe, accessible and sustainable built environment. Building Regulations Approval can be achieved by: 1. Building Notice A notice is issued to the local authority, with the projectâ&#x20AC;&#x2122;s basic details; work can begin two days after submission and a Council Inspector conducts regular on-site inspections throughout the construction process. While this method can reduce project duration, it does not guarantee compliance. Any non-compliant work must be halted and alternatives considered, which is costly and time consuming. 2. Full Plans Application PASCHALI Architects submits all required drawings and documentation to the local authority for approval prior to construction. An inspector will then check for compliance and advise on amendments before the decision notice can be issued; approval is within five weeks. Inspections are then carried out throughout construction to ensure building is as per the approved drawings. This method provides greater security, with no costly rectifications if the approved drawings are followed. 3. Approved Inspector Appointment Approved Inspectors are companies or individuals authorised to undertake the primary duties of the local authority. The inspector checks drawings for compliance, advising on any amendments before providing authorities with an approval notice if successful; authorities then have five days to provide formal approval. He/she then carries out inspections throughout construction to ensure regulations are met. Upon completion of the works, a completion certificate is issued to the council.

PART 1 As the client, it is your responsibility to choose the method you wish to pursue. Due to the scale and nature of the work being undertaken within a listed building, we highly recommend the full plans route be followed. Assessing the design before construction commences and ensuring the scheme is checked for compliance will make potential adjustments simpler and cheaper. This method provides you with the highest protection due to more reliable cost estimates and time schedules. EQUALITY ACT 2010 With reference to construction projects, the Equality Act 2010 (EA) aims to create inclusive design that goes beyond the requirements of Building Regulations, ensuring people with any type of disability (partial or full) are treated equally in the use of a building. A building cannot be guaranteed to be ‘EA compliant’, but there is a duty to meet the obligations and a requirement for reasonable provision. As designers, we will develop the project with a continued consideration of the act and, where reasonably practicable, include measures to ensure the design eliminates discrimination. CDM REGULATIONS CDM Regulations have been developed to ensure health, safety and welfare considerations are central to projects’ management, regarding the design and construction process, building operation or demolition. Based on the nature of the project, your roles and responsibilities include: • Check competence and resources of all appointees • Allow sufficient time and resources for all stages • Provide pre-construction information to designers and contractors • Appoint CDM co-ordinator and principal contractor • Make sure construction work does not start unless a construction phase plan is in place and there are adequate welfare facilities • Provide information relating to the health and safety file to the CDM co-ordinator • Retain and provide access to the health and safety file Our roles and responsibilities as the Architect include: • Eliminate hazards and risks during design • Provide information about remaining risks that could not be eliminated • Ensure the design process complies with CDM Regulations • Provide information needed for the health and safety file • Inform the client of their duties and ensure a CDM co-ordinator has been appointed As such, it is your legal responsibility to appoint a fully qualified and competent CDM co-ordinator for the project; recommendations can be provided if you wish. Please do not hesitate to contact us if you have any queries on any of the above. Yours sincerely,

Alia Paschali, BA (Hons), March, RIBA Director PASCHALI architects 37

REFLECTIVE COMMENTARY “Both the Farrell Review and the Skyline campaign point to a self evident truth: there’s something wrong with the UK’s approach to the built environment.” Jacob, 2014: online Over the years, there have been numerous reviews following criticisms over the UK’s complex building process, with practitioners, clients and developers finding it an unnecessarily costly, time consuming and usually confining process (Killian Pretty Review, 2008; tcpa, 2010; Department for Communities and Local government, 2012). This can generally be attributed to the ambiguous and fragmented nature of the building/construction legislation and the long duration and inefficiency of the planning process. In order to design a building, all parties involved (client/developer, architectural team, contractors, etc) must be aware of all relevant legal matters surrounding the building project. However, this is easier said than done, as construction legislation is separated into different acts, orders and regulations, all overlapping or superseding each other. For example, albeit the Equality Act 2010 is not technically Building Regulations, Part M of the regulations covers certain aspects that it deems necessary to ensure a building’s design does not discriminate against anybody. Building regulations apply to most building work and most work also requires planning permission. Even though certain types of minor changes to individuals’ houses can be made without planning permission, the ‘permitted development rights’ are yet another ambiguous part of construction legislation. Permitted development rights are set out in The Town and Country Planning (General Permitted Development) Order 1995, but this Order has been amended around 24 times since it was first consolidated, leading to confusion with regards to what developers can and cannot do without planning permission. The constant amendments to legislation, along with the separation of different aspects of the construction legislation (such as Health and Safety, Building Regulations, Equality Act, Party Wall Act) lead to ambiguity and confusion with regards to what developers, design teams and contractors can and cannot do and more often than not their actions have legal consequences. Additionally, checking compliance with all this legislation requires time and thus incurs costs, especially if a lawyer’s expert advice or legal services are needed. The planning process is a non-integrated system that seems to be concerned with achieving standards rather than the development of planning and building processes. As we live in the 21st Century, this is no longer good enough and methods of improvement need to be considered and implemented. A good start would be the consolidation, harmonization and simplification of construction legislation, allowing individuals to familiarize themselves with it and, as such, integrate it into buildings’ designs early on to avoid costly and time-consuming rectifications in the late design stages or during construction. “Rather than thinking, planning became a weird ritualised dance involving alternating and choreographed begging and bullying between the private and public sectors.” Jacob, 2014: online The planning process has been subject to scrutiny and reviewed numerous times; however, it still involves unnecessarily long timeframes. Depending on the project’s complexity, a planning application or listed building consent takes 8-13 weeks to process and building regulation approval takes 5 weeks. This makes the building process very lengthy and costly to most parties involved, especially the client/developer as they incur most applications’ costs, while at the same time pay architects, consultants and authorities for their involvement in these. Are these processes necessary? Yes. Do they need to be that complicated and lengthy? Not really. 38

PART 1 By integrating the planning and building control processes into a project’s design process further, timeframes and costs could be reduced. For example, if pre-application advise was compulsory, not just encouraged, then designers/contractors would be more certain that planning approval would be granted without many amendments or conditions imposed. This would allow them to continue working on the project during the planning application’s decision-making process. However, the processing period still needs to be reduced; 8-13 weeks is simply too long nowadays. The main reason this process takes so long is probably the number of different bodies/persons that need to be consulted during this process, due to the planning officers’ lack of expertise. The Danish planning system, for example, offers much that the UK system can learn from in terms of embedding architects in the planning process; most of the planners are architects and they seem to do a lot better. So, if planning was not in the hands of the local authority, but a separate body of people from different disciplines (such as architecture, urban design, sustainable design, planning, conservation, economics) then all of the decision-makers could be housed in the same offices, allowing for integrated transfer of information, thus easier, faster and more efficient decision-making. These people would base planning decisions on their expertise, yet in line with the government’s development plans for each region and the local authority’s aspirations for different areas. Representatives of the local community could also be part of this body, acting as mediators between the community and the decision-making body. Members of this body could be trained to read and understand the information provided by the applicants (drawings, strategic statements, reports) easier and faster. Finally, BIM could be a very useful tool in making the planning process more efficient and much faster. If embraced by the design community, planning bodies and building control, BIM could provide the possibility for appropriate software to be developed for checking compliance with building regulations within hours, not days and weeks. Computer software could scan and analyse the building’s parameters and determine whether these comply with building regulations. Instead of a building control officer spending weeks going through individual elements/components and aspects of a building, practices could be provided with such software and use it as an integrated and iterative design tool. Designers would be able to test different design solutions’ compliance with regulations, prior to submitting their final proposals for approval to an approved inspector, who would simply use similar software to verify compliance and issue approval upon success. Overall, the building process in the UK appears to be somewhat outdated, delaying development simply on the grounds of ‘you have to follow every single regulation’ instead of seeing the larger picture. Sometimes, planning officers get too caught up with what a building looks like in relation to its surroundings, rather than seeing the economic and social benefits of the overall development to the community. The system needs to be reviewed, regenerating itself to allow for the regeneration of the UK building industry, economy and society in general.

PART 2

REFLECTIVE WORK / ESSAY

THE FUTURE OF THE ARCHITECTURAL PROFESSION

PART 2

INTRODUCTION

Architects have, for a long time now, been highly regarded professionals, integral to the construction industry. They were lead designers, master builders and the intermediate agents between all parties throughout the building process. However, the role of the architect has changed significantly over the years. As building designs and construction has been becoming increasingly complex, the architectural profession has somewhat been fragmented and the role of the architect diminished, with other emerging professions undertaking many of the roles initially carried out by architects. The context in which architects practice has changed and the architectural profession needs to evolve and adapt to the changing needs of the economic, social and political conditions. These transformations have resulted in significant reviews of both the profession and its education system. In order to remain relevant and reclaim a significant role at the heart of the construction industry, architects must think ‘outside the box’ and basically become a ‘jack-of-all-trades’, as the traditional skills and mindset of the creative designer are no longer enough. This paper highlights some of the author’s concerns for the architectural profession. It explores the changing nature and role of the architect over time, though a study of the different socio-economic factors that shaped the contemporary construction industry, and offers certain suggestions of how the industry and the individual architect could evolve to address these, the main ones being taking advantage of the work opportunities provided by the existing building stock and the fundamental reformation of the architectural education and registration system. 43

1.1 - The Architect’s Role and Social Perceptions “It can sometimes seem that the long shadow of the gentleman architect still hangs over the profession, obscuring the fainter, earlier memory of the master builder. Contemporary society has more interest in the latter than the former.” - Jamieson, 2011: 39 Even though the term ‘architecture’ has been in existence for many centuries, the concept of the ‘architect’ as its own recognised profession is a reasonably modern notion. An ‘architect’, in the original meaning of the word, is a ‘master builder’, from the Greek words ‘arch’, meaning chief, and ‘tekton’, meaning carpenter or builder (Chappell and Willis, 2000). This notion of ‘master builder’ has evolved over time, with the discovery of Vitruvius Pollio’s ‘De Architectura’ during the early Renaissance period; the text distinguished the architect from master mason of the time by summarising the knowledge exclusive to the professional architect, hence contributing to the consolidation of architecture as a profession (Designing Buildings, 2013). However, it was Sir John Soane’s definition of the architect in 1788 that created today’s core principles of the profession: “The business of the architect is to make the designs...direct the works...he is an intermediate agent between the employer...and the mechanic.” - Kostof, 2000: 194 The 18th century marked the beginning of the regulated profession, with architects being trained through academies and pupillage in order to be able to practice. Being an architect was perceived as a respected and noble profession, requiring various skills from different sectors. The foundation of the Royal Institute of British Architects in 1834 further defined the role of the architect as lead designer, integral to the building process from inception to completion due to his knowledge, creativity and communication methods. This regulation of the profession, however, resulted in the architect’s title being associated with culture and wealth, mainly due to the required lengthy training’s costs; this meant that only those from a higher-class background could become architects (Wilton-Ely, 1977). To a certain degree, this social perception still exists today. According to research by the Cabinet Office, architecture is the most socially exclusive profession in the UK, ahead of law, medicine and accountancy (Lazell, 2009); the high cost of qualifications, combined with low salaries may deter those from lower socio-economic backgrounds, hence creating a social class barrier. The role of the architect has changed significantly over the past century or so. Between the Second World War and the 1980s, “architecture was a central activity in the construction of civil society” (Jacob, 2014: online). In the 1950s and 60s, architects, as self-confident professionals, were the intellectual leaders for post-war re-building, with most architects being public servants; in their pursuit of a more noble service to society, they were perceived as individuals of social significance (Hyde, 2013; Jacob, 2014). Today, very few architects are employed in the public sector and most of them are not there to design buildings (Jamieson, 2011). The architect’s traditional role is diminishing, with architects isolating themselves to the point that the architectural profession no longer views itself as part of the wider construction industry (Jamieson, 2011). Nowadays, architects have been stripped of a number of their responsibilities, which are being taken over by other professionals. Project Managers, Structural Engineers, Quantity Surveyors and other disciplines have emerged as a result of specialisation and division of labour and have taken on 44

PART 2

1.0 - THE ARCHITECT the roles of the architect. This has lead to the erosion of the architect’s traditional role by positioning him within subsidiary roles. Even though this is somewhat reasonable considering the increased complexity of buildings due to the various advancements in digital and construction technologies, it has resulted in architects not being regarded as a necessity. As we live in a society where we want things to be done quickly and as cheaply as possible, “the separation between what the architects want to do, and the reality of the marketplace” (Jamieson, 2011: 30) has only made the commercially minded engineer and developer more appealing to the general public. With Design and Build contracts on the rise, and a number of other professionals taking on the role and responsibilities of the architect, the architectural profession is largely seen as a luxury available to those with extra money to spend. As discussed, the architect’s presence within the construction process has diminished, making the role of the architect within the contemporary construction industry difficult to define. This is further evidenced by the gap between architects’ self-image and society’s understanding of what they do, which is one of the largest amongst professions (Jamieson, 2011). It is not surprising, therefore, for us to read that “the majority of British adults have little idea what architects do” (Dezeen, 2012: online) and that the profession is in need of a brand overhaul. “Rather than despair or rail against architecture’s prevailing conditions, we need to find new positions for the profession; new arguments for a new terrain. We need to recognise that the context within which we produce architecture has changed and from this form persuasive arguments for its place at the centre of society.” - Jacob, 2014: online Despite the fact that the architect’s role has been fragmented and diluted over time, this does not mean that the architect will cease to exist in the future. Architects have a very broad set of skills that they need to learn to use and implement in various ways; we remain highly valuable. There are opportunities both within traditional and emerging forms of practice and many individuals are actively seeking these out. However, we need to keep an open mind, broaden our horizons and be willing to adapt and engage with the current developments and technological advancements if we are to remain relevant and continue influencing the shaping of the built environment. We remain a profession that brings value to projects through social, environmental and economic benefits to society, providing a service that goes beyond producing a set of drawings. We need to abandon our preconceptions on the role of the architect and be creative in our approach; indeed, the title ‘architect’ needs to become more flexible.

1.2 - The Title of the ‘Architect’ “In the UK, anyone can provide architectural services as long as they do not call themselves an architect. No other built environment professions have their title protected, relying rather on their Chartered status and code of professional ethics.” - Farrell, 2014: online With the traditional role of the architect gradually fading away, the value of the professional title is increasingly being questioned. Currently, in the UK, the title and the professional behaviour associated with it are regulated by the Architect’s Registration Board (ARB), who are there to protect both the use of the title ‘architect’ and the architectural clients’ interests. So in strict terms, an architect is a person trained and licensed by the ARB to plan, design and oversee the construction of buildings and public spaces. Only those who have completed the requirements of the RIBA Parts 1-3 and hold registration with the ARB can legally call and advertise themselves as an ‘architect’. If such an architect also fulfils the requirements of and is registered with the RIBA as well as the ARB, then they receive the title of ‘Chartered Architect’. However, as many architects are now employed in different roles across a variety of disciplines and organisations, it is only a few that actually perform to their full professional capacity in serving the interests of clients. As such, the protected title no longer represents one particular position, but simply reflects an extensive background in architectural education. Following 7 years of studying and practical experience, many architects see the title as a reward and a matter of pride; they have a right to a title that others are not legally permitted to adopt, which is why a number of graduates undertake the RIBA Part 3 exam in the first place. But why do we relish the title so much when we have been more than willing to give away most of the responsibilities that used to adhere to this title and allowed its, and our, influence to diminish? And why is the ARB so strict in its definitions, to the point that it excludes the likes of Daniel Libeskind and Renzo Piano from being referred to as Architects by social media, such as Building Design (Stott, 2013)? Protecting the title for architects “while there is no protection of the function of architectural design is misguided” (Farrell, 2014: online). Young designers are increasingly finding ways around licensure, ultimately meaning that one does not have to be an architect to practice architecture. In many cases, there is only one fully qualified individual overseeing the design team; the work of the team is the same as that of a conventional architectural practice, yet the members of the design team cannot use the title architect if they are not ARB certified. In these cases, the title has become redundant, outdated and more concerned with social and professional status, rather than practical application. According to Fast Company, “the real issue has nothing to do with legality and everything to do with relevance” (Hopkins and Kent, 2013: online). With architects expanding their horizons and working in other disciplines, the strict definition of the architect has become somewhat irrelevant for the work many designers are interested in pursuing (Hopkins and Kent, 2013). The RIBA Building Futures’ ‘The Future for Architects?’ report, finds that the label ‘architect’ is perceived to hold practices back in terms of the type of work they are able to do. The term is viewed as a ‘brand’, dictating assumptions of what you will do, how you will do it and your behaviour (Jamieson, 2011). Companies and individuals have started moving away from the title ‘architect’ in order to broaden their work, branch out in other areas and re-establish the value of their skills and knowledge. This limiting role must change, since currently the ARB and the RIBA are not representative of those entering the profession. 46

PART 2

The education system continues to produce increasing numbers of part qualified architects, who are essentially lost to the profession since they are not recognised under the title, even though they still play an active role within the built environment. Between 2004 and 2009, only 55% of students who completed Part 1 continued to Part 2, whilst 62% fewer registered with the ARB at Part 1 and 17% fewer at Part 2 (Jamieson, 2011). These all lead to the conclusion that a re-definition of the ‘architect’ is necessary and both the ARB and the RIBA should evolve with an understanding of the broader 21st century reality of the profession. Contrary to popular belief, the actual definition of the architect in the English language is that of someone who designs a building, an undertaking or an idea. In the definition, there is no mention of education requirements, legally recognised licenses or other prerequisites; it is the law that defines an architect as a licensed professional (architangent, 2014). Laws are essentially rules that must first be based on the terms’ definitions, or the law will eventually fail its intended purpose; the definition of a thing must exist outside the law and in our case, “the legal interpretation of the definition is failing us” (architangent, 2014: online). Since the definitions of the terms ‘architect’ and ‘architecture’ have changed radically over the years, why hasn’t the law and regulating bodies adapted to reflect these changes? “In the meantime, may I suggest that the answer is staring us in the face? Concentrate on a title that has real value — the gold standard, ‘chartered architect’.” - Oldham, 2009: online The abolishment of the ARB and the professional register is one way of recognising the transformations taking place in the contemporary construction industry. Instead of protecting the title and the professional register, it may be more perceptive to allow individuals to self-regulate through the RIBA, by distinguishing themselves through a chartered status, as in the case of accountants, lawyers, etc. This would demonstrate their extensive educational background and provide the benefits of an institutional reputation, valued by many traditional practitioners (Mark, 2013). Individual practices and organisations should also be allowed to become chartered, when their processes adhere to the regulatory body’s stipulations. Arguably, this could provide greater public protection than the present system by ensuring the quality and professionalism of processes within the industry, while at the same time recognising the importance of organisations and collaborations, rather than individuals, in shaping the built environment. Specialist registers, such as the existing Conservation register, and membership categories could be introduced to accommodate Part 1 graduates who do not progress on to complete Part 2, as well as other individuals who are engaged with architecture but do not hold the educational qualifications. The registers could be opened up to wider applications and the membership categories could potentially be available for specialists from various areas, such as urban regeneration, building information modelling, etc. This would allow the RIBA to regenerate itself and benefit from the valuable contributions of all those involved in contemporary architectural practice, placing the institution back where it started: aiming at ‘… the general advancement of Civil Architecture, and for promoting and facilitating the acquirement of the knowledge of the various arts and sciences connected therewith’ (RIBA, 2015).

2.1 - Emerging Opportunities within the Construction Industry Construction is one of the largest sectors of the UK economy; the industry employs 10% of the UK’s workforce and contributes almost £90billion to the UK economy each year, attributing approximately 6.8% to the UK’s Gross Domestic Product (GDP) (CBI, 2015; Ostime, 2013). It is a very diverse industry that includes various activities, from mining and forestry to infrastructure and buildings’ construction, to products’ manufacture and supply, as well as maintenance, operation and disposal. Like most industries, construction is affected by changes in the global and national economy; it is one of the most affected sectors in times of recession. During the 2008 economic crisis, the architectural profession bore “the brunt of cancelled projects and...job losses” (Ijeh, Lowery and Wright, 2011: online). There was a 760% increase in the number of architects claiming job seeker’s allowance between 2008 and 2009, with architects suffering a 40% reduction in demand for their services from 2008 to 2012 (Jamieson, 2011). Although the economic climate is improving, architects continue to feel marginalised, over-regulated, too exposed to the unstable market and undervalued financially and creatively (Hyde, 2013). Uncertainties within the construction industry raise questions on the limitations of the current modes of practice under the title ‘architect’ and architects are looking for potential opportunities within the wider construction industry. The ‘Future for Architects?’ report, by the RIBA’s Building Futures group, summarises some of the trends that the design and construction industries need to address. It is predicted that over the next decade, growth will return to the industry and that emerging markets will grow much faster than those of more developed markets (Jamieson, 2011). This could provide the opportunity for UK architects to move or expand their operations abroad, so as to secure projects and a good income. However, in order to succeed, these practices will need to educate themselves on foreign construction industries and understand how to design successfully in different climates and cultures. In addition, two other major predictions in the report are that between now and 2050 the global population will grow by 46% and that 70% of the population will live in urban areas (Jamieson, 2011). With this increase in the population and the resultant expansion of cities, there will be an increased need for construction. As such, architects will have the opportunity to specialise in urban planning and dense urban building projects, to improve the quality of life for people living in these new, emerging or expanding cities. “Retrofitting buildings is one of the biggest opportunities for jobs and growth in the UK, but to make such large-scale changes, a significant transformation in the industry is needed.” - Institute for Sustainability, 2012: online Over the past few years, legislative, economic and commercial forces have converged around the need to improve business sustainability, creating an imperative for change in the UK property market. The UK Government aims to reduce greenhouse gas emissions by 80%, by 2050 compared to 1990 levels. The built environment accounts for a significant 44% of UK emissions, 18% of which is from non-domestic buildings (Craven, 2011). If the government’s commitment is to be met, buildings must become more efficient, but this is made very complicated as over 80% of the UK building stock that will exist in 2025 has already been built (Designing Buildings, 2014). As such, retrofitting is a relatively untapped solution that could help cut carbon emissions, especially in large existing commercial building stocks; businesses are motivated by the improved buildings’ performance lowering running costs and energy bills. 48

PART 2

2.0 - THE ARCHITECTURAL PROFESSION “For many companies, retrofitting an existing building can offer a better option than new-build. A total building refresh can be achieved at lower cost and with shorter overall project duration.” - Craven, 2011: online Simply procuring more efficient equipment does not provide ‘deep’ energy retrofits. Deep energy savings are the result of design-centered, holistic approaches to retrofitting, which consider all the interactions in a building’s system (Hart and Olgyay, 2013). Architects practice design leadership and thought integration processes, which are essential in revealing cost effective building load reductions, yielding substantially higher energy savings. Thus, deep energy retrofits basically represent the best way for architects to access a market with major new sources of revenue and enhance their role as “foremost experts on the needs and performance of the built environment” (Hart and Olgyay, 2013). In addition, much of the built infrastructure associated with the UK’s traditional industries has fallen into disuse; companies left behind a large stock of redundant buildings (Nugent, 2002). Government policies have been directed towards re-using such sites. Therefore, renovation projects for redundant or neglected traditional buildings, turning them into modern high-value assets are yet another emerging source of work for architects. Architects could specialize in these projects, as they require a specific skill-set and an appreciation of value that only architects provide. These individuals could also qualify as conservation architects, further establishing their professional expertise on traditional or listed buildings. With work becoming increasingly uncertain and architects’ separation between what they want to do and the reality of the marketplace, “’Going retro’ may be architects’ job opportunity of the future” (Hart and Olgyay, 2013: online).

2.2 - Architectural Practice “In ten years we probably will not call ourselves an architectural practice, it will be something else entirely.” - Jamieson, 2013: 29 Even though architecture as a profession and architectural education have remained relatively unchanged over the last 50 years, architecture in practice has changed considerably in order to respond to dramatic changes in the industry, redefining what architecture can offer society at large. Even though the conventional architectural practice (employing one or more licensed architects and practising the profession of architecture) still exists today, professionals are rethinking traditional business structures, crossing boundaries, taking up new roles, experimenting with other approaches and operating in different ways (Minkjan, 2013). As such, while the construction industry is reforming itself, becoming more complex and dynamic, we can see different types of practices emerging, highlighting potential areas and methods of future growth. Based on the ‘Future for Architects?’ report by the RIBA’s Building Future group, small specialist firms and large interdisciplinary design houses will increase as a result of the changes within the industry. Practices will increasingly integrate horizontally, focusing on specific stages of production and providing targeted services, or vertically, diversifying their activities to adapt to changing market conditions. Large interdisciplinary practices will have the resources to take on work anywhere in the world, while providing a complete package of services; in such firms, architects could be employed for both traditional and managerial positions. Smaller practices will grow by promoting their unique brand, providing specialised services with a more personal touch, as they will be able to work on a project from inception to completion, mirroring horizontally integrated firms (Jamieson, 2011). With the continuing advancement of design and construction techniques, the roles of architects within the overall process of projects will vary, especially due to the increasing forms of procurement and building systems. Architects have the opportunity to specialise in and focus on designing certain aspects of buildings rather than tackling the whole project. Due to contracts such as Design & Build, it will become increasingly common for architects to be appointed in the initial RIBA work stages (0-4). Similarly, smaller specialist firms will form part of an overall process instead of designing a complete building. As certain practices move away from design, future opportunities will be provided for Management contracts, with firms acting as project managers. This is expected to increase as it will allow architects to branch out into other areas of the industry and illustrates the opportunity for different processes and forms of design as the industry evolves (Jamieson, 2011). “Architecture needs a re-boot … Architecture must move beyond the project-shop mentality and evolve using viable, practical business knowledge… without developing new approaches to architecture as a business, architecture as a profession will continue to erode.” - Horton, 2011 It is worrying to read that 62% of RIBA Chartered Practices do not have a business plan and of those that do, only 13% planned beyond a year (Colander, 2013). A business plan is used in the vast majority of industries as a strategic document that identifies the recourses and targets of a company and methods of attaining those goals over a set course of time. This document can help a company attain funding, manage growth, monitor objectives and manage employee requirements, as well as 50

PART 2

delivering a marketing approach. Architects tend to regard architecture as a ‘vocation’ and do not consider that practice is a business (Jamieson, 2011), but in order for the profession to survive, architects need to become more business-savvy. They need to address this lack of financial and economic business skills and learn how to operate within the increasingly sophisticated and complex financial environment of the globalised economy; after all, we do operate within a very competitive market (Jamieson, 2011). “The profession must face up to the reality that the context within which it now practices has changed so dramatically that the skill set required must also shift – financial skills should now be considered core.” - Minner, 2011: online

3.1 - The Structure “Our generation got an enormous amount out of the length of the course, but we didn’t pay for it. When you come out debt-ridden, you think: ‘Did I need all of it, or could I have got what I needed in three or four years?’” - Emerson in Wainwright, 2013: online With dramatic transformations to the construction industry and the nature of contemporary practice, it is vital to reform the actual structure of architectural education and registration /qualification. Professional architectural education has been subject to a relatively stable framework which is based on a model that is 50 years old - with the requirement for Parts 1, 2 and 3 - and is therefore viewed as outdated and isolated from the challenges of contemporary realities. In order to qualify as an architect, any student must hold prescribed qualifications at Part 1 and 2 levels, in addition to the Part 3 award which tests professional competency after a minimum 2 years period in practice (AERG, 2013). Even though this has resulted in a clear and consistent pathway to qualification across institutions, it has lead to a ‘one-size-fits-all’ type of system, which is becoming increasingly exclusive to a large number of individuals. Firstly, architecture is currently the most socially exclusive profession in the UK, ahead of law, medicine and accountancy, not in terms of gender or ethnic minorities by in terms of individuals’ social class (Lazell, 2009). Under the recently introduced tuition fee levels and the added costs of printing, physical modeling, educational trips and living expenses, the average student debt for qualifying architects is around £100,000. Combined with the low starting salaries (£17-21,000 for Part 1s, £2327,000 for Part 2s, and £30-34,000 for Part 3s), the high cost of qualifications exclude students that do not have independent financial means from entering the profession. Student debt is a huge barrier and individuals from lower socio-economic backgrounds are more likely to pursue careers with fewer financial risks. Allowing students to carry out their studies alongside paid work would reduce the huge time commitment and financial burden, this opening access into architecture beyond “the privileged bow-tie wearing gentlemen of yore” (Wainwright, 2013: online). Thus the seven-year, threepart, ‘one-size-fits-all’ training is no longer appropriate as it is far too rigid and leads to lack of accessibility, at a time when architects and design professionals from all backgrounds are needed in order to relate to broader society. Secondly, even though the Part 3 is highly valued internationally, it takes too long for individuals to get qualified, with the average length currently being just under ten years (Klettner, 2013). In recent years, it is unusual for an individual to become qualified within the intended 7 year period as students spend five years in academic study and then find it hard to take on a Part 3 course while they’re busy working. Contemporary industry conditions and new procurement methods make finding the right project that works as a Part 3 case study increasingly difficult, as the person needs to be involved in the chosen project from inception to construction completion. The RIBA is already planning on addressing these issues - of accessibility, cost and length - through the restructure of the three-part course, reducing overall length and increasing time in the industry; the new professional qualifications directive is to be implemented by 2016 (Klettner, 2013). The proposal set out by the RIBA to remove its three parts and instead follow the EU directive setting out the minimum requirement for registering as an architect in Europe as five years of university study (5+0) 52

PART 2

3.0 - REFORMING ARCHITECTURAL EDUCATION or four years in university study supplemented by two years of professional traineeship (4+2), is aimed at bridging the gap between education and practice. This new structure will integrate practical experience within the education process and potentially reduce the time it takes to qualify, whilst aligning it with the EU system (Fulcher, 2013). The new structure has already raised concerns from practitioners, who believe that allowing graduates to join the register with no practical experience immediately after a five-year university course could undermine the professional title by producing underclass architects, neither developed designers not competent practitioners (Fulcher, 2013). If, as discussed previously, instead of protecting the title, we opted for different categories of registration (Part 1 Architect, Architect, Chartered Architect, etc) this would not be an issue. Following five years of education, an individual should be able to register as and call themselves an architect and then perhaps would need to work towards attaining a license to practice; similar to medicine. Doctors attain the title of ‘Doctor’ and are then licensed to practice through experience, gained by practicing their profession. Experience in architecture should not be based on number of years, but on capabilities. If an individual can illustrate sufficient knowledge and practical awareness to practice in a safe, considerate, professional and sustainable way, does it really matter how long they have been in practice for? On the contrary, even with the current qualification system it is often the case that people have very little or unimportant practical experience when qualifying, despite them having worked for a minimum of two years. So the issue does not necessarily lie with the duration of the courses or whether the route to qualification is short/long enough; people should be more concerned with the content and structure of the university courses themselves. Integrating multidisciplinary skills and practical experience within the university system itself, by having students working with practices and other disciplines throughout their studies, could enhance professional insight and hence produce more capable and skilled architects, while addressing the barrier presented by the course’s length (Hunter, 2012).

3.2 - The Content “Architecture today is the product of many disciplines: urban design, planning, cost management, engineering, environmental design, technology, materials science, product development, construction, facilities management … the list goes on. Our education system therefore needs to promote new generations of these wide-ranging professionals, diversely skilled but with a common entrepreneurial approach to collaboration and creativity in problem solving.” - Buchan, 2012: online Architecture is no longer simply about designing buildings, places and spaces. With the overall construction industry and the nature of contemporary practice shifting rapidly, it is essential that architectural education adapts itself in order to best prepare students for the opportunities available. As undertaken in the schools of architecture, design education “appears to be preparing students for models of practice that are no longer in full accord with the current professional context” (Nicol and Pilling, 2000: 5). Many students maintain the traditional view of the professional architect, expecting to find employment as general practitioners in traditional practice since the education system is “over-regulated, sterile and increasingly detached from the needs and aspirations of a wider society” (Buchan, 2012: online). Others, charmed by the image of ‘starchitects’, retain a naïve notion of architecture as a self-perpetuating vocation and remain ignorant of the practice’s social and financial context (Jamieson, 2011). Universities place too much emphasis on aesthetics and conceptual design, with the majority of students’ design projects intently fleeing the real world of people and places, scale and context and retreating into fantasy realms and parallel universes (Schumacher, 2012; Wainwright, 2013). It seems like the ordinary life processes and contemporary realities are viewed as “too boring to merit the avant-garde’s attention” (Schumacher, 2012: online). Architecture courses need to return to the real world as these aesthetically-driven utopian aspects come at the expense of more practical considerations, resulting in “inappropriate basic knowledge of engineering and building equipment, which puts the architect and discipline into dispute with loss of authority” (Meyers, 2012). Architectural courses need to broaden their classes, to include courses in construction, planning, preservation and conservation, along with professional studies that would acquaint students with law, economics, finances and other business-related aspects that they will undoubtedly face in employment, no matter what discipline they choose to practice in. Multi-disciplinary skills would enable graduates to be more employable and marketable, eliminating any pre-conceptions associated with the brand of ‘architect’. Taking into consideration the fact that not everybody who studies architecture wants to be an architect (RIBA, 2013), architecture schools could possibly adopt a method similar to those of studying medicine and law: allowing students to select their course modules based on their interests. With this American-style electives structure, core design studios could stay the same, but universities could offer a wider range of highly specialized and varied humanities, technologies and business modules for students to choose from. Universities could advise on which modules are helpful, necessary or recognized in providing qualification for chartered status or specialist registration, such as conservation or urban planning, with students wanting to complete the full course and become chartered architects engineering their choices to satisfy their specific career objectives. This sort of flexibility would allow students to specialize in what they are interested in, without having to fulfill all of the requirements for professional qualification, as well as providing them with an understanding of multidisciplinary working and the various options available to them following graduation. 54

PART 2

Finally, “architectural education is still geared to producing the solitary genius, rather than today’s collaborator” (Buchan, 2012: online), with students most often working individually, hence abandoning the building projects’ nature as the product of a collaborative effort. Schools do not encourage enough collaboration amongst architecture students, nor do they encourage collaboration with other disciplines (Murray, 2012). Architecture schools need to start working with other trades and professions, planners, developers, the public, etc in order to give students the broad knowledge they will need if they are to deal with the commercial demands of the contemporary construction industry and play an influential role within any design team in order to help create a better built environment. “We must have a holistic education system with recognition that our industry is complex and demanding of multiple skills if we are to deliver excellence. If we are to develop further as a nation in the context of increasing levels of international competitiveness, creativity and innovation must be placed at the core of our education system” - Buchan, 2012: online

PART 2

CONCLUSION

The recent transformation of the construction industry has clearly had a considerable effect on the architectural profession, challenging established conventions and individual roles. While the traditional role of the architect is gradually diminishing, the future of the architect, or whatever these valuable individuals will be called in the future, is far from over. Architects are already actively seeking out new opportunities in both design and management, beyond traditional professional roles, establishing themselves as highly versatile and skilled individuals. While individual efforts are taking place, more collective actions must also be considered through the restructuring of the professional institutions and educational systems to reflect the contemporary state of the profession. Statutory protection of the title of the architect is becoming increasingly outdated, while protection of the function is being considered as a more appropriate way of protecting architecture and clients. Merging the ARB and the RIBAâ&#x20AC;&#x2122;s functions and allowing a system of self-regulation through the RIBA could be better suited in reflecting the varied roles of contemporary architects and others engaged in forming the built environment. Educational reform is essential to allow students to pursue their own individual interests and position themselves accordingly, if they are to take advantage of the opportunities available within contemporary forms of practice. Change is inevitable and architects must accept this and learn to adapt and evolve, embracing the new context in which they practice. If they do not re-evaluate their role both within the industry and society at large, understand the value of their broad skill-set and question the boundaries of what is considered architecture, the profession will continue to erode and architects will make themselves obsolete to present-day society. 57

AERG (2013) ‘Pathways and Gateways: the structure and regulation of architectural education’. The UK Architectural Education Review Group. [Online] [Last accessed 24.01.2015] http://people.bath. ac.uk/absaw/files/Preliminary%20Report%20-%20Pathways%20and%20Gateways.pdf Architangent (2014) ‘War of the Worlds’. Architangent. [Online] [Last accessed 25.01.2015] http:// architangent.com/2011/06/war-of-the-words/ Buchan, P. (2012) ‘Architectural education is over-regulated and sterile’. Architects’ Journal. [Online] [Last accessed 24.01.2015] http://m.architectsjournal.co.uk/8638038.article CBI (2015) ‘Business Issues: Construction’. Confederation of British Industries. [Online] [Last accessed 26.01.2015] http://www.cbi.org.uk/business-issues/construction/ Chappell, D. and Willis, A. (2000) The Architect in Practice. 8th ed. Oxford: Blackwell Science Colander (2013) ‘RIBA Business Benchmarking 2012/13 Executive Summary’. RIBA. [Online] [Last accessed 25.01.2015] http://www.architecture.com/Files/RIBAProfessionalServices/Practice/Benchmarking/RIBABusinessBenchmarkingExecutiveSummary201213.pdf Craven, D. (2011) ‘Retrofitting commercial building stock still an untapped solution’. The Guardian. [Online] [Last accessed 24.01.2015] http://www.theguardian.com/sustainable-business/blog/retrofitting-commercial-buildings-stock-untapping Designing Buildings (2013) ‘The Architectural Profession’. Designing Buildings Ltd. [Online] [Last accessed 26.01.2015] http://www.designingbuildings.co.uk/wiki/The_architectural_profession Designing Buildings (2014) ‘UK Construction Industry’. Designing Buildings Ltd. [Online] [Last accessed 26.01.2015] http://www.designingbuildings.co.uk/wiki/UK_construction_industry Dezeen (2012) ‘The British public don’t understand the role of the architect’. Dezeen. [Online] [Last accessed 26.01.2015] http://www.dezeen.com/2012/07/19/the-british-public-dont-understand-the-roleof-the-architect/ Farrell, T. (2014) The Farrell Review of Architecture and the Built Environment. [Online] [Last accessed 25.01.2015] http://www.farrellreview.co.uk/download Fulcher, M. (2013) ‘Profession divided over RIBA’s shake-up of architectural education’. Architects’ Journal. [Online] [Last accessed 24.01.2015] http://m.architectsjournal.co.uk/8656606.article Hart, Z. and Olgyay, V. (2013) ‘”Going retro” may be architects’ job opportunity of the future’. Rocky Mountain Institute. [Online] [Last accessed 24.01.2015] http://blog.rmi.org/blog_2013_06_19_going_retro_may_be_architects_job_opportunity_of_the_future 58

PART 2

REFERENCES Hopkins, S. and Kent, B. (2013) ‘Daniel Libeskind is no Architect’. Co.Design. [Online] [Last accessed 25.01.2015] http://www.fastcodesign.com/3021001/innovation-by-design/daniel-libeskind-is-no-architect Horton, G. (2011) ‘The Indicator: The Next Architecture, Part 1’. ArchDaily. [Online] [Last accessed 26.01.2015] http://www.archdaily.com/?p=116844 Hunter, W. (2012). ‘Alternative Routes for Architecture’. The Architectural Review [Online] [Last accessed 24.01.2015] http://www.architectural-review.com/essays/alternative-routes-for-architecture/8636207.article Hyde, R. (2013). Future Practice: Conversations from the edge of Architecture. New York: Routledge Ijeh, I. Lowery, D. & Wright, E. (2011) ‘Architects and Recession: Battered, Bruised and Broke’. Building.co.uk [Online] [Last accessed 26.01.2015] http://www.building.co.uk/architects-and-recessionbattered-bruised-and-broke/5012558.article Institute for Sustainability (2012) Retrofit insights: Perspectives for an emerging industry. Institute for Sustainability. [Online] [Last accessed 25.01.2015] http://www.instituteforsustainability.co.uk/uploads/File/KeyFindings.pdf Jacob, S. (2014) ‘We’ve got 99 problems but architecture ain’t one’. Dezeen. [Online] [Last accessed 21.01.2014] http://www.dezeen.com/2014/04/04/it-is-absolutely-beyond-belief-how-bad-so-much-of-british-architecture-is/ Jamieson, C. (2011) The Future of Architecture? [Online] [Last accessed 26.01.2015] http://www.buildingfutures.org.uk/projects/building-futures/the-future-for-architects/the-future-for-architects-report/ Kostof, F. (1977) The Architect: Chapters in the History of a Profession. New York: Oxford University Press Klettner, A. (2013) ‘RIBA and ARB team up to overhaul architectural education’. bdonline. [Online] [Last accessed 25.01.2015] http://www.bdonline.co.uk/ news/riba-and-arb-team-up-to-overhaul-architectural-education/5060840.article Lazell, M. (2009) ‘Architecture is most exclusive profession’. bdonline. [Online] [Last accessed 26.01.2015] http://www.bdonline.co.uk/architecture-is-most-exclusive-profession/3142533.article Mark, L. (2013) ‘Profession hits out at shake-up of RIBA membership categories.’ Architects’ Journal. [Online] [Last accessed 24.01.2015] http://www.architectsjournal.co.uk.ezproxy.mmu.ac.uk/news/ professionhits-out-at-shake-up-of-riba-membershipcategories/8653533.article Meyers, A. (2012). ‘Future oriented education and practice “Architect- Artist or Architect-Engineer? His place in the hierarchy, the pecking order” [Online] [Last accessed 25.01.2015] http://www.academia. edu/3584402/Discussion_FUTURE_OF_THE_ARCHITECTURAL_PROFESSION_ARTIST_OR_ENGINEER_ 59

Minkjan, M. (2013) ‘Is the Architectural Profession Still Relevant?’. Failed Architecture. [Online] [Last accessed 26.01.2015] http://www.failedarchitecture.com/is-the-architectural-profession-still-relevant/ Minner, K. (2011) ‘What will the architecture profession look like in 2025?’. ArchDaily. [Online] [Last accessed 25.01.2015] http://www.archdaily.com/118441/what-will-the-architecture-profession-looklike-in-2025/ Murray, C. (2012) ‘Does architectural education need an overhaul?’. Architects’ Journal. [Online] [Last accessed 24.01.2015] http://www.architectsjournal.co.uk/comment/does-architectural-educationneed-an-overhaul/8638620.article Nicol, D. and Pilling, S. (2000) Changing Architectural Education: Towards a New Professionalism. London: Spon Press Nugent, R. (2002) ‘The Re-Use of Industrial Buildings’. BuildingConservation.com. [Online] [Last accessed 25.01.2015] http://www.buildingconservation.com/articles/indusbldgs/indusbldgs.htm Oldham, G. (2009) ‘Should protection of the title ‘architect’ be abolished?’. bdonline. [Online] [Last accessed 24.01.2015] http://www.bdonline.co.uk/should-protection-of-the-title-architect-be-abolished?/3134938.article Ostime, N. (2013) Handbook of Practice Management. 9th Edition. London: RIBA Publishing. RIBA (2013) ‘RIBA Influences Professional Qualifications Directive Changes’. RIBA. [Online] [Last accessed 24.01.2015] http://www.architecture.com/RIBA/Contactus/NewsAndPress/NewsArchive2002-2012/RIBANews/News/2013/RIBAinfluencesprofessionalqualificationsdirectivechangesandoutlinesprinciplesforfutureeducationreform.aspx RIBA (2015) Our History, Charter and Byelaws. [Online] [Last accessed 23.01.2015] http://www.architecture.com/RIBA/Aboutus/Whoweare/Ourhistory.aspx Schumacher, P. (2012) ‘Schumacher Slams British Architectural Education’. The Architectural Review. [Online] [Last accessed 24.01.2015] http://www.architectural-review.com/folio/schumacher-slamsbritish-architectural-education/8625659.article Stott, R. (2013) ‘Does the Title of “Architect” Deserve to be Protected?’. Archdaily. [Online] [Last accessed 25.01.2015] http://www.archdaily.com/446771/does-the-title-of-architect-deserve-to-be-protected/ Wainwright, O. (2013) ‘Towering Folly: Why Architectural Education in Britain is in Need of Repair’. The Guardian. [Online] [Accessed on 30th March 2014] http://www.theguardian.com/artanddesign/architecture-design-blog/2013/may/30/architecturaleducation-professional-courses Wilton-Ely, J. (1977) ‘The Rise of the Professional Architect in England’, in Spiro Kostof (ed.) The Architect: Chapters in the History of the Profession. New York: Oxford University Press. 60

PART 2

APPENDICES

Part 1 Bibliography

ARB (2013) Code of Conduct 2010. [Online] [Last accessed 10.01.2015] http://arb.org.uk/code-of-conduct-2010 Chappell, D. and Willis, A. (2000) The Architect in Practice. 8th ed. Oxford: Blackwell Science Chappell, D. (2008) Standard Letters in Architectural Practice. 4th ed. Blackwell Publishing: Oxford Department for Communities and Local Government. (2012) National Planning Policy Framework. Unknown place of publication: Department for Communities and Local Government. [Online] [Last accessed 21.01.2015] https://www.gov.uk/government/uploads/system/uploads/attachment_data/file/6077/2116950.pdf Department for Communities and Local Government. (2013) Party Wall etc Act 1996 Explanatory Booklet. Uknown place of publication: Department for Communities and Local Government. [Online] [Last accessed 15.01.2015] https://www.gov.uk/government/uploads/system/uploads/attachment_data/file/393927/Party_Wall_ etc__Act_1996_-_Explanatory_Booklet.pdf GOV.UK. (2014a) Planning Portal. [Online] [Last accessed 20.01.2015] http://www.planningportal.gov.uk/buildingregulations GOV.UK. (2014b) Tendering for Public Sector Contracts. [Online] [Last accessed 20.01.2015] https://www.gov.uk/tendering-for-public-sector-contracts/overview HSE. (2014) Health and Safety in the Construction Industry. [Online] [Last accessed 14.01.2015] http://www.hse.gov.uk/construction/index.htm Jacob, S. (2014) ‘We’ve got 99 problems but architecture ain’t one’. Dezeen. [Online] [Last accessed 21.01.2015] http://www.dezeen.com/2014/04/04/it-is-absolutely-beyond-belief-how-bad-so-much-of-british-architecture-is/ The Killian Pretty Review. (2008) Planning applications: A faster and more responsive system. Unknown place of publication: Department for Communities and Local Government. [Online] [Last accessed 21.01.2015] http://www.planningportal.gov.uk/uploads/kpr/kpr_final-report.pdf Lupton, S. (ed.) (2000) Architect’s Job Book. 7th ed. London: RIBA Publications Manchester City Council. (2010a) Full and Outline Planning Applications: Is your Application Valid?. Unknown place of publication: Manchester City Council. [Online] [Last accessed 15.01.2015] http://www.manchester.gov.uk/downloads/download/4082/planning_application_validation_checklists Manchester City Council. (2010b) Listed Building Planning Applications: Is your Application Valid?. Unknown place of publication: Manchester City Council. [Online] [Last accessed 15.01.2015] http://www.manchester.gov.uk/downloads/download/4082/planning_application_validation_checklists

BIBLIOGRAPHY RIBA. (2005) Code of Professional Conduct. Unknown place of publication: Royal Institute of British Architects. [Online] [Last accessed 10.01.2015] http://www.architecture.com/Files/RIBAProfessionalServices/ProfessionalConduct/DisputeResolution/ProfessionalConduct/RIBACodeOfProfessionalConduct.pdf RIBA. (2010) Architectâ&#x20AC;&#x2122;s Handbook of Practice Management. 8th ed. London: RIBA Publishing RIBA. (2013) RIBA Plan of Work 2013. [Online] [Last accessed 12.01.2015] http://www.architecture.com/TheRIBA/AboutUs/Professionalsupport/RIBAOutlinePlanofWork2013. aspx#.Uzqh2txsCXI RICS. (2014) Professional Guidance. [Online] [Last accessed 13.01.2015] http://www.cucirca.eu/7th-heaven-season-5-episode-12-one-hundred TCPA. (2010) The Future of Planning Report: Distilling the TCPA Roundtable Debates. Unknown place of publication: Town and Country Planning Association. [Online] [Last accessed 20.01.2015] http://www.tcpa.org.uk/data/files/tcpa_futureplanning_report.pdf