Professional Studies Coursework: Full Report

S H A H R U L

R I D H W A N

S H A H R U D D I N

PROFESSIONAL STUDIES

16

UPDATED

PROFESSIONAL STUDIES

PART

1

// PROJECT CONTROL COLLABORATIVE GENERIC DOCUMENT/ REPORT INDIVIDUAL LETTER INDIVIDUAL CRITICAL APPRAISAL

PART

2

SHAHRUL

// BUSINESS CONTROL AND DIVERSE PRACTICE REFLECTIVE ESSAY + SELF - APPRAISAL

RIDHWA N SHAHRUDDIN 14051175

PART

1

// PROJECT CONTROL COLLABORATIVE GENERIC DOCUMENT/ REPORT INDIVIDUAL LETTER INDIVIDUAL CRITICAL APPRAISAL

You are to arrange yourselves into fictitious architectural practice groups of c10 persons and organise your structure to ensure proper collaboration and coordination of the project, you may select your own practice name and form of practice.

You will act as though the practice has been asked to undertake a small project which is to be an extension and alteration to a listed building to provide community facilities within a budget of c £500,000 total including VAT, All design team Fees , Charges, Equipment and Furniture as required, assume your practice is not VAT registered and that the client ,as a VAT registered business, will recover VAT. The practice intends to produce a standard generic [neutral] office document/report to be issued to clients intended to explain to the client all the main stages of the full architectural services for various project stages.

The work in producing this should be done as a collaborative practice group team exercise between you as a team of assistant architect members, each having an equal time and quantity input.

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http://oakhallchurch.org.uk/heading-towards-a-planning-application-this-month/

PROFESSIONAL STUDIES COLLABORATIVE REPORT

AIM

ARCHIECTS IN THE MAKING

AIM

AIM Members: Alexandru Trofin Charles Butterwick Chen Chang Farhad Bakht Jana Kefurtova Jennifer Sewart Michael Orengo Paulina Kowalska Raluca Pop Shahrul Ridhwan Shahruddin

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CONTENTS 1. WHY USE AN ARCHITECT? 1 2. COVENANTS, EASEMENTS , PARTY WALL ACT PROCEDURES AND THE RIGHT TO LIGHT 9 3. PROJECT PLAN AND THE ROLE OF THE PROJECT MANAGER 19 4. TENDERING, PROCUREMENT AND CONTRACTS 31 5. BRIEFING AND SPECIFICATION 47 6. PLANNING PERMISSION 55 7. LISTED BUILDING CONSENT 67 8. VIABILITY, VALUE MANAGEMENT AND COST CONTROL 79 9. BUILDING REGULATIONS, HEALTH & SAFETY AND THE EQUALITY ACT 10. PROGRAMME OF WORK

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BIBLIOGRAPHY 105

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WHY USE AN ARCHITECT? Text by Raluca Pop

Reasearch by Raluca Pop, Charles Butterwick, Alexandru Trofin

The aim of this chapter is to discuss what advantages clients have when using an architect for their building projects.

In order to do that, the terms ‘registered architect’, ‘RIBA chartered member’ and ‘RIBA chartered practice’ will be explained.

Image from https://www.pinterest.com/pin/438678819926832516/

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REGISTERED ARCHITECT The Architects Registration Board is an independent, public interest body established by the Parliament in 1997 to regulate the architects’ profession in the UK. The ARB maintains a Register of Architects and only persons whose names are on the register are legally allowed to use the title ‘architect’ in practice. Its role is to make sure that architects meet good standards of conduct and practice, for the benefit of the public.

The ARB is also the authority that implements and administers the standards for architectural qualifications in the UK, in accordance with the provisions of the Professional Qualifications Directive 2005/35/EC (Chappell & Willis, 2010). There are different routes to becoming a registered architect depending on where the applicant has obtained his qualifications, but the role of the ARB is to ensure that the education and training of candidates is of an acceptable level, no matter where it took place. This ensures that all persons who hold the title ‘architect’ can provide a guaranteed minimum level of competence and professionalism to their clients.

Continuing Professional Development (CPD) The ARB is not only concerned with how architects become registered, but it also recognizes that they need to take time to keep up to speed with any changes and innovations relevant to their professional work.

To achieve that, the ARB recommends architects to undertake CPD in the form of discussions with colleagues, seminars, conferences, further academic study, research and writing articles for publication, reading architectural press etc.

Chappell & Willis (2010) note that the ARB emphasizes output rather than input in CPD in terms of hours spent per year. This is different to the more prescriptive approach to CPD of the Royal Institute of British Architects, which will be discussed in the next section of this chapter.

The Architects Code Any ARB registered architect must act in accordance with the The Architect’s Code. The code reads that:

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‘As an architect you are expected to: 1.

Be honest and act with integrity

2.

Be competent

3.

Promote your services honestly and responsibly

4.

Manage your business competently

5.

Consider the wider impact of your work

6.

Carry out your work faithfully and conscientiously

7.

Be trustworthy and to look after your client’s money properly

8.

Have appropriate insurance arrangements

9.

Maintain the reputation of architects

10.

Deal with disputes or complaints appropriately

11.

Co-operate with regulatory requirements and investigations

12.

Have respect for others.’ (Chappell & Willis, 2010:32)

In short, obeying the code means that a registered architect: 1.

Will not make statements that are misleading and will always disclose any possible conflict

of interest; 2.

Has the skills to carry out any professional work he undertakes and keeps his knowledge

and skills up to date; 3.

Will promote his services in a truthful manner and will not attempt to mislead through

advertising; 4.

Is able to provide adequate financial, professional and technical resources when entering

a contract; any work will be subject to written agreement with the client; 5.

Should take into account the environmental impact of the professional activities;

6.

Will adhere to project time-scale and cost limits agreed with the client and keep the client

informed of the progress of work; 7.

Will keep record of the client’s money and account for it at all times;

8.

Will have adequate Professional Indemnity Insurance cover to meet a claim, in accordance

with the ARB guidance; 9.

Will conduct himself in a way that does not bring the profession into disrepute and will be

responsible with professional finances; 10.

Will have a written procedure to handle complaints promptly;

11.

Will co-operate with the ARB when prompted;

12.

Will treat everyone fairly and not discriminate.

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Complaints procedure Any serious deviation from the code of conduct can lead to a complaint being filed with the ARB against the architect. A disciplinary tribunal, known as the Professional Conduct Committee, judges all allegations and determines whether the architect’s actions amounted to unacceptable professional conduct or serious professional incompetence. The Committee has the power to reprimand, give a fine of up to £5000, suspend for up to two years or erase an architect from the Register, depending on the circumstances.

The Committee works within the Architects Act 1997 so it cannot deal with some aspects of complaints that come under the jurisdiction of courts or are covered by general law. For example, it cannot award compensation, deal with matters related to criminal activity, copyright or employment issues and disputes about contracts or fee levels.

RIBA CHARTERED ARCHITECT AND CHARTERED PRACTICE As discussed in the first part of this chapter, anyone practising as an architect in the UK must be registered with the Architects Registration Board. In addition, architects can be chartered members of the Royal Institute of British Architects, which allows them to use the title ‘chartered architect’ and the affix RIBA. RIBA is a charitable institution that received its royal chartered status in 1837. It acts as a collective voice on behalf of its members and the profession. Its mission statement set out in the 19th century established its purpose: “… the general advancement of Civil Architecture, and (…) promoting and facilitating the acquirement of the knowledge of the various arts and sciences connected therewith…”

Membership categories There are different individual membership categories depending on the qualifications and practicing status of the individual, ranging from Student Membership to Affiliate Membership - for those with a professional interest in architecture who are not qualified as architects. Chartered Membership includes only fully qualified, ARB registered architects who are practising in the UK.

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In addition to the individual memberships, the RIBA offers an option for practices, the RIBA Chartered Practice. This is aimed at RIBA chartered members who run their own practice, regardless of size. According to the RIBA, chartered practices need to meet strict eligibility criteria: •

They employ a required number of RIBA chartered architects;

•

They are covered by appropriate Professional Indemnity Insurance;

•

They have a Quality Management system;

•

They have comprehensive Health&Safety and Environmental policies in place.

For these reasons, the RIBA recommend clients to use chartered practices and chartered architects (RIBA, 2015). A full list is provided on the RIBA website.

Code of Conduct Similarly to the ARB, the RIBA also has a code of practice – the Code of Conduct – by which all members must abide. The code sets out the high standard expected of members’ behaviour with each other and in relation to clients and the public at large (Chappell & Willis, 2010). The code has three main principles set out below: 1.

Integrity (“Members shall act with honesty and integrity at all times”)

2.

Competence (“In the performance of their work Members shall act competently,

conscientiously and responsibly. Members must be able to provide the knowledge, the ability and the financial and technical resources appropriate for their work.”)

3.

Relationships (“Members shall respect the relevant rights and interests of others.”).

RIBA also provides a detailed guide on the Code, which give substantial advice on conflict of interest, confidentiality, competition, advertising, appointments, insurance, employment etc.

Complaints and dispute resolution When members fall short of achieving the standards of the Code, a formal complaint may be filed with RIBA through its professional conducts complaints procedure.

The RIBA has a process in response to complaints that involves trying to resolve the dispute through an alternative dispute resolution process (ADR) at an early stage. When that is not possible and the member contravened the Code of Conduct, he will be subject to an investigation. After a Hearing, a panel can decide to reprimand privately or publicly, suspend or expel from the Institute.

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Similarly to the ARB, the RIBA has limited powers and it cannot award compensation or damages against a member, fine a member, guarantee the quality of a member’s work or compel a member to undertake remedial works (RIBA, 2015).

Continuing Professional Development (CPD) Unlike the ARB, the RIBA introduced mandatory CPD for chartered members. For as long as they practice, they are obliged to participate in a system based on points, time and a core curriculum.

The minimum requirements are: -

100 points/year

-

35 hours/year (of which at least 17.5 hours from the set curriculum and 2 hours in Health

& Safety CPD) -

Half of the CPD should be structured (done in a classroom or lecture setting in seminars

and conferences) -

Record the CPD (preferably online).

To ensure that CPD is taken seriously, a random sample of 5% of RIBA chartered members will be required to show evidence of CPD by way of a record sheet. Refusal to co-operate may lead to expulsion from the RIBA (Chappell & Willis, 2010).

CONCLUSION By using an ARB registered architect, clients can expect a competent level of service from a fully qualified professional who will always act in the client’s interest.

Using a RIBA chartered member ensures that the architect will have undertaken CPD and has a good and maintained level of experience.

Both the ARB and RIBA have well-defined standards and rules that their members need to follow, including holding adequate PI insurance. In addition, both institutions offer a platform for dispute resolution and complaints procedures.

All the reasons described above ensure efficiency and quality of investment when using an architect.

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COVENANTS, EASEMENTS , PARTY WALL ACT PROCEDURES AND THE RIGHT TO LIGHT Text by Michael Orengo Reasearch by Michael Orengo, Jennifer Sewart

COVENANTS What are covenants?

Covenants are contracts set by person on dominant tenement over subservient tenement . They are a promise from one landowner (covenantor), to another landowner (covenantee).

Covenants can be positive requiring action to be undertaken on land or negative (restictive) preventing anything from being done on the land.

If the Promise is broken?!

Covenantor gets court order to stop covenantee from using the space as they are.

Covenantor may get award of damages i.e. have compensation paid to him.

Discovering if there are covenants on land?!

The covenants are registered in the Land registry records.

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Scenario 1 If A sells the land to B he can

put the following

restrictive covenants: Restrict B from building structures exceeding 3 metres (negative).

Require B to plant 3 trees (positive).

Require B to maintain ROAD that is right of way (positive).

Enforcing restrictve covenants 1. If Plot A is sold to a new buyer (and/or subdivided and sold to more than one new buyer), then the new buyer has the right to enforce covenants in place on owner of plot B. 2. If Plot B is sold to a new buyer (and/or subdivided and sold to more than one new buyer), then owner of PLOT A has the right to enforce the covenants agreed upon. The only time he does not have the right to enforce is if: The original covenant entered was for the benefit of PLOT A’S land at the original date of creation.

Thus the benefit of the land has changed and can be reconsidered.

The original parties in the covenant developed the covenant due to personal preferences The land/covenant is not registered in the land registry

Enforcing Positive Covenants Positive Covenants such as upkeep of rights of way(easement) are applicable to new buyers only if the right of way is used by the new buyer.

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EASEMENTS

Easements are laws allowing person(s) in a parcel of land known as a dominant tenement to have specified rights over a neighbouring parcel of land known as the subservient tenement.

The creation of easements occurs when land is being exchanged by two different parties. i.e. selling, buying, leasing, renting land.

The owner of the land known as the subservient tenement should be able to develop the land as they wish without affecting the specified actions that the easement allows the dominant tenement to perform on their land.

How are Easements created?!

1. Easements are created through express grant/deed of grant 2. Access to the a main highway is through the subservient tenement and the only way for the person in the dominant tenement to gain access to the highway is through the subservient tenement. This easement is created by Necessity.

3. When a path/road is used repeatedly for a period of over 20 years an easement is created by prescription. Easements by prescription use the ‘underlying tenet of English law that exercising a right for a long period of time, without interference, should be capable of legitimisation.’ bHowever one should not use the subservient tenement for self interest.

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Types of Easements PRIVATE RIGHT OF WAY A) Pedestrian right of way Allows person to : •

Pass and re-pass along specified route

•

Push wheelbarrow, wheel bicycle (not ride)

•

Carry load along right of way.

Features: A gate is not considered an obstruction as long as person in dominant tenement has access through gate i.e. with a key.

If right of way is obstructed servient tenement owner offers a diversionary route.

Owner of servient tenement cannot expect a widening of the right of way, he must use the right of way as specified in the grant.

B) Vehicular right of way Allows person in dominant tenement to : •

Drive permitted weight. height & width on specified section of servient tenement.

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Stop vehicle adjacent to dominant tenement to load/unload vehicle

•

Use right of way to avoid oncoming traffic on main road

Does not allow to use as parking.

PARKING EASEMENTS The landowner grants easements permitting parking on his land.

It is a permanent right attached to the land of the dominant tenement. It persists after the land is sold to new owners.

Parking easements can occur through prescription as well.

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RIGHT OF SUPPORT A) Party wall If a tenant demolishes a house an easement can be created requiring the tenant that demolishes to provide support that the demolished house will undo (continued in party wall section on next page).

B) Retaining wall In excavation circumstances, right of support pertaining to retaining walls that support higher ground also apply.

RIGHT TO LIGHT The land itself has right to light. Not the individuals living within. Thus at times the growth of trees or structures can be restricted in order for neighbouring plot to have light.

RESTRICTIVE COVENANTS deal with the control of structures growing and blocking light paths better than easements.

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PARTY WALL PROCEDURES Party wall procedures in accordance to the Party Wall Act 1996 cover the following types of work : 1. Alterations to a shared (party wall) .

2. The construction of new walls on the boundaary and excavation work close to a neighbouring property.

3. Extension of a property.

Requirements of person with plans to carry out above works : 1. Serve notice and obtain adjoining cowners consent. If theres is no consent the party wall act requires chartered surveyors to be hired to resolve the dispute. following this an award (also known as a party wall agreement ) is granted allowing works to take place. (see party wall agreement section).

Notices are to be handed to adjoining owners in the duration of 1-2 months.

Types of notice A party structure notice (2 months) contains name and address of building owner, nature and particulars of the proposed work and date on which the work will begin.

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An Adjacent Excavation Notice (2months) informs of depth of excavation img 1 and img.2 as well as the same information in the party structure notice.

Line of Junction Notice (1month) is similar to party structure notice informing construction of new walls adjacent/astride of a boundary.

Party Wall Agreement This document deals with the disputes between members that share party walls. This is a document produced by two chartered building surveyors acting on behalf of two opposing parties that are concerned with new construction works affecting party walls.

The agreement consists of : 1. An award, that sets guidelines on how the proposed works should progress.

2. A schedule of condition of the adjoining property, supported by photographic evidence.

3. Drawings showing details of proposed works.

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Party Wall Procedures in accordance with the further guidelines on the Party Wall Act and Rights to Light The objective is to enable development with respect to the presence of a party wall.

The first step is to give your neighbour notice on any party wall works that may take place. If there is no response in 14 days then it is deemed and you can carry on with planned works. If there is no respone and works are carried out the owner carrying out must be careful not to bring damage to the supporitng party wall. If so, this owner can be forced to pay compensation to his/her neighbouring owner as a penalty.

Clients need to be clear in setting the boundaries. It is recommended that boundary surveyours are hired in order to be certain on what is a boundary and what is a party wall.

Where party wall is beneficial to both owners 50/50 cost to both. where it is beneficial to one owner this respective owner bears the cost.

Party wall surveyors are not permitted to determine boundaries this can lead to faulty awards thus boundary surveyors are hired.

The Right to light is a right of the property. If a building on a property that has The RIght to Light is demolished, the RIght to Light is maintained for a new building if it has openings of the same size and in the same location.

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PROJECT PLAN AND THE ROLE OF THE PROJECT MANAGER Text by Shahrulridhwan Shahruddin, Raluca Pop Reasearch by Shahrulridhwan Shahruddin, Raluca Pop

PROJECT PLAN The project plan is a process map for the building design team. It consists of all the process of project development from the design preparation stage until use.

RIBA stage 0,1

Assess

PREPARATION

RIBA stage 2, 3

RIBA stage 4

RIBA stage 5

Develop

DESIGN

RIBA stage 6, 7

Deliver

STRATEGIC DEFINITION

CONSTRUCTION

USE

Control

The Plan of Work The RIBA Plan of Work 2013 organises the processes of briefing, designing, constructing, maintaining, operating and using buildings into a number of key stages. It details the tasks and outputs required at each stage, which may vary or overlap to suit specific project requirements (RIBA, 2013).

The RIBA Plan of Work 2013: •

acts across the full range of sectors and project sizes

•

provides straightforward mapping for all forms of procurement

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•

integrates sustainable design processes

•

maps Building Information Modelling (BIM) processes, and

•

provides flexibility in relation to (town) planning procedures.

The RIBA Plan of Work 2013 itself is not a contractual document: it directs readers to various tools and supplementary core documents used by a project team, including documents relating to professional services contracts, Schedules of Services and project protocols, which may or may not be contractual, and to the various forms of commonly used Building Contracts.

The continuous cycle Buildings are refurbished and reused or demolished and recycled in a continuous cycle. If building outcomes are to improve, better briefing processes will be required. More importantly, feedback from completed projects must be available to inform subsequent projects. The RIBA Plan of Work 2013 recognises the stages that a building project goes through and promotes the importance of recording and disseminating information about completed projects (The RIBA Plan of Work 2013 Overview, 2013).

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0 Strategic Definition Stage 0 is used to ensure that the client’ Business Case and the Strategic Brief have been properly considered before the Initial Project Brief is developed.

The Strategic Brief may require a review of a number of sites or alternative options, such as extensions, refurbishment or new build. By asking the right questions, the consultants, in collaboration with the client, can properly define the scope for a project, and the preparation and briefing process can then begin (RIBA, 2013).

1 Preparation and Brief Several significant and parallel activities need to be carried out during Stage 1 Preparation and Brief to ensure that Stage 2 Concept Design is as productive as possible. These split broadly into two categories: •

developing the Initial Project Brief and any related Feasibility Studies

•

assembling the project team and defining each party’s roles and responsibilities and the

Information Exchanges.

The preparation of the Initial Project Brief is the most important task undertaken during Stage 1.

The time required to prepare it will depend on the complexity of the project.

When preparing the Initial Project Brief, it is necessary to consider: •

the project’s spatial requirements

•

the desired Project Outcomes, which may be derived following Feedback from earlier and

similar projects •

the site or context, by undertaking site appraisals and collating Site Information, including

building surveys •

the budget.

A project Risk Assessment is required to determine the risks to each party. The development of the procurement strategy, Project Programme and, in some instances, a (town) planning strategy are all part of this early risk analysis.

The importance of properly establishing the project team cannot be underestimated, given the increasing use of technology that enables remote communication and project development using BIM. For Stage 2 to commence in earnest, it is essential that the team is properly assembled (RIBA, 2013).

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2 Concept Design The Overview of The RIBA Plan of works 2013 indicates that during Stage 2, the initial Concept Design is produced in line with the requirements of the Initial Project Brief.

The project team also develops, in parallel with the Concept Design, a number of Project Strategies.

Their importance at this stage will depend on how they are to influence the Concept Design. For example, the Sustainability Strategy is likely to be a fundamental component of the Concept Design, whereas a security strategy may have minimal or no impact and can therefore be developed during a later stage (RIBA, 2013).

It is essential to revisit the brief during this stage and it should be updated and issued as the Final Project Brief as part of the Information Exchange at the end of Stage 2.

In parallel with design activity, a number of other related tasks need to be progressed in response to the emerging design, including a review of the Cost Information, the development of a Construction Strategy, a Maintenance and Operational Strategy and a Health and Safety Strategy and updating of the Project Execution Plan.

3 Developed Design During this stage, the Concept Design is further developed and, crucially, the design work of the core designers is progressed until the spatial coordination exercises have been completed. This process may require a number of iterations of the design and different tools may be used, including design workshops.

By the end of Stage 3, the architectural, building services and structural engineering designs will all have been developed, and will have been checked by the lead designer, with the stage design coordinated and the Cost Information aligned to the Project Budget.

Project Strategies that were prepared during Stage 2 should be developed further and in sufficient detail to allow the client to sign them off once the lead designer has checked each strategy and verified that the Cost Information incorporates adequate allowances (RIBA, 2013).

Change Control Procedures should be implemented to ensure that any changes to the Concept

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Design are properly considered and signed off, regardless of how they are instigated.

According to RIBA (2013), in order to facilitate a more robust developed design, while specialist subcontractors will undertake their design work at Stage 4, they may provide information and guidance at Stage 3.

4 Strategic Definition The architectural, building services and structural engineering designs are now further refined to provide technical definition of the project and the design work of specialist subcontractors is developed and concluded. The level of detail produced by each designer will depend on whether the construction on site will be built in accordance with the information produced by the design team or based on information developed by a specialist subcontractor. The Design Responsibility Matrix sets out how these key design interfaces will be managed.

Using the design coordinated during the previous stage, the designers should now be able to develop their Technical Designs independently, with a degree of autonomy. The lead designer will provide input to certain aspects, including a review of each designer’s work (RIBA, 2013).

Once the work of the design team has been progressed to the appropriate level of detail, as defined in the Design Responsibility Matrix and the Design Programme, specialist subcontractors and/or suppliers undertaking design work will be able to progress their design work (RIBA, 2013).

The lead designer and other designers, where required as part of their Schedule of Services, may have duties to review this design information and to ensure that specialist subcontractor design work is integrated with the coordinated design.

By the end of this stage, all aspects of the design will be completed, apart from minor queries arising from the site during the construction stage. In many projects, Stage 4 and 5 work occurs concurrently, particularly the specialist subcontractor design aspects (RIBA, 2013).

5 Construction During this stage, the building is constructed on site in accordance with the Construction Programme. Construction includes the erection of components that have been fabricated off site

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The procurement strategy and/or the designer’s specific Schedule of Services will have set out the designer’s duties to respond to Design Queries from site generated in relation to the design, to carry out site inspections and to produce quality reports (RIBA, 2013).

The output of this stage is the ‘As-constructed’ Information.

6 Handover and Close out The project team’s priorities during this stage will be facilitating the successful handover of the building in line with the Project Programme and, in the period immediately following, concluding all aspects of the Building Contract, including the inspection of defects as they are rectified or the production of certification required by the Building Contract (RIBA, 2013).

Other services may also be required during this period. These will be dictated by project specific Schedules of Services, which should be aligned with the procurement and Handover Strategies.

Tasks in relation to the Handover Strategy can be wide-ranging and may include: •

attending Feedback workshops

•

considering how any lessons learned might be applied on future projects

•

undertaking tasks in relation to commissioning or ensuring the successful operation and

management of the building.

7 In Use This is a new stage within the RIBA Plan of Work. It acknowledges the potential benefits of harnessing the project design information to assist with the successful operation and use of a building.

While it is likely that many of the handover duties will be completed during Stage 6, prior to conclusion of the Building Contract, certain activities may be required or necessary afterwards.

These should be confirmed in the relevant Schedule of Services (RIBA, 2013).

While the end of a building’s life might be considered at Stage 7, it is more likely that Stage 0 of the follow-on project or refurbishment would deal with these aspects as part of strategically defining the future of the building.

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THE ROLE OF THE PROJECT MANAGER ‘The Project Manager is a construction proffesional who can be given executive authority and responsibility to assist the client to identify the project objectives and subsiquently supply the technical expertise to assess, procure, monitor and control the external resources required to achieve those objectives, defined in term of time, cost, quality and function.’ (RIBA Practice Committee, 1995) The Project Managers are involved in most aspects of construction projects which wich spend a significant portion of their time consulting with clients in the office. However, they also involve in the construction; interact with engineers, contractors and construction personnel regarding the project.

Project managers must ensure that construction projects meet environmental, safety, structural, zoning and aesthetic standards. They determine and schedule different stages of the building process according to client needs. During construction site visits, they monitor progress and ascertain whether phases of the construction process are in compliance with building plans and project deadlines. After building completion, project managers may provide additional services for expansion and relocation projects.

Key Skills of the project manager: •

Management

•

Construction Law

•

Contract Law

•

Value Management

•

Value Engineering

•

Procurement and contract options

•

Project Planning and programming

•

Briefing

•

Cost control

•

Risk Management

•

Contract administration

•

Dispute resolution

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Role of the project manager: •

Understand the client’s needs and communicate the goals with the respective member of

the project; •

Work alongside various members of the project team for specific task;

•

Regulate the project to minimise errors and ensure deadlines are met;

•

Advise the client, with the intention of keeping costs and project plan on schedule;

•

Develop the project plan;

•

Managing the project stakeholders, communication, the project team, risks, schedule,

budget, conflicts and ensure delivery.

In general, the project manager must ensure that the project is done according to the project plan in term of assessment, development and delivery. This will ensure the project is under control, and delivery of the project is sucessful.

Depending on the role they play within the project team, there are two types of project managers (Chappell & Willis, 2010).

Type 1 Act as the technical arm of the employer

Type 2

PROJECT

Carry out the contract

MANAGERS

administration role in regard to building contracts

Project Manager Type 1 Project Managers type 1 act as the client’s representative. They act as agent for client with the power to do, in relation to the project, everything that client could do.

“The role of project managers type 1 is to interview and appoint consultants and carry out the briefing exercise, having first been briefed by the client” (Chappell and Willis, 2015).

According to Chappell and Willis (2015), Project managers type 1 have no power under the building contract. Most building contracts do not even acknowledge the project manager’s existence as distinct from the architect or contract administrator.They also have no power to verify or sign any certificate nor to recomment payment. Unless the standard form of contract is amended, project managers type 1 have no more right than the employer to enter the site or to attend site meetings and certainly they cannot give instructions to the contractor.They also have no status on site during the progress of the works.

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Project Manager Type 1 diagram EMPLOYERS

PROJECT MANAGER

ARCHITECT

OTHER DIRECTLY EMPLOYED CONTRACTORS

QUANTITY SURVEYOR CONTRACTOR CONSULTANTS DOMESTIC SUB-CONTRACTORS CLERK OF WORKS

DOMESTIC SUPPLIERS

Project Manager Type 2 diagram EMPLOYERS

PROJECT MANAGER

OTHER DIRECTLY EMPLOYED CONTRACTORS

ARCHITECT

QUANTITY SURVEYOR CONTRACTOR CONSULTANTS DOMESTIC SUB-CONTRACTORS CLERK OF WORKS

DOMESTIC SUPPLIERS

Contractual links Functional links

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Project manager type 2 Different from project managers type 1, Project managers type 2 perform all the functions of a contract administrator in regard to the building contract and must be named as contract administrator in the contract. They may issue instructions and certificates in regards to the project (Chappell and Willis, 2015).

THE ARCHITECT AS PROJECT MANAGER In addition to the design services, architects can provide complementary management services such as: •

Project manager - helps appoint the design team and manages the project to meet

programme, cost and quality requirements; •

Lead consultant - co-ordinates the preparation of programmes;

•

Lead designer - co-ordinates the design by consultants and suppliers;

•

Contract administrator or employer’s agent - invites and appraises tenders, certifies

payments, administers the contract (RIBA, 2009); •

Principal designer - plan, manage, monitor and co-ordinate health and safety in pre-

construction phase (hse.gov.uk, 2015).

Our practice can provide all these additional management services as a separate appointment from the design services.

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TENDERING, PROCUREMENT AND CONTRACTS

Text by Paulina Kowalska Reasearch by Paulina Kowalska

INTRODUCTION Tendering, procurement and contracts are all interrelated to the way in which the project is to be delivered, as they are based on a range of criteria. As the procurement influences project delivery production and risk taking responsibilities, the tendering stage helps to choose ways in which the design and construction teams are appointed and a contract outlines legal obligations and ways of dealing with issues during the design and construction.

Tendering options Tendering is a process initiated by the client as a way of appointing a team for a project. A tender is submitted by a supplier in response to an invitation by the client, in order to supply goods or services. The process showcases delivery of the project based on demonstrating costs and quality abilities of a tenderer. Larger public and private clients narrow down potential candidates to a list of tenderers through extended methods, while for a private client the choice may be much more limited or personal.

Procurement Routes On most projects clients will start design process by agreeing on a project procurement strategy.

The most appropriate procurement method is advised based on balancing the benefits, risks and budget constraints of a project and its choice will affect the team contractual arrangements. Each procurement option will have an impact on the cost, time and quality of the project and are often most associated with given types of projects.

Contract Options A client can choose between bespoke or a standard form of appointment, where the second option still allows for a flexibility, but for a much lower price. The standard options are in place for the past 50 years, thus delivering a range of practical options.

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TENDERING

PROCUREMENT

CONTRACT

how to approach the right consultants

how to divide the design and construction responsibilities

1. The interrelation graph of all the areas: tendering, procurement and contracts

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how to agree on dealing with issues

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C2 C3

T1

1

2

3

4

5

Q3

E TIM

QUA LIT Y

T2

C1

COST

T3

Q2

Q1

criteria COST

TIME

QUALITY

priority (1-lowest) 1 2 3 4 5

C1 C2 C3

lowest capital expenditure certainty over the contract price best value for money overall

T1 T2 T3

earliest possible start on site certainty over contract duration shortest possible contract period

X

Q1 Q2 Q3

top quality, minimum maintenance sensitive design, control by employer detailed design not critical

X

X X X

X X

X X

2 Diagram for the procurement assessment based on Sarah Lupton (2007).

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PROCUREMENT ROUTES Traditional Procurement In the traditional approach, the construction process is divided between the design stage and the construction stage. The client hires the consultants not only for design, but also to manage the cost control, contract administration and overseeing the required quality of the final product.

The contractor is appointed separately after construction information is fully prepared and has no design responsibilities.

Advantages:

+ + + +

The price certainty, due to precise tendering and easier price comparison Lower tender price encouraged to win the job The tender preparation costs are lower using architect’s drawings Better control of quality and easier implementations of changes

Disadvantages: Extended process before the start on site The client takes the risk responsibility There is no external buildability advice

COST

COST

E TIM

3. The traditional procurement cost-time-quality relationship.

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QU A LIT Y

Q U A LIT Y

Q U A LIT Y

E TIM

COST

E TIM

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STAGE 0

STAGE 1

STAGE 2

STAGE 3

STAGE 4

tender

STAGE 6

STAGE 7

consultant’s design stage

STAGE 5

constructor’s work stage

4. The team involvement in the project work stages.

EMPLOYER

client’s subcontractors

CONSULTANTS

client’s suppliers

CONTRACTOR

contractual functional relationship

subcontractors and suppliers

5. Client - consultant relationship graph based on Sarah Lupton (2007).

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Design and Build Procurement In the design and build approach the consutant-based design stage and tender preparation is much shorter and the detailed design is forwarded to the contractor that has design responsibilities.

An external Quantity Surveyor or Employer’s agent might be employed to oversee the cost management of the project. The contractor has to reveal all the external subcontractor’s before the tender. The design stages tend to be more blurred, allowing the lead contractor to maximise efficiency. The contract might have higher cost certainty, due to the contractor’s purchasing power and market knowledge, however the competitiveness of these is often difficult to compare.

Advantages:

+ + +

The contractor is a single point of responsibility for the employer Better cost control, as the overall cost is agreed upon the contract Increased buildability

Disadvantages: Lower control over the design and it’s outcomes Difficulty in the cost to quality comparison of contracts Higher requirement for cost management

COST

COST

E TIM

6. The traditional procurement cost-time-quality relationship.

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Q U A LIT Y

QU A LIT Y

Q U A LIT Y

E TIM

COST

E TIM

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STAGE 0

STAGE 1

tender

consultant’s design stage

STAGE 2

STAGE 3

STAGE 4

STAGE 5

STAGE 6

STAGE 7

constructor’s design and work stage

7. The team involvement in the design and built project work stages.

EMPLOYER

EMPLOYER

Quantity Surveyor/ Employer’s agent

Quantity Surveyor/ Employer’s agent

ARCHITECT

ARCHITECT

Structural Engineer

Structural Engineer

Services Engineer

Services Engineer

Other

Other

CONTRACTOR

subcontractors and suppliers

contractual functional relationship

8. Client - consultant relationship graph pre and post-contract agreements based on Sarah Lupton (2007).

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Management Procurement The contract usually covers larger and more complex project. The client has to appoint an independent team and a management contractor, which is usually selected through a tender process. Overheads and profits are charged based on the project, but not on the construction work profits. The management contractor appoints teams for each of the work packages usually by the competitive tender.

Advantages:

+ +

It allows an early start on site and faster completion, due to simultaneous work.

Early buildability advice with the contractor’s involvement

Disadvantages: There is no fixed cost for the project.

The client accepts all risks related to the project.

Client’s commitment without the prior design, in order to speed up the process

COST

COST

E TIM

9. The management procurement cost-time-quality relationship.

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Q U A LIT Y

QU A LIT Y

Q U A LIT Y

E TIM

COST

E TIM

-

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STAGE 0

STAGE 1

STAGE 2

STAGE 3

STAGE 4

STAGE 5

STAGE 6

STAGE 7

consultants/ managing contractor

managing constructor / work’s contractor

10. The team involvement in the design and built project work stages (based on ‘Which’).

EMPLOYER Consultants

ARCHITECT Structural Engineer MANAGEMENT CONTRACTOR

Services Engineer

subcontractors and suppliers

WORKS CONTRACTOR

contractual functional relationship

Other

11. Client - consultant relationship graph pre and post-contract agreements based on Sarah Lupton (2007).

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Construction Procurement This procurement method is usually used when the Client has extensive construction experience.

It is a variation on the management procurement with a difference that the construction manager does not have contractual agreements with the work contractors and other consultants. This results in higher levels of risk for the employer who has to manage the contractors on site.

Q U A LIT Y

QU A LIT Y

Q U A LIT Y

E TIM

COST

E TIM

COST

E TIM

COST

12. The construction procurement cost-time-quality relationship.

EMPLOYER Consultants

ARCHITECT Structural Engineer MANAGEMENT CONTRACTOR

Services Engineer

subcontractors and suppliers

WORKS CONTRACTOR Other

contractual functional relationship

13. Client - consultant relationship graph pre and post-contract agreements based on Sarah Lupton (2007).

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RISK

Procurement

RISK Client

Contractor

Design and Build

Traditional Lump Sum

Traditional Measurement

Management Contracting

14. The risks responsibility shared by the client/contractor in the major procurement routes based on Sarah Lupton (2007).

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TENDERING There are different approaches to dealing with tendering process depending on the size of the job and whether it is in a private or public sector. The private sector tendering is less controlled by legislation as it is the Employer’s responsibility to get the best value for money. However, the public sector tendering process is usually more prescribed, due to the organisational values and prove of being fair. Based on current regulations, the largest projects go through the European Legislation to compete for design and construction teams on the international level. On lower budget level the procedures are similar. The open tender works as a competition between anyone interested.

However, as depending on the quantity of information required from the tenderer the overall price of the job might increase, thus there are ways of limiting the number of tender participants. Selective tendering can be applied to invite only pre-selected teams – with applicable experience or previous experience with the client. While, where the client often procures projects then a pre-selected framework agreement might be used to accelerate the tendering stage.

The required amount of information in the tendering process has a time and cost implication, however more specific tender documents can make the price comparison easier. Here are examples of possible approaches:

-

single stage tendering – the main element is the price and the quality of the submitted proposal, this form requires more detailed information than a two stage tender. two stage tendering – the contractor’s is to be involved at an early stage of the project, thus only minimal information is required, while precise specification is developed at the later

-

stage together with the Employer negotiated tendering- appropriate for highly specialist contracts or clients who previously worked with the given contractor. It enables the contractor’s input earlier in the design

-

process. serial tendering - based on notional bill of quantities or schedule of works to work on for a period of time and might encourage lower rates

The contract forms are influenced by the decision about procurement methods. The forms of contract are chosen based on particular project circumstances and foreseeable events. The standard forms of contract like JCT and NEC often get amended, in order to include more specific issues or project requirements. The most commonly used standard types of contracts are:

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Joint Contracts Tribunal (JCT) suite of building contracts NEC Contracts (NEC3) GC Works Infrastructure Conditions of Contract IChemEContracts IMechE/IET Contracts

The contractual appointment of architects always requires a professional indemnity insurance for the purposes of the project either under a client or the contractor. There are several main contracts for the main procurement options that can be used.

CONTRACTS Traditional Route The traditional route contracts can be divided into categories based on the project contract sums:

-

Lump sum contracts – where the sum is know from the beginning of the project

-

The lump sum contracts ‘with quantities’ and based on the drawings and a firm bill of

quantities or provisional sums. In the ones ‘without the quantities’ the cost is calculated is based on drawings and specifications by the contractor.

-

Measurement contracts – where the sum is known only on the project completion or prices

are prepared by the client to be completed based on drawings or Schedules of Rates

-

The cost reimbursement contracts – are based on the actual cost of labour plus the fees to

cover cost management calculated at the end of the job.

The widest approach traditional building contract is served by the JCT Standard Building Contract 2011 SBC11. This form can be difficult to approach, due to the number of pages and applicable options. Many of the clauses include both legal conditions and detailed procedures and rules, however, despite its length the format is logical.

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Design and Build In this contract the contractor is obliged to complete the design works, while the client nominates an Employer’s Agent who has established duties and authority in representing the client. In many cases the Contractor’s Proposals are in favour when dispute occurs, meaning that the wording has to be carefully revised if to be treated differently. This contract additionally allows for a client designed portion before the tender completion, however with a high design input the boundaries of responsibility become difficult to separate. The contract might leave the quality issue unresolved.

Management Contracts The Standard Form of Management Contract 2011 Edition is the most commonly used type of contract for this procurement route. The main difference caused by the contract as it covers both the pre-construction and construction period. It is the client’s responsibility to appoint a professional team including a contract administrator, quantity surveyor and other advisors. The appointment must take place early enough to have an impact on the consultants work. There is a need for a tight financial control of the works as part of the client’s responsibilities, while the Management Contractor oversees a timely completion including potential extensions of time.

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5

BRIEFING AND SPECIFICATION Text by Raluca Pop Reasearch by Raluca Pop, Shahrulridhwan Shahruddin

BRIEFING “In this era of rapid change, upfront briefing is recognised as a means of achieving greater clarity and more predictability.”

(Blyth, Worthington, 2010:242)

}

Different assuptions of the goal in the beginning are hardly noticeable

Big gap before you realise there is a problem

Briefing is a process of refinement from a general expression of need to a particular solution.

Briefs can be divided into three categories (Salisbury, 1990), each developed at a different stage of the project: Statements of need, Strategic Briefs and Project Briefs – also referred to as Functional Briefs (Blyth, Worthington, 2010).

Blyth and Worthington (2010) identify two other categories, the Fit-out Brief and the Operating Brief. The Fit-out Brief may be part of the Project Brief, but in commercial projects fit-out is treated as a separate project. The Operational Brief can be used to inform future planning and design decision and its development should involve the manager of the completed building.

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Statement of need

ut eo

n

5

Strategic Brief Project Brief (changes after Stage 2 subject to Change Control Procedures

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In

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us

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clo s

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ica ld es ig Tec hn

4

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n De ve lop ed de sig

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1

nc ep td es ig

bri ef Pre pa rat

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0

6

7

Input to Brief of next project

Statement of need The Statement of need is a “concise statement which defines in operational and business terms the need or opportunity. (...) The Statement of need should state the problem not present a solution.”

(Blyth, Worthington, 2010:242) The statement of need is developed by the client to describe their need before it is determined what form the project will take or what action is needed. The result of the Statement of need may be that a building project is not necessary and that the problem could be solved through a different course of action (eg. better management of the existing facilities).

There is no equivalent of the Statement of need in the RIBA Plan of Work 2013.

Strategic Brief The Strategic Brief is “a document that sets out the aims of the project. It is written in the language of the client and its business with clear statements of intent against which later results can be measured.” (Blyth, Worthington, 2010:17) It is developed in the RIBA Plan of Work 2013 at Stage 0.

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Initially, the Strategic Brief should have sufficient information to allow for the appointment of the consultant team (or independent client advisors in public sector projects).

Common types of consultants are (Chappell, Willis, 2010): •

Quantity surveyor/ cost manager

•

Structural engineer

•

Electrical services engineer

•

Mechanical services engineer

•

Planner

•

Interior designer

•

Landscape architect

The consultants will then give feedback that will enable the client to update the Strategic Brief so it can be used for Feasibility Studies and Option Appraisals.

The Strategic Brief may include: •

The client’s mission, objectives, vision, organization structure;

•

The overall context for the project;

•

The triggers for change and requirements for future proofing;

•

Any comparable facilities that set the standard;

•

Functional requirements;

•

Information about the site if it has been selected, or potential sites that may need to be

assessed; •

Information about existing facilities;

•

Technical requirements described in sufficient detail to allow feasibility studies to be carried

out (such as broad servicing requirements); •

Targets for whole-life costs showing; initial costs, periodic costs, annual costs, income and

disposal values; •

Durability, lifespan and maintenance requirements;

•

Flexibility and future uses;

•

Physical and operational constraints, such as site access issues;

•

Planning constraints;

•

Health and safety issues;

•

Environmental standards;

•

The project budget;

•

Transport and parking strategy;

Etc.

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Project Brief The (draft) Project Brief has the aim to “convert the organisational terms of the Strategic Brief into building terms fixing functional relationships, giving initial indication of sizes, areas and volumes, including planning and structural grids, principal building systems and proposed elevations. It gives initial sizes and quantities to elements and gives an outline budget.” (Blyth, Worthington, 2010:243) The Project Brief is developed at RIBA Plan of Work Stages 1 and 2. At the end of Stage 2 the final version should be agreed on. Any changes after this point are subject to change control procedures and can affect time, budget and quality.

It is the document upon which the design will be based and should contain sufficient information to allow for the development of the detailed design and specification.

The Project Brief may include: •

A description of the client (brand, organization, vision and objectives, decision making

process etc.)

•

Site information (building and site surveys, ground conditions, access, location and capacity

of utilities, legislative constraints, existing planning consents).

•

Spatial requirements (schedules of accommodation and users, spatial policies – open plan

or cellular offices, daylighting, temperature and acoustic standards, adjacencies, zoning, circulation and flow etc.)

•

Technical requirements (structural and servicing strategy, equipment requirements, flexibility

for future uses, sustainability objectives, safety and security, waste and water management, durability and lifespan etc.)

•

Component requirements (cladding strategy and material selection procedures, specialist

contractors design etc.)

•

Project requirements and other issues (planning requirements, budget, project programme,

known risks etc.)

Briefing in practice Ideally, the client would produce a Statement of Need and then a Strategic Brief that outline their requirements clearly and include all the information necessary for the development of the Project Brief. However, in practice not all clients have the necessary experience and knowledge to produce a complete Strategic Brief or may not know what consultants to approach for help. That means that

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the client may need to be advised by the architect on what consultants to engage and the Strategic Brief will be the result of discussions between clients and architects.

From this perspective clients fall into two categories: •

Experienced client (eg. large retailers, central government, NHS) - likely to have well defined expectations and act as lead; - likely to create a complete and clear Statement of Need and Strategic Brief;

•

Inexperienced (eg. domestic, community groups, schools) - intuitive engagement and management of expectations required; - unlikely to create a clear and complete Statement of Need and Strategic Brief on their own or to know which consultants to engage.

SPECIFICATION Specifications describe the material and workmanship needed for the project. They do not include cost, quantity or drawings, so they are to be read alongside other documents, such as a Schedule

0

Statement of need

1

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itio

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f

ut

of Quantities and Drawings.

2

3

4

5

6

7

Specification Schedule of quantities Strategic Brief

Drawings

Input to Brief of next project

Project Brief

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According to the National Building Specification (NBS) there are two specification methods, each with three sub-methods.

A specification will usually employ a combination of methods and it is down to the specifier to select the appropriate method for each product, material, assembly or piece of equipment.

Specifications should be developed alongside the design, not left until the preparation of product information. By tender they should describe every aspect of the building in such a way that the contractor is certain what he is pricing.

Method

Sub-method Bespoke

Prescriptive

Proprietary

e.g.

methods Descriptive

XYZ

Reference Brand,

Manufacturer’s

Model 33/A15

recommendations

e.g. 150mm thick,

British Standards

green finish Process

Performance

Performance

e.g. 4 passes of a 5

BS

tonne roller

Codes of Practice

e.g. 2 hr fire-rated

BSs,

methods

BBA Certificates Price

e.g. PC sum

-

Silence

-

-

Prescriptive methods Prescriptive methods are used for complex buildings, or where the client has requirements that are not familiar to the suppliers. They are often used where visual appearance is important because they give the client more certainty about the end result.

1. Proprietary •

Describe a product, material, assembly or piece of equipment by trade name and model

number;

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•

Offer the most control and a known end result;

•

Contentious in central or local government projects because of the need to maintain

competition between suppliers.

2. Descriptive •

Provide a detailed description of the required properties of a product, material, or piece of

equipment, and the workmanship required for its proper installation; •

The contractor makes the final decision on the manufacturer.

3. Process •

Rarely appropriate and shifts responsibility between builder and specifier. It is better to

specify end result instead because it can be checked before handover; •

Traditional for conservation work, but even in this situation it is better to ask for a method

statement instead to ensure the contractor is competent.

Performance methods Performance specifications give suppliers more scope to innovate and adopt cost effective methods of work, potentially offering better value for money. They are generally used on projects that are straight-forward, well-known types of buildings (eg. repeat projects for clients, industrial buildings) and for less critical items in terms of appearance (eg. service lifts).

1. Performance •

Describes the result that is required from particular items and leave it to the contractor or

supplier to satisfy that requirement.

2. Price •

Specifies the allowance calcualted by the cost consultant for the supply of the product,

material, assembly or piece of equipment.

3. Silence According to the NBS, silence in contract documents can be intentional or accidental, but it is unavoidable because not everything is modelled (and subsequently drawn and specified). Where to stop depends on project type and is down to achieving a balance between effort and output. The contractor’s response to silence must be to identify the deliverable, determine required properties, design against them, and build.

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PLANNING PERMISSION Text by Jennifer Sewart

Reasearch by Jennifer Sewart, Michael Orengo

PLANNING REQUIREMENTS

This section will outline the planning consent requirements for a project, including the timings and procedures.

In the UK, most changes to the exterior of a building or its use require planning permission to be granted by the local authority prior to work starting. This includes: •

building operations (e.g. structural alterations, construction, rebuilding, most demolition);

•

material changes of use of land and buildings;

•

engineering operations (e.g. groundworks);

•

mining operations;

•

other operations normally undertaken by a person carrying on a business as a builder.

•

subdivision of a building (including any part it) used as a dwellinghouse for use as two or

more separate dwellinghouses

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PERMITTED DEVELOPMENT PERMITTED DEVELOPMENT The Themain mainexemptions exemptionsfrom fromthis thisare areknown knownas aspermitted permitteddevelopment. development.Certain Certaintypes typesofofextension extension and andchange changeofofuse useare areallowed allowedwithout withoutapplying applyingfor forpermission, permission,although althoughthere theremay maystill stillbe besome some reduced reduced consultation consultation requirements requirements etc, etc, and and the the work work will will still still obviously obviously need need toto meet meet Building Building Regulation Regulationstandards. standards.What Whatconstitutes constitutespermitted permitteddevelopment developmentcan canvary varyover overtime, time,for forexample, example, the thecurrent currentgovernment governmenthas hasextended extendedrights rightsininan anaim aimtotostimulate stimulatethe theconstruction constructionindustry. industry.

Permitted Permitteddevelopment developmentrights rightsdo donot notapply applyininsome someareas areas––particularly particularlyconservation conservationareas areasand and with buildings, and and there thereare aresome someareas areaswhich which enjoy further relaxations with respect respect to to listed buildings, enjoy further relaxations e.g.e.g. agagricultural buildingsororininspecified specifiedEnterprise Enterprise Zones Zones where where Local Local Development ricultural buildings Development Orders Ordersgrant grant automatic automaticplanning planningpermission permissionfor forsome somefurther furthertypes typesofofbuilding. building.

Permitted development, residential

From

To

From

To

A1 (shops)

A2, A3, D2, C3

B3 (industrial)

B8

B8 (warehouse)

B1

A2 (professional services)

A1, A3, D2, C3

C3 (dwellings)

C4

A3 (restaurants)

A1, A2

C4 (multiple occ.)

C3

A4 (drinking estab.)

A1, A2, A3

casinos/amuse.

D2,A3, C3

A5 (takeaway)

A1, A2, A3

betting shop

A1,A2,C3

B1 (business)

B8

agricultural

A1,A2,A3,B1,B8,C1,

B2 (industrial)

B1

C3,D2 Permitted development, changes of use, subject to some permissions and size restrictions

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PLANNING APPLICATIONS

There are many types of planning application covering the different circumstances involved, however, the three main types are householder planning consent for individual residential work, and outline and full planning consent for multiple houses and non-residential construction.

Outline permission is used to get permission for a type of development in principle, sometimes to allow the land to be sold on at greater value; whilst full permission provides the necessary approval for the details of the scheme – following a successful outline application, this may be covered by a reserved matters application, rather than a separate full application.

Reserved matters refers to any details which need to be approved but are not fixed at the time of the initial application, and are not material to it; which are decided subsequently.

Householder planning consent Full planning consent Outline planning consent Planning permission for relevant demolition in a conservation area Reserved Matters Listed building consent Advertisement consent Lawful Development Certificate (LDC) Prior notification Removal/variation of conditions Approval of conditions Consent under Tree Preservation Orders Notification of proposed works to trees in conservation areas Application for non-material amendments plus others Types of planning consent

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PLANNING PROCESS

The statutory timescales for the planning process mean that an application should be decided within eight weeks from the date the application and all necessary information was received by the planning authority. This period can be extended for major developments and where environmental impact assessments are required. However, including any appeal, the entire process should be completed within one year at the maximum.

Pre-planning

The first, optional, stage of the planning process is to make a pre-application. This is where the architect and/or client submit initial plans to the local authority and/or discuss ideas face to face in order to progress designs that are likely to succeed in a formal application. Despite being optional, this is a highly recommended part of the process and can save time and money later on. Some authorities charge for the service (charges vary) and there are no statutory time limits for a response. In practice, as planning departments are slimmed back, income-generating work may be prioritized over this service, and it may risk delays in the design process. Ultimately, the outcome of discussions does not commit either side.

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Planning application

A planning application consists, at minimum, of a set of drawings and an application form. These are submitted online or can be printed and sent to the local planning office. This may be done by an architect/contractor (“agent”) or the owner/developer and there is no requirement to own the property itself – although the owner and certain leaseholders must be informed.

The drawings must conform to specific national conventions. In addition to the standard set of documents, each local authority can require additional forms or documents to be provided that allow the proposal to be assessed against local policy. Some types of application, such as within a conservation area or a larger development will also require a Design and Access statement. This will explain how relevant aspects of the design have been considered and how the development will affect the local traffic flows etc. There may also be other environmental requirements such as a bat study depending on the type of property.

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Validation

There is an administration charge for each planning application, (below), which vary depending on the application type and size of development. Generally, these are likely to be quite a small proportion of the budget, and within certain circumstances, changes to an application/resubmission may not accrue additional costs beyond this.

Upon receipt of an application, the planning department will check that all information required has been submitted and is in order and the fees have been received. If information is missing, or the planning department feel that additional detail is required to decide the application, they will contact the applicant at this stage to request changes. Once everything is satisfactory, the statutory period commences and the applicant will receive confirmation of the application’s receipt e.g. via email.

Planning charges, 2015

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Consultation

CONSULTATION

The planning department will now commence a period of consultation lasting a minimum of 21 days (this can be reduced to 14 days if a newspaper notice is used.)

There are four groups of people who must be consulted, of which the main ones are the public and The planning department will now commence a period of consultation lasting a minimum of 21 statutory bodies such as the highways agency. In addition, non-statutory bodies may be consulted: days (this can be reduced to 14 days if a newspaper notice is used.) There are four groups of peothese are people who have a direct interest in the development, but who are not required by ple who must be consulted, of which the main ones are the public and statutory bodies such as law to be consulted with, such as the forestry commission. Depending on the location of the the highways agency. In addition, non-statutory bodies may be consulted: these are people who development, there may also be “directed” consultees, which are required to be consulted through have a direct interest in the development, but who are not required by law to be consulted with, local legislation in that particular area, such as airports. such as the forestry commission. Depending on the location of the development, there may also be “directed” consultees, which are required to be consulted through local legislation in that particular Consultation with the public is through the planning website, the availability of plans at planning area, such as airports. Consultation with the public is through the planning website, the availability offices and a letter to adjacent neighbours and notice at the site itself. In the case of conservation of plans at planning offices and a letter to adjacent neighbours and notice at the site itself. In the areas the conservation officer must be consulted and Historic England may need to be involved case of conservation areas the conservation officer must be consulted and Historic England may for listed buildings. Certain locally listed heritage assets may also require conservation officer input need to be involved for listed buildings. Certain locally listed heritage assets may also require even though they are not nationally listed or within a conservation area. conservation officer input even though they are not nationally listed or within a conservation area.

public

statutory

directed

website planning office letter to neighbours notice at site

county council e.g. airports environment agency minerals highways agency (particular areas)

(newspaper)

(sport england) (foresrty commission) (canal trust) etc..

non-statutory e.g. forestry commission MoD H&S executive crime commissioners Rail network operators

Consultees

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Planning concerns

If, following the consultations, issues arise which mean that the application is unlikely to be approved, the planning officer will contact the applicant to explain and give them the option to change the scheme to meet these concerns. This contact is likely to be towards the end of the decision period and require urgent action. There are four possible ways forward at this point. Each of these brings additional time delays, costs, design compromises or risks as indicated, and the way forward will depend on the client’s priorities. Following this, the planning officers will compile a report containing a recommendation for approval of the scheme or otherwise.

Attempt to overcome the problem while the application is running

+ no delay, no additional cost

- hurried redesign may affect quality of solution Withdraw and re-submit

+ space to solve problems, no extra cost

- delay as time period restarts, have to compromise design Allow the application to continue and try to get it to planning committee

+ may get what you want

- risk that councillors also refuse = possible delay Allow the application to continue to refusal and consider an appeal

+ may be only way to get what you want

- appeals cause delay & cost

Routes to overcoming planning issues

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Planning period extensions

As previously mentioned, the statutory period is increased to 13 weeks in the case of a major development, which is defined as: Major development For dwellings, a major development is one where the number of residential units to be constructed is 10 or more. Where the number of residential units to be to be constructed is not given in the application, a site area of 0.5 hectares or more should be used as the definition of a major development.

For all other uses, a major development is one where the floor space to be built is 1,000 square metres or more, or where the site area is 1 hectare or more.

Where a site above 1 hectare is subject to a change of use application it should be coded under major development and not as a change of use (Question 20). Any other applications for change of use should be captured under Question 20 and not under the relevant major/ minor development category.

Some developments also attract a 16 week period, where environmental impact assessments are required under European directive. However, this is less likely to apply to developer and householder projects unless they are extensive.

Environmental Impact Assessments Required under European law for construction of items such as: energy industry intensive farming mineral extraction major water processing/infrastructure plus for some other construction subject to case-by-case assessment: shopping centres food plants infrastructure theme parks etc.

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Decision

The local council planning committee are responsible for deciding whether to approve planning applications, and meet regularly to make these decisions, which are held in public. In practice, most applications are delegated to planning officers to decide, unless they involve larger developments, significant public interest or objections. Applicants are also usually able to have their application decided by committee by asking their councillor (for example, where they disagree with the planning officer’s report and hope to get a different opinion from the elected councillors.)

Decisions are made in consultation with the planning officer’s report, which considers whether the scheme is in line with local policy as contained in the Local Development Plan and the national policy of the National Planning Framework. The decision is subjective, particularly around issues such as “good design” and considers material considerations only i.e. those things that will be affected by the proposed development, such as:

• The number, size, layout, siting and external appearance of buildings • The infrastructure available – e.g. roads and water supply – and proposed means of access • Any landscaping requirements • The proposed use of the development • The likely impact on the surrounding area

Material considerations examples

Issues such as competitiveness of business, public support or the effect on property values are considered non-material.

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Planning concerns

Following the decision, the applicant is informed in writing of the result and reasons are given. The following decisions are possible: • granted • granted subject to conditions • granted subject to obligations • rejected Where an application is granted subject to conditions, this may require, for example, the approval of samples of materials by the planning authority, or limit the use of the building. Obligations are for larger projects which are designed to contribute to the local area within which the scheme exists, providing for example items of infrastructure such as roads, playgrounds or even schools, and meeting affordable homes quotas. Formerly organised through section 106 agreements etc., this is now being superceded by the Community Infrastructure Levy.

Development must begin within three years of the date of permission being granted.

There are several points at which an appeal can be launched in the planning process, obviously refusal can be appealed, but there are three other grounds for appeal: • the validity of the application e.g. that additional information is unnecessary • time taken to decide (non-determination) - longer than statutory maximum • conditions attached to granted application • refusal Any appeal must be launched within 6 months of the decision (or non-decision due date) and is likely to take 4-5 months at a minimum – for a written appeal. Appeals are made to the Secretary of State for Communities and Local Government, but judged by the Planning Inspectorate on his behalf. Most appeals are written, but for the most important or controversial schemes, hearings and inquiries may also be used. Applicants will need to pay their own legal costs, though may be able to claim these back if successful.

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7

LISTED BUILDING CONSENT Text by Farhad Bakht Reasearch by Farhad Bakht, Jana Kefurtova

WHAT IS A LISTED BUILDING? Listed buildings are finite irreplaceable assets of our history that have been identified by the Secretary of State as an important aspect of our cultural heritage and our sense of identity and as such are worthy of special protection.

Excessive care is needed when changes are propositioned to them, requiring Listed Building consent from the Local Planning Authority for any demolition, alterations (including internal/ external) or extensions that will disturb the character of the building.

By being an important feature of the character and appearance of our towns, villages and countryside, Listed buildings add to the quality of our lives. All listed buildings are placed on a special register, called the List of Buildings of Special Architectural or Historic Interest.

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CRITERIA FOR ATTAINING LISTED STATUS Under the provisions of the Planning (Listed Buildings and Conservation Areas) Act 1990, the Governmental Department of Culture Media and Sport (DCMS) solely have the power to decide which buildings to include on the list of protected buildings, they use the following criteria:

•

Architectural Interest: buildings of importance because of their design, decoration and craftsmanship

•

Historic Interest: buildings which illustrate an aspect of the nation’s social, economic, cultural or military history

•

Historic Association: buildings that demonstrate close historical association with nationally important people or events

•

Group Value: buildings that form part of an architectural ensemble, such as squares, terraces or model villages

In broader terms, buildings eligible for listed status:: •

All buildings built before 1700 that survive in anything like their original condition Most buildings of 1700-1840, although selection is necessary

•

Between 1840 and 1914 only buildings of definite quality and character; the selection is designed to include the major works of principal architects

•

Between 1914 and 1939 selected buildings of high quality or historic interest

•

A limited number of outstanding buildings after 1939, but at least ten years old, and usually more than 30 years old

(Planning Portal, n.d.)

HOW BUILDINGS ARE LISTED On behald of the Secretary of State, listings have resulted from survey work conducted by Historic England (or its predecessors) which have then been approved by the DCMS. Anyone is allowed to request the listing of a building by contacting Historic England.

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GRADES OF LISTED BUILDINGS:

•

Grade I - buildings of exceptional interest (approximately 2 per cent of all listed buildings)

•

Grade II* - particularly important and more than special interest (approximately four per cent)

•

Grade II - buildings of special interest, warranting every effort being made to preserve them (94 per cent)

(Planning Portal, n.d.)

HOW DO I FIND OUT IF MY PROPERTY IS LISTED? You can search on the National Heritage List for England (NHLE) to find out if your property is listed. Alternatively you can contact your local authority.

THE TERM ‘LISTED BUILDING’ INCLUDES:

•

The building itself

•

Any object or structure fixed to it

•

Any object or structure that has been within the curtilage of the building since 1948

(Planning Portal, n.d.)

WHAT IS LISTED BUILDING CONSENT? Listed building consent is required for all works of demolition, alteration or extension to a listed building that affect its character as a building of special architectural or historic interest. They are lawfully subject to the Planning (Listed Buildings and Conservation Areas) Act 1990, whereby consent is required before any work can take place.

The procedure for gaining Listed Building consent is similar to that for gaining planning permission.

They are independent and in some instances both Listed Building consent and Planning Permission will be required for the same work, in such circumstances, it will be necessary to gain both before work commences.

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TYPES OF BUILDING WORK THAT REQUIRES LISTED BUILDING CONSENT:

•

Demolition of a listed building

•

Alteration or extension of a listed building in any manner (including internal) which would affect its character as a building of special architectural or historic interest

(Planning Portal, n.d.)

ALTERATIONS REQUIRING CONSENT: Generally, the following works are likely to require listed building consent, however it should be noted this list is not definitive and further advice can be given by the District Council’s Conservation Officer.

•

Demolition of the whole or part of the building, or anything within the curtilage built before 1948

•

The removal of any internal walls or stud partitions, or provision of the same

•

The removal of doors, windows, chimney stacks or chimney breasts, the removal of staircases, porches and balconies

•

Any extensions or new additions to the building, including porches or conservatories.

Some extensions may also need planning permission depending on their size or location

•

Alterations to windows and doors, and the insertion of new ones, including dormer windows and roof lights

•

Changing the roof covering, for example from natural slate to imitation slate. (Note: temporarily removing tiles, re-felting, battening and putting the original tiles back does not require consent)

•

Painting exterior brickwork, render, flint or stone for the first time or changing the colour of previously painted work

•

Adding objects to the exterior such as shutters, signs, advertisements, sunblinds, meter boxes, satellite antennae and spot lights

•

The removal or alteration of paneling, fireplaces or decorative plaster work

•

The removal or alteration of outbuildings, garden walls, gate piers, gates and railings which pre-date 1948 (Dover.gov.uk, 2015)

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GUIDELINES FOR ALTERATIONS:

•

Contact Planning Services before starting any work

•

Keep alterations to a minimum and avoid irreversible changes

•

Do not alter existing door and window openings

•

Retain all architectural features - inside and out

•

Keep original windows wherever possible

•

Limit extensions to the absolute minimum

•

Locate satellite dishes, aerials, burglar alarms and any cabling discreetly

(Dover.gov.uk, 2015)

WHAT WORK CAN BE DONE TO A LISTED BUILDING WITHOUT LISTED BUILDING CONSENT? Normal regular maintenance that does not affect the character of a listed building can be carried out without needing listed building consent. Consent is not normally required for repairs but, where repairs involve alterations, which would affect the character of the listed building, consent would be required.

However emergency work can be conducted without prior consent providing you can prove that it was necessary due to health and safety concerns or for preservation of the building.

UNAUTHORISED WORK: To alter or extend a listed building without first acquiring listed building consent from the District Council is an offence. A fine up to £20,000, imprisonment for up to 6 months, or both is the current offender penalty. This is applicable to the owner, the builder and the architect or surveyor involved.

(Dover.gov.uk, 2015) Not knowing a building is listed is not a defense regarding any criminal proceedings and if any unauthorised work is identified, the Council may serve an Enforcement Notice requiring the building to be reverted back to it’s pre-works condition.

An owner will have trouble selling a property that has not been granted Listed Building Consent for work carried out. Therefore you or your architect should consult the relevant statutory body to determine whether any proposed alterations require consent.

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LISTED BUILDING CONSENT SUPPORTING INFORMATION VS PLANNING APPLICATION SUPPORTING INFORMATION: To support the application of listed building consent, the supportive information is significantly more comprehensive than that required for a planning application, as a result, adequate time must be sanctioned for this, not only for the application but also to investigate the listed building. If an application for planning permission were also required, this would normally be submitted at the same time at the end of Stage 2 of the RIBA Plan of Work. (Buildingconservation.com, 2015) Good accurate quality scaled drawings is vital for any application and should show the building as existing and as proposed in separate drawings in order for proposed changes to be understood clearly. The drawings should include appropriate plans, sections and elevations, it is also helpful to provide clearly labelled photographs of any affected areas to help communicate the location and viewpoints. (Buildingconservation.com, 2015)

HOW TO APPLY: Submissions may be made either by hard copy or electronically via the Planning Portal.

SEEK EXPERT ADVICE: Due to the specialist nature of works to Listed Buildings, it is recommended that you seek the services of a qualified architect or surveyor, who has experience in historic building work. Ask to see examples of their work to ascertain their suitability.

An online accreditation scheme can provide building owners with a source of architects who are experienced and qualified to conduct all aspects of a developments, repair, maintenance and conservation of our built heritage through the RIBA Conservation Register.

Upon decided on an architect, you should agree a brief cost structure and timetable so even before the first working drawings are produced, everyone knows their responsibilities. Once an architect is employed, they can produce all necessay documents and apply for Listed Building Consent on your behalf.

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DOCUMENT REQUIREMENTS FOR A TYPICAL APPLICATION FOR LISTED BUILDING CONSENT:

(Buildingconservation.com, 2015)

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CONSIDER ALL OPTIONS BEFORE MAKING A LISTED BUILDING APPLICATION: Retaining as much character and historic fabric should be pursued when attempting any alterations. Buildings that retain more period features retain its value the most.

Considering all options before submitting a listed building consent application is vital as some proposals may pose far serious consequences to a buildings character than other. The emphasis should be on what you need, rather than what you desire as a buildings use of space can often be more adaptable than the building itself. E.g. rather than extending a building, using rooms in a more flexible nature may achieve your needs which is less damaging to the character of the building and far cheaper. (Historic Towns Forum, 2012) Before a formal application, any work carried out before is invaluable. Research and Investigate the building before you contact a Conservation Officer, who is normally the person with responsibility for Listed Buildings in a local authority.

SEEK INFORMAL ADVICE FROM A CONSERVATION OFFICER BEFORE SUBMITTING AN APPLICATIONBUILDING APPLICATION: Consultation between your architect and the local Conservation Officer, can help recognise any implications with your building that were not discovered in their preliminary investigation such as issues with building regulations that may impact the feasibility of your proposed scheme. The proposals affect on your building’s architectural or historical interest can be determined by the Conservation Officer therefore providing verification on whether you have to apply for listed building consent. (Historic Towns Forum, 2012) Succeeding this, the need to converse with a Building Control Officer may arise in order to clarify problems that may have arisen in regards to issues such as means of escape or fire insulation.

These consultations can also help determine the type of supporting information needed within your application to help the Council and other groups, such as the Town or Parish Council, to assess your application.

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STEPS FOR A SUCCESSFUL LISTED BUILDING CONSENT APPLICATION:

(Historic Towns Forum, 2012)

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COST OF APPLICATION: There is no fee for submitting an application for listed building consent.

WHO TO APPLY TO: Listed building consent must be obtained from the local planning authority. Application will be submitted by the architect along with planning permission (if required).

DECISION AND APPEAL TIME SCALES: Decisions will generally take 8 to 13 weeks, and appeals can be submitted to the Secretary of State within 6 months. It is not possible to make outline applications for listed building consent.

USEFUL WEBSITES:

•

www.english-heritage.org.uk

•

www.britishlistedbuildings.co.uk

•

www.heritagegateway.org.uk

•

www.buildingconservation.com

•

www.planningportal.gov.uk

•

www.communities.gov.uk

•

www.sparb.org.uk

•

www.architecture.com

FURTHER INFORMATION: Further Information Contact telephone numbers of qualified architects and surveyors in your area can be found in the Yellow Pages or online.

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LISTED BUILDING CONSENT PROCESS SUMMARY DIAGRAM:

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8

VIABILITY, VALUE MANAGEMENT AND COST CONTROL Text by Chen Chang, Paulina Kowalska Reasearch by Chen Chang, Paulina Kowalska

This section of the report will outline the actions related to value and cost management required before commissioning a project and throughout the construction phase that aim at achieving viability after the completion.

VIABILITY In order to understand the viability it is worth to mention the definition of value: • Worth, desirability, utility • Amount of money • Ability of a thing to serve a purpose The value might be either driven by what’s affordable in the budget or by the total investment cost.

In the second case, the value is a measured through the building performance management, all the elements performance and the maintenance costs.

Building’s viability is usually a client’s requirement throughout the construction. There are new and varied ways of financing design and construction of buildings. The viability of the building starts from the early stages of the project and it’s requirements of quality and construction time, right through procurement options and contracts in place. Each client is inclined towards a price certainty within the budget, finishing in time, best quality, value for money and lower contingency, however these expectations have to be managed at the start of the project, as all of these will have cost implications.

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Individual client’s private projects are usually based on the total budget available. However, larger public or private developments require significant assessments on viability to finance the project and assure that the decisions have positive effects on economic growth and development of the area. The National Planning Policy Framework advises that plans should be suitable for delivery, which means the plan should maximize the value of sites and scales in development under regulations and policies. The Local Plan should be consulted to assess economic deliverability, as well as the quality and sustainability requirements through different approaches.

• Evidence based judgment is informed by the relevant available facts on the practical understanding of the cost and value of development of the local area and figuring out the market fluctuations.

• Collaboration is an effective way to understand viability through consulting local planning authority, developer, business community, landowners and other interested parties. Each member is encouraged to share evidences.

• A consistent approach, as the local planning authorities need to take into account districtwide development costs when make Local Plans. It is useful and effective to make a master plan, which will create sustainable locations, identify accumulated infrastructure requirements in the local area, and evaluate the effects on the scheme’s viability.

The value of the building is related to the cost of its commissioning which includes: •Land/Building Cost •Including acquisition and Fees.

•Construction Cost •Construction costs and Contingency •Fees •Surveys and Investigations, Professional Team Fees, Statutory Submission •Financing Cost •Bank loans and interest (temporary and permanent arragements) •Financial Status •Vat

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Costs

Value (Market Factors)

Acquisition

Rent & Yield

Construction

Letting & Marketing Void 1.Viability graph base on Ken bishop (2015)

Viability methodologies in plan making and decision taking are also demonstrated by a series of sector led guidance that can be analysed through value management principles.

VALUE MANAGEMENT Value management ensures project’s value for money providing an efficient solution to the project’s requirements specified by the client. It aims to reduce unnecessary project related costs.

Value management applies not only in construction process, but also targets technical, business and strategic issues. It is easier to achieve a successful completion by appointing a quantity surveyor and organising a value management workshop for all the involved parties including the client or client’s representative and members of the design, and construction teams.

Value management model

Cost

Business case

Ensure the balance between functions and cost maximises the benefits (Revenue)

Value Engineering

Ensure Value is optimised by providing functions without unnecessary cost

Functions

Values

Concept Design

Taking a Value Brief & ensuring it is rigorously applied to the functions to optimise benefits

Benefits 2.Value management model

In conclusion Use minimum resource achieve maximum performance

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It is important to understand that all the separate elements influence the final project value, thus it is important to choose the right procurement and tendering method, consider the site constraints.

These influence the risks on the project, while higher risks for all the parties can increase the value of the project. Another element increasing the value are the design variables influencing the cost: • Size - due to the cost per square meter • Plan shape - external wall to floor area ratios • Circulation space - as a space not for rent • Storey height - requirement for services • Total height / number of floors - due to square meter of floor • Column spacing / floor spans - influence the furniture arrangements • Floor loadings - expensive structure • Specifications - higher quality is more expensive Therefore, designers should: • Be informed about the desired costs and their consequences • Make value explicit within the project process • Demonstrate that value has been an objective and that the solution achieves best value • Demonstrate that the search for Value has been an integral to the project process The deliverability of the project can be assured through cost control measures.

COST CONTROL In project cost management, quantity surveyor takes the leading position in the team. The task of the quantity surveyor is to ensure the building constructed under a perceived budget by listening, integrating, estimating, recording and seeing the large picture. On the other hand, surveyor can make designers and contractor aware of the cost through the design/construction stage while ensure the value for money.

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• Make Value explicit within the project process • DemonstrateCost that Value has been anof objective implications design variables AI M • Demonstrate that best Value solutions have been chosen • Demonstrate that the search for Value has been on-going and integral to the project process

Cost implications of design variables

Interested Parties Site Conditions Heritage and conservation groups Archaeological groups Local history societies Resident groups Ecology groups etc

Location access topography infrastructure contamination ground bearing capacity location and diversion of services

Heritage and conservation groups Archaeological groups Local history societies Resident groups Ecology groups etc

Location access topography infrastructure contamination ground bearing capacity location and diversion of services

Interested Parties Site Conditions

Legislation Built enviroment Restrictive Covenants Land registration Building regulations CDM Consents

Legislation

Future Proofing EnvironmentalB Changes in operation Accommodation M&E systems Life cycle cost exercises

Pollution dust noise smoke traffic travel sustainability

Future Proofing EnvironmentalB

Built enviroment Restrictive Covenants Land registration Building regulations CDM Consents

Changes in operation Accommodation M&E systems Life cycle cost exercises

Pollution dust noise smoke traffic travel sustainability

Redundant performance and circulation areas

uilding Shape Shape geometry

Car parking areas

corridors Redundant foyers stairwells performance balconies liftshafts and plant rooms operating plant circulation areas

uilding Shape Shape geometry

Car parking areas corridors foyers stairwells balconies liftshafts plant rooms operating plant

Quantity surveyor & Cost monitoring and Control

In project cost management, quantity surveyor takes the leading position in the team. The design andsurveyor project team should collaborate work with quantity surveyor. The task of the quantity Quantity & Cost monitoring and Control surveyor is to ensure the building constructed under a perceived budget by listen, integrate, estimate, and view big quantity picture. surveyor On the other surveyorposition can make designers and In projectrecord cost management, takeshand, the leading in the team. The contractor the cost through the design/construction whileThe ensure with design andaware projectofteam should collaborate work with quantitystage surveyor. task them of thepaid quantity value for money. surveyor is to ensure the building constructed under a perceived budget by listen, integrate, 3.Value management process based on Dallas(2006) Through stage of costOn monitoring control can be classified as estimate,RIBA record and0-7, viewthe bigwork picture. the otherand hand, surveyor can make designers and contractor aware of the cost through the design/construction stage while ensure them paid with • Estimating and cost planning value for money.

The aim of the cost plan is to monitor budget to main stage of the project in order to control the • Cost checking Through RIBA stage 0-7, the work of cost monitoring and control can be classified as •total cost Pre-tender estimate and the final accounts. Hence, the cost plan should estimate the cash flow throughout all • analysis and all the variations be closely controlled.

•stagesTender Estimating and costshould planning • Cost control reports during the construction stage at regular intervals • Cost checking • Final Account and Feedback • Pre-tender estimate Cost control takes place throughout the duration of the project within all the stages, but through • Value Engineering • Tender analysis different exercises: • Cost control in reports during process the construction stage at regular intervals Cost management RIBA design 0-7 • Final Account and Feedback • Value Engineering Stages

0 1in RIBA design 2 3 Cost management process 0-7 4 Strategic Definition

Tasks Stages

Core Objectives

Tasks

Core Cost Input Objectives

Process & Method Cost Input

Process & Method

Preparation and Brief

Concept Design

Developed Design

Technical Design

5

6

Construction

Handover and Close Out

7 In Use

PrepareConcept Design , Prepare Developed Design , Offsite manufacturing and Prepare Technical Design Handover of building and including outline proposals including coordinated and onsite Construction in in accordance withDesign conclusion ofBuilding for structural design, building updated proposals for accordance withConstruction Contract .

Responsibility Matrix and services systems, outline structural design, building Project Strategies to include Programme and resolution of specifications and preliminary services systems, outline all architectural, structural and Design Queries from site as specifications,Cost Cost Information along with building services information, they arise.

Information and Project relevantProject Strategies specialist subcontractor Strategies in accordance with design and specifications, in accordance withDesign Design Programme .

Programme . Agree in accordance withDesign alterations to brief and issue Programme .

Final Project Brief .

PrepareConcept Design , Develop Project Objectives , Prepare Developed Design , Identify client’s Business Offsite manufacturing and Prepare Technical Design Handover of building and including outline proposals includingQuality Objectives including coordinated and Case and Strategic Brief onsite Construction in in accordance withDesign conclusion ofBuilding Cost checking for structural design, building updated proposals for and Project Outcomes , and other core project accordance withConstruction Responsibility Matrix and Contract .

Cost control services systems, outline Sustainability Aspirations, structural design, building requirements.

Programme and resolution of Project Strategies to include Pre-tender estimate Cost plan(s) Estimate(s) specifications and preliminary services systems, outline Project Budget , other site as Statements all architectural, structural and Design Queries fromFinance Tender analysis parameters or constraints and Cost Information along with specifications,Cost building services information, they arise. develop Initial Project Brief.

Information and Project relevantProject Strategies specialist subcontractor UndertakeFeasibility Studies in accordance withDesign Strategies in accordance with design and specifications, and review ofSite Information. Cost Design Programme .

Programme . Agree in accordance withDesign Estimate plan Cost control alterations to brief and issue Programme .

Final Project Brief Determination of possible cost of building Critical breakdown of.the cost limit for the building (providesa statement of how the design team proposes Forecasting and anticipating final cost at regular intervals

7

•Floor Area Method •Functional Unit Method •Elemental Method

Variations Adjustment of provisional sums Adjustment of prime cost sums Loss and expense

Develop Project Objectives , includingQuality Objectives and Project Outcomes , Sustainability Aspirations, Project Budget , other parameters or constraints and develop Initial Project Brief.

UndertakeFeasibility Studies and review ofSite Information.

Identify client’s Business Case and Strategic Brief and other core project requirements.

0

1

2

3

4

5

6

Strategic Definition

Preparation and Brief

Concept Design

Developed Design

Technical Design

Construction

Handover and Close Out

to distribute the available budget among the elements of a building)

Estimate(s)

Cost checking Pre-tender estimate Tender analysis

•Elemental Method Contingency - Design/Construction/M&E Inclusion and Exclusions

Cost control

In Use UndertakeIn Use services in accordance with Schedule of Services Final account.

Feedback

Adjusted contract sum, adjustment of provisional sums and prime cost sums and for loss and /or expense

Final account

Finance Statements Feedback 4.Cost control in RIBA design stage

Cost plan(s)

Estimate

Cost plan

Determination of possible cost of building

Critical breakdown of the cost limit for the building (providesa statement of how the design team proposes to distribute the available budget among the elements of a building)

•Floor Area Method •Functional Unit Method •Elemental Method

Accounting for variations Controlling and not merely reporting

UndertakeIn Use services in accordance with Schedule of Services .

•Elemental Method Contingency - Design/Construction/M&E Inclusion and Exclusions

Variations

Additional work Omitted work Change in specification Correction of error in contract documents Cost control

Forecasting and anticipating final cost at regular intervals Accounting for variations Controlling and not merely reporting Variations Additional work Omitted work Change in specification Correction of error in contract documents

FEEDBACK Cost limit being exceeded – prevention better than cure Adjusted contract sum, adjustment of provisional sums and prime cost sums Options and for loss and /or expense Accept (obtain additional funding) Variations Reject Adjustment provisional sums Identify and of implement savings Adjustment of prime On element over costcost limitsums Loss andremaining expense elements On other By deferring certain works FEEDBACK Cost limit being exceeded – prevention better than cure Options Accept (obtain additional funding) Reject Identify and implement savings On element over cost limit On other remaining elements By deferring certain works

.

.

–

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Through RIBA stage 0-7, the work of cost monitoring and control can be classified as: • Estimating and cost planning • Cost checking • Pre-tender estimate • Tender analysis • Cost control reports during the construction stage at regular intervals • Final Account and Feedback • Value Engineering

Cost control requires the procedure of • Taking decisions basing on a forecast of the cost implications of the alternatives being considered.

• In general, 80% of cost is determined by design while 20% by construction. Therefore, the design team should design under the total budget.

• Updating the cost plan while alteration happens • Adjusting the cash flow plan to reflect alterations • Keeping in contact with design/construction team as the project progress • Controlling contingency and risk during the project • Ensuring all changes are followed at all stage • Ensuring the accuracy of information which given to project team • Ensuring the client informed the current cost plan on time • Ensuring the variations between current budget and original budget must be clearly indicated in cost report Budget Apportionment The construction cost does not form the full building budget, which includes the professional fees, statutory requirements, VAT and contingencies. The budget apportionment breaks down the full cost of the project into percentages and related sums.

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Budget Apportionment Example

Element Acquisition Costs

Percentage Residualised Price Stamp Duty Agent Fee Legal Fee Town Planning Survey

4.00% 1.50% 0.50%

Total

Cost 6,000,000 240,000 60,000 20,000 50,000 30,000 6,400,000

Construction Costs Offices Retail Contingency

3.00% Total

Section 106 Demolition Statutory/LA Professional Fees

16,000,000 17,000,000 510,000 17,510,000 500,000 750,000 35,000

Architect Quantity Surveyor Structural Engineer Mech./Elec.Engineer Transport + Acoustics C.D. Manager BREEAM

Total

1,285,000

17,510,000 @ 11.5%

2,013,650

5.Budget example based on Bishop (2015)

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9

BUILDING REGULATIONS, HEALTH & SAFETY AND THE EQUALITY ACT Text by Jana Kefurtova Reasearch by Jana Kefurtova

BUILDING REGULATIONS Purpose of Building Regulations The Building Regulations (further as BR) are designed to ensure buildings meet health, safety, welfare,vconvenience and sustainability standards. They relate to the specifics of how a building should be constructed as opposed to planning permission, which ensures that the right development happens in the right place at the right time, benefitting communities and the economy.

Buildings which need approval The following building projects require compliance with BR: •

the erection or extension of a building

•

the installation or extension of a service or fitting which is controlled under the regulation

•

an alteration project involving work which will temporarily or permanently affect the ongoing

compliance of the building, service or fitting with the requirements relating to structure, fire, or access to and use of buildings •

the works that involve material change of use or a change of energy status of a building

•

the works that involve alteration of thermal elements of a building

•

the insertion of insulation into a cavity wall

•

underpinning of the foundations of a building

Certain building types are exempt from the application of BR requirements, those are: •

ancient monuments and archealogical sites

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•

storages of explosives and nuclear installations

• • • • • •

detached building not frequented by people greenhouses and agriculture buildings temporary buildings not intended to remain erected for more than 28 days ancillary buildings small detached buildings containing no sleeping accomodation up to 15m2 extensions up to 30m2

Some building work will involve work to buildings which are either listed nationally or locally, and/ or are buildings located in sensitive urban or rural environments such as Conservation Areas or Areas of Outstanding Natural Beauty. In such case, reasonable provision shall be made to achieve balance between the BR requirements and the needs of building conservation.

Getting an approval Anyone wanting to carry out building work which is subject to the BR is required by law to make sure it complies with the regulations and to use one of the two types of Building Control Service available, the Local Authority service or the the Approved Inspector, unless the works are carried out by installers registered with a Competent Person Scheme who can self-certify that their work is compliant. The schemes are covering works such as: •

installation of gas/oil/solid fuel appliences

•

installation of heating or hot water systems in dwellings

•

Installation of heating, hot water, mechanical ventilation or air-conditioning systems on

•

buildings other than dwellings

•

electrical installtion

Local Authority BR approval can be requested in three differnet ways:

* For projects up to £400,000. For other projects, fees are determined individually.

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Full Plans application Most thorough, traditional method which can be used for all types of projects.

The following information is required for the submission, which shall be made in duplicate with two additonal copies: •

the name and address of the person intending to carry out the work and signed by him or

on his behalf •

a description of the proposal

•

the location and proposed use of the building

•

a 1:1250 or greater scale plan showing the size, position and curtilage boundaries ofthe

building and other buildings and streets within that surtilage •

the number of storeys in the building

•

drainage provisions

•

steps to be taken to ensure compliance with any local enactment

•

sufficient plans, sections and elevations, drawn to a scale of not less than 1:50, togetherwith

notes to show and describe fully the proposed construction.

Full Plans procedure

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Building Notice Notifies the Local Authority that buidling work or a change of use is proposed. Plans are not required with this process so it is quicker and less detailed than the full plans application. It is designed for domestic building projects only.

Documents: •

the name and address of the person intending to carry out the work and signed byhim or

on his behalf •

a statement that the notice is given in accordance with regulation 12, which statesin which

cases the building notice procedure is suitable •

a description of the proposal

•

the location and proposed use of the building

•

fee

For an erection or an extension of a building also: •

a 1:1250 or greater scale plan showing the size, position and curtilage boundariesof the

building and other buildings and streets within that surtilage •

the number of storeys in the building

•

drainage provisions

•

steps to be taken to ensure compliance with any local enactment.

Building Notice procedure

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Site inspections For both Full Plans and building notice procedure, inspections can be requested at any stage of the work by either the owner or the builder but must be made for the following: •

Excavation of foundations before concreting

•

Foundations when constructed

•

Damp proof course (DPC) when laid

•

Oversite floor area (prior to being concreted over)

•

Drains (before backfilling)

•

Drains (after backfilling)

•

Prior to occupation (five working days notice)

•

Completion of work

Regularisation Retrospective written application relating to previously unauthorised works i.e. works carried out without Building Regulations consent since 11 November 1985. The purpose of the process is to regularise the unauthorised works and obtain a Certificate of Regularisation. Depending on the circumstances, exposure, removal and/or rectification of works may be necessary to establish compliance with the Building Regulations.

Regularisation Procedure

•

a statement that the application is made in accordance with BR 21

•

a description of the unauthorized work

•

a plan of the unauthorized work, if reasonably practicable

•

a plan of any additional work, if reasonably practicable, to show compliance withthe relevant

requirements of BR •

Where Part B (Fire Safety) is involved, a further two copies of the plans should be

•

deposited

•

application fee

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Approved inspector Approved Inspectors are companies or individuals authorised to carry out building control work in England and Wales. They take on responsibility for plan checking and inspection of the building work.

Their responsibilities are: •

give advice on how the Building Regulations apply to the building work

•

check the plans

•

issue a plans certificate (if requested)

•

inspect the work as it progresses

•

issue a final certificate

The building work can start as soon as the initial notice is accepted by the local authority. Work cannot start if the initial notice is rejected. But if the notice has not been validly rejected by the authority within five days of being given, then it is treated as having been accepted.

What happens when the project does not comply with BR •

the work will not be legal

•

the client can be prosecuted and could face unlimited fines

•

The work may not be safe, could cause health problems, injury or even death. It may also

not meet energy efficiency standards.

•

If work is found to be faulty the Local Authority could insist on putting it right at the client’s

expense.

•

the Local Authority will have no record that the work complies with Building Regulations.

These records will be important when the client comes to sell the property as he/she may be asked to provide certificates of compliance with the Building Regulations.

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HEALTH & SAFETY AND THE EQUALITY ACT Health & Safety Law CDM 2015 Health and Safety plays a crucial role not only with regards to the building but also to its construction.

The Construction Design and Management (CDM) 2015 explains how to achieve Health & Safety standards by clearly identifying the responsibilities of each team member.

CDM 2015 •

applies to all construction work and to the safety and health of the “users” of the

finishedproject if a workplace •

needs appointment of Principal Designer and Principal Contractor on any sites where there

is more than one contractor •

requires any work that is scheduled to last more than 30 working days and involves more

than 20 workers at any one time; or more than 500 person days of work to be notified to HSE (Health & Safety Executive).

Principal Designer •

plans, manages and monitors the co-ordination of health and safety in the pre-construction

design phase of the project (overlapping with construction) •

can be a designer, client, contractor or H&S specialist if integrated with the team throughout

the process •

required on notifiable projects

•

ensures compliance with CDM 2015

•

notifies notifiable projects to the Health & Safety Executive

•

advises and assists the client with all of their duties.

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Roles and duties under CDM 2015

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Equality Act 2010 The Equality Act 2010 legally protects people from discrimination in the workplace and in wider society. It is the activity in the building that falls under the act, not the building. There are no technical standards that apply, but nevertheless, adherence with the legislation is obligatory.

Compliance with the requirements of BR Part M (Access to and use of buildings) does not signify compliance with the much broader obligations and duties set out in the Equality Act. Whilst BR Part M sets out the minimum requirments to ensure that a broad range of people are able to access and use facilties within building, the Equality Act requires reasonable adjustments to be made in relation to accessibility. In practice, this means that due regard must be given to any specific needs of likely building users that might be reasonably met.

Team memebers responsibilities

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10

PROGRAMME OF WORK Text by Charles Butterwick Reasearch by Charles Butterwick

OUTLINE DESIGN PROCESS OVERVIEW Project Delivery: A Case for Efficiency not Speed The responsibility for the design of the building prior to tendering and construction lies with the Project Team. This section will lay out the normal tasks that allow for this assignment to be discharged, including their nominal order and duration. The tasks will be grouped around the RIBA Plan of Work 2013 and the traditional procurement route which are discussed above. The diagram will follow the project from Stage 0: Strategic Definition when the idea of the project is appraised for viability to Stage 4: Technical Design after which the building contract is let. The reason for focussing on this sub-selection of the RIBA Work Stages and this procurement method is that this when the architect will add the most value to the project. Subsequently, an analysis of the pros and cons of associated with speeding these processes up will be undertaken.

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TASK

START

DURATION

(WEEK)

JANUARY

STAGE 5

STAGE 4

STAGE 3

STAGE 2

STAGE 1

STAGE 0

1

STRATEGIC ASSESSMENT

1

4

Commence Business Case Assessment Strategic Brief Establish Programme Past Project Evaluation

1 1 3 3 3

2 1 2 2

PREPARATION AND BRIEF Project Roles Table Contractual Tree Responsibility Matrix Sustainability Aspirations Project Objectives Quality Objectives Project Budget Initial Project Brief

4 4 4 4 4 4 4 6 6

76 1 1 1 1 2 2 2 2

Feasibility Studies Site Information

8 8

3 3

Risk Assessment 10 Initial Handover Strategy 10 11 CONCEPT DESIGN Concept Design 11 Structural and M+E Design 11 Initiate BIM Massing Studies 12 Planning Office Consultation 12 Initial Specification 16 Project Strategies 17 Final Design Programme 18 Final Project Brief 19 DEVELOPED DESIGN 21

1 1 10 3 3 2 5 (15) 2 1 2 2 9

Develop Design 21 Ensure Spatial Coordination 21 Environmental Analysis 24 Cost Information Analysis 25 Project Strategies Review 26 Create BIM Custom Families 26 Submit Planning Application 28 TECHNICAL DESIGN (28) 30 Prepare Tender Documents 30 Building Regs Compliance 31 Final Specification 33 Party Wall Notices 34 34 Specialist Design Contractor Tender Period 38 45 Client Review Mobilise Contractor Team 45 (32) 45 CONSTRUCTION Appoint Sub-Contractors 46 Order Long Lead-In Items 50 Set Up Site Office 53

5 (8) 5 (8) 3 3 2 3 2 16 (18)

2

3

4

FEBRUARY 5

6

7

8

MARCH 9

10

11

12

APRIL 13

14

15

16

17

18

19

KEY

clien proje lead cost engin BIM m main sub-c

4 5 3 2 (4) 4 7 1 1 90* approx.

42 35 4

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JUNE 21

22

nt ect manager designer consultant neering manager n contractor contractors

23

24

25

JULY 26

27

28

29

AUGUST 30

31

32

33

34

SEPTEMBER 35

36

37

38

39

OCTOBER 40

41 42

43

NOVEMBER 44

45

46

47

48

DECEMBER 49

50

51

52

53

CONTRACTOR SELECTION

MAY

AWAIT PLANNING APPROVAL

9

AI M PROGRAMME

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Naturally, to maximise profits construction companies will often seek to compress stages 1-4 into as short a time as possible, this is a trait shared by most clients who all have an economic interest Naturally, to maximise profits construction companies will often seek to compress stages 1-4 into as in the final outcome of the architectural process in common regardless of the project. Sometimes short a time as possible, this is a trait shared by most clients who all have an economic interest in the final particular time constraints may impact the natural progression of the design process from Stage outcome of the architectural process in common regardless of the project. Sometimes particular time 0: Strategic Assessment through to Stage 4: Technical Design. Though in some cases inevitable it constraints may impact the natural progression of the design process from Stage 0: Strategic Assessment is worth highlighting the pros and cons of unnecessarily rushing and the potential outcomes of a through to Stage 4: Technical Design. Though in some cases inevitable it is worth highlighting the pros condensed design process. and cons of unnecessarily rushing and the potential outcomes of a condensed design process.

Projects often operate in tension between three factors, cost, speed and quality. Though not Projects often operate in tension between three factors, cost, speed and quality. Though not impossible impossible it is considered rare for all three to exist simultaneously and prioritising one often it is considered rare for all three to exist simultaneously and prioritising one often negatively affects the negatively affects the others. Understandably, however, despite these increased risks it is not others. Understandably, however, despite these increased risks it is not always possible to allow the recalways possible to allow the recommended time for the design process. There are several key ommended time for the design process. There are several key areas within which time can be shaved off areas within which time can be shaved off the design process that have been identified in the the design process that have been identified in the Project Programme above.

Project Programme above.

COST

TIME

QUALITY

Engaging with the Planning Department as early and as frequently as necessary can make the Engaging with the Planning Department as early and as frequently as necessary can make the process of process of gaining planning permission far swifter and more predictable. The advice offered during gaining planning permission far swifter and more predictable. The advice offered during these sessions, these sessions, offered by some councils for free, can be invaluable for making informed decisions offered by some councils for free, can be invaluable for making informed decisions on the likelihood of on the likelihood of receiving planning permission. This can free the design team to continue into receiving planning permission. This can free the design team to continue into Stage 4: Technical Design Stage 4: Technical Design before receiving confirmation, though this is always accompanied by before receiving confirmation, though this is always accompanied by the elevated risk should planning

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the elevated risk should planning permission be rejected unexpectedly. However, as is stated earlier, the time that the project would be on hold whilest a decision is taken can be considerable and the reward may outweigh the risks. This decision should not be taken lightly and should be in full consultation with the architect and the planning office especially if the project’s design looks to stretch any technological, historical, stylistic, structural or legal boundaries. It would be normal, under these circumstances, if the client instructs the project team to proceed, that they would do so under the written authority of the client and with the guarantee that any bills relating to work undertaken and subsequently discarded due to changes would be fully remunerated.

The risks associated with Stage 5: Construction are increasingly being transferred to the contractor to manage especially when using Design and Build and Management Contractor procurement methods. To mitigate these risks, contractors are increasingly becoming highly involved in the design process often driving the project as the client or either replacing or novating the design team after appointment. The effects that this has on the outcomes of design can vary, but there are significant time savings (and cost increases) that are asscociated with engaging with a contractor early in the process. The time for tendering can extend from six to eight weeks according to the complexity and size of the project. If an contractor is present earlier in the design process they may also be able to contribute standard details they are familiar with, increase the buildability of the design and make sure that the process of appointing sub-contractors can take place as early as possible once any key necessary specialisms have been identified. The contractor may also be able to introduce an overlap in scheduling with the design team where work can start at the site on the foundations whilst the final detail construction drawings are being prepared. In this way it might be possible to start on site before planning permission has been approved, however this amplifies the risks associated with rushing both stages and the client must be made aware of the financial and programmatic dangers this course of action poses.

These important areas allow for the slimming of the design and construction process that by and large avoids the need to sacrifice quality, except possibly with respect to making an assured planning application and potentially the use of standard detailing. However, there is always the option of simply reducing the time within which these processes occur. Unfortunately, attempting to quicken the progression of the project in this way will often increase costs and decrease quality for several reasons. Firstly, mistakes arising from miscommunication, condensed research or human nature are more likely to happen and less likely to be spotted early when time is of the essence.

The costs associated with correcting any of these errors may well impede the progress of the project and will inevitably raise the cost. Who accepts these risks will be dictated by the contract but they will likely fall on the lead designer. This creates a culture of risk minimisation, building standardisation and lower levels of adventurous thought within the project team. Therefore, quality

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is also concomitantly affected as the time it often takes for an architectural idea of merit to fully germinate and the potential of incurring financial loss, assuming out of the box solutions fail to make good on any investment or are rejected at planning, become limiting factors in the architectural process. These potential pitfalls can be addressed by raising the number of employees dedicated to a project allowing for both quality and speed but again at a higher cost.

In this section, the risks, rewards and routes to a programmatically efficient project have been assessed. To conclude, the design process is often a long undertaking, however, there are areas within which time savings can be made for minimal cost if the process is well managed. However, there are limits within which these improvements can be attained, any further time reductions are likely to adversely affect either quality, cost or both. Careful consideration, in partnership with the lead designer, is strongly advised if time is a critical factor in the delivery of the project.

+ Advantages: Lower capital expenditure, faster occupation, sooner return on investment

- Disadvantages: INCREASED RISK, emphasis on unknown unknowns, potential downwards adjustments on quality

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BIBLIOGRAPHY Why Use an Architect Chappell, D. , Willis, A., (2015) The Architect in Practice. 10th Ed. West Sussex: Wiley-Blackwell.

RIBA. 2015. Why Use an Architect. [ONLINE] Available at: https://www.architecture.com/ FindAnArchitect/Whyuseanarchitect.aspx. [Accessed 16 December 15].

RIBA. 2015. How do I Use an Architect. [ONLINE] Available at: https://www.architecture.com/ FindAnArchitect/Whyuseanarchitect.aspx. [Accessed 16 December 15].

RIAS. 2015. Why Use a Chartered Architect. [ONLINE] Available at: http://www.rias.org.uk/services/ why-use-an-architect/. [Accessed 17 December 15].

ARB. 2015. You and your Architect. [ONLINE] Available at: http://www.arb.org.uk/you-and-yourarchitect. [Accessed 17 December 15].

Covenants, easements , party wall act procedures and the right to light Peter Barry (2015). London based chartered surveyors. London. Available at: http://www.peterbarry. co.uk/party-wall-surveyors/ (ACCESSED DECEMBER 2015).

My Property Guide (2007-2015). Are my proposed works covered by the party wall act? London.

Available at : http://www.mypropertyguide.co.uk/articles/display/10105/are-my-proposed-workscovered-by-the-party-wall-act.htm (ACCESSED DECEMBER 2015).

Department for communities and local Government (2015). Party wall act 1996. London. Available at: https://www.gov.uk/government/uploads/system/uploads/attachment_data/file/393927/Party_ Wall_etc__Act_1996_-_Explanatory_Booklet.pdf (ACCESSED DECEMBER 2015).

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Boundary Problems (2015). Easements : Rights over Neighbouring Land. England & Wales. Available at:

http://www.boundary-problems.co.uk/boundary-problems/easements.html

(ACCESSED

DECEMBER 2015).

Boundary Problems (2015). Walls and Boundaries. England & Wales. Available at: http://www. boundary-problems.co.uk/boundary-problems/walls.html (ACCESSED DECEMBER 2015).

Boundary Problems (2015). Walls and Boundaries. England & Wales. Available at: http://www. boundary-problems.co.uk/boundary-problems/walls.html (ACCESSED DECEMBER 2015).

Practical Law (2015). Easements : Creation. London. Available at: http://uk.practicallaw.com/1385-9229#a727227 (ACCESSED DECEMBER 2015).

The telegraph(2012). Property Clinic : Restrictive Covenants. London. Available at: http://www. telegraph.co.uk/finance/property/advice/propertyclinic/9257999/Property-clinic-restrictivecovenants.html (ACCESSED DECEMBER 2015).

INBRIEF (2015). Restrictive Covenants and Residential Property. England and wales. Available at: http://www.inbrief.co.uk/property-law/restrictive-covenants.htm (ACCESSED DECEMBER 2015).

Homebuilding & Renovating (2015). Restrictive Covenants, Wayleaves and Easements . London.

Available

at:

http://www.homebuilding.co.uk/2012/10/10/restrictive-covenants-wayleaves-and-

easements/ (ACCESSED DECEMBER 2015).

Project plan and the role of the project manager A Role for the Architect (1995) RIBA Practice Committee, paragraph 3.2 Chappell, D. , Willis, A., (2015) The Architect in Practice. 10th Ed. West Sussex: Wiley-Blackwell.

RIBA (2013) RIBA Plan Of Work 2013 Overview. [Online] Available from: https://www.architecture. com/RIBA/Professionalsupport/RIBAPlanofWork2013.aspx [Accessed: 7th December 2015] RIBA (2013) RIBA Plan Of Work 2013. [Online] Available from: http://www.ribaplanofwork.com/ PlanOfWork.aspx [Accessed: 7th December 2015]

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Procurement Designing Buildings Wiki. 2015. designingbuildings.co.uk. [ONLINE] Available at: http://www. designingbuildings.co.uk/wiki/Tender_processes_for_construction_contracts#Introduction.

[Accessed 01 December 15].

JCT. 2015. jctltd.co.uk. [ONLINE] Available at: http://www.jctltd.co.uk/procurement.aspx. [Accessed 01 December 15].

NBS. 2015. thenbs.com. [ONLINE] Available at: http://www.thenbs.com/topics/contractsLaw/ articles/tenderingForConstructionProjects.asp. [Accessed 29 November 15].

RIBA. 2015. Architecture.com. [ONLINE] Available at: https://www.architecture.com/RIBA/ Professionalsupport/Professionalcommunities/ProcurementGuidance/5.TenderingProcess.aspx.

[Accessed 29 November 15].

Sarah Lupton, 2007. Which Contract?. 4Rev Ed Edition. RIBA Enterprises.

Briefing and specification Chappell, D. , Willis, A., (2015) The Architect in Practice. 10th Ed. West Sussex: Wiley-Blackwell.

Tunstall, G, 2006. Managing the building design process. 1st ed. London: Butterworth-Heinemann.

Salisbury, F, 1990. Architect’s handbook for client briefing. 1st ed. London: Butterworths.

Design Buildings. 2015. Briefing documents for building design. [ONLINE] Available at: http://www. designingbuildings.co.uk/wiki/Briefing_documents_for_building_design. [Accessed 10 December 15].

NBS. 2015. Briefs. [ONLINE] Available at: http://www.thenbs.com/training/educator/briefs/ briefsIntro/briefsIntro02.asp. [Accessed 10 December 15].

NBS. 2015. Specification. [ONLINE] Available at: http://www.thenbs.com/training/educator/ specification/index.asp. [Accessed 10 December 15].

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Planning permission Phdassociates.co.uk, (n.d.). What is permitted development? | PHD Associates. [online] Available at: http://www.phdassociates.co.uk/permitted-development/ [Accessed 30 Nov. 2015].

Planningguidance.communities.gov.uk, (n.d.). Planning Practice Guidance. [online] Available at: http://planningguidance.communities.gov.uk/ [Accessed 30 Nov. 2015].

Planninghelp.cpre.org.uk, (n.d.). How your council makes planning decisions. [online] Available at:

http://planninghelp.cpre.org.uk/improve-where-you-live/how-your-council-makes-planning-

decisions [Accessed 30 Nov. 2015].

Royal Town Planning Institute, (n.d.). Material Planning Considerations. [image] Available at: http:// www.rtpi.org.uk/media/686895/Material-Planning-Considerations.pdf [Accessed 30 Nov. 2015].

Stockport.gov.uk, (n.d.). Stockport Council - Planning Appeals. [online] Available at: http://www. stockport.gov.uk/services/environment/planningbuilding/planning/planningprocedures/appeals [Accessed 30 Nov. 2015].

Town and Country Planning (General Permitted Development) (England) Order 2015, (SI 2015/596)

Listed building consent Planning Portal, (n.d.). Guidance Notes for: Application for Listed Building Consent for Alterations, Extension or Demolition of a Listed Building. pp.2-3. [online] Available at: http://www.planningportal.gov.uk/uploads/1app/guidance/guidance_note-listed_building_consent.pdf [Accessed 16 Dec. 2015] Historic Towns Forum. (2012). Making Better Applications for Listed Building Consent. 2nd ed. [pdf] Oxford: Historic Towns Forum, pp.1-3. Available at: http://www.historictownsforum.org/files/documents/free_download_publications/57_mblbc.pdf [Accessed 16 Dec. 2015].

Buildingconservation.com, (2015). Listed Buildings - Applying for Listed Building Consent. [online] Available at: http://www.buildingconservation.com/articles/listedbuilding/listedbuilding.htm [Accessed 16 Dec. 2015].

Dover.gov.uk, (2015). Listed Buildings. [online] Available at: http://www.dover.gov.uk/Planning/ Conservation/Listed-Buildings.aspx [Accessed 16 Dec. 2015].

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Viability, Value Management and Cost control Designing Buildings Wiki. 2015. designingbuildings.co.uk. [ONLINE] Available at: http://www. designingbuildings.co.uk/wiki/Tender_processes_for_construction_contracts#Introduction.

[Accessed 01 December 15].

JCT. 2015. jctltd.co.uk. [ONLINE] Available at: http://www.jctltd.co.uk/procurement.aspx. [Accessed 01 December 15].

NBS. 2015. thenbs.com. [ONLINE] Available at: http://www.thenbs.com/topics/contractsLaw/ articles/tenderingForConstructionProjects.asp. [Accessed 29 November 15].

RIBA. 2015. Architecture.com. [ONLINE] Available at: https://www.architecture.com/RIBA/ Professionalsupport/Professionalcommunities/ProcurementGuidance/5.TenderingProcess.aspx.

[Accessed 29 November 15].

Sarah Lupton, 2007. Which Contract?. 4Rev Ed Edition. RIBA Enterprises.

Building regulations, Health & safety and the equality act Polley, S. (2012). Understanding the building regulations. Milton Park, Abingdon, Oxon: Spon Press Chappell, D., Willis, C. and Willis, A. (1992). The architect in practice. Oxford: Blackwell Scientific Planningportal.gov.uk, (2015). Planning Portal - Building Regulations. [online] Available at: http:// www.planningportal.gov.uk/buildingregulations/ [Accessed 8 Dec. 2015] Waveney.gov.uk, (2015). Full plans procedure - How to make a building regulations application Waveney District Council. [online] Available at: http://www.waveney.gov.uk/site/scripts/documents_ info.php?documentID=251&categoryID=200011 [Accessed 8 Dec. 2015] Manchester.gov.uk, (2015). Submit full plans | Building regulation approval | Manchester City Council. [online] Available at: http://www.manchester.gov.uk/info/200011/building_control/6799/ building_regulation_approval/3 [Accessed 8 Dec. 2015] Designingbuildings.co.uk, (2015). Equality Act - Designing Buildings Wiki. [online] Available at: http://www.designingbuildings.co.uk/wiki/Equality_Act [Accessed 8 Dec. 2015]

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Legislation.gov.uk, (2015). Equality Act 2010. [online] Available at: http://www.legislation.gov.uk/ ukpga/2010/15/contents [Accessed 8 Dec. 2015] Hse.gov.uk, (2015). Construction - Construction Design and Management summary of duties. [online] Available at: http://www.hse.gov.uk/construction/cdm/2015/summary.htm [Accessed 8 Dec. 2015] Citb.co.uk, (2015). Guidance for Construction (Design and Management) Regulations 2015 CITB. [online] Available at: http://www.citb.co.uk/health-safety-and-other-topics/health-safety/ construction-design-and-management-regulations/cdm-guidance-documents/ [Accessed 8 Dec. 2015]

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http://vuotoattivo.tumblr.com/image/34608973119

PART

1

// PROJECT CONTROL COLLABORATIVE GENERIC DOCUMENT/ REPORT INDIVIDUAL LETTER INDIVIDUAL CRITICAL APPRAISAL

Acting as project architect you are then to each write a letter of no more than 2000 words to your client outlining: the proposed services, the practices fee proposals, recommendations/ advise regarding options contained in the generic report - your recommendations regarding procedures and procurement options, the stages and actions to be undertaken during the project, the services to be undertaken (referring as necessary to the report), the clients and your practices roles and responsibilities, the role of other consultants required for the project and the terms and conditions of your appointment.

- The letter is to be set out in accordance with the requirements of the ARB/RIBA codes of conduct for an appointment letter.

AIM_ARCHITECT 27, The Gallery, 347 Moss Lane East, Manchester, M14 4LB, United Kingdom.

AIM ARCHIECTS IN THE MAKING

+447517283264 shahrulridhwan@aim.co.uk // 2nd January 2016

AIM AIM // Ref: 789_025_14051175 Mrs Natalie O’Dwyer O’Dwyer’s LTD 19 Reddish Vale Road Stockport Cheshire SK5 7HE Dear Madam,

RE: [789] Edgar Wood Building_Advisory and Fee Proposal

Thank you for inviting us to act as architect for this project as described in the attached notes of our meeting on 20th December 2015 as described in your letter of 23rd December 2015 which are to be based on the attached sketch proposal developed at our meeting on 20th December 2015. I am writing this letter to clarify in writing some of the issues that arose from our meeting. You told us that your target cost for the building work is £500k to which must be added fees and any VAT. You also said that you would like building works to commence on be complete by end of April 2016.

The services You have asked us to be your Project Architect in this project. I would like to point out that AIM Architect is a RIBA (Royal Institute of Architects) Chartered Practice. We pride ourselves in having this status as it demonstrates that the firm has met the robust RIBA standards for design excellence and customer service in all aspects of our work. It also shows that the firm operates an effective quality management system, comprehensive health & safety, and has established environmental policies in place.

In providing the Services we will exercise reasonable skill and care, act as your representative and advise you on any issues affecting the time, cost or quality of your project. We will not make any material changes to the Services or the agreed design except in an emergency nor subcontract any of the Services without your consent. We will also advise you on compliance with statutory legislation and enclose for your information a copy of A client’s guide to engaging an architect and A client’s guide to health and safety for a construction project which outlines your duties under the Construction (Design and Management) Regulations 2007 (CDM), which we hope you will find helpful.

AIM_ARCHITECT I have attached a brief outline of typical steps that we will undertake as part of the design development process. Generally, structured to the new RIBA plan of work, our services (scope of works) for the above project will include the following: // STAGE 00 - Preparation of strategic brief based on Client’s instruction and informantion; // STAGE 01 - Preparation of concept design; // STAGE 02 - Development of design proposal; // STAGE 03 - Preparation and submission of all relevant planning and building control documentation on Client’s behalf; // STAGE 04 - Provision of full construction information, including technical design and production information and Tender documentation and Administration of building contract; // STAGE 05 - Onsite construction including attendance at forthnightly site meetings; // STAGE 06 - Handover of building and conclusion of Building Contract.

Our services will be performed in accordance with the terms and conditions set out in the enclosed RIBA Standard Form of Appointment SFA (CE/99). If at any time during the project if a problem arises that can not be resolved amicably between the parties involved, then any formal complaint should be lodged in writing with the ARB (Architects Registration Board). AIM Architect are obliged to act in accordance with both ARB and RIBA Codes of Conduct, which include requirements to perform architectural services with due skill and care and keep the client informed of progress.

I hope the above information clarifies the issues you have raised and provides reassurance that by using our services you will be better protected.

Fees and expenses Subject to approval from you, myself and another director here at AIM Architect, have prepared a schedule for the project on which the following fee proposal is calculated from. The works are expected to take 53 weeks from appointment to completion. The size of the project and the scope of the services that will be required; the programme and the time scale of the project; and the resources of the firm, have all informed the projected calculation.

As such our overall fee has been calculated at £47,460.00 excluding VAT. As agreed the overall fee will be invoiced at four - weekly increments: the first one due 28 days after the work commences and to be settled within 28 days as is stated within our terms and conditions. We reserve the right to suspend service, charge interest and withhold copyright of any information we produce at AIM Architect, if invoices are not settled within this period. The final invoice will only be issued once all construction and final accounts have been agreed. The fee amount proposed relates to a 8.5 % rate of the total project budget agreed at £500,000 as informed by you, following our initial meeting. I hope you will find this percentage fee very competitive, considering the risks involved in works on a listed building such as this.

AIM_ARCHITECT We will issue an account each month on completion of each work stage for the fees and expenses due plus VAT and any disbursements less any amounts previously paid, and stating the basis of calculation of the amounts due. The fee proposal above does not include additional expenses related to the scope of works outlined above, (printing, travel etc… I will be happy to provide a full list if required). These will be charge at cost and clearly stated on the monthly invoices issued that they relate to.

Procedure and Procurement Further to our meeting, you have asked about the procedure that should be taken for this project.

First of all, due to the fact that this project involves a Grade II listed building, Listed Building Consent Application must be made. A Listed building consent will be required before applying for a Planning Permission.

A Listed building consent application includes more detailed specification of the works ensuring that proper care and attention is paid to the heritage values of the building and of the site. You could find the list of documents required for the applications in the attached report.

In accordance with the Building Act 1984, Building Regulations Consent must be obtained. This is to ensure that the existing Edgar Wood building is structurally sound and our design proposal meets existing requirements, has adequate fire protection and meets accessibility regulations to name but a few before work can start on site. There are several options that could be choose for the application. As such, for your information and ability to make the most informed decision, I have enclosed a detailed advisory report outlining the various options of Building Regulations Consent application methods available to you.

Based on our experience we would recommend Option 1- Full Plans Application: Local Authority Approval, as listed buildings are usually associated with increased number of regulations and this option offers the most protected route for you as a client. The longer duration in comparison to the other options will be integrated within the project framework.

Another issue that arose on our meeting was about the procurement options. We are quickly approaching the time for procurement regarding Edgar Wood building. As such, for your information and ability to make the most informed decision, I have enclosed a detailed advisory report outlining the various options of procurement methods available to you. I have taken the liberty to explain each form of procurement along with their associated advantages and disadvantages in the report attached.

The main factors to taken into account are the control of time, cost and quality of the project. However, we believe that a Traditional procurement option under a JCT Building Contract 2011 is recommended for this project due to the sensitive nature of the Grade II* listed building. The traditional procurement route will allow you a meaningful level of degree of control and security over the cost and quality of the build. It also keeps the project within the control of AIM Architect, ensuring efficient management and communication between client and design team. If you decided this route is the most suitable then the next stage will be for us to develop a detailed tender package, which includes construction drawings and a bill of quantities. This will be sent out to competitive tender to achieve competitive rates and therefore without compromising on quality.

AIM_ARCHITECT The traditional procurement route can normally be sub - categorised into three types of contract: •

lump-sum

•

measured

•

cost reimbursement

We are recommending the use of traditional lump-sum contract. The contract sum is determined before construction starts and the amount set when the agreement is signed by all parties. This places risk on the contractor who bears the cost of any overruns or mistakes on site. This sum is however subject to change (increase) if you wishes to change their mind about aspects of the design during construction.

Stages It is our duty as the lead consultant on the project to inform you that the programme timetable set out is subject to a reduction in time and the various methods. Below is a brief outline of typical steps that we will undertake as part of the design development process.

During the Pre-project stage we will: •

Visit site and obtain client’s detailed design brief and other requirements to ensure that our designs are particular to the site and specific to you.

•

Prepare measured drawings by obtaining first-hand accurate information on site.

•

Undertake a survey of levels and boundaries, which, alternatively, could be performed by a

land surveyor.

•

Analyse local authority regulations and resource consent requirements.

•

Review site orientation, views, levels, heritage implications, legal requirements, relationship

with neighbouring sites and available utilities and services.

Those steps will lead to formulating an initial schematic design during the Project stage. During this stage we will typically: •

Prepare Concept Design Drawings

•

Meet with you, your clients and users of the spaces to review and discuss options.

•

Prepare a design report which would typically include preliminary cost analysis, budget

planning, site condition report and programme.

Once the design is refined it will be developed to be ready for contract documentation. At this stage we will typically: •

Prepare sections and elevations, and 3D model (if suitable).

•

Arrange and attend meetings with you, authorities and others as required.

•

Co-ordinate and prepare design briefs for consultants.

•

Prepare selections of materials and finishes.

•

Liaise with cost consultant, review and develop design following cost analysis.

•

Obtain client approval to proceed with development of final design.

AIM_ARCHITECT In addition to our services we foresee the services of the following consultants required for the successful realisation of the project: •

Planning Supervisor - Full service

•

Quantity Surveyor - Full service

•

Structural Engineers - Full service

•

Services Engineer - Full service

You also need to be aware of the responsibilities of each stakeholder under the Health and Safety laws, the Equalities Act and the Construction (Design and Management) Regulation 2007. Please see the attached report for further information.

Under the Equalities Act 2010 we will need to meet the requirements set out in Part M of the Building Regulation 2010 which ensures equal access to all people to the Edgar Building and its facilities. This will need to be complied with while simultaneously respecting the protected aspects of the listed building.

I hope the above information clarifies the issues you have raised and provides reassurance that by using our services you will be better protected. If you have any further questions please do not hesitate to contact me directly. We look forward to working with you on this project.

Yours faithfully, for and on behalf of AIM Architect,

Shahrul Ridhwan Shahruddin Director shahrulridhwan@aim.co.uk +447517283264

TAKEN FROM REFERENCE DOCUMENT PROJECT NO. [789] EDGAR WOOD BUILDING

_789.025.14051175_[REV.A] _FEE PROPOSAL

Any additional work encountered that does not fall within the agreed scope of works as is outlined

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// FOR INTERNAL OFFICE USE ONLY _ PRIVATE AND CONFIDENTIAL

above will be charged on an hourly basis as is stated in our terms and conditions. You will be informed in writing before any tasks are undertaken and will subsequently be added to the next monthly invoice issued. Work falling outside the scope of works undertaken will always be done so by the most appropriate member of our team, for that task and will be charged by our standard hourly rates which will remain set for the duration of the project. The standard hourly rates for those most likely to be working on the project include:

WEEKLY COST

RATE / HOUR =

40

X 25% PROFIT

STAFF MEMBER

RATE/ HOUR HOURS WORKED TOTAL COST FOR EDGAR WOOD BUILDING

DIRECTOR

£95/HOUR

10

£950.00

ASSOCIATE

£70/HOUR

10

£700.00

ARCHITECT

£60/HOUR

15

£900.00

ASSISTANT

£50/HOUR

50

£2,500.00

TOTAL

£5,050.00 Total Cost Of Each Work Member At AIM Architect During The Edgar Wood Building Project stage 0-1

RIBA STAGE

COST/STAGE

% OF THE TOTAL

£5,050.00

Time Charges as above

0 1 2

min 6.9% of total project budget

3

*Architect’s Fee for continuation

4

£34,500.00

5

of work beyond stage 1@ 6.9% (fixed rate)

6 7 TOTAL NET COST % PROFIT TOTAL COST (EXC VAT)

AIM

£39,550.00 20.00% £47,460.00 Cost Broken Down According To Each RIBA Work Stage

ARCHIECTS IN THE MAKING

TAKEN FROM REFERENCE DOCUMENT PROJECT NO. [789] EDGAR WOOD BUILDING C2

lowest capital expenditure certainty over the contract price best value for money overall

T1 T2 T3

earliest possible start on site certainty over contract duration shortest possible contract period

X

Q2

QUALITY

Q1 Q2 Q3

top quality, minimum maintenance sensitive design, control by employer detailed design not critical

X

E TIM

Q1

X X X

X X

X X

Traditional Procurement Advantages:

+ + + +

COST

The price certainty, due to precise tendering and easier price comparison

COST

Lower tender price encouraged to win the job The tender preparation costs are lower using architect’s drawings Better control of quality and easier implementations of changes

Disadvantages: E TIM

The client takes the risk responsibility

E TIM

Extended process before the start on site

Q U A LIT Y

-

There is no external buildability advice

Design and Build Procurement COST

COST

COST

Advantages:

+ + +

The contractor is a single point of responsibility for the employer Better cost control, as the overall cost is agreed upon the contract Increased buildability

Disadvantages: Difficulty in the cost to quality comparison of contracts Higher requirement for cost management

Management Procurement COST

COST

Advantages:

+ +

E TIM

E TIM

Lower control over the design and it’s outcomes

QUA LIT Y

-

Q U A LIT Y

COST

It allows an early start on site and faster completion Early buildability advice with the contractor’s involvement

Disadvantages:

Client’s commitment without the prior design, in order to speed up the process

ARCHIECTS IN THE MAKING

QUA LIT Y

The client accepts all risks related to the project.

E TIM

There is no fixed cost for the project.

Q U A LIT Y

-

E TIM

E TIM

T3

C1 C2 C3

Q3 TIME

T2

priority (1-lowest) 1 2 3 4 5

Q U A LIT Y

E TIM

3

Q U A LIT Y

AIM

1

2

4

COST

5

Q U A LIT Y

OFFICE COPY

T1

criteria

C1

COST

QUA LIT Y

// FOR INTERNAL OFFICE USE ONLY _ PRIVATE AND CONFIDENTIAL

C3

_789.026.14051175 _PROCUREMENT OPTIONS

TAKEN FROM REFERENCE DOCUMENT PROJECT NO. [789] EDGAR WOOD BUILDING

_789.027.14051175 _BUILDING REGULATIONS CONSENT

1. Full Plans Application. Local Authority Approval (Manchester City Council) Full Plans application with all supporting documents are submitted to the council and it takes up to 5 weeks for them to make a decision. The consent’s validity lasts for up to 3 years as long as the work undertaken is the same as what is specified on the application. In this scenario work is approved from the start, which makes you better protected.

2. Building Notice Procedure to Local Authority (Manchester City Council) Application is submitted up to 48 hours before work commences on site and is usu-ally used for small scale domestic works. Consent is also valid for 3 years. This is not a recommended option for listed buildings, since the council might insist on later modi-fications, leading to cost implications.

3. Appointment of an Approved Inspector A private inspector is hired whose job is to ensure that the construction carried out matches that of the original plans and is compliant with the building regulations. The approval period is only 5 days.

Once the work is completed, the building inspector issues a Completion Certificate to the council, which has 10 days to determine if the work is compliant with Building Regulations. This is usually the most expensive route.

Full Plans procedure within 5 weeks to 2 months 2 days

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// FOR INTERNAL OFFICE USE ONLY _ PRIVATE AND CONFIDENTIAL

The following report outlines options for obtaining Building Regulations Consent

informal preaplication meeting with building inspector

Submission of Full Plans application* + 1st part of the fee payment (plans fee)

Building work may start with risk it does not comply with the BR

consultation with sewerage undertaker, fire authority etc..

building works approval notice correction

Two days notice of comencement of work

Inspections from building control officer 2nd part of the fee payment (inspection fee)

Owner’s responsibility

AIM ARCHIECTS IN THE MAKING

Approval Approval subject to necessary corection Rejection notice within 5 weeks days notice of completion

issue of a Completion Certificate

Local Authority’s responsibility

_789.027.14051175 _LISTED BUILDING CONSENT

DOCUMENT REQUIREMENTS FOR A TYPICAL APPLICATION FOR LISTED BUILDING CONSENT:

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// FOR INTERNAL OFFICE USE ONLY _ PRIVATE AND CONFIDENTIAL

TAKEN FROM REFERENCE DOCUMENT PROJECT NO. [789] EDGAR WOOD BUILDING

AIM ARCHIECTS IN THE MAKING

TAKEN FROM REFERENCE DOCUMENT PROJECT NO. [789] EDGAR WOOD BUILDING

_N/A _LISTED BUILDING CONSENT

Planning Services PO Box 532 Town Hall Manchester M60 2LA

Application for listed building consent for alterations, extension or demolition of a listed building.

Planning (Listed Buildings and Conservation Areas) Act 1990 Publication of applications on planning authority websites Please note that the information provided on this application form and in supporting documents may be published on the Authority’s website. If you require any further clarification, please contact the Authority’s planning department.

Please complete using block capitals and black ink.

It is important that you read the accompanying guidance notes as incorrect completion will delay the processing of your application.

1. Applicant Name and Address Title: Last name:

MRS

First name:

2. Agent Name and Address

NATALIE

O’DWYER

Company (optional):

O’DWYER LTD

Unit:

19

House number:

Title: Last name:

House suffix:

House name:

First name:

SHAHRUL

SHAHRUDDIN AIM ARCHITECT

Unit

27

House name:

THE GALLERY 347 MOSS LANE EAST

REDDISH VALE ROAD

Address 1:

Address 2:

STOCKPORT

Address 2:

Town:

MR

Company (optional):

Address 1:

House number:

House suffix:

Address 3:

Address 3:

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// FOR INTERNAL OFFICE USE ONLY _ PRIVATE AND CONFIDENTIAL

planning@manchester.gov.uk 0161 234 4516

CHESHIRE

Town:

MANCHESTER

County:

County: Country:

UNITED KINGDOM

Country:

UNITED KINGDOM

Postcode:

SK5 7HE

Postcode:

M14 4LB

3. Description of Proposed Work Please describe the proposals to alter, extend or demolish the listed building(s):

EXTENSION AND RESTORATION WORKS TO FORMER BUILDING AT THE REAR OF EDGAR WOOD BUILDING TO PROVIDE A SERIES OF PUBLIC SPACES: CRAFT SHOP, COMMITTEE & MEETING ROOMS, TEACHING SPACES AND CONCERTS & INDOOR SPORTS. THE BUILDING IS CURRENTLY SEMI DERELICT AND NOT IN USE. THE PROJECT TOTAL BUILD AREA IS 100M2.

AIM ARCHIECTS IN THE MAKING

TAKEN FROM REFERENCE DOCUMENT PROJECT NO. [789] EDGAR WOOD BUILDING

3. Description of Proposed Work (continued)

_N/A _LISTED BUILDING CONSENT

4. Site Address Details Please provide the full postal address of the application site.

// FOR INTERNAL OFFICE USE ONLY _ PRIVATE AND CONFIDENTIAL

Has the work already started without consent?

NO

Unit:

House number:

House suffix:

House name: If Yes, please state when the work was started (DD/MM/YYYY)

N/A

Has the work been completed without consent?

NO

If Yes, please state the date when the work was completed (DD/MM/YYYY)

N/A

Address 1:

EDGAR WOOD BUILDING

Address 2:

RADISH PARK

Address 3: Town:

MANCHESTER

County:

UNITED KINGDOM

Postcode (optional):

M27 6NG

Description of location or a grid reference. (must be completed if postcode is not known): Easting:

Northing:

Description:

FORMER OFFICE BUILDING BUILT IN 1900

5. Related Proposals

6. Pre-application Advice

Are there any current applications, previous proposals or demolitions for the site?

Has assistance or prior advice been sought from the local authority about this application? NO

THE APPLICANT IS AWARE OF PLANNING PERMISSION FOR THE BUILDINGS CONVERSION TO A HOTEL.

Please complete the following information about the advice you were given. (This will help the authority to deal with this application more efficiently).

If Yes please describe and include the planning application reference number(s), if known:

OFFICE COPY

Description

Reference number

Please tick if the full contact details are not known, and then complete as much as possible: Officer name:

Reference:

Date (DD/MM/YYYY): Details of pre-application advice received?

7. Neighbour and Community Consultation

8. Authority Employee / Member

Have you consulted your neighbours or the local community about the proposal?

With respect to the Authority, I am: (a) a member of staff (b) an elected member (c) related to a member of staff (d) related to an elected member Do any of these statements apply to you?

A) A MEMBER OF STAFF

AIM ARCHIECTS IN THE MAKING

TAKEN FROM REFERENCE DOCUMENT PROJECT NO. [789] EDGAR WOOD BUILDING

_N/A _LISTED BUILDING CONSENT

9. Materials

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// FOR INTERNAL OFFICE USE ONLY _ PRIVATE AND CONFIDENTIAL

Please provide a description of existing and proposed materials and finishes to be used in the building (demolition excluded):

Existing (where applicable)

Status Proposed

External wall

N/A

Roof covering

N/A

Chimney

N/A

Windows

N/A

External doors

N/A

Ceilings

N/A

Internal walls

N/A

Floors

N/A

Internal doors

N/A

Rainwater goods

N/A

Boundary treatments (e.g. fences, walls)

N/A

Vehicle access and hard standing

N/A

Lighting

N/A

Others (add description)

N/A

Are you supplying additional information on submitted drawings or plans?

AIM ARCHIECTS IN THE MAKING

OFFICE COPY

// FOR INTERNAL OFFICE USE ONLY _ PRIVATE AND CONFIDENTIAL

TAKEN FROM REFERENCE DOCUMENT PROJECT NO. [789] EDGAR WOOD BUILDING

_N/A _LISTED BUILDING CONSENT

10. Demolition

11. Listed Building Alterations

Does the proposal include:

Do the proposed works include alterations to a listed building?

a) Total demolition of the listed building?

NO

b) Demolition of a building within the curtilage of the listed building?

NO

If Yes, do the proposed works include: (you must answer each of the questions)

YES

c) Demolition of a part of the listed building:?

NO

a) Works to the interior of the building?

NO

b) Works to the exterior of the building?

YES

c) Works to any structure or object fixed to the property (or buildings within its curtilage) internally or externally?

YES

d) Stripping out of any internal wall, ceiling or floor finishes (e.g. plaster. floorboards)?

NO

If the answer to c) is Yes: i) What is the total volume of the listed building? (cubic metres) ii) What is the volume of the part to be demolished? (cubic metres) iii) What was the (approximate) date of the erection of the part to be removed? (MM/YYYY) (date must be pre-application submission)

N/A N/A N/A

Please provide a brief description of the building or part of the building you are proposing to demolish:

N/A

If the answer to any of these questions is Yes, please provide plans, drawings, photographs sufficient to identify the location, extent and character of the items to be removed, and the proposal for their replacement, including any new means of structural support and state references for the plan(s)/drawing(s):

Why is it necessary to demolish or extend (as applicable) all or part of the building(s) and or structure(s)?

N/A

12. Listed Building Grading

13. Immunity From Listing

Please state the grading (if known) of the building in the list of Buildings of Special Architectural or Historic interest.

Has a Certificate of Immunity from Listing been sought in respect of this building?

GRADE II

AIM ARCHIECTS IN THE MAKING

NO

TAKEN FROM REFERENCE DOCUMENT PROJECT NO. [789] EDGAR WOOD BUILDING

_N/A _LISTED BUILDING CONSENT

14. Certificates

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// FOR INTERNAL OFFICE USE ONLY _ PRIVATE AND CONFIDENTIAL

This Certificate must be completed with this application form CERTIFICATE OF OWNERSHIP - CERTIFICATE A Town and Country Planning (Development Management Procedure) (England) Order 2010 Certificate under Article 12 & Regulation 6 of the Planning (Listed Buildings and Conservation Areas) Regulations 1990

AIM

I hereby certify that: On the day 21 days before the date of this application nobody except myself/ the applicant was the owner* of any part of the land or building to which the application relates, and that none of the land to which the application relates is, or is part of, an agricultural holding** * “owner” is a person with a freehold interest or leasehold interest with at least 7 years left to run. ** “agricultural holding” has the meaning given by reference to the definition of “agricultural tenant” in section 65(8) of the Act.

[On behalf of]

Signed

Date (DD/MM/YYYY)

* Delete where appropriate

15. Planning Application Requirements – Checklist Please read the following checklist to make sure you have sent all the information in support of your proposal. Failure to submit all information required will result in your application being deemed invalid. It will not be considered valid until all information required by the Local Planning Authority has been submitted.

The original and 3 copies of a completed and dated application form:

The original and 3 copies of other plans and drawings or information necessary to describe the subject of the application:

The original and 3 copies of a plan which identifies the land to which the application relates and drawn to an identified scale and showing the direction of North:

The original and 3 copies of the completed dated Ownership Certificate AA: The original and 3 copies of a supporting statement:

16. Declaration I/we hereby apply for planning permission/consent as described in this form and the accompanying plans/drawings and additional information.

Signed – Applicant:

Or signed – Agent

17. Applicant Contact Details Telephone numbers Country code: National number:

Date (DD/MM/YYYY):

18. Agent Contact Details Extension number:

Telephone numbers Country code: National number:

44

7517283264

Country code:

Mobile number (optional):

Country code:

Mobile number (optional):

Country code:

Fax number (optional):

Country code:

Fax number (optional):

Email address (optional):

Email address (optional):

19. Site Visit Can the site be seen from a public road, public footpath, bridleway or other public land?

If the planning authority needs to make an appointment to carry out a site visit, whom should they contact?

If Other has been selected, please provide: Contact name:

Email address:

ARCHIECTS IN THE MAKING

Telephone number:

Extension number

TAKEN FROM REFERENCE DOCUMENT PROJECT NO. [789] EDGAR WOOD BUILDING

_789.028.14051175 _ROLE OF TEAM MEMBERS

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// FOR INTERNAL OFFICE USE ONLY _ PRIVATE AND CONFIDENTIAL

Team members’ responsibilities as set by the Health and Safety Executive (HSE):

Client – Role: Assess the competence of everyone involved in the project, Provide suitable management arrangements, Provide pre-construction information to designers and contractors, Appoint a CDM co-ordinator and a principal contractor.

Designer – Role: Minimise risks during design and provide relevant information, Ensure client is familiar with his/her duties and that a CDM co-ordinator has been appointed, Provide any relevant information on health and safety CDM coordinator –Role: to advise the client regarding health and safety during the design process and the planning phases of construction, Ensure designers comply with CDM duties, Co-ordinate health and safety aspects and ensure co-operation is taking place, Identify and collect pre-construction information Building Services Engineers – Role: to plan, design, monitor and inspect systems such as heating, ventilation and air conditioning (HVAC), water and drainage, lighting, power, ICT, control system, to make buildings comfortable, functional, efficient and safe.

Structural Engineer - Role: to design, assess and inspect structures to ensure that they are efficient and stable.

Quantity Surveyor –Role: to provide expert advice on construction costs and help to ensure that proposed projects are affordable and offer good value for money by helping the client and the design team to assess and compare different options, ensuring that costs remain under control as the project progresses.

Principal Contractors –Role: Plan, manage and monitor construction phase to run safely, provide information and guidance and ensure co-operation and co-ordination between contractors, ensure all workforce is aware of, trained and consulted on health and safety Contractors –Role: Plan, manage and monitor own work to ensure safety, provide information and training to workforce, co-operate with the principal contractor on project risk management.

Workers: Undertake work with care, Co-operate with others to ensure health and safety, Abide by health and safety rules and follow instructions

AIM ARCHIECTS IN THE MAKING

STAGE 0

STAGE 1

STAGE 2

STAGE 3

STAGE 4

START

76 1 1 1 1 2 2 2 2

4 4 4 4 4 4 4 6 6

8 8

PREPARATION AND BRIEF Project Roles Table Contractual Tree Responsibility Matrix Sustainability Aspirations Project Objectives Quality Objectives Project Budget Initial Project Brief

Feasibility Studies Site Information

5 (8) 5 (8) 3 3 2 3 2 16 (18)

Develop Design 21 Ensure Spatial Coordination 21 Environmental Analysis 24 Cost Information Analysis 25 Project Strategies Review 26 Create BIM Custom Families 26 Submit Planning Application 28 TECHNICAL DESIGN (28) 30 Prepare Tender Documents 30 Building Regs Compliance 31 Final Specification 33 Party Wall Notices 34 34 Specialist Design Contractor Tender Period 38 45 Client Review Mobilise Contractor Team 45 CONSTRUCTION (32) 45 Appoint Sub-Contractors 46 Order Long Lead-In Items 50 Set Up Site Office 53

4 5 3 2 (4) 4 7 1 1 90* approx.

42 35 4

1 1 10 3 3 2 5 (15) 2 1 2 2 9

Risk Assessment 10 Initial Handover Strategy 10 11 CONCEPT DESIGN Concept Design 11 Structural and M+E Design 11 Initiate BIM Massing Studies 12 Planning Office Consultation 12 Initial Specification 16 Project Strategies 17 Final Design Programme 18 Final Project Brief 19 DEVELOPED DESIGN 21

3 3

2 1 2 2

1 1 3 3 3

Commence Business Case Assessment Strategic Brief Establish Programme Past Project Evaluation

4

DURATION

1

(WEEK)

STRATEGIC ASSESSMENT

TASK

1

2

3

4

JANUARY 5

6

7

8

FEBRUARY 9

10

11

12

13

14

16

KEY

15

APRIL 17

19

20

21

22

client project manager lead designer cost consultant engineering BIM manager main contractor sub-contractors

18

MAY 23

24

25

JUNE 26

27

28

29

JULY

PROGRAMME 30

31

32

33

34

AUGUST 35

36

37

38

39

SEPTEMBER 40

46

47

48

NOVEMBER 45

43

OCTOBER 41 42

44

// FOR INTERNAL OFFICE USE ONLY _ PRIVATE AND CONFIDENTIAL

MARCH

OFFICE COPY

AWAIT PLANNING APPROVAL

ARCHIECTS IN THE MAKING

CONTRACTOR SELECTION

AIM

STAGE 5

49

50

51

52

DECEMBER 53

TAKEN FROM REFERENCE DOCUMENT PROJECT NO. [789] EDGAR WOOD BUILDING _789.029.14051175 _STAGES

TAKEN FROM REFERENCE DOCUMENT PROJECT NO. [789] EDGAR WOOD BUILDING

_789.029.14051175 _PLANNING PROCESS

// FOR INTERNAL OFFICE USE ONLY _ PRIVATE AND CONFIDENTIAL

PLANNING PROCESS

The statutory timescales for the planning process mean that an application should be decided within eight weeks from the date the application and all necessary information was received by the planning authority. This period can be extended for major developments and where environmental impact assessments are required. However, including any appeal, the entire process should be

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completed within one year at the maximum.

AIM ARCHIECTS IN THE MAKING

TAKEN FROM REFERENCE DOCUMENT PROJECT NO. [789] EDGAR WOOD BUILDING

_N/A _BUILDING REGULATION CONSENT

// FOR INTERNAL OFFICE USE ONLY _ PRIVATE AND CONFIDENTIAL

Non-domestic building regulations application form The Building Act 1984 The Building Regulations (as amended)

For office use only Building Regulations Plan Number:

This form is for work in connection with alterations, extensions and new buildings used for non-domestic purposes and should be completed by the person who intends to carry out the building work, or their agent.

If the form is unfamiliar to you, please read the notes or contact our office.

Please type or use block capitals.

Your application 1. What type of application are you making?

x

Full Plans

Building Notice*

Regularisation Certificate

*In limited circumstances only; please read the notes and discuss with our staff.

2. Description of the proposed work or change of use Examples: Two-storey extension to shop, structural alterations to offices, or construction of new school building.

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EXTENSION AND RESTORATION WORKS TO FORMER BUILDING AT THE REAR OF EDGAR WOOD BUILDING TO PROVIDE A SERIES OF PUBLIC SPACES: CRAFT SHOP, COMMITTEE & MEETING ROOMS, TEACHING SPACES AND CONCERTS & INDOOR SPORTS. THE BUILDING IS CURRENTLY SEMI DERELICT AND NOT IN USE. THE PROJECT TOTAL BUILD AREA IS 100M2.

3. Applicant contact details Title: Mr/Mrs/Miss/Ms First name(s) Address

O’DWYER’S LTD 19 REDDISH VALE ROAD STOCKPORT CHESHIRE

Telephone Email

AIM ARCHIECTS IN THE MAKING

NATALIE

+447345678900

NATALIE@O’DWYER.CO.UK

Surname O’DWYER

Postcode SK5 7HE Mobile

TAKEN FROM REFERENCE DOCUMENT PROJECT NO. [789] EDGAR WOOD BUILDING

_N/A _BUILDING REGULATION CONSENT

// FOR INTERNAL OFFICE USE ONLY _ PRIVATE AND CONFIDENTIAL

4. Agent contact details (if any) Title: Mr/Mrs/Miss/Ms First name(s) Address

Surname SHAHRUDDIN

27, THE GALLERY 347 MOSS LANE EAST MANCHESTER

Telephone Email

SHAHRUL

Postcode M14 4LB Mobile

+447517283264

SHAHRULRIDHWAN@AIM.CO.UK

5. Location of the work – the site (if different from applicant details) Address

EDGAR WOOD BUILDING RADISH PARK MANCHESTER

Postcode

M27 6NG

6. Party Wall Act notification (advisory) Does any work mentioned in this application affect a party wall, party floor, or party fence structure, or will any excavation(s) be carried out within either 3m or 6m of the foundation of an adjacent building?

Yes

If YES, then you are advised to obtain Party Wall Act agreements with the affected adjoining owners.

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7. Existing use(s) of the building

AIM ARCHIECTS IN THE MAKING

Dwelling-house(s)

Assembly and recreation

Flat(s)

Retail

Institutional

Office/commercial

Hotel/other residential

Storage or other non-residential

x

x

No

TAKEN FROM REFERENCE DOCUMENT PROJECT NO. [789] EDGAR WOOD BUILDING

_N/A _BUILDING REGULATION CONSENT

// FOR INTERNAL OFFICE USE ONLY _ PRIVATE AND CONFIDENTIAL

8. Proposed use(s) of the building

x

Dwelling-house(s)

Assembly and recreation

Flat(s)

Retail

Institutional

Office/commercial

Hotel/other residential

Storage or other non-residential

9. Building over/close to public sewers Is there a public sewer within 3m of any extension/detached building, mentioned in this application?

Yes

No

x

Yes

No

x

10.Foul and surface water sewerage What type of sewerage system is being employed? Separate

x

Combined

Other

11. Extensions/buildings close to landfill Are there any landfill sites within 250m of any extension/detached building mentioned in this application?

12. Regulatory Reform (Fire Safety) Order Is the building a workplace and subject to the provisions of the Regulatory Reform (Fire Safety) Order 2006?

Yes

x

No

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13. Sustainable construction What BREEAM level is aimed to be achieved for the new/extended buildings?

AIM ARCHIECTS IN THE MAKING

EXCELLENT

TAKEN FROM REFERENCE DOCUMENT PROJECT NO. [789] EDGAR WOOD BUILDING

_N/A _BUILDING REGULATION CONSENT

About the contractor(s)

// FOR INTERNAL OFFICE USE ONLY _ PRIVATE AND CONFIDENTIAL

Will a contractor registered with a competency scheme ‘Considerate Contractors’ or similar be employed?

Yes

x

No

Don’t know

If you know the contractor, please complete the details below:

14. Contractor details (if different from agent) Title: Mr/Mrs/Miss/Ms First name

Not yet known

x

Yes

x

Surname

Company Telephone

Mobile

Email

Building control charges Please complete this section as fully as possible Is the work in question exempt from Building Regulations charges?

No

If YES, please complete the EXEMPTION FROM CHARGES DECLARATION.

15. Exemption from charges declaration I/We hereby declare that the work contained in this application is solely for:

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a. the purposes of providing means of access for disabled persons by way of entrance or exit to or from the building or any part of it; or b. the provision of facilities designed to secure the greater health, safety, welfare or convenience of disabled persons.

Signed

16. Responsibility for payment of the inspection charge Please confirm who will be responsible for the payment of the inspection charge and where the Council should send the invoice for the inspection charge: Title: Mr/Mrs/Miss/Ms First name(s) Address

AIM ARCHIECTS IN THE MAKING

SHAHRUL

27, THE GALLERY 347 MOSS LANE EAST MANCHESTER

Surname SHAHRUDDIN

Postcode M14 4LB

TAKEN FROM REFERENCE DOCUMENT PROJECT NO. [789] EDGAR WOOD BUILDING

_N/A _BUILDING REGULATION CONSENT

// FOR INTERNAL OFFICE USE ONLY _ PRIVATE AND CONFIDENTIAL

Building control charges (continued) For the purposes of determining the correct charge please complete the relevant fee box(es) below in association with the most up-to-date guidance for Building Control charges in relation to building work to all other non-domestic premises.

Please include VAT at the standard rate when completing the appropriate charges box.

Where a scheme involves multiple aspects of work please check with Building Control to see if an individually assessed charge would be more appropriate.

17. New building or extensions Total floor area (m2)

Plans Inspection

Building Notice*

Regularisation Certificate

charge (£)

charge (£)

charge (£)

Plans Inspection

Building Notice*

Regularisation Certificate

charge (£)

charge (£)

charge (£)

Plans Inspection

Building Notice*

Regularisation Certificate

charge (£)

charge (£)

charge (£)

Plans Inspection

Building Notice*

Regularisation Certificate

charge (£)

charge (£)

charge (£)

Plans Inspection

Building Notice*

Regularisation Certificate

charge (£)

charge (£)

charge (£)

Plans Inspection

Building Notice*

Regularisation Certificate

charge (£)

charge (£)

charge (£)

Plans Inspection

Building Notice*

Regularisation Certificate

charge (£)

charge (£)

charge (£)

100

Number of storeys in the building or extension

01

18. Underpinning/renovations Renovation relates to alterations to an external wall, roof or ground/exposed floor

19. Replacement windows Number of windows

20. Alterations/fittings

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Estimate of cost of work

£

21. Installation of mezzanine floor Total floor area (m2)

22. Office or shop fit-outs Total floor area (m2)

23. Change of use The charge for a change of use is separate to any charge(s) associated with any other work

* In limited circumstances only, please read the notes and discuss with our staff

AIM ARCHIECTS IN THE MAKING

TAKEN FROM REFERENCE DOCUMENT PROJECT NO. [789] EDGAR WOOD BUILDING

_N/A _BUILDING REGULATION CONSENT

// FOR INTERNAL OFFICE USE ONLY _ PRIVATE AND CONFIDENTIAL

Where an individual assessment of the Building Control charge has been given please insert the details in Section 24.

Plans Inspection

Building Notice*

Regularisation Certificate

charge (£)

charge (£)

charge (£)

24. Individually assessed charge

* In limited circumstances only, please read the notes and discuss with our staff

General information and declarations etc Please read the following carefully, as well as the guidance notes that accompany this form, and then complete the boxes and sign and date the final declaration.

25. Pre-application advice Has assistance or prior advice been sought from Building Control about your scheme?

Yes

No

x

If YES, please provide the following details: Officer name Date of the advice

Any reference given

Describe the advice you were given here (eg. charges, construction)

26. This section to be completed for Full Plans applications only In accordance with Sections 16(12) of the Building Act 1984 do you agree to the date by which a decision on your plans has to be made, being extended from five weeks to two months from the date the plans are deposited?

OFFICE COPY

Signed

SHAHRUL

Print name

Yes

x

No

In accordance with Sections 16(4) and (5) of the Building Act 1984, do you consent to your plans being approved with such conditions as the Council considers appropriate?

Signed

Print name

SHAHRUL

Yes

Is the proposed work subject to a Partnering or LABC-type approval? (Refer to notes)

Yes

27. This section to be completed for Regularisation Certificate applications only The work to which this application relates started on

AIM ARCHIECTS IN THE MAKING

D D

MM

Has the building been occupied or the work completed?

Yes

If YES, please state the date when the building was first occupied or the date when the work was completed

D D

Y Y Y Y

No

MM

Y Y Y Y

x

No No

x

TAKEN FROM REFERENCE DOCUMENT PROJECT NO. [789] EDGAR WOOD BUILDING

_N/A _BUILDING REGULATION CONSENT

// FOR INTERNAL OFFICE USE ONLY _ PRIVATE AND CONFIDENTIAL

28. Completion or Regularisation Certificate request I/We hereby request that a Completion or Regularisation Certificate be provided upon the satisfactory completion of all the building work to which this application relates.

The Certificate should be sent to the: Builder

x

Applicant/Owner

Agent

This notice is given in relation to the building work described above and is submitted in accordance with the Building Regulations (as amended) and is accompanied by the appropriate charge. I understand that a further charge will normally be payable following the first inspection by the Council in relation to a Full Plans application.

Name Date

SHAHRUL 0 2

0 1

Signature

2 0 1 6

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Attention is drawn to the necessity in certain circumstances of obtaining consent under other legislation, and in particular the fact that permission granted under the Building Regulations does not imply the grant of planning permission under the Town and Country Planning Act. It is for the applicant to satisfy himself or herself before building commences that all appropriate consents have been given.

For Manchester City Council use only

Building Control PO Box 532 Town Hall Manchester M60 2LA Tel: 0161 234 4490 Fax: 0161 274 0031 Email: building.control@manchester.gov.uk Website: www.manchester.gov.uk

AIM ARCHIECTS IN THE MAKING

source: https://en.wikipedia.org/wiki/Architect

PART

1

// PROJECT CONTROL COLLABORATIVE GENERIC DOCUMENT/ REPORT INDIVIDUAL LETTER INDIVIDUAL CRITICAL APPRAISAL

Acting individually giving your own opinion you should critically appraise the effectiveness of the whole design and construction process and its various stages with suggestions/recommendations as to how the process might be improved, you should produce this as your own work in no more than 2000 words.

INDIVIDUAL CRITICAL APPRAISAL

CRITICAL APPRAISAL ON THE COMPLICATION AND CONSTRUCTIVENESS OF THE WHOLE DESIGN AND CONSTRUCTION, WITH SUGGESTION FOR IMPROVEMENT

The assignment of writing a collective document of overall architectural design and construction process and thus going through the overall process step by step was an eye-opening task, which was greatly helped me improve my understanding of; not only about architectural profession in term of role and function but the overall process that should be taken as an architect and relationship between the architect, the client and other related consultant involved in overall process. As an international student, some of the exercise I might find irrelevant to the actual scenario of architectural practice back in my country, but in general, I find some point can be compared for the purpose of improvement and make it better.

Planning and Building Regulations Current UK planning system is defined as overly complex and regulation is costly and caused the overall process extremely slow. Referring a statement by Peter Stewart in The RIBA Think Piece Series, “Today, it feels as if we are still in the digital stone age when it comes to the planning process”, suggest that our planning system is far from the modern and advance system which probably such technology exist already in some form but not likely to become standard practice soon. In this case, I would say that by improving the UK planning system might improve the overall build environment which may turn the industry of architecture and construction. As the government at the top of the hierarchy of the UK planning system; planning legislation, policy and guidance at the national level are determined by the government.

Following the guidance, outlines were set up by the local authority before local council then makes decision on the planning applications. These have led to a scenario in which most big planning proposal from government overrules any smaller planning domestic project. Furthermore, as the design proposal need to go through various layers of process before decision can be made, the overall progress with the building construction in the UK seems restrictive and slow.

There should be a shift from national targets towards a more localized incentive-based system of land use planning (Burgess et al, 2010). In my opinion, contribution of the public is also important in the proposal of urban planning as their built environment is their special right. As starting point, the public may have right to vote for what will be developed in their urban landscape or greater input from society. In this situation, all planning decision should also work closely with local society and all others potentially impacted by future construction work. Digital planning such as Building Information Modelling (BIM) is an option where a different level of information accessible by the people, the governance and construction organizations on the collective information to increase the efficiency in urban planning.

Currently, the architect and the construction industry have to comply to the strict principle of building regulations which administrated by the local authority. In my opinion, these building regulations should be provided as a guide, while the building proposal should be up to the professionalism of the architect or the practice to determine the right for the project.

INDIVIDUAL CRITICAL APPRAISAL

Fees Currently fees are based mainly on a percentage ranging from 9-10% for new construction, 10-12% for renovations and 5-7% for commercial. More likely, to increase the cost, these calculations can be capsized by the client demands, the competitive pressures or the profit margins. Thus, the preliminary calculation of profit could be changed over the construction period and it is just a made up number which usually cause in profit loss because of over expenses and cost run.

When I worked on the percentage of fee for this project, I found that there are various strategies which lead to different prices. Unspecified factors have left me in confusion to decide on the right or actual price for the project. This has been also experienced by my other colleagues; made me realized that in real construction, it is important to have a collective data from all other construction aspects and sectors before the final fees can be confirmed to ensure that profit loss can be reduced and to prevent cost run.

Since the Royal Institute of British Architects (RIBA) eradicates their indicative fee scales, architects fees are hardly specified and there is also very minimal information on the benchmark available for reference.

By standardizing the UK system for fee calculation provide a lesser fee proximity for the project in which less guesswork for the architect.

The architect’s fees and profits is seems reduce overtime as there are lot of competition within this sector.

I believe, if most architecture practice standardize their fees at the appropriate level regardless the high competitive rate, we could maximize architect’s salaries. Some practice also provide a free services in order to compete in this industry in which architects give away their design consultation for little or no money. This is because of some practice think that it more important to secure the job rather than to provide a constructive consultation for design development and pre-project stages. This should be monitored and a standard fee should apply.

Procurement Regarding the procurement method in the UK, it is clear that there are some issues related to the efficiency of the overall project, the cost and quality of the overall project. I found that by controlling the procurement cost will affect the cost of the construction which to be likely to keep the cost at the lowest possible. This issue has been realized by the government, which led them to define the construction procurement by recognizing different aspects such as time for contractor involvement, the supply chain engagement and of course the design; which design to cost rather than costing a design. The main issue is actually on the complexity and uncertainties of the project. It is found that most of the project that delayed was because of late payments. It was identified that the most affected to this is mainly small companies whereas they usually have to upfront the payments for material, etc.

RIBA Plan of Work In 2013, RIBA has introduced a new scheme of plan of work which has been updated and amended to reflect changes in current development process in construction industry. As it is an important document that become reference for the architect’s profession and the construction industry, new sets of references has been introduced in developing a design. The new scheme of RIBA Plan of work have provide new

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INDIVIDUAL CRITICAL APPRAISAL

strategies for architects in design and construction process where it integrates more efficient principle and more sustainable in design. As Building Information Modeling (BIM) has become a major tool driven for the construction industry, the new RIBA Plan of Work integrates a cooperative working structure which promotes project team members to working together including the construction team and other consultants.

Looking at the previous scheme of RIBA plan of work, the new scheme is simpler but compact. In previous scheme, the traditional procurement seems bias and planning is not embedded. While traditional and non-traditional procurement models are both accommodated in this new scheme, it help architect in chosen the suitable procurement method according to the complexity and size of the project, thus increase efficiency and quality of the whole structure design process. The RIBA plan of Work 2013 also can be downloaded online and there is useful option to customize it according to the project, make the construction process much more easier and faster.

Looking at this, it comes to my mind about the current technology that has become a beneficial platform on which to drive the planning system into a digital era. With a digitalized system, people who involve in the process could have a clearer and simpler design solution in which all information about the project is entered into a system by the users, which then instantly send back all the relevant documentation required for that project to comply with planning- thus eliminating the timely process of identifying relevant policy.

Building Information Modeling (BIM) Building information modeling (BIM) is a new modelling system that government trying to integrate in the process as it will allow us to improve the building process. As it is collaborative building information that will be used by different layers of construction industry, this will solve the issues related to communication and information management. The application of this system must be integrated at the beginning phase of the project and become a support for all projects which expected will allow for new scopes for roles in all fields of design and architecture industry.

Taking a procurement process as an example, it will impact the most during the brief development and specification. The integration of BIM will minimize the time between pre project and project briefing process as it integrate specification on the early design process, with the use of more descriptive and proprietary specifications. BIM also potentially help to avoid error during the process as it helps provide accuracy in the early specification consideration.

The future: Digital tools in design As new technology of design systems have been introduced, there are opportunities for architect and other parties in building industry to use data and digital tools for a better build environment design.

However, we are only at the early stage of this digital era and more works and further development must be done. Professional, technologist and government must work together to decide how best to capture these opportunities.

INDIVIDUAL CRITICAL APPRAISAL

There must be a better coordination between the government departments to realize the idea of smart future. The government must facilitate the digitalization of the planning process at wider scale. They should scope how this can be standardize in term of information submitted for planning, and of standardizing design data collection across local authorities. However, a legal framework must be developed so that intellectual property is protected on the design data portal to encourage data sharing.

As an architect, we must realize the potential of this technology and incorporate it in the design process.

Conclusion As a conclusion, there should be huge transformation and modernization of the building process in the UK and no less in construction industry. This is to prevent project delay cause by outdated, heavily modified, and sometimes redundant easements, covenants, and regulations. Minimal or less participation of design and architecture at the pre-project process has diminished the quality of build environment in general as most project are likely to be less intimate and incapable to understand its important rather than it belongs to its context. I believe, in order to regenerate and improve the quality of our buildings and our build environment, we must look at the old idea and restart over to improve our building and construction process.

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INDIVIDUAL CRITICAL APPRAISAL

INDIVIDUAL CRITICAL APPRAISAL

REFERENCES Books: Martin Pearche and Maggie Toy (1995) Educating Architects, New York: ST Martin’s Press Francis Duffy and Les Hutton (1998) The Idea of Profession: Architectural Knowledge, Cornwall: TJ International Ltd Chappell, D. , Willis, A., (2015) The Architect in Practice. 10th Ed. West Sussex: Wiley-Blackwell.

Internet Sources: ARB. 2015. You and your Architect. [ONLINE] Available at: http://www.arb.org.uk/you-and-yourarchitect. [Accessed 25 December 15].

Designing Building Wiki (N/A) Architect’s Fees [ONLINE] Available at: http://www.designingbuildings. co.uk/wiki/Architect’s_fees [Accessed 25 December 15]

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http://cherry-cherry.deviantart.com/art/I-am-an-Architect-75566099

PART

2

// BUSINESS CONTROL AND DIVERSE PRACTICE REFLECTIVE ESSAY + SELF - APPRAISAL

A reflection, critical appraisal, and proposition for the past present and future [short middle and long term of : The Industry, the Profession , the Institute, General Practice, the role of the Architect and of Architectural Education/ production .

You may deal with these holistically as a general analysis or focus on a particular aspect in more depth subject to covering entire brief.

A short self-evaluation/ appraisal covering the nature of what you personally expect to be your future role in Architecture and in what form of structure you expect this will take.

PART

2

// BUSINESS CONTROL AND DIVERSE PRACTICE REFLECTIVE ESSAY + SELF - APPRAISAL

01

INTRODUCTION

02

DESIGN STUDIO

03

STUDENTS AND PROFESSION

04

CONCLUSION

05

SELF EVALUATION

// RE-THINKING ARCHITECTURAL EDUCATION

// HOME FOR FUTURE ARCHITECTS

// THE FUTURE OF ARCHITECTURE EDUCATION AND PROFESSION

LIST OF FIGURES

// FIGURE 1 TYPICAL ARCHITECTURE STUDIO source: http://www.future-cities-lab.net/blog/2013/11/3/creative-architecture-ma chines-cca-fall-2013

// FIGURE 2 TYPICAL ARCHITECTURE STUDIO

// FIGURE 3 WORKING SPACE OF ARCHITECTURE STUDENTS source: https://en.wikipedia.org/wiki/Yale_School_of_Architecture // FIGURE 4 DESIGN EXHIBITION source: http://www.bdonline.co.uk/architecture-student-shows-2013-kent-school-of-architec ture/5056408.article

// FIGURE 5 ARCHITECTURE WORKSHOP

// FIGURE 6 WORKING IN THE STUDIO source: http://nhpr.org/post/teaching-students-hear-music-built-world // FIGURE 7 TYPICAL ARCHITECTURE STUDIO source: http://architectureireland.ie/tag/gary-boyd // FIGURE 8

DESIGN CRITIQUE source: http://life.aaschool.ac.uk/?m=201301&paged=2

// FIGURE 9 DESIGN WORKSHOP source: http://life.aaschool.ac.uk/?m=201301&paged=2 // FIGURE 10 FAMOUS ARCHITECT: DANIEL LIBESKIND source: http://blog.contemporarytorinopiemonte.it/?p=14628 // FIGURE 11 CRITIQUE AND DISCUSSION source: http://www.tudelft-architecture.nl/

// FIGURE 12 ARCHITECTS ARE SEXIEST source: http://www.ign.com/boards/threads/vesti-females-is-architecture-really-the-sexiest-profes sion.452646349/

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// FIGURE 1

ARCHITECTURAL EDUCATION AND PRODUCTION: ARCHICULTURE

01

INTRODUCTION

// RE-THINKING ARCHITECTURAL EDUCATION To become an architect, it is essential for a person to be in architecture school for minimum years of five or six, learning about architecture in general.

Undoubtedly, this long process of learning in architecture school provides a solid knowledge in the way to design a good building and of course, to construct it. However, there are some issues appointed by people who are in a real architecture profession that there are still lacks of exposure in term of real life architectural process, including how an architectural practice is run; and the skills needed as an architect to deal with a different kind of people in this industry. “Architectural education must qualify students to develop their design skills, strategies and attitude needed this architecture profession and it must lay the foundation for continuous learning throughout life” (Nicol and Pilling, 2000). Nevertheless, it is also important for a student to understand the ways for architect to gain maximum profit from their hard work. It is also essential for architect to be educated and trained to understand the value of the project and how this must reflect in their fee and profit.

“Architectural design studio is the only place where the activity to design an architectural project is experimented”

An architectural profession is more than the ability of a person to produce good quality design and deliver it at a higher standard, but also its ability to serves society with values and aspiration. According to Nicol and Pilling (2000), reports that have been published over the past decades have looked at the “impact of

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changes of society toward construction industry and have made few recommendations for changes in this industry”. Five drivers of change was concluded which are the importance of leader to commit in the project task, the customer or client as a focus, integrated processes and teams, high quality planning or agenda, and the importance of community problem as the main issue to be solved. “These were reflected to the need of change of style, culture and process” (Nicol and Pilling, 2000).

According to Francis Duffy and Les Hutton (1998) in their book “The Idea of a Profession: Architectural Knowledge” a profession is meant by “an institution designed to regulate standards of competence in the more complex and challenging fields of human endeavour while simultaneously protecting the public from abuse by laying down standards of conduct for its members” . While an architectural profession is considered as the most important profession to shape our build environment; where architect design the hardscape as well as the soft-scape of our surrounding, it is important for an architect to have a strong philosophical understanding of the intimacy of human and its context. In July 1991, actions were “In designing, it involves reasoning, which explain that the designing process is more than just an action based on certain skills, but an act of engaging”

taken by RIBA to enhance the foundation of the architectural profession by funding the first phase of a study on the study of the future of the British architectural profession. It was aimed to provide help for all degree of the profession in this field to prepare ourselves to effectively practice architecture in the future. It was found that design is the core architectural skills that must have by the architects in order to solve a client’s problem but by no means the only way.

“It is clear that the actions of other professional and educational disciplines have an impact on the built environment” (Manley and Graft-Johnson, 2013). Nevertheless, changes in the built environment must be embraced to be more diverse by architects. Looking at the real life scenario, there were some gap between architecture education and professional practice where lack of engagement between this two and this scenario has remained the same throughout the past century. “The ongoing changes in architecture education are not aligned with today’s fast changing world, especially in the context of architectural practice” (Bashier, 2014)

// FIGURE 2 In designing, it involves reasoning, which explain that the designing process is more than just an action based on certain skills, but an act of engaging. Therefore, what is important in architectural design education is it “supposed to embody knowledge of architecture and design in general, but also providing the individual with the tools of applying the general knowledge to the solution of specific cases, and with personal style” (Ciravoğlu, 2014). Therefore, I believe, as an architectural design studio is the home for future architects; this is the most important criteria/place of learning that has to be considered for improvement in architectural education.

// FIGURE 3

“designing is not simply an act of doing. If it was merely an activity, based on certain skills, then it could be taught by instruction” >>>

02

DESIGN STUDIO

// HOME FOR FUTURE ARCHITECTS

The design studio commonly referred as working space for architect or architecture students becomes the important medium of architectural design education. Despite its function only for works and individual design development, it is also space for conversation; mainly attribute as critique among architecture students or between students and tutor. The design studio is the space where individual action and individual creativity is measured very directly by the people around them. Nevertheless, the design studio is the place where students have to perform on their own, create something from their own imagination and create something in response to the problem either given to them or they have to invent the problem. The design studio can be defined as a culture for the architecture education system where experiences, pattern and habits meet. This is a place where architecture students are thought to question all things around us, including culture, actions, physical experiences, and perhaps emotions in order to create our future built environment.

According to (Bashier, 2014) “the aim of architectural education is to develop the conceptual, analytical, imaginative, and practical skills for the students to determine human needs and aspirations and to define it in term of form and space”. ‘Design thinking’ is the term that has been used in as the cognitive criteria of design as a base in design education. ‘Design thinking’ can be classified into different categories including (Nazidizaji et al., 2015): 1.

Design methodology;

2.

Design cognition;

3.

Design for problem solving;

4.

Physiological aspect of mental activities in design

5.

The social aspect of design, which is collaboration;

6.

Artificial intelligence in design;

7.

Computational methods, model and technology.

Where the architectural design studio becomes a synonym to architectural education, different countries have different approaches regarding the ways studio is conduct. “Although the design process usually involve a series of experimentation, there are few real variation of architecture education in different countries” (Kurt, 2009) // FIGURE 4

“The design studio is the space where architecture students are thought to question all things around us, including culture, actions, physical experiences, and perhaps emotions in order to create our future built environment”

Architectural design studio pedagogy in the United Kingdom Same as most architecture education around the world, UK architecture education adopted the traditional method which studio based learning become the main approach. UK architectural education is controlled through the regulations and standard stated by the National Registration Board (ARB), with recognition by professional association known as The Royal Institute of British Architect (RIBA). In the studio learning system, students are encouraged to develop their critical thinking through discussions, tutorials and design critique in which it serves as the base for the design development process. The most prominent structure of architectural education in the UK is the existing of RIBA as the main support of architecture education as they act as a catalyst for the development of architecture education model in the UK which were always taken forward and established by the schools.

Architectural design studio pedagogy in the United States According to the report by The American Institute of Architecture Students (AIAS), the state of design studio culture in United State is genuine where it is expected to be an example and be applied to the design studio in many parts of the world, especially in third world countries. Further in the report, there are few criteria outlined for design pedagogy in the United States to strengthen the current studio culture in the US: 1.

Students must have balanced lives;

2.

Time is the main consideration to ensure designers to be more imaginative in their design process;

3.

The social live outside the studio is important;

4.

Design in the integration of many parts;

5.

To see the process of the design as important as the final output;

6.

Collaboration as a method for the art of design;

7.

Design is inherently an interdisciplinary act;

8.

Prevail the good of the student;

9.

Grades can impede productive assessment;

10.

Critiques are seen as experience rather that target;

Heathy studio culture is important in the architectural learning process. Five values are seen important in creating a healthy studio culture. First of all, the culture of optimism must be established in the design studio.

By this, when students are more optimistic about what they can learn in the design studio, it is expected that architecture can make an impact on the society and built environment. Secondly, generate the culture of respect through the aspects of student health, constructive critiques, the value of time and democratic decision making. The idea of collaboration and working in a group could help an individual to improve their critical thinking in the design process. When solving design issues, community and public engagement is important to ensure the good design. Finally, studio learning must encourage students to take a risk, and promote the use of alternative teaching in solving issues related to the design.

Architectural design studio pedagogy in Malaysia Architectural design studio pedagogy in Malaysia seems no much different from the UK. The architectural education in Malaysia is much similar to UK where it is according to regulations and standard stated by the National Registration Board, with recognition by professional association. In Malaysia, studio learning emphases on the relationship between students and practice where every week, there will be a discussion

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“The architecture studio creates a context where active learning occurs through group or individual problem-based projects”

“The design process consists of regular experimentation” // FIGURE 5

session with people with practice, a studio visit to the architecture office and the sites to expose students to the real professional world. Nevertheless, tutorial and critique session is as important as in other countries design studio, which student learns during a communication through a series of design tutorials and presentations.

A research study done by Utaberta et al. (2012) on Architecture Education In Malaysia outlined the existing curriculum model in Malaysia. “The architecture studio creates a context where active learning occurs through group or individual problem-based projects” (Utaberta et al., 2012). In Malaysia, architecture education system is based communication

on the semester system in which two semesters in each year. Therefore, students worked on more projects and different scale throughout their studies in architecture

design studio technology

course. theory & history

“The main objective of Design Studio is to develop students’ imagination in design and allow them to produce architectural designs that have dialogue and balance between poetic and pragmatic thinking”

“In Malaysia, the discipline of architecture takes great pride in the diversity of its program and teaching pedagogies” (Abdullah et al., 2011). Regardless the important of design study, programs such as workshop and jamboree are part of the education program where students encouraged participating in collaborative works with other architecture students in other universities. This is to allow exchange of ideas and philosophical understanding in architecture as well as communication with various levels of workmanship and behaviour. Extracurricular activities such as design festival and architectural festival are become a synonym in architecture education in Malaysia where it is seen that such activities could provide a platform for the student’s engagement with real practice.

“Acting individually giving your own opinion you should critically appraise the effectivenes” // FIGURE 6

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However, a recent study found that many architectural educations; studio pedagogy cannot cope with the changing nature of our built environment or specifically in a context of architecture practice as it is still too theory-based. As our build environment is changing, many architectural practice undertaking a huge transformation whereas new technology took place in the design process and construction, the higher demand from the client and architects delivering expanded services. These changes have led to the issue where current design studio pedagogy in many countries can no longer provide enough skills required to face these changes. Therefore, studio culture and pedagogy must be changed or perhaps standardized so that we can enable the discipline to increasingly serve community.

The report based on the analysis held by The American institute of Architecture Students (AIAS), indicates that many architecture education focus on the project appearance rather than the actual design process. “Criticism are mostly centred on the observation that students show no interest in design process and tend to focus on form making” (Bashier, 2014). The main issue of architectural education is the tendency to make architecture as art approach rather than rational problem solving. This unbalance between rationality and creativity has cause a great criticism about the current architecture education towards our future build environment. As this issue continue within the architecture system, it is believe that with advance digital technology, it could diminished the focus of artistic approach or intuitive approach whereas technology could improve the knowledge for design solution and processes. As the architecture profession is seen to be more though in the future; to deal with the complexity, uncertainty, uniqueness and value conflict, architect must learn and understand the direction of our future. Architect must look forward, by finding the problem from the past and the improvement needed for the future. Students which can be called young architect must take a plunge into ‘doing’ before they know what to do to various fields indeed beyond architecture.

Real experience by working on a real project and a real life design commission for me is the only way that we can fill the gap between theory and practice. By this, architecture education is seen could explore the origins and the nature of the problem that we faced and provide solutions in theory and based on evidence from real cases. Students could not only learn architecture by follow and assist the “I do not think the present climate is particularly easy, but I think most of the challenges that we face are to do with our unwillingness to come to the terms with the particular responsibilities of being architects”

master as the master ‘practices’, but also through many options such as seminar with real practice, where they can follow the case together, raise questions, discuss solutions, exchange ideas, sharing the knowledge needed for the project and discuss the possibility of unprecedented experiments under the guidance of the expert professor. Through this manner, I believe we could improve the traditional ways of studio learning where creating solutions beyond constraints in a vacuum, but acquire more creative ways of thinking, methods of analyzing real problems, and of discovering new solutions.

“Learning can be considered as a process that involves the whole experiences of an individual influenced by different factors such as his distinctiveness, educational environment, social environment, skills, abilities, and etc” (Kurt, 2009)

CRITIQUES As students in architecture, design studio usually evaluated through a series of tutorial, discussion and presentation, critiques are the predominant way through which architecture students acquire design expertise from others, especially from experienced architects. Design critique is the most important and fundamental means in architectural education. The question is, have this critiquing is really engage a student in the real practice world’s design process or just based on the idea of to guide students on how to produce a good design?

// FIGURE 7

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// FIGURE 8 “As architect design their sometimes controversial projects, so critics build their arguments for the audience who has to live with the results”

“Critiques are an essential pedagogical tool in the design studio,and that critiques are based on the instructor’s expertise and professional experiences”.

Fundamental elements of design critiquing and its framework According to research by Oh et al. (2013) suggest that there are eleven elements of design critiquing which can be classified into two main groups which are ‘methods’ and ‘conditions’. In ‘methods’, it define as the approach used by tutor to express their design knowledge and skills to their students, including critiquing settings, the relationship between students and tutor, communication mode, types of delivery and delivery while ‘conditions’ as the place or a context of critiquing.

This is including the project phase, individual differences, one’s experiences, types of response, design artefacts and learning goals.

The relationships of these elements are very significant towards a success design critique. It is important for a student and tutor to understand that the idea of critique or being critique is to generate an effective feedback that could help in design development. The current architectural design critique encourages students to be like a sale pitch where students tell what good in their design and followed by a comment rather than discussion and exchange of ideas between architectural experts and students. In design critique, “by providing students with rational behind the instructor’s teaching method help student to better understanding in the whole process of design study” (Oh et al., 2013). Commonly, students are looking for positive comments and feedback and those become the measures of their level.

The reality is, good criticism is stand on how much comments despite its positivity or negativity; but enough thought based on what they see and what they hear for one to improve or develop a better design.

03

STUDENTS AND PROFESSION Student and profession in some ways are very much interdependent in this architectural industry. The future of the profession is always signify by the start which in education.

I define the profession as entirely the basic knowledge and its ownership and extension in many ways, not least by an education which convey throughout the process; from one generation to another. Interestingly, in architecture we think beyond the context of action. The essence of design knowledge lies on more than creating the future for ourselves but for people whom we work which I believe must be developed through action in practice, not only in the universities where the architecture is delivered. In an architectural profession, there are more than design skills that architect must expert, but interpersonal skills in relationship to clients and other professional in this industry is look to be part of the main skill of this profession. In response to this, architect must also become a good at listening to problems, and of course responding to it in solving the architectural issues either for individual client, building user or public. Furthermore, “architect must become more proponent of their works to the quality of the built environment and to society” (Nicol and Pilling, 2000).

// FIGURE 9

I mention at the beginning which students and profession are interdependent. This is by no means; in architecture profession, it is important for us to maintain our knowledge and skills throughout the journey. This is because, as suggested in the report by Franciss Duffy on ‘Education in Architecture’; “that architecture represent action, but also reflection on the action”. Both education and practice play a significant role in the future of this profession.

We must embrace this importance and make a better structure for both connections.

Architecture education must be reversed from its traditional method, by no means to totally change the studio learning and project-based design study which I think have become the proud of architecture education. But we should force our education programmes to be more cautious about the reality out here. For example, our education programme should be forced into contact

“more than design skills that architect must expert, but interpersonal skills in relationship to clients and other professional in this industry”

with the reality of procurement of the buildings, etc. In architecture education, architectural imagination has to be toned, refined and developed through working lives.

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The only time where the student exposes to the real practice is during their internship or practical course in between part 1 and part 2 educations. This approach has been implemented in many countries and undoubtedly has provides students experience a closer association with some of the more practical elements of construction in the industry at an appropriate level that compliments the construction training within the education including model making, and opportunities for a real life project application. However, I believe, this isn’t enough for them when they are actually in the real world when they graduates especially when we considering the length of architectural education and escalating cost of architectural course. Similarly to many countries around the world, the 3-step approach in the UK is comprised of five years of University study, sandwiched with a minimum of two years of appropriate industry experience, and the final Part III examinations, has arguably become outdated. Since this model has been emerged from the RIBA conference on Architectural Education in 1958, it “has been allowed to stagnate in the UK as a hermetic, inward-looking pursuit for more than 50 years”. Taking examples from research done by British architecture and design critic, Oliver Wainwright who criticizing the ‘Visual’ driven conceptualism and “fantasy realms” explored in many of the graduating student’s projects, changes in some ways must be made. As many students are currently on study fees of £9,000+ in many universities in the UK, if calculation is made as it is such an expensive course and living expenses, debts of £100,000+ is expected for each students. Considering the rate earn by architects in UK which less than £32,000 in 2012-2013 and some even less than £15,000, raise the question of the quality of experience provided for architecture students in architecture schools. I believe there are continual debates discussing about the flow of our architectural education and training and its conjunction to the reality of a shifting profession in practically preparing graduates that ready to address the realities of our lives.

At some office, even though a former graduate from part 1, are asked to do various job at one time in practice. For example, work at the architecture office for 3 days a week doing design jobs and another 2 days on-site constructing design project. This level of experience may be shocked for some students today, but arguably, we can remove the stereotypes engendered during education and further in practice and to aid construction efficiency is through a closer relationship with the construction team and understanding of building practices. Some might think that this level of engagement with construction techniques is more or less appropriate step for architecture student, but positively it does give some point for us in this industry to think about its relevant for the future of architecture and built environment education.

For me myself, as a student, I think we should give architecture education teaching “The future models of practice reveal a possible spectrum of the roles the architect may possibility have to evolve into”

more honour in our programme. We should fill the gap between architecture practice and architecture education by not separating them within this profession, but link in appropriate ways to professional activities. In many ways, we should increase the courage, making people more alert, increase the availability, more challenging to more architects.

04

CONCLUSION

// THE FUTURE OF ARCHITECTURE EDUCATION AND PROFESSION The future of the architect lies on the start in which the way architects were educated. In order to reform the professionalism of architect, I believe that it has to start by improving the current architecture education to ensure it is in line with radical changes in our built environment and technology. While RIBA review the future of architecture education system in UK, it is also important as a professional to make radical changes in current architecture education. We need to ensure that our education is not being the preserve of students but part of the experience throughout one’s journey in architecture world; as students, as tutor or as practitioner. It seems what is important in our education towards professionalism is to revisit the perspective of being artistic and creative at one time but instead be more cautious and engage with people and surrounding around us. The new education needs to install a new dialogue between theory and practice, between the usual roles of student and tutor and most important, to rebuild the connection between education and the profession to ensure that more vital challenging education system can be reshaped.

Little actions have been made to change architectural education policy since the last education reform at the RIBA Conference on Architectural Education in 1958. Many find difficult to occupy these changes after 57 years of architecture model has been pushed to fit into the current situation. This is due to the massive amount of capital needed throughout the process of qualification in this field. Furthermore, countless of new methods of practicing this field, have changed the perception amongst those in the architecture education system in the UK. Many questions have arisen asking the efficiency of the traditional method of architecture education whether the existing architecture schools can prepare their young architect to cope with the fast changes in the practice world. Many discussions were done to come out with a new operation of architecture school.

“Architecture is a field of repression,” according to Polish-American architect Daniel Libeskind, who says that architects need to be more confrontational with their buildings

A famous architect, Daniel Libeskind quoted in the book ‘Educating Architect’ by Martin Pearce and Maggie Toy (1995); “the purpose of the schools are not to produce the kind of people needed by a society but to train people to be responsible towards society in which practical, ethical and political in working in this industry”. Chances should be given to the students for them to questions and to respond in radical ways towards the environment and people who live in it. The transformation of technology should be embraced by schools and looking at the potential of this technology to improve the design globally, not only locally. I should recommend that we must aware the changes beyond our intimate context by travelling to the other countries and seeing the differences in many aspects which perhaps could help us as young architect

// FIGURE 10

to come out with new resolution for the future.

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There is a huge gap between ideology and rationality within our education systems where schools would like to impose the homogenous quality (good appearance), rather than the diversity which oppose the idea of eternity in architecture. This theory should be no longer become the foundation in architectural education as it limiting students creativity and critical thinking. Students must be allowed to come out with more fundamental questions about the existence of architecture in this era as they have a great role to play in this industry. Perhaps, we could mirror the structure seen in the medical and engineering professions, in which the course is consolidated into a 5-year degree, upon completion of which the student will graduate as a fully qualified architect. While the education is based on the shorter period, the pedagogical guiding principal would see the later part of the course. Rather than seeing schools as part of the hierarchy in the architectural profession, it should work as an orchestrated network, thus architecture students could find themselves currently in the profession.

This network will not only work for students but will involve all level in this profession, including tutors, range of expertise in the industry, from different disciplines and other institutions. Engagement between the institution and local community and in some instances, the wider community provide opportunities for students to work peer to peer, in collaboration with active viable projects, and thus students could engage with real problems or issues. Finally, a dynamic network institution which actively seeking to educate and produce young architect that ready for the practice world must be created replacing the traditional model of master tutors and willing servant students.

This industry of architecture is no more than build up around the nation of the creative industry somehow it lost the ability to be an economically profitable business along the journey. The ultimate success of any practice is down to a symbiotic relationship between the creative side that conceptualises, details and delivers a project and the business side. Shockingly based on the study, only 50% of practices in the UK have a business plan, while only 5% of them have a coherent plan written down on paper. As part of the new revised education system, to ensure all graduates ready for the business world, relevant economic and business skills must be taught as the world economy is extremely moving fast, increasingly sophisticated and financial environment become more complex. It is important for us to realise that besides technical skills, business and financial organization skill is also important for architects “The architect offers more in the way of creativity, as there will be a shift in change from specifying detailing and technical design, to planning and problem solving.

These approaches to future practice do not dull creativity in the design process; they enhance it”

to survive in this industry. Finally, education in this industry cannot simply stop after the fact. For one to survive in this architecture world, individual learning mustn’t stop after schools, but what important is the learning throughout the journey in this career.

Nevertheless, the reality is beyond our expectation as it is much harder than we thought. It seems the larger multidisciplinary practices have a huge interest in their survival as such are already setting up their own ‘internal Universities’, to remain on the top of current financial trends and ensure their technically sided operations, remain current and innovative. This thought must be filtered down to the smaller practices, however, it seems very hard to break as more practices or organization unwilling to spend on new education, due to the low profit margin.

An advance solution for this is to see smaller practices

// FIGURE 11

using a close network with the universities and institution to set up a collective, shared networked organisation with students, who have decided to diversify specialise or focus on research and from this wealth of knowledge these practices can call upon these students and hire out their services on a specific project. Apart from the immediate benefits of innovation in the whole industry sector and having access to the very best in a specialist field (be that technical, social, policy, or financial), there would be a further bolstering of the link bridging the gap between education and practice. As the forward steps, the institute must ensure that teaching skills is taken seriously; change the perception of hierarchical in this profession, but instead students are part of the overall development process of profession, part of the intellects, part of the architectural knowledge base; that the research will be the basis for future practice and that we live out every single aspect of our professional lives, including the designing the future, honouring the past and most important, relating the concept of professionalism to the ideal of education. I believe through this, architect will be seen by far the best profession in the world.

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// FIGURE 12

04

SELF EVALUATION Living in a developing country provides me opportunities to try something new and go into the most critical part of living. Architecture and design is the part which thought me that various innovations could be possible to improve our living, community and our future. This has leaded me to pursuit architecture as profession. For me, architecture is not only about design a building to meet modern requirements, but I see it as career path that combine two significant elements in build environment which are the artistic elements and improve human social living. It also ensues from my deep passion for art, my appreciation of architecture, and my yearning to be amongst those who create the changing skyline that form our cities. I believe, in whatever career or profession, we would never feel tired, instead we would feel motivated and have enriching experience when a person engage in his interest.

Four years academic study in the Centre of Studies for Architecture, Universiti Teknologi Mara (UiTM), Malaysia has completely enhanced my instinctive perception about architecture into systematic knowledge and comprehensive understanding. Architecture taught me to the various level of design and creativity in which the way to convey idea through sketches and illustration using different media to apply to architecture. Second, the study on the basic understanding of architecture such as the history of architecture, architectural science, structure and construction technology open my perception of design solution where there are massive possibilities in term of essential functionality and practicality to improve our living. Study gives me deeper comprehension of architecture, that is, architecture is also part of other cultures which it is subject to other culture’s influence and at the same time it influences other cultures.

Furthering my architectural study in the United Kingdom has greatly opened my thinking skill in design. The design is beyond than the philosophy of treating a building as a single unified organism, but to create unimaginable solutions of our problems for the future. My study in the UK also has broadened my horizons, enhance my skill required in this profession not only to work in a real practice but perhaps build my own architectural practice.

I would love to leave my own mark on the continually evolving world of architecture. As the field of architecture is at an exciting inflection point where new concerns for sustainability and building performance come to the fore, I see this as the main aspect of design for the future of architecture. My goal throughout this profession is to have my own established practice where I can incorporate these ideas into new environmentally aware, responsive and efficient architecture. With the fast growing technology that I believe will be further advanced in the future, as an architect, I will not only design a building that can sustain a better environment, but to provide solutions that cover wide range of life including economy, social and environment Some might say, in the future architect profession will be no longer require, but I believe, there are a lot of potentials of bringing about positive change and sustain the profession by adapting current practices and ways of designing that I learnt today, to meet the challenges and demands of future associated with the economy, environment and society.

I believe that my future is in architectural innovation that will improve the local and global environment. I hope my commitment to improve the social living within my community or perhaps the world will one day be a great successful.

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REFERENCES Articles: ABDULLAH, N. A. G., BEH, S. C., TAHIR, M. M., ANI, A. I. C. & TAWIL, N. M. 2011. Architecture design studio culture and learning spaces: a holistic approach to the design and planning of learning facilities.

Procedia - Social and Behavioral Sciences, 15, 27-32.

BASHIER, F. 2014. Reflections on architectural design education: The return of rationalism in the studio.

Frontiers of Architectural Research, 3, 424-430.

CIRAVOĞLU, A. 2014. Notes on Architectural Education: An Experimental Approach to Design Studio.

Procedia - Social and Behavioral Sciences, 152, 7-12.

IBRAHIM, N. L. N. & UTABERTA, N. 2012. Learning in Architecture Design Studio. Procedia - Social and Behavioral Sciences, 60, 30-35.

KURT, S. 2009. An analytic study on the traditional studio environments and the use of the constructivist studio in the architectural design education. Procedia - Social and Behavioral Sciences, 1, 401-408.

MANLEY, S. & GRAFT-JOHNSON, A. D. 2013. Towards inclusion: rethinking architectural education.

Construction Management & Economics, 31, 914-927.

NAZIDIZAJI, S., TOMÉ, A. & REGATEIRO, F. 2015. Does the smartest designer design better? Effect of intelligence quotient on students’ design skills in architectural design studio. Frontiers of Architectural Research, 4, 318-329.

NICOL, D. & PILLING, S. (eds.) 2000. Changing architectural education: towards a new professionalism: Spon (E&F).

OH, Y., ISHIZAKI, S., GROSS, M. D. & YI-LUEN DO, E. 2013. A theoretical framework of design critiquing in architecture studios. Design Studies, 34, 302-325.

UTABERTA, N., HASSANPOUR, B. & BAHAR, M. A. 2012. An overview of Architecture Education in Malaysia: A Critical Analysis of Assessment and Critique Session in 2nd Year of Architecture Design Studio at Architecture Department, The National University of Malaysia. Procedia - Social and Behavioral Sciences, 60, 221-227.

Books: Martin Pearche and Maggie Toy (1995) Educating Architects, New York: ST Martin’s Press Francis Duffy and Les Hutton (1998) The Idea of Profession: Architectural Knowledge, Cornwall: TJ International Ltd

Internet sources: Royal Institute of British Architects (RIBA), (2013). Become an Architect [online] Available at: https:// www.architecture.com/RIBA/Becomeanarchitect/Oureducationalactivities/RIBAEducationReview.aspx [Accessed 28 Dec. 2015] Oliver Wainright, (2013). Towering Folly: Why Architectural Aducation In Britain Is In Need of Repair [online] Available at: http://www.theguardian.com/artanddesign/architecture-design-blog/2013/may/30/ architectural-education-professional-courses [Accessed 28 Dec. 2015] Wikipedia, (2015). Architectural Education In The United Kingdom [online] Available at: https://en.wikipedia. org/wiki/Architectural_education_in_the_United_Kingdom [Accessed 28 Dec. 2015] Alyn Griffiths, (2013). Guardian Architecture Critics Call for Overhaul of ‘Stagnant’ UK Education system. [online] Available at: http://www.dezeen.com/2013/06/03/guardian-architecture-critic-calls-for-overhaulof-stagnant-uk-architecture-education-system/ [Accessed 29 Dec. 2015]

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