- Designing in the wake of coronavirus
- University tech
- Living employment
- Bridging the gap
- Stephen Wiltshire
- International Women’s Day 2020
- Inspiring Girls
- Post COVID-19 – What’s next for higher education design?
- Four ways residential design might change after COVID-19
- One Make
- Atlas – Tech City statement
- Architectural Drawing: States of Becoming
- Bringing the brand back to life
- Interview with Sarah O’Hara
- The Architecture Drawing Prize exhibition reviewed
- Coal Drops Yard – creating a new retail destination
- Jack Sallabank interviews Ibrahim Ibrahim, Managing Director of Portland Design
- ‘Architecture in the frame’ – London Art Fair
- The future of retail and workplace
- A Hong Kong perspective on a post COVID-19 society
- Chadstone Link: Making new connections
- Design narratives and community bonds
- Behind the scenes at the 2019 World Architecture Festival
- Drawing on the culture that makes the buildings
- Future modelmakers 2020
- After coronavirus, how can we accelerate change in workplace design to improve connection and wellbeing?
- Ask the Makers
- Improving social ties in our cities
- Q&A with our student modelmakers: Theodore Polwarth
- Q&A with our student modelmakers: James Picot
- The Teaching and Learning Building model by James Picot
- The City is Yours
- Pablo Bronstein
- Campus and the City
- Encouraging spaces of conviviality
- The importance and passion of heritage in the built environment
- No show, so what next?
- The Madison model by Theodore Polwarth
- Choosing architectural modelmaking
- The Big Data Institute model by Finlay Whitfield
- Q&A with our student modelmakers: Finlay Whitfield
- Make Roundtable
- Exchange Issue No. 3 Education and Research – Foreword
- State of the market – Hong Kong
- World Heritage Day 2020
- Make models: Agora Budapest
- Knowledge Exchange and Social Connection
- Interview with Peter McGeorge
- Photo Essay
- Interview with Julian Robinson
- Interview with Siu-Man Fung
- The university of the future
- Draw in order to see
- Our commitment to sustainable design
- Universities reshaping London
- Asta House – Local living in Fitzrovia
- Project delivery at 80 Charlotte Street
- Students speak
- The next generation of retail brands
- Interview with Dr Julie Wells
- Make models: The Link
- Langlands and Bell – Observing and Observed
- Telling Stories: The power of drawing to change our cities
- Interview with Stephen Talboys
- Wellbeing in the university landscape
- Wellbeing in the university landscape
- What role will hotels play in our society after COVID?
- Sketchbooks: draw like nobody’s watching
- Transparency and a sense of investment
- Honest, in-depth learning
- Interview with Argent’s Nick Searl
- Leaving a mark
- Interview with Chinachem’s Donald Choi
- The hand does not draw superfluous things
- Interview with Lendlease’s Natalie Slessor
- Make models: 20 Ropemaker Street, part 2
- The value of the drawing
- Museum for Architectural Drawing, Berlin
- Make manifesto
- Prized hand-drawings return a building to an organically conceived whole
- Interview with Brookfield Properties’ Stuart Harman
- Drawing details – technical and poetic
- Draw to Make
- Interview with Frasers Property Australia’s Joanna Russell
- Music and the workplace
- Living with loneliness
- Betts Project
- Wellbeing and the workplace
- Interview with Lendlease’s Kevin Chapman
- Interview with Brookfield Properties’ Peter Clarke
- An update from Sydney
- Combatting loneliness in the built environment
- Make models: 20 Ropemaker Street, part 3
- Sydney born and razed
- Make Roundtable
- Make models: 20 Ropemaker Street, part 1
- Interview with Vicinity Centres’ Rachele Godridge
- The smart workplace
- Architecture and Creativity
- Retail innovation beyond the shop door: Lessons from the USA (part 3)
- Retail innovation beyond the shop door: Lessons from the USA (part 2)
- Retail innovation beyond the shop door: Lessons from the USA (part 1)
- Connecting people and places
- Interview with General Projects’ Jacob Loftus
- Drawing to an end?
- High-density living in Hong Kong
- Make’s past, present and future
- The Architecture Drawing Prize – Not just another competition
- Community connections
- My time with the BCO
- The call of the wild
- Long live the office
- The art of an art historian
- Mary, queen of hotels
- Make models: Portsoken Pavilion
- The Make Charter
- Make models: LSQ London
- Disappearing Here – On perspective and other kinds of space
- Why Brexit will see a glass half-full emptied
- Drawing and thinking
- Make models: Grosvenor Waterside
- The Hollow Man: poetry of drawing
- Above and beyond
- Making shops exciting again: Lessons from the Nordics (part 1)
- Making shops exciting again: Lessons from the Nordics (part 2)
- Plein air in the digital age
- A “Plan in Impossible Perspective”
- Making shops exciting again: Lessons from the Nordics (part 3)
- The future of bespoke HQs
- World-class architecture
- Make models: The Luna
- Drawing architecture
- The future is bright but not the same
- Art Editor’s picks
- Employee ownership
- The tools of drawing
- Trecento re-enactment
- The Architecture Drawing Prize exhibition review
- Lessons on future office design from Asia Pacific
- The human office
- How drawing made architecture
- Advocating sustainable facade design
- Make models: FC Barcelona’s Nou Palau Blaugrana
- Drawing as an architect’s tool
- Are you VReady?
- Cycle design for the workplace
- The Architecture Drawing Prize
- Make models: an urban rail station
- Reporting from Berlin
- City-making and Sadiq
- Hand-drawing, the digital (and the archive)
- Ken Shuttleworth on drawing
- The green tiger
- Stefan Davidovici – green Mars architect
- When drawing becomes architecture
- Make models: Swindon Museum and Art Gallery
- The role of the concept sketch
- Make calls for a cultural shift in industry’s approach to fire safety
- 2036: A floor space odyssey
- Harold on tour
- London refocused
- Hotels by Make
- Full court press
- Digital Danube
- Don’t take a pop at POPS
- The future of architecture – Matthew Bugg
- The future of architecture – Jet Chu
- The future of architecture – Robert Lunn
- The future of architecture – David Patterson
- The future of architecture – Rebecca Woffenden
- The future of architecture – Katy Ghahremani
- Safer streets for all
- The importance of post-occupancy evaluation for our future built environment
- Put a lid on it
- Designing for a liveable city
- The future of architecture – Bill Webb
- Bricks – not just for house builders
- Designing in the City of Westminster
- Rolled gold
- How to make a fine suit
- Responsible sourcing starts with design
- Is off-site manufacture the answer?
- Developing a design for the facade of 7-10 Hanover Square
- Curious Sir Christopher Wren
- Responsible resourcing should be an integral part of every project
- The socio-economic value of people-focused cities
Make’s past, present and future
Ken founded Make in 2004 and is a pioneer of the employee ownership model. He acts as guardian of our 150 employees and oversees the design development of every scheme.
Our founder reflects on where we’ve been as a practice, where we’re heading, and some of the highs and lows along the way.
Looking back over the past 15 years, do you have a favourite Make project?
It has to be 5 Broadgate. I think the building was a game changer in terms of office buildings, and for the client, the sustainability agenda and the long-term legacy of the estate. I never set out for Make to design bland, nondescript buildings, but 5 Broadgate was divisive and has pushed the agenda. I’m very proud of what we delivered. I think it’s beautiful – there’s nothing else like it.
What would you say are the projects that ‘got away’?
I was incredibly proud of our competition proposals for the Lord’s cricket ground extension and for FC Barcelona’s new Palau Blaugrana – both would have been amazing to win. But the one I was most disappointed to lose was for Soho in Beijing. Our design was really ambitious and beautiful, a flamboyant archway with a superb facade, and I was sad to miss out on the chance to build it.
If you could change one thing about Make’s history, what would it be?
Probably the need for redundancies due to projects stopping. Our Makers are what make this practice what it is, and it never gets any easier making those sorts of business decisions.
How has the industry changed since Make was established 15 years ago?
The focus on technology is in an entirely different league now – we have VR headsets used as part and parcel of our project design and models run off the 3D printers overnight. We use BIM and Revit in design, which has streamlined the process, and we have modular and pre-fab construction, which was only in its infancy when we started up. Tech has opened up a wealth of opportunities. I still have my 0.9 Pentel pencil and sketch pad, though.
What would your advice be for someone starting out now?
My top tips would be:
- Never take yes for an answer. I learnt this saying over 45 years ago, and the past 15 years have shown that it doesn’t wane as a fundamental principle of working in this industry. Question everything, especially the answers you get!
- Develop a thick skin if you have opinions.
- Build up a strong network of contacts and keep in touch with them. You never know where the next job will come from.
- Keep tech at the curve of creativity. Invest, collaborate and partner up to keep moving forwards.
- Step outside of your comfort zone. The learning curve is incredibly steep, but lack of preconceptions affords a huge opportunity for creativity, so use it!
After 15 years of Make, what do you think sets it apart from any other practice?
I think curiosity and being totally design-focused are the key to all our projects. Collaboration and giving back are also crucial. We do so much to embed ourselves in the industry and work with experts in other fields through initiatives like the Future Spaces Foundation, our new Exchange series and The Architecture Drawing Prize, and by mentoring for fantastic organisations like the Stephen Lawrence Charitable Trust. These ambitions stand outside of our commercial architecture work and enrich us deeply as a practice.
And of course the employee ownership model is so important in the way we set up Make. It’s one of the things I’m proudest of – that everyone is credited for what they design and produce. It’s fundamental to the way Make works, and I’m delighted that so many other practices have emulated parts of the model, having witnessed its success. That said, none have been brave enough yet to go 100% employee-owned!
There have been some infamous Make parties over the years – which one stands out in your memory?
To spare the blushes of our friends and clients, I’ll choose a Make-only party. There was a classic Christmas party in 2006, in a church of all places, in Birmingham. It was rather more luxe than our usual affair, but it still ended up with Make Band guitar solos from the pulpit and involuntary fancy dress outfits.
London’s party for 2018 was far less elaborate – we held it in our studio – but it reminded me of the early Make days. It was wonderfully innovative, with a crazy golf course made by our own modelshop and lots of bright costumes.
Any client-related howlers over the years?
We once pitched for a masterplan with a metal model that ripped a gash in the client’s mahogany board table! And another time we were at a major public exhibition with the client and council representatives, and the public realm board had the word ‘public’ spelt out in huge letters – with the L missing.
Where do you see Make in the next 15 years?
I think we’ll have some fantastic, profile-raising infrastructure projects on the books and hopefully more public places too. I hope to see more places, spaces and buildings that lift the spirits and change people’s lives for the better.
We’ve built 84 fantastic projects since we started Make, which is incredible and unbelievable, really – way beyond our expectations. We’ve managed to achieve ten times over what we set out to do. And it already feels like a wonderful legacy.
Article extracted from Make Annual 15.