1

Presentation Reflective
Application Process & Job Journal
Acquisition
B123165

2
Speculation
A Reflection on the Role Fee
Competition Plays within The
Industry

3
Globalisation
Exploring the Growing
Homogeneity in Design

4
Collaboration
Holistic Sustainability: Passive
Design Techniques & Their
Possible Cooperation with
Active Design Strategies

5
Consolidation
My Internship Experience &
Future Employment Plans
1

Presentation
Application Process & Job Acquisition

The initial steps taken towards finding employment for the semester
in industry consisted of researching and analysing possible roles that
would interest and invigorate me most. The Working Learning Handbook
suggested working in a field related to architecture rather than architecture
itself, something I had not previously considered. During the Explorations
course in Semester 1, I thoroughly enjoyed both the filmic aspect of the
course and the sound design theme explored by the project. I therefore,
decided to investigate opportunities in fields that used the skills I had
acquired in first Semester.

After much online research of practices and people involved in

this aspect of design I discovered the work of Felix Faire. Following initial
email correspondence I arranged a call to discuss a possible job. Felix
was unable to offer me employment, but offered to oversee a project if
I chose to pursue that avenue
during the Semester. I asked
about other professionals in this
field who Felix could connect me
with, and he kindly provided me
with their contact details. Despite
making contact all of them were
unfortunately unable to offer me
a role. The opportunity to work
on a project in this field was one
Figure 1. Felix Faire collaborated with Sennheiser to
I considered as a strong option if create a new interactive spatial sound experience.
I was unable to find either a paid
position or one that involved working in a design practice.

I also investigated opportunities as an assistant in an Architecture

practice. I saw this Semester as a brilliant chance to experience another
country and culture and focused on possibilities in Germany, specifically

2
Berlin. This was predicated on my fascination with much of the culture and
arts of the city as well as being excited by the work of many architectural
practices there. I decided to focus on applications to smaller practices
on the basis that they might offer a more inclusive experience and would
possibly give a greater insight into the multiple stages of architectural
projects. After advice from tutors, conversations with personal contacts,
and further research via magazines, journals and online I collated a
collection of practices to apply to and was able to discover online whether
they had recently advertised any suitable vacancies.

At this point I put together an updated CV and collated portfolio

of my work to date. Whilst making the portfolio concise my aim was
for it not to be too thin and I included a wide a range of my work in
order to give as many opportunities as possible for developing further
conversation in potential interviews. I made amendments to the portfolio
for each company I submitted it to, in order to best appeal to the aims
and philosophies of the specific practice. Therefore, I proceeded to email
multiple practices in Berlin with my portfolio, CV and corresponding cover
letter but disappointingly very few got back to me and those that did where
unable to offer me a position. The current situation with COVID pandemic
was the reason repeatedly given for the negative responses. It became
apparent that there were no opportunities for a job abroad given the travel
restrictions, accommodation options and requirement for isolating.

I therefore embarked on a similar process but now limiting

applications to practices within the UK. Again many said that they were
unable to offer me a position due to the current circumstances. My
confidence began to drop as
the possibility of securing work
seemed unlikely. However, I was
pleased when Wignall & Moore,
based in London and Yorkshire,
responded to my email and
one of the directors agreed to
meeting me to discuss a possible
role. At this point it was made
clear that the only option would
be an unpaid role. Considering
Figure 2. Wignall & Moore’s interest in more artistic
the lack of success I had had endeavours is shown by one of their director’s work, as
until this point and with January part of the Architecture Social Club, on narrative based
fast approaching I decided to exhibition winner of RIBA Shopfronts Prize 2016 at
accept the role. The decision Liberty.

3
was taken whilst understanding that in normal circumstances it would be
fair for my contribution to the practice be rewarded financially, but the
current climate meant that I was unable to find such an opportunity in a
design firm. Furthermore, I felt that the chance to work in a small practice
would give me a greater insight into the industry compared with the
other limited options available. Furthermore Wignall & Moore particularly
excited me due to their uniqueness as a practice interested in both art and
architecture.

Figure 3. Wignall & Moore architectural works includes this extension, remodelling and renovation for
private client in Notting Hill.

4
CV
Fred
Fred Wilkins
Wilkins
DOB:
DOB: 31/1/1999
31/1/1999
51a
51a Warrington
Warrington Crescent,
Crescent,
W9
W9 1EJ
1EJ
07583275040
07583275040
frcwilkins@googlemail.com
frcwilkins@googlemail.com

Education
Education
Edinburgh
Edinburgh University
University Architecture
Architecture Undergraduate
Undergraduate Year
Year 33

AA Levels:
Levels: Maths
Maths (A),
(A), Chemistry
Chemistry (A),
(A), Art
Art (A*)
(A*)

IGCSEs:
IGCSEs:
Grade
Grade A*:
A*: Maths,
Maths, Physics,
Physics, Chemistry,
Chemistry, Biology,
Biology, Art,
Art, Design
Design Technology,
Technology, English
English Language
Language
Grade
Grade A:
A: Latin,
Latin, History,
History, French,
French, English
English Literature
Literature

Other:
Other: Exscitec
Exscitec Platinum
Platinum and
and Gold
Gold Crest
Crest Award
Award for
for Engineering
Engineering

Previous
Previous Employment
Employment
Architectural
Architectural Assistant,
Assistant, Wignall
Wignall && Moore
Moore LLP.
LLP. (January
(January 2021
2021 –– April
April 2021)
2021)
Nanny,
Nanny, in
in charge
charge of
of up
up to
to 77 children
children aged
aged 4-13
4-13 (Summer
(Summer 2018)
2018)
Kitchen
Kitchen assistant,
assistant, Mark
Mark Warner
Warner Ski
Ski Hotel,
Hotel, Tignes,
Tignes, France
France (December
(December 2017
2017 –– April
April 2018)
2018)

Interests
Interests && Skills
Skills
SPORT:
SPORT: Cricket,
Cricket, Rugby
Rugby && Football
Football for
for school
school and
and house,
house, Golf.
Golf. All
All sports
sports as
as aa spectator
spectator
MUSIC:
MUSIC: Understanding
Understanding of
of Ableton
Ableton Live
Live to
to aa high
high standard,
standard, Self-taught
Self-taught guitarist
guitarist
DESIGN:
DESIGN: High
High Understanding
Understanding of
of CAD
CAD and
and Adobe
Adobe Software.
Software.

Work
Work Experience
Experience
Cheil
Cheil Advertising
Advertising (Summer
(Summer 2016)
2016)
Michaelis
Michaelis Boyd
Boyd Arcitects
Arcitects (Summer
(Summer 2016)
2016)
Taylor
Taylor Howes
Howes Interior
Interior Design
Design (Summer
(Summer 2016)
2016)
Arup
Arup Associates
Associates (Spring
(Spring 2016)
2016)
Michael
Michael Nash
Nash Assoc.
Assoc. Graphic
Graphic Designer
Designer (Summer
(Summer 2015)
2015)
Museum
Museum of
of Modern
Modern Art,
Art, New
New York
York (MOMA
(MOMA PS1)
PS1) [August
[August 2015]
2015]

Achievements
Achievements
School
School Art
Art Prize
Prize
House
House Monitor
Monitor
Bronze
Bronze Duke
Duke of
of Edinburgh
Edinburgh award
award
Silver
Silver Duke
Duke of
of Edinburgh
Edinburgh award
award
Mark
Mark Warner
Warner Employee
Employee of
of the
the month
month

Reference
Reference
Dr
Dr Wendelken
Wendelken (School
(School Housemaster)
Housemaster)

5
2

Speculation
A Reflection on The Role Fee Competition Plays
within the Industry

Fee competition is a topic that has burdened architecture practices

for decades. Following “the controversial abolition of RIBA fee scales, a
move which came about in 1982,”1 which led to a deregulated network,
it was no longer the case that clients needed to “select on talent, and
architects didn’t have to concern themselves with what to charge for their
services.”2 The dilemma now is that in a market where a particular skillset
and a defined amount of time are required, how can one competitively
quantify one’s value? This is especially prevalent in a COVID-19 landscape,
identified by Adrian Dobson, RIBA’s executive director of professional
studies, “RIBA surveys highlight that many architects are grappling
with reduced personal household incomes so it’s concerning that some
are having to consider reducing their fees with an inevitable impact on
profitability and earnings.”3 This is particularly applicable to the smaller
practices. Fee competition has particularly harsh consequences for sole
traders who may not “include ‘limited’, ‘Ltd’, ‘limited liability partnership,
‘LLP’, ‘public limited company’ or ‘plc’ or be the same as an existing trade
mark.”4 They therefore benefit from little or no financial protection putting
their personal assets at risk if their company fails

However, the overriding disadvantage of fee reduction is a decline

in the quality of the work and the pandemic has further pressurised
practices to be competitive in terms of their fees. Director of Bennetts
1 Merlin Fulcher, “The Thatcher Years: Architects Reflect on the Legacy of the
Iron Lady,” The Architects’ Journal, June 11, 2020, https://www.architectsjournal.co.uk/
archive/the-thatcher-years-architects-reflect-on-the-legacy-of-the-iron-lady)
2 Eleanor Jolliffe, “We Need to Talk about Money,” Building Design, December 04,
2019, https://www.bdonline.co.uk/opinion/we-need-to-talk-about-money/5103063.article#
3 Jordan Marshall, “Architects Feel the Squeeze as Pressure Mounts on Practices to
Start Discounting,” Building Design, June 17, 2020, https://www.bdonline.co.uk/news/ar-
chitects-feel-the-squeeze-as-pressure-mounts-on-practices-to-start-discounting/5106507.
article)
4 David Chappell & Michael H. Dunn, The Architect in Practice, (Hoboken: John
Wiley & Sons, Incorporated. 2016), p. 110.

6
Associates, Rab Bennetts, “warned that when fees are squeezed to
this extent the service offered by a practice cannot be as good, with
consequences for the quality of the project,”5 leading to a deterioration
of the architect’s professional standing if the overall quality of the finished
project is diminished. Bennetts goes on to say “his practice refused to
bid fees that could not sustain the level of work required - and sometimes
opted not to bid a job at all if, for example, the scoring system favoured
price over design quality.”6 Is quality design what truly matters to clients
and those procuring buildings?

Significantly, not all practices are financially stable enough to take

the stance of rejecting work. There is fear that the ruthlessness with which
competitors are trying to undercut each other will “result in permanently
lower salaries.”7 The pandemic has caused increased cuts by practices to
further reduce salaries by 20%,8 if this were to be a permanent alteration
it could have a serious bearing on the industry. The most heavily impacted
is likely to be those employees paid by the hour, which typically act “on
a basis of lowest, or close to lowest price wins, which is a system not
guaranteed to encourage innovation.”9 This is a sombre outcome for a
creative industry because it negates all that the industry strives to achieve.

Conversely, Jolliffe believes “the progress – both social and

technological – made in the last 30-odd years”10 is linked to the more
competitive market that architecture has become. Furthermore,
technology enhancements such as BIM have enhanced workflow, for
example “communication from the design boards to the construction site
has become much more efficient.”11 Therefore allowing for costs to be
reduced and possibly justifying the reduced fees.

Though buying work in order to remain afloat has always been the
5 Marshall, “Architects Feel the Squeeze as Pressure Mounts on Practices to Start
Discounting,” Building Design, June 17, 2020,
6 Ibid.
7 Elizabeth Hopkirk, “Shadow of Suicide Fee Bids Looms over Profession,” May
2020, https://www.bdonline.co.uk/news/shadow-of-suicide-fee-bids-looms-over-profes-
sion/5106231.article)
8 Ibid.
9 Jackie Whitelaw, “Has Fee Competition Undermined Consultancy’s Reputation?”
Infrastructure Intelligence, February 2014, (http://www.infrastructure-intelligence.com/arti-
cle/feb-2014/has-fee-competition-undermined-consultancys-reputation)
10 Jolliffe, “We Need to Talk about Money,” Building Design, December 04, 2019,
11 Kevin Van Kirk, “Responding to Fee Competition in the Architecture and Engi-
neering Industry,” Deltek, April 2014, (https://www.deltek.com/en-gb/learn/blogs/uk-
blog/2014/04/fee-competition-in-architecture-and-engineering-industry)

7
case such a competitive industry, this has intensified during the pandemic.
Quite possibly the furlough scheme has masked the dilemma but it
remains very much an issue. As restrictions abate, the RIBA Future Trends
Survey for March 2021 anticipates the first increase in workload since
February 2020, however this is matched by the prediction of intensified
fee competition.12 Therefore, does this mean the predicament that the
architectural industry faces, will be deepened? The coming months will
reveal in a post COVID landscape whether or not architectural fees can
recover from the depths to which they have fallen.

12 “London Architects Confident Again after 14 Months - RIBA Future Trends,” RIBA,
April 2021, https://www.architecture.com/knowledge-and-resources/knowledge-land-
ing-page/riba-future-trends-survey-march-2021)

8
3

Globalisation
Exploring the Growing Homogeneity in Design

Modernisation and technological development have acted as a catalyst

for rapid globalisation. Interaction and conversation take place rapidly across
all continents with ideas spreading faster than ever before. Castells recognises
this in saying “digital networks … know no boundaries in their capacity to
reconfigure themselves. So, a social structure whose infrastructure is based
on digital networks is by definition global.”13 As beneficial as this seems, it
might be argued that the current architectural discourse possesses a more
homogenous design language as a result. The historical context helps to
explain this current uniformity. Adams notes that “when cities across the
world entered into a building boom to service and attract the geographically
expanding global corporate business sector, architecture had turned to an
aesthetic of unembellished simplicity.”14 Therefore, this combined with the

Figure 4. The Skyline of Shanghai possesses many newly built glass high rise towers.

13 Manuel Castells. “Informationalism, networks, and the network society: a theoret-

ical blueprint”. In The Network Society: A Cross-Cultural Perspective. , (Cheltenham, UK:
Edward Elgar Publishing, 2004), pp. 21-22.
14 Robert Adam, The Globalisation of Modern Architecture: The Impact of Politics,

9
new digital network provided by globalisation and modernisation allowed for
a rapid spread across all cities. This is displayed by the urban developments in
cities in China and Dubai where rapid modernisation of the city has led to the
construction of tall, glass, anonymous structures, ignoring the city’s heritage
and cultural references, and instead following contemporary architectural
practice.

It could be argued that the ease with which fashions can spread,
has moulded the majority of design preferences into one. As a result many
design tropes of specific cultures have been ignored in pursuit of a worldwide
trend. However, the question to pose is whether this is the actual preferred
architecture. Is the element of discovery and adventure diminished when visiting
another city, and the familiarity with recognisable features of your own city
unavoidable? This dilemma is also demonstrated in suburban environments,
however of a different type to that of the high rise urban environments.

This is exhibited by the housing development in Beijing of “447

European-style luxury villas”15 This disregard for national style in pursuit of
fashion, demonstrates what Delanty describes as “universalistic aspirations

Figure 5. One of the 447 European Style Villas built in Beijing.

Economics and Social Change on Architecture and Urban Design since 1990 (Newcastle
upon Tyne: Cambridge Scholars Publishing, 2013), pp. 124.
15 “Beijing Riviera,” Maxview Realty, https://beijing.maxviewrealty.com/village/bei-
jing-riviera-146.html

10
of the European modernity.”16 Furthermore as Adams describes “Western
consumer conformity is descending on the less industrialised parts of the
world like an avalanche,” and provides “overwhelming images of luxury and
power.”17

Therefore, in this instance globalisation and worldwide access to

information has led to increase the establishment of a perceived grandeur
associated with European architecture in preference to embracing one’s own
culture. These two instances of differing urban environments exemplify what
Ibelings says as “Cities and agglomerations around the world have undergone
comparable developments and assumed similar shapes.”18 Does this frame
how the current design landscape has attained a level of expressionlessness,
and support Short’s description of it as the “Blandscape.”19

Nevárez notes how it is established that “urban development initiatives

of gentrifying areas are closely linked to general economic and cultural
patterns of globalization.”20 Therefore the question must be posed of how the
architecture of certain areas can be recalibrated to reinject their self-identity?
Globalisation is an unstoppable phenomenon and the assumption that it is
to blame for the mass glass high rise developments is reasonable. However,
in this is climate where communication networks are so efficient would it
have been likely that any attempt could have been made to resist the new
constructions? As a personal reflection, new trends will surface and rapidly
spread, and in a post-COVID era I believe vast expenditure on large glass
towers will become unjustifiable. Consequently, I hope that the wave that
was once ridden by those designs is surpassed by one that fulfils a greater
appreciation for culture and heritage.

16 Gerard Delanty & Paul R. Jones. “European Identity and Architecture.” European
Journal of Social Theory 65, (2002): pp. 453.
17 Adam, The Globalisation of Modern Architecture: The Impact of Politics, Econom-
ics and Social Change on Architecture and Urban Design since, pp. 148
18 Hans Ibelings, Supermodernism: Architecture in the Age of Globalisation (Rotter-
dam: NAi Publishers, 1998), pp. 88.
19 John Short, The Humane City: Cities as If People Matter (Oxford: Basil Blackwell,
1989)
20 Julia Nevárez, “Locating the Global in Harlem, NYC: Urban Development Initiatives,
Public Space, and Gentrification.” In On Global Grounds: Urban Change and Globalisation ,
edited by Julia Nevárez & Gabriel Moser (New York: Nova, 2009), pp. 141.

11
4

Collaboration
Holistic Sustainability: Passive Design Techniques
& Their Possible Cooperation with Active Design
Strategies

Passive design strategies are a primary technique used to minimise

energy usage and have been consistently tried and developed via collaboration
among specialists in the field. Ochoa explains passive design to be “a series
of architectural design strategies used by the designer to develop a building in
order to respond adequately to climatic requirements, among other contextual
necessities.”21 The Rajasthan School designed by Sanjay Puri Architects is an
example of a successful passive design.

A method used in the design of the school to help manage the

“temperatures in excess of 35°C for most of the year,”22 was for the classrooms
to be north orientated, thus avoiding direct sunlight. Furthermore screen walls
line the east, west and south
sides in order to further regulate
the temperature created by the
sun.23 This method is a staple
of passive design; a simple but
effective way to help manage
heat. Additionally, shade is
created via “Angled vertical walls”
that act as “sun breakers,”24
and further help to cool the
Figure 6. Angled vertical walls that act as sun breakers.
internal spaces and avoid the
21 Carlos Ernesto Ochoa and Isaac Guedi Capeluto, “Strategic Decision-making for
Intelligent Buildings: Comparative Impact of Passive Design Strategies and Active Features
in a Hot Climate,” Building and Environment 43, no. 11 (2008).
22 Valeria Silva, “The Rajasthan School / Sanjay Puri Architects,” ArchDaily, March
20, 2020, accessed April 16, 2021, https://www.archdaily.com/935934/the-rajast-
han-school-sanjay-puri-architects
23 Gauri Kelkar, “This Rajasthan School’s Rugged Landscape Makes Light of the
Weather,” Architectural Digest India, January 29, 2021, https://www.architecturaldigest.in/
content/school-rajasthans-rugged-landscape-makes-light-weather/)
24 “The Rajasthan School, by Sanjay Puri Architects,” Architect, March 23, 2020,
https://www.architectmagazine.com/project-gallery/the-rajasthan-school_o

12
 Figure 7. Linear Trapezoidal Frames to help create shade.

need for costly air conditioning. The angled walls combined with the “linear
trapezoidal frames”25 create communal geometric shadow patches that
change with the sun throughout the day. Apart from these passive methods
of sustainable design, the school’s entire energy requirement is “generated
by the residual energy of a
cement plant nearby” and “the
entire water is recycled and
reused.”26 A natural ventilation
system is another passive
method used to help regulate
the extreme temperature. This
is aided by the fragmented
layout made of a “mesh of
open, sheltered and semi-
enclosed spaces.”27 A personal
reflection on passive design
features is that they create
Figure 8. Natural ventilation system created by screen walls
that let air pass through.
a more holistic approach to
sustainable design embracing

25 Christiane Bürklein, “Sanjay Puri Architects Has Designed The Rajasthan School:
Livegreenblog,” Floornature.com, 2019, https://www.floornature.com/blog/san-
jay-puri-architects-has-designed-rajasthan-school-15345/
26 Philip Stevens, “Sanjay Puri Shades Rajasthan School Campus in India with Red
Walls,” Designboom, March 19, 2020, https://www.designboom.com/architecture/sanjay-
puri-rajasthan-school-campus-india-angled-red-walls-03-19-2020/
27 “The Rajasthan School, by Sanjay Puri Architects,” Architect, March 23, 2020,
https://www.architectmagazine.com/project-gallery/the-rajasthan-school_o

13
Figure 9. Ground Floor plan showing mesh of open, sheltered and semi-enclosed spaces.

the surrounding environment into the context of the project. Instead of seeing
the building and the environment as separate entities passive design requires
interaction and co-dependence with each other.

The argument for design features that interact with the environment
is enhanced by Kroner, who explains that “Environmentally Responsive
Workstations (ERW) are at their best if they are integrated with an
environmentally responsive architecture” with research showing it can “improve
the productivity of an office worker by up to 16%.”28 However Kroner continues
to argue for incorporation of active design features with passive ones. Yet,
this was said in 1997 and merely looked forward to possible future design

28 Walter M. Kroner, “An Intelligent and Responsive Architecture,” Automation in Con-

struction 6, no. 5-6 (1997),

14
developments. More recently Ghaffarianhoseini outlines the employment of
“networked sensors to monitor indoor air quality. This includes monitoring
various parameters including temperature, humidity, emissions, dangerous
contaminants,”29 that can efficiently alter the conditions of the building
accordingly. Active design features come under the umbrella of attributes of
Intelligent Buildings. “Appropriate monitoring of Intelligent Buildings allows
optimization of a building’s energy performance, achieved by identification
of ineffective energy usage and promotion of energy-efficient operations.”30
As technology has advanced, so has the appreciation for quality of life in
Intelligent buildings, reflected by the developing definitions of the last 20
years.31 This also displays how active design has tried to take a more holistic
stance instead of striving purely for efficiency in their effort for sustainability.

To conclude, both passive and active design have clear positives in

their drive for sustainability. However, it is their efforts, albeit differing, to take a
more holistic approach which has brought their success which will continue to
grow based on the collaboration of specialists in both fields. Nonetheless, the
argument against active methods will always be comprised of the “utilization
of integrated automated systems, consumes more energy than necessary.”32
As technology continues to develop so will the efficiency of active methods
but when partnered with passive ones, there is an undeniably successful path
to sustainability.

29 Amirhosein Ghaffarianhoseini et al., “What Is an Intelligent Building? Analysis of

Recent Interpretations from an International Perspective,” Architectural Science Review 59,
no. 5 (2015): pp. 343.
30 Ibid.
31 Ibid. pp. 339
32 Ibid.

15
5

Collaboration
My Internship Experience & Future Employment
Plans

After some initial frustrations, I gained employment with Wignall

& Moore Architects based in London and Yorkshire commencing work
with them in mid-January. The internship was to take place during the
pandemic and I was unable to visit the firm’s offices or make any on-site
visits with the relationship being exclusively online. My expectations for
the internship were that I would be asked to help with minor design roles
and administration tasks, based on the preconception that interns tend
to be used for insignificant undertakings. This could not have been further
from the truth. The directors at Wignall & Moore included me in many
aspects of their work and projects and I learnt a significant amount about
how to run a business. Each day started with a zoom call where my tasks
were discussed. It was made clear that I could make further contact at
any time if needed.

Accuracy was a key development in my work. Prior to the internship

I felt that the level of my CAD skills was sufficient but soon learnt this was
not the case. After being asked to draw up many sketches on CAD,
the accuracy of my computer work improved dramatically as did the
efficiency with which I carried out my tasks. This has greatly improved my
confidence for the fourth year, and for my final project.

Communication was another skill that I progressed. The welcoming

environment provided by the practice gave me the confidence to voice my
opinions and ask questions without fear. As time passed, I felt comfortable
about taking part in conversations about the designs I was working on.
Whilst I had hoped to develop this aspect of my work during the internship
I was surprised at the speed and extent that this was fulfilled.

Wignall & Moore being a small practice, showed me the realities

of architectural employment – the various skills required to grow a
business. This is exemplified well when one week I helped with the design

16
submission for a sculpture competition in the Paris Olympic village and the
following week designed the kitchen and bathroom for a house extension.
All undertakings must be carried out to the best of your ability, some more
glamorous than others for the continuation of a healthy business. This was
something I had not previously been exposed to, as the university course
tends to encourage creativity and welcomes leftfield design. This gave me
the experience of the expectations of what it is to be an employee.

I plan to obtain another work placement this summer, with the

intention of sustainable design being the primary focus, where my interest
predominantly lies. Furthermore the design world seems to be intensifying
a requirement for sustainability. This is furthered by Singh who advises it as
a pursuit for young architects.1 It is therefore, my ambition to attain work
at a practice that will offer me greater insight into sustainable design with
the hope that this furthers my education of the topic and will enhance my
chances of employment after Part 1 at a practice with similar ambitions.

Having finished my degree I intend to work abroad for a period with

the primary aim for exposure to a different design ethos that a new culture
may provide and the opportunity to learn another language will increase
employability. As a result of having to complete my current internship
entirely online, I believe a stint abroad would fulfil what I had hoped to
achieve this semester had the pandemic not occurred.

After a period of employment I hope to carry out a Part 2, preferably

with an emphasis on sustainable design. I have considered applying to
Manchester as this seems to be a major component of their MA course.2
One reason to consider studying the second stage of my degree somewhere
other than Edinburgh is that I will have the opportunity to build a greater
network of contacts, as advised by Ramos,3 which I think would grow
faster if I moved to another city.

After this period I hope to have amassed enough knowledge, education

and perspective to know where I should take my career. Subsequently, as
advised by Chappell, I will layout clear career objectives4 and begin my
pursuit of trying to fulfil them.
1 Kevin J. Singh, “21 Rules for a Successful Life in Architecture,” ArchDaily, June 18,
2019, https://www.archdaily.com/549436/21-rules-for-a-successful-life-in-architecture)
2 “Architecture and Urbanism (MA),” Manchester School of Architecture, https://
www.msa.ac.uk/study/ma/architecture-and-urbanism/)
3 Stephen Ramos, “10 Success Tips For Young Architects,” Business of Architec-
ture, April 20, 2015, https://www.businessofarchitecture.com/10-success-tips-young-ar-
chitects/)
4 David Chappell and Michael Dunn, The Architect in Practice (Hoboken: John Wiley
& Sons, Incorporated, 2016), pp. 73.

17
 Bibliography
Adam, Robert. The Globalisation of Modern Architecture: The Impact of
Politics, Economics and Social Change on Architecture and Urban De-
sign since 1990. Newcastle upon Tyne: Cambridge Scholars Publishing,
2013.

Bürklein, Christiane. “Sanjay Puri Architects Has Designed The Rajasthan

School: Livegreenblog.” Floornature.com. 2019. https://www.floornature.
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 I m a g e R e f e re n c e s
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