- Interview with Argent’s Nick Searl
- Leaving a mark
- Interview with Lendlease’s Natalie Slessor
- Make models: 20 Ropemaker Street, part 2
- Balance
- The Value of the Drawing
- Interview with Brookfield Properties’ Stuart Harman
- Draw to Make
- Music and the workplace
- Betts Project
- Wellbeing and the Workplace
- Interview with Lendlease’s Kevin Chapman
- Interview with Brookfield Properties’ Peter Clarke
- Combatting loneliness in the built environment
- Make models: 20 Ropemaker Street, part 3
- Make models: 20 Ropemaker Street, part 1
- The smart workplace
- Interview with General Projects’ Jacob Loftus
- Make’s past, present and future
- The Architecture Drawing Prize – Not just another competition
- 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
We asked ten architects – each of whom joined Make in a different year since 2004 – to write about how they see architecture and the built environment changing over the next ten years. Here is Make partner Alejandro.
Ten years ago, I arrived in London from Venezuela – the country in which I grew up, studied and dreamt about becoming an architect. This is therefore a good time to look back and reflect both personally and collectively on all those years and what we have learned and achieved, but more importantly, on how we can make a positive impact on what we do next.
The contrast I experienced on my arrival in the UK and the juxtaposition of the two countries allowed me to develop a broader vision and a more pragmatic understanding. The fact that the Olympics were held in London made me think this was ‘the right place to be’ as an architect, as a developer and as a citizen. Everything was possible; London was not only ‘an Olympic city’ but also the model for a new type of architecture.
But sometimes too much is too much. We saw how the world economy collapsed. There was a deafening silence in the architectural discourse; fewer projects were getting built, while lots of people lost their jobs. We were in a situation similar to the place where I came from. This seemed to be a good moment to rethink creatively and act in a measured way, learning from architecture that good ideas always have limits.
I believe that these experiences have set the ground for an architecture which is more rational, collaborative and affordable. It is willing to explore new ways of solving problems and integrate new technologies with environmental issues to produce long-standing, more efficient and ultimately more beautiful buildings, like the ones we try to design at Make. So I am optimistic about what is to come – I expect that the next ten years will be even better and I hope to be part of it … so count me in!
I am optimistic about what is to come – I expect that the next ten years will be even better and I hope to be part of it … so count me in!