Professional Studies | MArch

PROFESSIONAL STUDIES

Varvara Lazaridou 13154065

Manchester School of Architecture

6th year | MArch 2014-2015

1

LANOISSEFORP SEIDUTS

uodirazaL aravraV 56045131

erutcetihcrA fo loohcS retsehcnaM

hcrAM | raey ht6 5102-4102

2

Varvara Lazaridou MArch Master of Architecture 2015 Manchester School of Architecture University of Manchester MAnchester Metropolitan University Year 6

3

4

Contents A | Part 1

6

B | Part 2

46

C | Appenices

74

D | Bibliography

112

Letter to the Client Persional Reflection

Essay

Weekly Exercises

5

A | Part 1

Letters to the client

6

Contents 0.0

Scenario

1.0

Why a registered architect?

10

2.0

Easements and covenants

12

Introducing RIBA Charted Member and Practice, Registered Architect Letter Rights of Light and Party Wall procedures Letter

3.0 Fees

14

4.0

Project Plan, Project Management

18

5.0

Tender, Procurement and Contracts

22

6.0

Briefing and Design Development

28

7.0

Planning Consent

32

8.0

Planning Application, Listed Building Consent

34

9.0

Viability, Value Management and Cost Control

36

Initial Fee Proposal Letter

Introduction to Project Plan and Project Management Letter
 Roles and Responsibilities of the Project Manager Programme timetable Introducing Tendering options and procurement types Letter Outlining Procurement Types & Standard Contracts- Advice Briefing and Design Development Letter Specification types and their use Full Planning Requirements Letter Planning Application and Building Consent Letter Value Management and Cost Control Letter

10.0 Building Regulation Consent, Equality Act, Health and Safety

38

11.0 Reflective Commentary

42

Building Regulations, Equality Act , Health and Safety Letter

7

8

0.0 Scenario The client is a family businesswoman who has inherited a significant heritage asset as part of her business, due to expansion and modernization this building is no longer fit to her purposes. The building is going to be used as a community to benefit the families of her workforce.

The building is a traditional 1900’ office building with cellular load-bearing walls structural timber floors and a slated pitched roof. It has been well maintained but never upgraded to current standards.

Her intentions for its use include a craft shop, committee & meeting rooms, teaching spaces and will include concerts & indoor sports. There is also a need for a large hall built as an extension of c100m2 on available space at the rear of the building and separate access for special events such as weddings etc.

The client’s ‘all in’ budget is £500,000.

The works will be carried out by IVL Architects.

9

IVL Architects

10 King Street Manchester M2 6AG United Kingdom +44 (0) 161 872 9907

varvaralazaridou@ivlarchitects.co.uk

Mrs. Amy Williams Queen Street Manchester M2 5HT United Kingdom

xx/xx/2014

RE:Protection by using a Registered Architect, RIBA Charter Member and Practice Dear Mrs. Williams, Thank you for inviting IVL architects to provide services for the extension of ‘Edgar Wood Building’. ‘IVL Architects’ is a registered practice and we take pride in maintaining the values of the professional code of conduct, as articulated by the ARB and RIBA. The purpose of this letter is to explain how the decision of choosing a registered and charterer practice is in your best interest.

The Architects Registration Board (ARB) under the Architects Act 1997, has responsibility for prescribing the qualification and practical training required for entry onto the UK Register of Architects. The ARB code of conduct expects the architect to have the following standards: 1.Honesty and Integrity 2.Competence 3.Honest Promotion of your services 4.Competent management of your business 5.Considering the wider impact of your work 6.Carry out your work faithfully and conscientiously 7.Trustworthiness and safeguarding clients’ money 8.Insurance arrangements 9.Maintaning the reputation of architects 10.Deal with disputes or complaints appropriately 11.Co-operation with regulatory requirements and investigations 12.Respect for others In addition to the ARB, the RIBA is responsible for Chartered Practices, which are the only architectural practices endorsed and promoted by the RIBA. This accreditation

10

0.1 Protection by using a Registered Architect, RIBA Charter Member and Practice

sends a strong signal to you as a client, employees and the wider construction industry and shows that our business is committed to excellence in design and service delivery.

All our employees strive to adhere to RIBA’s three principles.

Principle 1: Integrity - Members shall act with honesty and integrity at all times.

Principle 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.

Principle 3: Relationships - Members shall respect the relevant rights and interests of others.

In cases where any of the Codes are breached; we are subject to penalisation, which may involve a fine, suspension ore erasure by the bodies. This acts as an extra mechanism in which your interests as a client are protected, as registered architects will provide services with high quality standards.

In addition to the number of qualified personnel, an RIBA Chartered Practice must operate an appropriate: • Quality Management System • Environmental Management Policy • Employment Policy, which addresses the principles of the RIBA policy statement on employment • Health and Safety Policy • CPD Framework • Professional Indemnity Insurance We look forward to working with you and should you have any queries, please do not hesitate to contact us.

Yours sincerely Varvara Lazaridou BA(Hons), MArch, RIBA

Associate On Behalf of IVL Architects

11

IVL Architects

10 King Street Manchester M2 6AG United Kingdom +44 (0) 161 872 9907

varvaralazaridou@ivlarchitects.co.uk

Mrs. Amy Williams Queen Street Manchester M2 5HT United Kingdom

xx/xx/2014

RE: Checking Easements and Covenants Dear Mrs. Williams, Following our previous meeting on the xx/xx/14, we would like to inform you about some legal aspects you need to be aware of. Before starting with the project, we would like to outline the necessity of checking easements and covenants, mainly concerning the Rights of Light and Party Wall procedures.

Rights of Light: Sometimes called the “ancient lights�, this is a negative easement, which gives the permission to the owner of a building to prevent his neighbor to build something if this blocks the flow of light through particular windows. In order to avoid any inconsistency, you should appoint a surveyor, which will review the proposal and advice you accordingly.

In addition to that the surveyor must also check your own building and whether the windows have Rights of Light. In case they have, it is essential that a careful measured survey be carried out to that any new windows will be replaced exactly in the same positions.

Party Walls under the Party Wall Act 1996 In addition to the Rights of Light, you also need to be aware of the Party Wall Act, which is an enabling Act, granting permission to the owner of a property to undertake certain works. If permission is not granted, this can be considered as trespass or nuisance.

There are 3 different types of party walls:

12

0.2 Checking Easements and Covenants

1. The wall is divided vertically and reciprocal easements are in force all over the wall.

2. The wall is divided vertically into two strips, one strip belonging to each owner.

3. The wall belongs completely to one owner and the adjoining owner has the right to have it main tained as a dividing wall.

It is your responsibility to identify which type of wall is related to the project.

When the type of wall is identified, a consent must by obtained by the adjoining owners.

We advice you that you meet with them first in order to explain to them the planned works. It’s a good idea that the meeting takes place before the formal written notice in order to increase your chances of good relations with them. In case of disagreement there is a procedure to be followed. Each party must appoint a surveyor to whom certain powers are given by the Act to determine the difference and to decide, subject to provisions of the Act, what contributions each party is to make to the cost of the work. After that a form of an ‘Award’ is given in which it states the effect and the reinforcement.

The 3 basic situations covered by the Act are: • Build a new party wall • Work to existing party walls • Adjacent excavations and constructions We must take early steps to start this procedure, as a lot of time is needed to acquire a notice, especially in cases of counter notice and negotiations.

If you need any further information or have any questions please do not hesitate to contact me.

Yours sincerely Varvara Lazaridou BA(Hons), MArch, RIBA

Associate On Behalf of IVL Architects

13

IVL Architects

10 King Street Manchester M2 6AG United Kingdom +44 (0) 161 872 9907

varvaralazaridou@ivlarchitects.co.uk

Mrs. Amy Williams Queen Street Manchester M2 5HT United Kingdom

xx/xx/2014

RE: Fee Proposal, Advice other Appointments & Responsibilities of Team members Dear Mrs. Williams, Thank you for your recent correspondence inviting a fee proposal for our (IVL Architects) undertaking of architectural services for your project. This letter contains our fee proposal as well as advice regarding other appointments and the responsibilities of our team members.

IVL architects Services based on the ‘RIBA Plan of Work 2013’ will include: Strategic Definition Identify client’s Business Case and Strategic Brief and other core project requirements.

Preperation and Brief Develop Project Objectives including Quality Objectives and Project Outcomes, Sustainability Aspirations, Project Budget, other parameters or constraints and develop Initial Project Brief. Undertake Feasibility Studies and review of Site Information.

Concept Design Prepare Concept Design, including outline proposals for structural design, building services systems, outline specifications and preliminary Cost Information along with relevant Project Strategies in accordance with Design Programme. Agree alterations to brief and issue Final Project Brief.

Developed Design Prepare Developed Design, including coordinated and updated proposals for structural design, building services systems, outline specifications, Cost Information and Project Strategies in accordance with Design Programme.

14

0.3 Fee Proposal

Technical Design Prepare Technical Design in accordance with Design Responsibility Matrix and Project Strategies to include all architectural, structural and building services information, specialist subcontractor design and specifications, in accordance with Design Programme.

Construction Offsite manufacturing and onsite Construction in accordance with Construction Programme and resolution of Design Queries from site as they arise.

Hand Over and Close out Handover of building and conclusion of Building Contract.

In Use Undertake In Use services in accordance with Schedule of Services.

As previously discussed and agreed, we (IVL Architects) will act as both the lead designers and lead consultants on behalf of you. In order to assist our services, the following consultants will need to be appointed separately: • Structural and Building Service Engineers • Construction Design and Management (CDM) Coordinator • Quantity Surveyor Set out from the brief and our previous discussions, we have prepared the project programme and schedule, from which we based our fee proposal. We expect the work to take a total of 60 weeks from appointment to completion.

We have calculated a fee equal to 7.5% of the overall contract sum, which amounts to £37,500(+VAT) for the full contract period and all of the stated work. This is to be paid in monthly installments of £2,679 (+VAT) by the first working day of each month. All invoices are issued on strictly 30-day terms, we reserve the right to charge interest, withhold copyright of any designs and information or suspend services if we deem appropriate.

In addition to fee, on the later stages we will need some more applications that are not included in the fee proposal and have to been taking care by yourself, these are listed building application, building application of planning, building regulation.

Any additional work that is not mentioned in the schedule programme given, have to be subject to our additional rate and will differ from the evaluation cost analysis.

IVL Architects Standard rates (exc. VAT) are: • • • •

Director £130.00/h Associate £80.00/h Architect £62.00/h Architectural Assistant £40.00/h

The team members have the following responsibilities during the project: Director The leader of the team, his responsibility is to manage and coordinate the whole team.

His role is carried out from the beginning of the project and is responsible to ensure that

15

the project is on its target, in terms of time, cost and quality.

Associate Responsible for the strategic decisions, especially during the tender process, which usually affect financial issues.

Architect Responsible for the design, his role beginning from the conception to the in-use appraisal.

Architectural Assistant Responsible for the production of work such as drawings and models, required for the communication between members.

Our company provides its services according to the Terms and Conditions set out in the RIBA Standard Form of Appointment and the ARB code of conduct. If you feel that there are any issues or disagreements in the services we provide, you can seek an advice in writing to the Architects Registration Board (ARB). We carry Professional Indemnity Insurance with an indemnity limit of ÂŁ5,000,000, which hopefully we will not have to call on.

Please let us know if you agree with the contents of this letter in order to move on to the next stage and start the work.

Yours sincerely Varvara Lazaridou BA(Hons), MArch, RIBA

Associate On Behalf of IVL Architects

16

0.3 Fee Proposal

Type 1 Director Annual gross salary (pounds per year) Employment overheads Premises overheads Total overheads (pounds per year) Working hours per day Working days per week Working hours per week Annual leave in days Other leave (days per year) Sick leave percentage Sick leave (days per year) Proportion of fee earning time Weekly cost

£64,000.00 9.00% £900.00 £6,600.00 8.00 5.00 40.00 21.00 2.00 2.00% 4.75 38.00% £3,987.5

Type 2 Associate Annual gross salary (pounds per year) Employment overheads Premises overheads Total overheads (pounds per year) Working hours per day Working days per week Working hours per week Annual leave in days Other leave (days per year) Sick leave percentage Sick leave (days per year) Proportion of fee earning time Weekly cost

£40,000.00 7.60% £1,150.00 £4,100.00 8.00 5.00 40.00 21.00 2.00 2.00% 4.75 55.00% £1,720.94

Type 3 Architect Annual gross salary (pounds per year) Employment overheads Premises overheads Total overheads (pounds per year) Working hours per day Working days per week Working hours per week Annual leave in days Other leave (days per year) Sick leave percentage Sick leave (days per year) Proportion of fee earning time Weekly cost

£38,000.00 6.00% £900.00 £3,180.00 8.00 5.00 40.00 21.00 2.00 2.00% 4.75 55.00% £1,606.99

Type 4 Architectural Assistant Annual gross salary (pounds per year) Employment overheads Premises overheads Total overheads (pounds per year) Working hours per day Working days per week Working hours per week Annual leave in days Other leave (days per year) Sick leave percentage Sick leave (days per year) Proportion of fee earning time Weekly cost

£26,000.00 5.50% £980.00 £2,410.00 8.00 5.00 40.00 21.00 2.00 2.00% 4.75 50.00% £1,219.52

17

IVL Architects

10 King Street Manchester M2 6AG United Kingdom +44 (0) 161 872 9907

varvaralazaridou@ivlarchitects.co.uk

Mrs. Amy Williams Queen Street Manchester M2 5HT United Kingdom

xx/xx/2014

RE: Project Plan and the Appointment of a Project Manager Dear Mrs. Williams, This letter aims to inform you about the project plan and the options you have in relation to the project management.

Please find attached the programme timetable for Edgar Wood building. According to our calculations the total length of the project from initial appointment to completion has been estimated at 60 Weeks.

The programme outlines the different procedures that will be accomplished in each stage of the project from initial appointment until completion. These are the Stages 0-7 based on “the RIBA plan of work 2013”.

Considering the delicate nature of the project involving a Grade 2 listed building, the programme has taken into account any possible delays or complications that might appear along the way. We have designed the programme based on our experience in order to minimize risk. Nonetheless, if we face any larger issues the programme may have some delays. We will keep you informed of any potential changes to the programme as the project progresses. There is however a set of options aimed to reduce the overall length of the project that you may wish to consider. Please note the fact that while these suggestions might support the successful, in terms of time, completion of the project, they imply certain degrees of risk, in terms of cost and quality of the final output.

So we suggest you avoid taking these alternative options unless strictly necessary.

Ways in which you may intensify the attached programme include: • Submitting a building notice instead of a full plans applicationFurther details will be provided when planning applications are ready for submission.

• Integrating Work Stages In order to be able to finish it in a shorter period, different

18

0.4 Project Plan and Project Manager

work stages can be made to overlap by dedicating more staff exclusively to the project.

This may put more pressure and responsability on yourself, as a client to make rapid decisions without allowing you the time to discuss and clearly understand the project with us as it develops. This time pressure will also considerably reduce programme flexibility.

We strongly advise you to proceed with our programme timetable as we consider it as the best suitable option for your project and regarding its delicate nature.

Please inform us about your decision as soon as you receive your response.

The second part of this letter is to explain to you the role of a project manager. It is important to point this at this stage as the responsibilities of the architect is changing and is no longer dealing with the management of the project.

According to a traditional contract (which is usually applied to small scale projects) the role of the manager is one of architect responsibilities.

A definition of a project manager approved by the RIBA is: “The Project Manager is a construction professional who can be given executive authority and responsibility to assist the client to identify the project objectives and subsequently supply the technical expertise to assess, procure, monitor and control the external resources required to achieve those objectives, defined in the terms of time, cost, quality and function.”

Project management is a collection of loosely connected techniques, some of which are useful in bringing projects to a successful conclusion. Some of a project manager’s responsibilities as all other managers are to think about motivation, team building and financial issues. Project Managers are divided into two different categories, with different contractual relationships. In order to avoid serious consequences these different must be clearly understood and appreciated.

Type 1: Project Managers who act as the technical arm of the employer.

Type 2: Project Managers who carry out the contract administration role in regard to building contracts.

The first type of project manager acts as the client’s representative. They act as agent for the client and use the power to do everything the client could do, in relationship to the project. Having the brief of the client they will interview and appoint consultants and carry out the briefing exercise.

The second type of project manager must be named as contract administrator in the contract as they perform all the functions of a contract administrator in regards to the building contract. They can issue instructions and certificates.

The IVL Architects have a significant experience in project management and we would like to offer you our services on it. On this way we will have better communication and Doing so would ensure the project is delivered on time, on budget and to the required standard of quality. In addition to that, it allows us to keep our clients better informed of the progress of the construction project.

19

Please let me know how you prefer to proceed. If you wish to learn more about the different types of management, their responsibilities or need any recommendations feel free to contact me.

Yours sincerely Varvara Lazaridou BA(Hons), MArch, RIBA

Associate On Behalf of IVL Architects

PROGRAM FOR THE ‘PONSONBY AND CARLILE OFFICE’ BUILDING Month Programme Week

0 Strategic Definition Identify client's Business Case and Strategic Brief and other core project requirements

January

Februar

1 2

3 4 5 6

7

1 2

3 4 5 6

7

1 Preparation and Brief Develop project objectives: quality objectives, sustainability outcomes, project budget and other parameters Undertake feasibilty studies and review of site information Develop initial project brief 2 Concept Design Prepare preliminary cost information along with relevant project strategies in accordance with design program Commence concept design: outline structural design, building services system and outline specifications Agree alterations to brief and issue final project brief Prepare Sustainability Strategy, Maintenance and Operational Strategy 3 Developed Design Prepare developed design Co-ordinate and update proposals for structural design and building services systems Outline specifications, cost information and project strategies in accordance with design program 4 Technical Design Prepare technical design in accordance with design responsibility matrix Prepare and submit Building Regulations Project strategies to include all architectural, structural and building services information 5 Construction Offsite manufacturing and onsite construction in accordance with construction program Administration of Building Contract, including regular site inspections and review of progress Resolution of design queries from site as they arise 6 Handover and Close Out Handover of building Conclude administration of Building Contract Feedback for use during the future life of the building or on future projects Updating of Project Information as required 7 In Use Undertake in use services with schedule of services Post-occupancy Evaluation Updating of Project Information, in response to ongoing client Feedback until the end of the building’s life Review of Project Performance, Project Outcomes and Research and Development aspects Programme Week

20

0.4 Project Plan and Project Manager

ry

March

April

May

June

July

August

September

October

November

December

January

February

March

8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60

8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60

21

IVL Architects

10 King Street Manchester M2 6AG United Kingdom +44 (0) 161 872 9907

varvaralazaridou@ivlarchitects.co.uk

Mrs. Amy Williams Queen Street Manchester M2 5HT United Kingdom

xx/xx/2014

RE: Tender procedures, Procurement Routes, Form of Contract & Documentation options Dear Mrs. Williams, I am writing to you to discuss Tendering procedures, Procurement options and Contracts for Edgar Wood Building and offer you some advice on how to choose the most appropriate route to suit your circumstances.

Below is a list of 3 tendering procedures: Open Tender In an open tender the employer will advertise the project and there will be no limits on the number of contractors, which may apply. This form of tendering is aimed to achieve best price by providing you with a large set of offers to choose from. It is essential that you take care in examining the offers to ensure the contractors have fully understood the project specifications and are able to achieve the level of quality required. Open tendering is therefore often particularly time consuming.

Selective Tender This form of tender is not publically advertised and only invites pre-qualified or known bidders to apply. The main advantage is that applicants go through a screening process before applying by submitting information about themselves. This will ensure all applicants are qualified and will allow you to base your decision on costs without compromising the quality of the work.

Negotiated Tender This form of tender usually involves a single specialized contractor who will submit an effort for the project and therefore reducing the cost of the tender process. Any disagreements or issues will be discussed on a one-to- one basis. This form of tender is usually used when the client already has a contractor he has established a good working

22

0.5 Tender, Procurement and Contracts

relationship with.

Please find attached the definition of the 3 main types of procurement with their advantages and disadvantages as well as our recommendation. In case you follow our recommendation, you will have to complete the following forms: • • • • •

Bill of Quantities Tender Drawings Project Specifications Letter of Invitation Form of Tender

If you need any further explanations do not hesitate to contact me. We look forward to hear your decision.

Yours sincerely Varvara Lazaridou BA(Hons), MArch, RIBA

Associate On Behalf of IVL Architects

23

Attachment

The 3 main type of procurement are: Traditional, Design and Build and Management Based. The selection of the most appropriate type of procurement depends on client’s priorities in respect of: time, cost, control, quality, size/value and complexity.

Traditional In this type of procurement the client appoints an architect to take a brief, produce designs and construction information, invite tenders, administer the project thought the construction phase and settle the final account. In more complicated cases, the architect will advise the client to hire other consultants to deal with certain items such as quantities and cost estimating services, structural calculations and building services designs etc.

Time

Cost

Advantages: • • • • • •

Time

Quality

Time

Higher quality design Client’s team control the design Contractor roles and responsibilities are well understood Clear relationship between client and contractor Competitive pricing levels Programme clarity and method statement

Disadvantages: Qualitywith Cost Quality • Cost The risk mostly lies with the client, increased risk of additional cost • Probability to extend the project time-line, as the design needs to be complete before tender.

• Limited buildability potential as there is lack of interaction between architect, contractor and specialist expertise • Probability of argument between architect and contractor

24

0.5 Tender, Procurement and Contracts

Time

Design and Build The contractor takes full responsibility and risk for the design and construction of the project. The main contractor is appointed by the client and will be required either to carry out the entire design work himself or the client may wish to hire a design team to complete a concept design and outline specifications which the design andQuality build conCost tractor will complete and carry out into construction.

Time

Cost

Time

Quality

Cost

Quality

Advantages: • • • •

All major risks lie with the contractor It provides a single point of responsibility for both design and construction It provides a high degree of cost certainty It can be tendered at an early stage, depends on the level of information given to tenders • Difficult for clients to make change without cost impact Disadvantages: • • • • • •

The client loses control and influence over the design of the project The project becomes price driven rather than quality driven Quality is dictated by the contractor and if the ER is weak, it can be compromised Contractors look to offset their risk against design team Higher tender price to cover contractor risks Possible long lead in

Management Based The general quality of management methods lies in time and quality, with the project closely monitored throughout the building phase. This however can lead to significant increases in cost. Management procurement can be broken down into two different methods: Management Contracting The client appoints and independent professional team and also a management contractor, at an early stage, with a management function, but has no responsibilities for

25

Time

the construction. This type of contract allows for works to be started early on site, and achieve early completion. The high levels of flexibility allow for the client to change the design during construction, with drawings and details to be adjusted as the works proceed.

Construction Management The main difference with the Management Contracting is that the client, and not the construction manager, enters into numerous trade contracts directly with trade contractors. The employer appoints a professional team with either an in-house manager, or enters an agreement with a construction manager to oversee the work. Although this gives the control, it implies the client will accept greater Costclient a greater measure of Quality amounts of risk.

Time

Cost

Time

Quality

Cost

Quality

Advantages • an early start on site is possible as design and construction phases can overlap to a greater extent than design and construct • individual trade packages may achieve cost reductions as they are competitively tendered; • one of the main reasons to take the Management Contract route is to reduce the contractors risk • by reducing the managing contractors risk you reduce the overall cost Disadvantages • • • •

the final cost of project is unknown until final works package has been let price certainty is poor design and construction liability is spread over many trade contracts and consultants; the client control of the design quality is reduced as it is heavily influenced by con structors; • high risk for client Suggested method of procurement IVL architects strongly suggest a traditional procurement method under the JCT Building Contract 2011with a selective single stage tendering process. The selective tender will allow you to control the quality of all your applicants and ensure they have adequate experience working in heritage sites. We as a practice can suggest a couple of contrac-

26

0.5 Tender, Procurement and Contracts

tors, but if you would like to suggest anyone in particular we will be happy to contact him. A Traditional procurement route will allow the design team better control of the project, ensuring the best design quality. Design quality is considered essential when working within a heritage site and Listed building. This will then help us to ensure planning permissions from the Stockport City Council. Finally, this procurement route will allow us to be more flexible in terms of the design during the later stage of the project, which is important when dealing with an existing building.

27

IVL Architects

10 King Street Manchester M2 6AG United Kingdom +44 (0) 161 872 9907

varvaralazaridou@ivlarchitects.co.uk

Mrs. Amy Williams Queen Street Manchester M2 5HT United Kingdom

xx/xx/2014

RE: Briefing and Design Development Process & Specification Types and their Use Dear Mrs. Williams, During our last meeting on 22/10/14 we have agreed on a Traditional procurement route and signed a JCT Building Contract 2011. Based on that agreement I am writing to inform you about the briefing procedures and design development process as well as the specification types and their use.

Briefing The definition by RIBA for this stage is: ‘Development of initial statement of requirements into the Design Brief by or on behalf of the client confirming key requirements and constraints. Identification of procurement method, procedures, organizational structure and range of consultants and others to be engaged for the project.’ The process of briefing can be divided in 3 stages, the pre-project brief, the project brief and the post-project brief (some of them are in parallel with the design process): Pre-project brief also named as strategic brief, is the stage where the architects and the client outline the brief, set the goals and context. By then we will have a clear idea about your expectations and we will set the priorities through chats and meetings. At this stage we will also decide about the size, capacity, functions, environmental qualities, servicing, deadlines, budget etc.

The Project brief is the stage where the architects inform the design production team about the decision took in the previous stage in order to make agreements about the concept, the time, the cost etc. At this stage drawings, models and schedules are created together with a statement of the scheme design. We will also make clear the di-

28

0.6 Briefing and Design Development

mension of space and elements required, confirm about the cost plan and organize the management of the building and create the detailed production plan.

At the Post project brief stage we make a review of last stage’s results and we get feedback of them. It is essential to review of the results and measure the evolution of the project with qualitative and quantitative methods. This feedback can focus on 3 things: • Product - does it keep water out is it fit for purpose • Process- how well did the team operate against the set criteria • Performance- how well the building operates against the goals and objectives set Design Development This is the stage where we as the architects have conversation with you, the client and take into account all the comments that client makes about the concept in order to complete the full briefing document. During this stage architects also work with consultants to produce a more detailed design for the client’s approval.

By the end of this stage architect must have a clear idea about the appearance of the building the interior, the proposed materials, the estimated cost and dates of completion in order the architect to be able to ask from the client a final approval.

After the client’s approval or the changes they may request the architect will apply for planning permission.

Specifications The specifications are important in order to protect the client’s interests, reduce risks and claims, contribute to procurement, provide criteria for control and testing and define quality requirements and design responsibilities. Almost all projects are a mixture of Proprietary, Prescriptive, and Performance Specifications.

Proprietary Specification: The naming of manufacturers’ products that the design team consider appropriate for project. Often are used where products are selected for their visual appearance such as wall, floor and ceiling finishes.

Prescriptive Specification: The client and design team have determined all product, material and workmanship requirements for carrying out the work. Usually the contractor has the freedom to select the appropriate products and materials according to the requirements.

Performance Specification: The design team defines the performance that a completed element or component is required to achieve, for example thermal, the sound and fire insulation of a wall. The contractor proposes solutions appropriate to the requirements.

The briefing part is crucial for the successful implantation of the project. Choosing the right type of specification is an additional step towards this target. I hope all the above are clearly understood and if you have any further queries please do not hesitate to contact me.

29

Yours sincerely Varvara Lazaridou BA(Hons), MArch, RIBA

Associate On Behalf of IVL Architects

30

0.6 Briefing and Design Development

31

IVL Architects

10 King Street Manchester M2 6AG United Kingdom +44 (0) 161 872 9907

varvaralazaridou@ivlarchitects.co.uk

Mrs. Amy Williams Queen Street Manchester M2 5HT United Kingdom

xx/xx/2014

RE: Planning Consent Requirements, Procedures and Timings Dear Mrs. Williams, Within this letter you will find the requirements for the Planning Application for ‘Edgar Wood building’ as well as the procedures and the timings.

We have contacted the planning department of Stockport City Council in order to be able to advice you appropriately. According to this, you can either apply online via the Planning Portal or in paper format to the Local Planning Authority.

• • • • • • • • • • •

•

Your Full Planning Application must include the following: Completed standard application form Location Plan (scale of 1:1250 or 1:2500) Site Plan/ Block plan (scale of 1:100, 1:200) Existing and proposed elevations (scale of 1:50 or 1:100) Existing and proposed floor plans (scale of 1:50 or 1:100) Existing and proposed site sections and finished floor and site levels (scale of 1:50 or 1:100) Roof plans (scale of 1:50 or 1:100) Copy of other plans and drawings necessary to describe the application Completed Ownership Certificate/ Agricultural Holdings Certificate Design and Access Statement (for Major Development, and planning applications for the provision of one or more dwellings or a building or buildings where the floor space created by the development is 100 square metres or more in a Conservation Area) The appropriate fee

The fees for the application is £690, the payments must be made to the local authority for the processing of the documents. There is no guarantee that the planning permission will be granted. In this case the authority will require some changes before the grant permission. This procedure can take up to 8 weeks should there be no disagreements.

32

0.7 Planning Consent Requirements, Procedures and Timings

The payment of the fee will be made by us on your behalf, following your approval, and send you a separate invoice.

If you need any further information do not hesitate to contact me.

Yours sincerely Varvara Lazaridou BA(Hons), MArch, RIBA

Associate On Behalf of IVL Architects

33

IVL Architects

10 King Street Manchester M2 6AG United Kingdom +44 (0) 161 872 9907

varvaralazaridou@ivlarchitects.co.uk

Mrs. Amy Williams Queen Street Manchester M2 5HT United Kingdom

xx/xx/2014

RE: Listed Buidling Consent for ‘Edgar Wood’ building extension Dear Mrs. Williams, I am writing to confirm to you that we, ‘IVL Architects’, are now at the stage to put forward the listed building consent for your project to the Stockport City Council. We need you to confirm in writing that you agree for us to proceed with this process and submit the project applications on your behalf.

Since we are dealing with a Grade II Listed Building, the following documents need to be submitted to the Stockport City Council, as part of this application: • Completed form (3 copies to be supplied unless the application is submitted electronically) • A plan, at a scale of 1:1250 or 1:2500, which identifies the land to which the application relates, with the site outlined in red and any other land in the applicants ownership outlined in blue, and showing the direction of North (3 copies to be supplied unless the application is submitted electronically)) A copy of other plans and drawings or information necessary to describe the subject of the application (3 copies to be supplied unless the application is submitted electronically) including: 1. Block plan of the site (e.g. at a scale of 1:100 or 1:200) showing any site boundaries 2. Existing and proposed elevations (e.g. at a scale of 1:50 or 1:100) 3. Existing and proposed floor plans (e.g. at a scale of 1:50 or 1:100) 4. Existing and proposed site sections and finished floor and site levels (e.g. at a scale of 1:50 or 1:100) 5. Plans to a scale of not less than 1:20 to show all new doors, windows, shop fronts, panelling, fireplaces, plaster moulding and other decorative details • Roof plans (e.g. at a scale of 1:50 or 1:100) The copleted Ownership Certificate (A, B, C or D – as applicable) as required by Regulation 6 of the Planning (Listed Building and Conservation Areas) Regulations 1990 Design and Access Statement • In addition, where Ownership Certificates B, C or D have been completed,

34

0.8 Listed Buidling Consent

• Notice(s) as required by Regulation 6 of the Planning (Listed Building and • Conservation Areas) Regulations 1990 must be given and/or published in accordance with this Regulation There is no fee regarding this application however decisions will generally take 8 to 13 weeks, and appeals can be submitted to the Secretary of State within 6 months.

Should you have any further queries, please do not hesitate to contact me.

Yours sincerely Varvara Lazaridou BA(Hons), MArch, RIBA

Associate On Behalf of IVL Architects

35

IVL Architects

10 King Street Manchester M2 6AG United Kingdom +44 (0) 161 872 9907

varvaralazaridou@ivlarchitects.co.uk

Mrs. Amy Williams Queen Street Manchester M2 5HT United Kingdom

xx/xx/2014

RE: Viability, Value Managment and Cost Control Dear Mrs. Williams, I am writing this with the intention to advise you on the best ways to achieve Viability, Value Management and Cost Control for ‘Edgar Wood’ project at all the stages.

Viability and Value Management Considering that we are operating as both lead consultant and acting project managers of the project we will be taking the following actions in order to ensure good cost control and value are achieved within the £500,000 budget.

• We will ensure that the every team within the construction acting according to their roles and responsibilities and that there is efficient communication.

• To guarantee the most competitive and accurate tenders from contractors, we have made sure that our tender documents have been prepared to the most clarity and precision and we will submit them as soon as possible to ensure that we have the most input from the contractor, to ensure maximum efficiency.

Cost control Cost control will need to continue throughout the project, enabling cost checking throughout the whole process, ensuring that the budget is not exceeded.

Choosing the most suitable procurement route, contractor and market conditions will affect costs and means of achieving good value at all stages. Since the procurement route we have chosen for this project is the traditional, you as client can request from the contractor to source competitive quotes from sub-contractors and suppliers for the materials required. We would like to inform you that this may cause delays in the programme.

36

0.9 Viability, Value Managment and Cost Control

IVL Architects would also recommend appointing a quantity surveyor as a consultant to guarantee that cost control is managed. Appointing a quantity surveyor will enable detailed cost control throughout the process of the project to ensure that your cost limits are not exceeded. A Quantity surveyor can quickly and accurately advice on effects of specification or area change. He/She will usually propose suitable savings in alternative parts of the project if more money is spent on one element than initially budgeted for.

Some of the quantity surveyor’s responsibilities are: • • • • • • • •

Preliminary cost advice Cost planning including investment appraisal, life cycle costing and value analysis Procurement and tendering procedures Contract documentation Evaluation of tenders Cash flow forecasting, financial reporting and interim payments Final accounting and settlement of contractual disputes Cost advice during project stages by you (the client)

If you have any queries regarding the above information or any other features of the project then please do not hesitate to get in contact.

Yours sincerely Varvara Lazaridou BA(Hons), MArch, RIBA

Associate On Behalf of IVL Architects

37

IVL Architects

10 King Street Manchester M2 6AG United Kingdom +44 (0) 161 872 9907

varvaralazaridou@ivlarchitects.co.uk

Mrs. Amy Williams Queen Street Manchester M2 5HT United Kingdom

xx/xx/2014

RE: Building Regulations Consent, Equality Act 2010 & Health and Safety Law Dear Mrs. Williams, In this letter you will find all the information you need about the Building Regulations Consent regarding the options that you have as well as our recommendation. It also includes each party’s Roles and Duties under the Equality Act and the Health and Safety Law. Building Regulations Consent We are now on the stage that we are require to submit application in order to get a Building Regulations Approval for your project. The purpose of the Building Regulations is to secure the health, safety, welfare of people as well as the protection or enhancement of the environment facilitating sustainable development. Bellow you will find three options that are available to you and our recommendation. Please read carefully and consider before deciding which one is best suited to you.

Local Authority Approval (Stockport City Council)- Deposit of full Plans In this case we will submit a full set of technical drawings including block plan not less than 1.1250 scale showing the position of the building in relation to attached buildings as well as plans and section to suitable scale showing full details (usually not less than 1.100 scale).

The written notice from the local authority normally takes up to 5 weeks from submission to approval. Once it is approved the certificate is valid for 3 years. In case of rejection it returns with a feedback that will help obtain the approval by resubmitting.

Building Notice to the Local Authority (Stockport City Council) In this case we are not requested to submit any technical drawings to the local authority but instead will involve regular on-site inspections during the construction phase by a

38

10.0 Building Regulations Consent, Equality Act 2010 & Health and Safety Law

Council Inspector. The certification is also valid for three years, but it can be submitted 2 days before the constructions start.

In the case that the Council Inspector notes some of the works that are carried out not to comply with regulations, the works must be paused and an alternative route must be considered and designed into the project. Overall this correction process is often time consuming and expensive.

Appointment of an Approved Inspector The final option is a slightly different from the other two options mentioned above. In this case an approved inspector is invited to undertake the duties of the Local Authority reviewing the documentation including plans, necessary technical drawings and supplementary information. The inspector will note the details provided against the criteria and advise on necessary alterations. Once he/she is satisfied that the design adheres to the standards, the inspector will then submit it and the local authority will have 5 working days to accept or reject it.

Recommendation It is your responsibility to choose the option you prefer, although it is our interest to give you our recommendation based on our experience. Due to the particular nature and scale of the project, we highly recommend the first option, with the deposit of full plans to the Stockport City Council. With this option any potential adjustment are simpler and cheaper as the approval is given before the constructions started.

I hope that, after you carefully read these three options you will have a clear idea of which one best suits you.

Equality Act 2010 It is our responsibility to write to you with regards to the Equality Act 2010 and how it affects your project. The Equality Act 2010 was created to bring together several existing strands of discrimination law relating to gender, race and disability into one piece of legislation. According, it is not a new piece of regulation with new standards, but a harmonisation of the existing laws.

By addressing the issues outlined below, I am confident that we will not have a problem meeting the criteria of the Equality Act (2010). However ‘IVL architects’ are responsible only to advice you on how to implement strategies for accessible and inclusive schemes, the implementation and ultimate is your responsibility.

The steps we have taken to ensure you, the client, meet the required standards are as follows: • Access to be unobstructed and minimum 1200mm wide, though ideally 1800mm wide to accommodate up to two wheel chairs.

• Level access between the existing building and the extension with suitable clearance for all doors and openings. The two internal doors, at 1000mm wide, both sufficiently broad to allow a wheel chair through • Compliant ramps, externally, with handrails leading from the fire escapes to the muster points within the car park.

• The car parking spaces are adequate to meet the demands of a van large enough to

39

accommodate a wheel chair.

• Material finishes to be specified with suitable Light Reflectance Values (LRV) to pro -vide the required differentiation between building elements.

• Switches, buttons and fittings to be positioned at an appropriate height for access by all.

We will be happy to discuss these and any other features you wish to add as we move forward.

Health and Safety Law This section aims to inform you on the duties of each party regarding Health and Safety issues related to the work at the ‘Edgar Wood’ building’s extension. Each party related to the project has different roles and duties in relation to health and safety risk management. These duties are in line with the Construction Design and Management (CDM) regulations 2007.

Clients’ Duties • Checking the competence and resources of all appointees • Ensure there are suitable management arrangements for the project welfare and facilities • Allow sufficient time and resources for all stages • Provide pre-construction information to designers and contractors Designers’ Duties • Eliminate hazards and risks during design • Provide information about remaining risks • Check that the client is aware of their duties and that a CDM coordinator has been appointed.

• Provide information needed for the health and safety file CDM Coordinator’s Duties A CDM Coordinator is responsible for the coordination of Health and Safety issues relating to the project, from design to planning and completion. Her/his responsibilities are as follows: • • • • •

To ensure HSE is notified of the project; by issue of a F10A form To ensure co-operation between designers To ensure a pre-tender stage Health and Safety Plan is prepared To advise the Client when requested to do so To ensure a Health and Safety File is prepared and passed to the Client at practical completion.

Finally we would also like to inform you that it is your responsibility to confirm that you are fully aware of your duties and responsibilities under the health and safety law (CDM 2007). Therefore, it is required for a declaration to be signed by you and sent to the HSE as proof. ‘IVL Architects’ strongly suggest that you purchase a copy of the The Approved Code of Practice (ACoP) from the HSE, in order to achieve a thorough understanding of the applicable legislation.

We hope the above information prove useful in order to understand your duties and

40

10.0 Building Regulations Consent, Equality Act 2010 & Health and Safety Law

responsibilities regarding the three topics. Should you have any further questions regarding the information we have provided or need any advice, please do not hesitate to contact me.

Yours sincerely Varvara Lazaridou BA(Hons), MArch, RIBA

Associate On Behalf of IVL Architects

41

11.0 Reflective Commentary

on the Complexity and Effectiveness of the Process

The following will comment on how complex and effective the process has been regarding the extension of the ‘Edgar Wood’ building, which is a Grade II listed building. The second part will include ways in which the project can be improved in terms of cost, time and quality.

This list will include ways in which the process has been effective: Plan of Work 2013 The new plan of work launched in 2013 is an important improvement in many ways.

Firstly, it has reduced the former 11 stages to only 8, while at the same time allowing flexibility regarding the size of the of project and its procurement route. It is also available online therefore it is faster and easier to use and, in addition, it provides the user with the opportunity to customise it.

Easements and Covenants It was a good decision on behalf of the architect to inform the client early on about the need to check the easements and covenants, such as the Party Wall and the Right of Light. Usually these procedures can be time-consuming, especially when there is a disagreement with the neighbours. Negotiations can take a lot of time, which might risk the project being delayed.

Selection of a Suitable Tendering Procedure The selective tender chosen by the client meant that fewer contractors would be involved thereby saving valuable time. The quality and cost, however, would not be compromised as both the practice and the client selected contractors which they knew beforehand.

Selection of a Suitable Procurement Route The traditional procurement route chosen by the client has a crucial role in terms of how the project will progress, as it affects the duration, cost and quality. The major advantage of this route is that the quality of the project is going to be ensured, which was the client’s number one priority.

The Practice Acting as a Project Manager The client made the correct decision to give the responsibilities of the Project Manager to the practice. Since the practice had the necessary knowledge and experience, and the project was small, an independent Project Manager would add an extra cost to the project.

42

11.0 Reflective Commentary

Monthly Payment The monthly payment method chosen by the practice is the most appropriate as it guarantees a steady flow of cash. It also simplifies the way the practice will be paid (at the beginning of each month) therefore avoiding any misunderstandings.

The next part of the reflection is to outline the different ways in which the process could have been improved: Digital Planning By applying through digital planning, the process of waiting time for permissions to be granted will be reduced to a minimum. A single project database will be established which will include different information, varying from massing to materials and carbon emissions. Therefore it will also make the process easier and more efficient.

The use of BIM BIM (Building Information Modelling) would have been very beneficial for the project as, besides its 3D aspect, it provides information about time and cost, which means that the budget is controlled and not surpassed. It also gives information for aspects such as light analysis and geographic information. This data can be easily shared between the design team, the contractor and any other subcontractors and therefore makes it faster and easier for everyone. This data can also be used in digital planning, as mentioned above.

The Planning Portal Website The planning portal website and the procedure to find the appropriate form and information are too complex and not very user-friendly. A step towards a more user-friendly website is to simplify and use more diagrams in order to explain matters such as filling out and submitting a form.

Early Submission of Consents Planning and listed-building consent were discussed later on in the procedure, which might risk the project being delayed in case there are any discrepancies. These discussions should start as soon as possible, as the procedure can take up to 13 weeks even if there is no problem, while it takes more than 6 months when there is. A way to reduce this waiting period is the by the use of digital planning as mentioned above.

Using an Approved Inspector In terms of obtaining the building regulations consent, the client chose the local authority approval by submitting full plans. Although this would minimize the risks of any alterations and delays, it would need a lot of time. Choosing an approved inspector can reduce this period to 5 days, which would be a great advantage for the progress of the project. Once more, the ideal way was to apply though the local authority but at the same time to take less time, as would be the case with digital

43

planning.

Value-added During the initial stages of the project, the strategic brief is laid out, which would affect the use of the building, especially in terms of maintenance, sustainability and flexibility. At this stage, value is added to the building and usually practices do not charge the client for it. It would be more appropriate if the practice charged the client with a percentage of the value created rather than per hour worked.

Overall, the procedure that was followed was effective mainly because of the use of the flexible plan of work and other key decisions such as the selection of a suitable tendering procedure and procurement route. There is, however, room for improvement, mainly through the local authority, which, if it manages to switch to digital planning, could simplify the procedure. This would include the use of BIM, which will ensure quality, time and cost. By following the above suggestions, risks of delays, exceeding budget constraints and compromising quality will be minimized ensuring the client obtains the best return on her investment.

44

11.0 Reflective Commentary

45

B | Part 2 Essay

46

Contents 1.0

Introduction

48

2.0

Construction Industries

50

3.0

Commercial Viability

54

4.0

Society

58

5.0

The Structure of the Property and Construction Industries The Commercial Viability of Traditional Architectural Practice

Society’s Attitudes – Cultural - Economic - Political Environmental Context

Professional Standards

62

The Demands for High Professional Standards

6.0 Education

66

7.0

70

The Education Process in terms of Suitability Time and Cost

Conclusion

47

1.0

Introduction

“In ten years we probably will not call ourselves an architecture practice, it will be something else entirely.� (RIBA, 2014)

48

The role of the architect today has changed radically since the days of being the master-builder – the leader of the building industry team (the word ‘architect’ is derived from the Greek root arch meaning ‘chief’ and the word teckton meaning ‘carpenter’ or ‘builder’) and the regulation of the profession in the 19th century both in regards to design and the construction industry in general. With the current explosion in information technology, the globalised economy and recessions, as well as the fluctuating social dynamics, the role of the architect is constantly in a state of flux. The responsibilities and skills as well as society’s perception of the architect, have changed radically.

From being at the top of the pyramid, being in the centre of design, the architect has gradually lost his powers due to different external forces, which took responsibility away from the architect as buildings started to become more complicated. The industry’s shift to Design & Build has resulted in further powers being transferred to the contractor, while the architect has become only a part of the construction process, appointed by others such as a project manager.

In addition, the increasingly dynamic nature of the global economy and technological advancement show that the profession must reassess and clarify its position, as well as adapt and increase its knowledge horizons beyond the boundaries of the traditional discipline. Today, there is a greater need for specialist practice with a holistic design in order to be able to cope with the complexity of modern buildings.

The essay will focus primarily on the role of the architect and how it has evolved through time. By doing so, it will present it’s current role in the construction industry and suggest ways in which it can cope and therefore survive in the future. It will also present the extent to which a traditional practice remains viable, and the different pathways it can follow in order to reflect the constant changes in the global economy. Furthermore, it will highlight the importance of the RIBA and ARB for the protection of the profession, and how they can change to ensure higher professional standards. Finally, there will be a thorough study of architectural education in order to identify the problems it faces today. This analysis will then help to present the necessary steps in which education can become relevant, both today and in the future.

49

2.0

50

Construction Industries

An important issue to address is how the architect and the architect’s responsibilities changed over time vis-à-vis the industry. As discussed above, the architect used to be highly respected as he was part of the project from its start until its completion.

This was until other professions stepped and changed the industry.

In the early 19th century, the architects separated from constructors, which was the first step away from his wide-ranging role. Quantity surveyors were inserted into the tendering process while civil engineers provided the frames and foundations that architects needed (Saxon, 2006). The architect started to step aside from any form of calculation or management and new service engineers regarding heating, ventilation and electricity started to emerge. Architects were part of town planning until they lost their place to ‘pure planners’ in the 1970’s. Other professions, such as interior designers, lighting designers and landscape architects, started to emerge all of which took responsibilities away from the architect and started to form a different kind of industry (Saxon, 2006).

The big shift came in the 1980’s where the relationship between the client and the contractor changed. This meant that the architect lost the power to nominate specialists, as the project manager replaced the architect at the top of the hierarchy.

The architect also lost a grip on technology as manufacturers did all the R&D, and assumed the responsibility of providing the specifications (Saxon, 2006). In the architect’s office, the technological mastery was transferred to the architectural technicians, while other enterprising engineers such as ‘façade engineers’ designed anything that was too complicated for an architect to design. Finally, the way the architect was employed by the client changed, mostly because of the rise of the Design and Build way of working. The client contacted the contractor as they integrated managerial duties. The single-responsibility basis meant that the builder hired the architect (Saxon, 2006).

This leads to the construction industry of today, much more complex than it ever was, where the architect’s responsibilities are reduced considerably. The construction industry today contributes 6.8% to the UK’s Gross Domestic Product. This influences practice as it is constantly under threat from any economic fluctuations. This was evident during the global recession in 2008 where there was a 40% decrease in the 51

demand for architects, and was even worse for graduates emerging onto the market.

However, the private sector within the UK retaliated as confidence started to grow.

This meant that the private sector and more specifically the private housing - especially in maintenance and repairs - showed signs of recovery. The economy’s current trend meant that the industry started to offer flexibility whilst at the same time keeping business planning in mind.

In addition, current trends within the construction industry show that companies are seeking work in the global market. Construction growth in developing countries is growing with some expectations saying that it can be up by 128%. This is mostly because the population in developing countries is increasing while there is a very high urbanization rate. This growth is evident in RIBA’s Business Benchmarking survey in 2013 showing that 36% of practices’ fees came from international projects. However, due to this accelerated rate of growth architects became marginalized as building as fast as possible became the only concern, leaving little room for design.

However, as the population is increasing, especially in the UK where it is estimated to grow by 8 million by 2032, the architectural profession should start playing an increasingly major role in the construction industry. The RIBA’s report The Future for Architects presented different ways in which the architect can play a role in the construction industry of the future. The different ways in which the practice can change are: Branching into general consultancy Practices should stop giving services for free; instead, they should be paid by the value they add to a project. This takes place usually during the ‘pre-project’ and it involves areas like community consultation and analysis, brief-development, strategic thinking and preparatory work. Therefore, there should be a culture shift in order to persuade clients to pay in the same way they pay for traditional architectural services.

Commercial vs. Design-led Practice Practices should spend more time learning about the commercial, financial and social environment of their clients in order to be able to sell their skills with reference to cost if they are to be of use to a client. Practices should have the financial and economic skills in order to be able to keep pace with the globalized economy.

Network Practice A forward-thinking practice should be able to outsource work in order to increase efficiency. This can be achieved by outsourcing to a network of trusted consultants and therefore the practice will be able to cope with the advances in technology, programming and skills. Therefore, it would become leaner by reducing the overheads 52

2.0 Construction Industries

of running a practice.

Integration of Education and Practice There should be a connection between schools of architecture as this could be a source of employees and a method of establishing a practice’s corporate culture within a school. It also gives the opportunity to draw from a talent pool and being able to continue with that pool by offering employment.

The Culture of Practice It is very important for practices to have a specific embedded culture as this will enable them to stand apart from the competition in an overcrowded industry (RIBA, 2013).

53

3.0

Commercial Viability

“I think the entire range of middle- sized practices from about 25- 150 people will be gone, and we’ll end up with two very distinct types of practice at each end of the market.” (RIBA, 2014) 54

A recent study showed that 62% of practices do not have a business plan while, of those that do, only 13% have a plan for more than one year. The question is with so many practices ignoring the need to have a business plan, how are they going to survive in the future?

The purpose of the business plan is to set the goals, vision and purpose of a practice.

It also provides systems in order to manage information, employees and resources and how to respond to any changes. With a business plan, the strengths and weaknesses of a practice are easily identifiable, which then lead to any actions to be taken in order to improve it. Another statistic showed that 60% of the practices undertook speculative work, which means that they can only hope to be paid in the future. By having a business plan, such work can be measured in order to estimate how much time and energy the practice can afford to spend while being profitable. Speculative work is rarely found in any other profession, while in architecture it is the norm, as the majority of the work is through competitions while at the same time clients expect free consultations and design ideas.

In the latest RIBA business benchmarking survey, only 16% of practices met the Colander benchmarking, which translates to 1.5-2.5% of the turnover spent on marketing. It is vital that practices focus marketing towards their existing customers, but at the same time try to expand their client base. By doing so, they will be able to display what they can do and what their values are, which will eventually increase their turnover.

The RIBA report The Future for Architects attempted to predict which type of companies will grow, be stable and which will be under pressure by 2025.

Parts of the industry with the greatest opportunities for growth in the next five to ten years: 1) Practices in emerging economies - There is a growing workforce in the BRIC nations consisting of skilled architects, who are as good as their colleagues in the UK, with the only difference being that their salary is much lower. This would play a crucial role, especially in periods of economic recession.

55

Global interdisciplinary consultancies - The viability of global interdisciplinary consultancies depends on the quality of their design and international credentials and also on their ability to complete mixed-scale projects, ideally large, with an integrated design process, at low cost and quickly. These practices mark an important shift in the profession away from design-led practice towards a process-driven consultancy often led by engineers.

BOOT (Build-Own-Operate-Transfer) designers – The viability of such practices depends on how they manage, realise and generate with minimum risk.

Subcontractors/specialist suppliers – It is crucial that these practices are constantly updated in terms of design and construction in order to take more of the design process.

Design houses/creative agencies - Their viability is dependent on their ability to create solutions for any problems in a wide range of fields and to collect a vibrant, mixed, range of skills. These practices pay attention not only to delivering architectural services but to becoming more flexible in following the market (RIBA, 2013).

Parts of the industry that could remain relatively stable: The small local general practice - The viability of small local general practices depends on their ability to provide a private service. The one-stop-shop design is going to add value and therefore become differentiated from their competitors. These practices and the sole practitioner working for private clients with local builders will show resilience to the changes of the coming years.

The international star architects - The viability of international star architects depends on their ability to produce ‘wow-factor’ design for the clients who want these companies in order to make a significant contribution to their brand profile. These companies survive because of the clients who care more for the image of design than the cost. There will always be this kind of client and therefor the star-architects.

Specialist niche practices - The viability of specialist niche practices depends on their ability to provide progressively complex functions and services within a larger design team and process. There will always be a demand for specialists in different fields such as access, CDM, rights of light, expert witness etc.

Traditional regional delivery practices - The viability of traditional regional-delivery-driven practices depends on their ability to provide cost-effective, process-driven services to lay clients who have little interest in design. The majority of UK businesses are driven by practicality and price, which make local practices ideal to work 56

3.0 Commercial Viability

with.

Parts of the industry under the greatest pressure: Medium-sized design-led practices – these practices are going to be under pressure from larger practices that can fulfil their clients’ requirements. In this category belong the practices having 30 to 100 employees with their main focus on the design excellence and with an inability to adapt their services on what clients want, therefore they are under threat from the above-mentioned parts of the industry that provide their services more cheaply.

Small metropolitan boutique practices - This type of practice differs from the small general practice in the type of projects it takes on and its aspirations. They offer a less straightforward and less traditional service; they offer similar qualities to those of the star architects but on a smaller scale (RIBA, 2013).

57

4.0

58

Society

Throughout history, society’s image of the architect has been that of a respected professional. Since the ancient and medieval history until the 1700s most architectural design and construction was carried out be artisan and craftsmen, which rose to the role of ‘master builder’ and therefore acquiring more power and responsibility as they gain more experience. Through various developments in technology and mathematics, there was the development of the professional ‘gentleman’ architect, which saw a separation from the hands-on craftsman.

Especially during the Renaissance, the architect emerged alongside other artists such as painters and sculptors, and the profession was regarded as the ‘mother of the arts’. Their position in society was very high as only kings and the rich and powerful could commission architects and become their patrons.

Architects began to work for the middle class and therefore distanced themselves from their background, and in 1837 they defined architecture as a profession by founding the Royal Institute of British Architects (RIBA). In the post-war period, architecture started to shift from being considered as a profession to become a vocation as architects had an active involvement in the post-war re-building, and this was regarded as a noble service to society. Most architects therefore were public servants and were considered as figureheads of social significance. The UK government in the 1970’s employed more than 50% of the architects, a number that has since diminished.

The emphasis on the connection between design and progress put a lot of pressure on the architect, as it was then at the centre of the public eye. By the 1970’s this had shifted dramatically. The post-war utopianism designed by architects was heavily criticised and for that reason they were heavily questioned (Saxon, 2006). In the UK, policies led to the use of untested materials and building systems for the construction of housing schemes, which led to the devaluation of the profession.

The drop in the availability of public work meant that the profession followed where the money was, becoming a part of real estate speculation, which further eroded the profession’s reputation for ‘civic responsibility’ (Saxon, 2006). The role of the profession was also eroded as the contractor and the project manager replaced him 59

Architects feel marginalized.

Architects are arrogant.

Society seems not to value architects.

Public interest is at a high.

Clients won’t give work to new or small firms.

Architects’ training is poor.

Clients wont let architects lead anymore.

Architects have lost their leadership skills.

Architects are not part of the construction industry.

Architects are a key part of the industry.

Architects serve society.

Architects are concerned only about the opinions of other architects.

Architects are artists.

Architects are professionals.

Society’s opinion about architects (Saxon,2006)

60

0.0 Scenario

at the top of the hierarchy. Despite that society in general still values architecture, the profession should take the necessary steps to adapt to the changing needs of society in order to remain relevant.

A survey undertaken in 2012 showed that there is a growing gap between what are the architect’s roles and responsibilities and what is the society’s understanding of what they do. The results of the survey were: - that most of the UK population have not got a clear idea of what architects do.

- 22% do not know that architects produce construction drawings for building projects.

- 48% do know that they prepare specifications to be used for these projects.

- 72% are unaware that architects apply for the planning permission required for construction.

- 74% do not know that architects can deal with certification for building projects.

- 79% do not know that architects can ensure that the construction site complies with Health & Safety legislation.

- A staggering 86% were not aware that architects select, negotiate with and manage all the contractors, and - 91% were unaware that they run the financial accounts for building projects (Dezeen, 2012).

Gabrielle Omar, the architect who starred in a reality TV show said: “It seems the public knows even less than I first thought about the services architects offer. I think we all need to work together to find creative ways to engage with and educate the public about what architects can do for them” (Dezeen, 2012).

61

5.0

62

Professional Standards

The Royal Institute of British Architects (RIBA) was first granted a Royal Charter in 1837 and is a membership professional body organisation which sets out ‘to advance architecture by demonstrating benefit to society and promoting excellence in the profession’ (Brookhouse, 2013). Its aim is to provide standards, training support and recognition in order for its member to be in the forefront of the architectural profession. It describes itself as the ‘champions [of] better buildings, communities and the environment through architecture and our members. We provide the standards, training, support and recognition that put our members – in the UK and overseas – at the peak of their profession.’ RIBA’s additional roles are to promote architecture as a product through different exhibitions, to protect the interests of its membership from the different forces that influence the industry, while at the same time providing legal support for practices (RIBA, 2015).

The ARB was set up in 1997 together with the 1997 Architects Act and acts as a regulatory body for the profession, concerned with ‘protecting the consumer- supporting architects through regulation’ and keeping the register. ARB and RIBA have their own Codes of Conduct which have to be followed by all architects; also, they are responsible for setting the educational standards and criteria for all three parts.

Both bodies are considered essential for the protection of the profession.

However, both the RIBA and the ARB are heavily criticised today. The RIBA is considered by many to be out of date, while only concentrating on the traditional role of the architect. As the chain of construction has changed, the authority of the architect as it used to be has been reduced. Therefore, the responsibility of the RIBA to promote architecture does not necessarily protect its members.

Additionally, the ARB and the RIBA fail to represent everyone that enters the profession. The education framework does not allow for everyone to qualify as a professional and therefore there are large numbers of part-qualified people which have other prominent roles in the industry. This can be seen in recent statistics in which there was a 62% decrease in registrations with Part 1 and a 17% decrease for Part 2 (RIBA, 2013).

Furthermore the title ‘Architect’ has its limitations and was highlighted in the RIBA 63

Building Futures (2012). The reason for that is that it tries to define a ‘body of knowledge’ exclusively to the architect. However, this knowledge has become extended in such a way that different kinds of specialists are claiming a part of it. The architect is left with a more subjective design aesthetic. Anyone can claim that s/he has a design aesthetic, as long as s/he does not call him/herself an architect, which is another way in which the profession is undermined. With this degradation of the title and its services, many practices have created offshoot companies with different identities in order to apply their skill-set by reaching out to more diverse and lucrative markets.

The question is how these bodies can sufficiently represent and protect the profession providing higher professional standards while at the same time the construction industry is constantly evolving? One way is to clarify what their intentions are, and maybe alter them in order to be able to cope with the changes in the construction industry. As it is the only organisation of its kind, it is crucial that more architects have the opportunity to join, in order for it to be able to represent all architects and not just a fraction. There are many ways in which this can be achieved, one being lowering membership costs. With an increase in the number of members, the quality of services which the two bodies offer can increase, while with an increasing presence it can allow them to have a bigger influence over the construction industry, both in the present and the future.

64

5.0 Professional Standards

65

6.0 Education

“The invasion of the architect’s role shouldn’t be seen as a threat but as a natural change that can be exploited - we must find our own new opportunities and education should shift to accomodate that.” (RIBA, 2014)

66

Architectural education is a very important aspect of the profession, and there are many arguments and debates about whether it should change and how. The main route to qualification until the mid 20th century was through pupillage, where the student paid a practitioner to teach him the job. In 1837 RIBA was founded and established examinations, which were the qualifications for its members (Pathways and Gateways, 2013). The structure of this examination changed in 1958, when it was decided that architecture should be taught in universities for 5 years. Tutors came from the profession, while building science and construction was taught. This changed in the 1970’s when tutors who worked in practice were replaced by academics (Pathways and Gateways, 2013). This shifted the focus in the subject taught from more practical to more theoretical and artistic content.

The structure and the content of the education have not changed a lot since 1958. It consists of a 3-year undergraduate degree (Part 1) and a 2-year postgraduate award (Part 2). Part 3 is the final award, which tests the professional competency after a minimum of 2 years of relevant work. The process is lengthy and demands a commitment by the individual embarking upon the challenge. Despite the hard work and the complexity of learning many different skills, most students find it exciting.

However, the tuition fee has increased considerably, amounting to more than ÂŁ9,000 per year, which creates an additional barrier for architecture students as the debt accumulated at the end of their study can amount up to ÂŁ100,000. It can be argued that this creates the risk that only the independently wealthy can study architecture, therefore excluding the majority of the population. UK students might seek to study elsewhere in Europe where the fees and the length of the course are much less. The same can be said of EU students, who also have to pay the new UK increased tuition fees.

Another problem that can be found today in architecture courses is that the skills learnt are not what the construction industry needs. Instead, other skills irrelevant to the industry are being taught. This is due to architecture schools moving to a more artistic approach, which includes briefs that are not realistic, but instead tend to involve more elaborate scenarios. The result is an emphasis on originality, which may not always make sense or be relevant. This approach can be found in end-of-year 67

degree shows where, although visually stunning, there is no emphasis on the process and construction aspects of the projects. ‘A tendency to become a little too abstract and theoretical … leads to a situation where no one can use these guys to build buildings’ (Zumthor, P., 2013). There is a growing need for the curriculum to change and incorporate other subjects, such as building construction and business, in order to be more relevant to the construction industry of today.

Currently there are many groups that debate about how architectural education might change. Even RIBA council members suggested abandoning the Part 1, 2, 3 qualification system and adopting a new integrated award leading to registration immediately after graduating. Alex Wright, who is the chair of Schosa, which represents the heads of architecture schools, said: ‘There is an urgent need for additional flexibility to suit the needs of students and the profession’ (Wright, 2013). A possible approach to this could be to allow students to select their ‘modules’ according to their interests, this is something that happens in most of the masters courses; there could be different kinds of universities appealing to different areas of specialization. This approach would help first of all the students to build a specialist knowledge-base in a specific area; secondly to maximize their standards the universities could employ tutors with expert skills. Finally, it would be good for the ‘after educational’ period where the architects would be easier to deploy in a company, based on their skills.

There is also a necessity to embed designs with a degree of reality and have extra courses outlining the industry such as Professional Studies, which should be integrated in the course from the first year. It would also be useful if universities worked in collaboration with architects, engineers, production and manufacturing companies, which would enrich the students’ learning and connection to the professional fields and therefore also be beneficial to architectural practices.

RIBA and ARB must broaden their confines and join forces in considering the new roles and responsibilities that new architects must now undertake. Part 2 should prepare architects for the business of the profession, training them for managerial positions or specialties. Students need to be prepared appropriately, by developing a strong sensitivity towards the built environment whilst exploring the global socio-economic, political, ecological and cultural issues of our era.

68

6.0 Education

69

7.0

Conclusion

“The problem is the separation between what architects want to do, and the reality of the marketplace.� (RIBA, 2014)

70

The transformation of the construction industry in recent years has had a significant effect on the architectural profession, as it has challenged the established conventions and the roles of the architect, which has led to its marginalisation. The profession has reacted very slowly to the changing context of the construction industry, with other professions stepping in to take responsibility away from the architect.

Present-day forms of practice threaten architecture, as there is a reluctance in engaging an architect, which leads to the gradual erosion of his traditional sphere of influence. In order for the architect to remain relevant in todays’ environment and the future, architects must move away form traditional roles and seek new opportunities.

This means that the architect must rebuild and reposition him/herself within the construction industry by finding ways in which his/her skills can be applied to where they are needed. There is a variety of ways in which the architect can practise in the future. This might mean that he can be a part of a bigger team where the responsibilities will be to consult the client in how to add value to a project. Another way is by outsourcing work to a network of trusted consultants and therefore increasing efficiency.

The architect must also increase his/her repertoire of skills to include financial, commercial and management skills. These skills are vital for a practice to survive, especially during a recession. A carefully implemented business plan can make the practice prosper, while certain types of practices can potentially grow even more if they manage to follow the changes in the industry.

Many consider statutory protection of the title ‘architect’ to be out of date and a restructuring in RIBA’s part can better reflect the role of the contemporary architect.

This restructuring can also involve education, which needs to be more relevant to the growing needs of industry today. By becoming more flexible and at the same time integrate subjects, such as management and business; architectural education can equip students with the appropriate set of skills in order to join the profession as quickly and easily as possible. The flexibility will also allow students to pursue different career paths, and therefore create architects with different backgrounds and different specialisations.

71

Given the context of fast-changing, economic, social, environmental and technological circumstances, the profession must be ready to react and adapt towards creating a stronger position within the construction industry. It is up to the architects themselves how willing they are to change, whilst at the same time being able to restore the importance of good design together with the needs and values of the client. By doing so, they will embrace the new opportunities the future brings and create an improved built environment.

72

7.0 Conclusion

73

74

C | Appendices

Weekly Exercises 75

Weekly Exercises Task 1-30/09/14 Research the ARB and RIBA websites and outline/ set out the main structure and headings of the two codes.

ARB: 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 look after your clients’ 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 The general guidance is then subdivided into: A Interpretation B Legal Proceedings C Leaflets and Advice RIBA: Three principles of professional conduct: Principle 1: Integrity Members shall act with honesty and integrity at all times.

Principle 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.

Principle 3: Relationships Members shall respect the relevant rights and interests of others.

76

C | Appendices

These principles relate to other guided notes such as: 1. Integrity, Conflicts of Interest, Confidentiality and Privacy, Corruption and Bribery 2. Competition 3. Advertising 4. Appointments 5. Insurance 6. CPD 7. Relationships 8. Employment and Equal Opportunities 9. Complaints and Dispute Resolution Application of the Code 1. Professionalism 2. The Law 3. Amendments and Additions Discipline 1. Contraventions of this Code 2. Remit 3. Judgments from External Competent Authorities 4. Investigations 5. Professional Conduct Committee Judgments from the ARB Task 2-07/10/14 The different ways to be paid are: 1.Empirical calculations (traditional) v resource allocations + profit margin and added value 2.Partial services 3.Fixed lump sums (higher risk than percentage fees, must have provision for adjustment for client changes) 4.Calculated lump sums, based for example on estimated construction cost at the start of each work stage 5.Time charges 6.Value-added or betterment fees Task 3-14/10/14 Review the lecture notes/slides to get a clear picture of the content/ Law framework [just put some key bullet points together] Introduction to Law Property

77

1. All Land is Owned by the Crown 2.Individuals own an interest in land/property 3.In an Estate = length of time 4.Estates are 2 types :freehold or leasehold 5. Title based on best proof to possess ‘Interest’ may be one of 5: 1. Easements 2. Rent charges 3. Mortgage charges 4. Land tax and tithe charges 5. Rights of entry Formation of a contract Ingredients of a contract 1. Agreement 2. Offer 3. Form of the offer 4. Acceptance 5.Methods 6.Consideration 7. Formalities Effective acceptance 1. Unconditional Acceptance 2. Acceptance by Conduct 3. By Employer 4. By Contractor 5. Methods of Acceptance: 6. Communication is key 7. ‘Postal Rule’ (Henthorn v. Fraser) Task 4-21/10/14 Familiarise yourself with Planning/ Listed Building Consent LBC and with Design & Access Statements producing main headings.

Planning/ Listed Building Consent LBC-Main headings: 1. Applicant Name and Address 2. Agent Name and Address 3. Description of Proposed Works 4. Site Address Details 5. Pre-application Advice 6. Pedestrian and Vehicle Access, Roads and Rights of Way 7. Trees and Hedges 8. Materials

78

C | Appendices

9. Demolition 10. Listed Building Alterations 11. Listed Building Grading 12. Immunity From Listing 13. Parking 14. Authority Employee / Member 15. Ownership Certificates and Agricultural Land Declaration 16. Planning Application Requirements – Checklist 17. Declaration 18. Applicant Contact Details 19. Agent Contact Details 20. Site Visit Task 5-28/10/14 Familiarise yourself with Brief & Spec Main Headings Subject areas that a specification needs to address: 1.Preliminaries/ Project management: Contracts, tendering, site set-up, limitations, quality control, security and safety.

2.Work sections: Systems and products, performance, execution (installation or application), completion requirements.

Types of specification: 1.Proprietary specification: The naming of manufacturers’ products that the design team deem appropriate for project.

2. Prescriptive specification: The client and design team have determined and described all product, material and workmanship requirements for carrying out the work – often by reference to Standards. The contractor is usually free to select products and materials that comply with the requirements.

3. Performance specification: The design team defines the performance that a completed element or component is required to achieve, for example the sound, thermal and fire insulation of a wall.

The contractor proposes solutions that meet the requirements.

Access NBS website and review the guidance there, and to make notes regarding the use of different specification types for differing contract types.

1. Contract documentation comprises rules of play for both parties, and the description of products and services to be provided.

2. The documentation is organized as a suite of complementary documents.

3. Rules of play anticipate events and state how they will be managed.

4. The description covers relevant entities and their attributes.

79

5. Entities may include manufactured, fabricated and built products, as well as, higher level things such as elements and facilities.

6. Different attributes are described using different types of document.

7. Reactive documentation comes in several forms.

8. Different types of information are usually mixed in hybrid documents, such as annotated drawings, though this is not generally desirable.

9. The process of documentation is a project in a nest of projects.

10. For head contracting, disassembly of the contract documents is the responsibility of the contractor.

11. For package contracting, the documentation team must decide where the boundaries between packages lie. Each contractor remains responsible for disassembly of its own contract documents.

Task 6-11/11/14 Access [Jan Simpson] – Think about what equally act requires a building to do and briefly bullet point.

Important elements 1. Infrastructure 2. Entrances & exits 3. Circulation 4. Sanitary facilities 5. Communications 6. Evacuation 7. Details & finishes 8. Furniture, etc Infrastructure 1. Transport 2. Approach 3. Parking 4.Drop off/ pick up 5. Wayfinding 6. Routes 7. Landscape Entrances 1. Widths 2. Door strengths 3. Lobbies 4. Ironmongery 5. Security 6. Reception Circulation

80

C | Appendices

1. Horizontal Corridors Doors 2. Vertical Lifts Stairs Ramps Sanitary Facilities 1. Toilets 2. Changing 3. Hygiene Rooms Communications and services 1. Alarms 2. Radiators 3. Sound enhancement 4. Sockets, switches and controls Evacuation 1. Fire zones 2. Refuges 3. Stairs 4. Lifts 5. Alarms and communication systems Detailed elements 1. LRV’s 2. Windows 3. Refreshments 5. Signage 6. Furniture Task 8-25/11/14 Identify/ list information that would accompany a Listed Building Consent Application.

1. Completed form (3 copies to be supplied unless the application is submitted electronically) 2. A plan, at a scale of 1:1250 or 1:2500, which identifies the land to which the application relates, with the site outlined in red and any other land in the applicants ownership outlined in blue, and showing the direction of North (3 copies to be supplied

81

unless the application is submitted electronically)) 3. A copy of other plans and drawings or information necessary to describe the subject of the application (3 copies to be supplied unless the application is submitted electronically) including: • Block plan of the site (e.g. at a scale of 1:100 or 1:200) showing any site boundaries • Existing and proposed elevations (e.g. at a scale of 1:50 or 1:100) • Existing and proposed floor plans (e.g. at a scale of 1:50 or 1:100) • Existing and proposed site sections and finished floor and site levels (e.g. at a scale of 1:50 or 1:100) • Plans to a scale of not less than 1:20 to show all new doors, windows, shopfronts, panelling, fireplaces, plaster moulding and other decorative details • Roof plans (e.g. at a scale of 1:50 or 1:100) 4. The completed Ownership Certificate (A, B, C or D – as applicable) as required by Regulation 6 of the Planning (Listed Building and Conservation Areas) Regulations 1990 5. Design and Access Statement 6. In addition, where Ownership Certificates B, C or D have been completed, notice(s) as required by Regulation 6 of the Planning (Listed Building and Conservation Areas) Regulations 1990 must be given and/or published in accordance with this Regulation Task 10-09/12/14 Review documents include by Nigel that were not delivered in his lecture.

Quality Assurance (QA) refers to administrative and procedural activities implemented in a quality system so that requirements and goals for a product, service or activity will be fulfilled.

Lean production - ‘lean’ because Japanese business methods used less of everything - human effort, capital investment, facilities, inventories and time - in manufacturing, product development, parts supply and customer relations.

ISO 9000 deals with the fundamentals of quality management systems, including eight management principles on which the family of standards is based.

ISO 9001 deals with the requirements that organizations wishing to meet the standard have to fulfil. Third party certification bodies provide independent confirmation that organizations meet the requirements of ISO 9001.

ISO 14001 - a series of international standards on environmental management.

Task 11-16/12/14

82

C | Appendices

Review the x3 Prime methods of procurement in terms of Pro’s and Con’s Design & Build [D&B], Traditional, Private Finance initiative.

Traditional – All risk on client, none on the contractor. Traditionally architect acts as employer’s agent Design and Build (D&B) – risk split between client and contractor Private finance initiative (PFI) – all risk on contractor

83

84

D | Bibliography

85

Books Cuff D. (1992) Architecture: The story of practice, : Massachusetts Institute of Technology.

Chappell D. and Wills A. (2010) The Architecture in practice, 10th edn., United States: Wiley-Blackwell.

G Saxon R. (2006) ‘The future of the architectural profession: a question of values’, The Worshipful Company of Charted Architects, Hyde R. (n.d.) Future Practice; Conversation from the edge of architecture, London: Routledge.

Jeremy Till (2009) Architecture Depends, 1st edn., United States of America: Massachusetts Institute of Technology.

Reports Farrells (2014) The Farrell Review , London: .

RIBA (2014) RIBA Chartered Practice Helping you to make the most of your membership, London: .

RIBA (2014) The future for architects Full Report, London: RIBA.

Websites Architects Journal (2013) Too Many Architecture Students Are Simply Unemployable, Available at: http:// www.architectsjournal.co.uk/news/daily-news/ too-many-architecture-students-are-simply-unem- ployable/8651278.article (Accessed: 2nd January 2015).

Architects Registration Board (2014) Responsibilities, Available at: http://www. arb.org.uk/board-members-code-of-practice-responsibilities (Accessed: 10th January 2015).

David Rogers (2011) Change or die, RIBA tells architects, Available at: http:// www.bdonline.co.uk/change-or-die-riba-tells-architects/5013898.article (Accessed: 3rd January 2015).

86

D | Bibliography

dezeen (2012) The British public don’t understand the role of the architect, Available at: http://www.dezeen.com/2012/07/19/the-british-public-dont-understand-the-role-of-the-architect/ (Accessed: 23rd January 2015).

Ed Dorrell (2015) The education revolution begins, Available at: http://www.architectsjournal.co.uk/home/the-education-%20revolution-begins/138099.article (Accessed: 15th January 2015).

RIBA Architect Salary Guide, Available at: http://www.ribaappointments.com/ Salary-Guide. aspx (Accessed: 5th January 2015).

RIBA (2013) RIBA influences professional qualifications directive changes and outlines principles for future education reform, Available at: http://www.architecture.com/RIBA/Contactus/NewsAndPress/News/RIBANews/ News/2013/RIBAinfluencesprofessionalqualificationsdirectivechangesandoutlinesprinciplesforfutureeducationreform.aspx (Accessed: 3rd January).

RIBA (2014) RIBA response to the 2014 Autumn Statement, Available at: http:// www.architecture.com/RIBA/Contactus/NewsAndPress/PressReleases/2014/ RIBAresponsetothe2014AutumnStatement.aspx (Accessed: 3rd January 2015).

RIBA (2014) Architects confidence stays strong, Available at: http://www.architecture.com/RIBA/Contactus/NewsAndPress/PressReleases/2014/Architectsconfidencestaysstrong.aspx (Accessed: 3rd January 2015).

RIBA (2015) Plan of Work 2013, Available at: http://www.ribaplanofwork.com/ PlanOfWork.aspx (Accessed: 22nd December 2014).

Rose Etherington (2015) Will architects exist in 2025?” - RIBA Building Futures, Available at: http://www.dezeen.com/2011/03/07/will-architects-exist-in-2025riba-building-futures/ (Accessed: 3rd January 2015).

87

List of figures figure 1: page: cover. http://skyscraper.org/EXHIBITIONS/WOOLWORTH/walkthrough_images/case_d/ DraftingRoom%20AtlanticTerraCottaCompany_at_Rocky_Hill%201915_ppt.jpg Figure 2: page: 8. https://encrypted-tbn2.gstatic.com/images?q=tbn:ANd9GcQCkYZwEDSWXNkSVShP_oLSwJksvkFJnBqvLVOTMeIY-TiladyN Figure 3: page: 48. http://static1.squarespace.com/static/4f56719d24aca8d4f8e556d7/t/53103351e4b0f7e807da0477/1393570649812/arch+office.jpg Figure 4: page: 50. http://imgc.allpostersimages.com/images/P-473-488-90/37/3788/D24IF00Z/posters/allan-grant-architect-paul-r-williams.jpg Figure 5: page: 50. http://architectureau.com/site_media/media/files/archive/architecture_australia/ images/2006/03/images/010701.jpg Figure 6: page: 54. http://preventionaction.org/sites/all/files/styles/509/public/files/import/Frank%20 lloyd%20Wright.jpg Figure 7: page: 58. http://imgc.allpostersimages.com/images/P-473-488-90/27/2761/MFETD00Z/ posters/alfred-eisenstaedt-architect-frank-lloyd-wright-working-at-desk-in-hishome-taliesin.jpg Figure 8: page: 60. http://cdn.possible.com/-/media/Images/Global/InsidePossible/people_hero.jpg Figure 9: page: 62. http://imgc.allpostersimages.com/images/P-473-488-90/27/2761/MFETD00Z/ posters/alfred-eisenstaedt-architect-frank-lloyd-wright-working-at-desk-in-hishome-taliesin.jpg Figure 10: page: 66. https://bradleywalters.files.wordpress.com/2014/11/crit_d4_bw_edit_v3.jpg Figure 11: page: 70. http://www.scotthoward.ru/upload/image/blog/eero-saarinen1.jpg

88

D | Bibliography

89