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‘The architectural profession and society must collaborate on repairing the cov-
enant between us so that we may deliver the outcomes that matter so much to
both. Flora Samuel’s excellent book throws light on the actual and potential con-
tribution of architects to the prospect of social well-being and, more to the point,
identifies ways in which we must go about realising this potential.’
Benjamin Derbyshire, President, Royal Institute of
British Architects and Chair of HTA Design
‘Architects are needed more than ever to address the challenges in the built envi-
ronment. In this timely book Flora Samuel presents valuable insights for the pro-
fession’s future development, which she argues depends on how it organises its
knowledge. It is a must-read for architectural professionals in the 21st century.’
Fredrik Nilsson, Professor of Architectural Theory,
Chalmers University of Technology, and Head of
Research in Practice, Älvstranden Utveckling, AB, Sweden
‘I have been teaching and preaching about the problems architecture as a profes-
sion and architects as practitioners face for the last five years. If only I had had
this book to assign all along! It lays out so clearly the issues behind the ironic but
tragic fact that the public and the architectural profession hate what architecture
has become. The fact that no one in this binary is happy with a profession that
is seen as effete and socially indifferent requires an analysis that goes beyond
handwringing and cross accusations. This book is it, as it systematically analyzes
both the history and structure of this dilemma.’
Peggy Deamer, Professor of Architecture,
Yale University and Architecture Lobby, USA
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Why Architects Matter
Why Architects Matter examines the key role of research-led, ethical architects
in promoting wellbeing, sustainability and innovation. It argues that the profes-
sion needs to be clear about what it knows and the value of what it knows if it
is to work successfully with others. Without this clarity, the marginalization of
architects from the production of the built environment will continue, preventing
clients, businesses and society from getting the buildings that they need.
The book offers a strategy for the development of a twenty-first-century
knowledge-led built environment, including tools to help evidence, develop and
communicate that value to those outside the field. Knowing how to demonstrate
the impact and value of their work will strengthen practitioners’ ability to pitch for
work and access new funding streams. This is particularly important at a time of
global economic downturn, with ever greater competition for contracts and funds
driving down fees and making it imperative to prove value at every level.
Why Architects Matter straddles the spheres of ‘Practice Management
and Law’, ‘History and Theory’, ‘Design’, ‘Housing’, ‘Sustainability’, ‘Health’,
‘Marketing’ and ‘Advice for Clients’, bringing them into an accessible whole. The
book will therefore be of interest to professional architects, architecture students
and anyone with an interest in our built environment and the role of professionals
within it.
Flora Samuel is Professor of Architecture in the Built Environment and the first
RIBA Vice President for Research. She was also the first woman Head of the
University of Sheffield School of Architecture in the UK. This book was written as
a result of her concern about the amount of waste and suffering caused by the
poor quality of much of our built environment. She has received extensive fund-
ing from the Arts and Humanities Research Council for her work on the value of
architects and on the way in which they evidence that value. Being passionate
about breaking down the barriers between academia and architectural practice,
she has, since 2012, embroiled herself in the activities of the Royal Institute of
British Architects as a twice-elected National Council member and Chair of its
Research and Innovation Group. She also delivers research training in practice and
is a supervisor of practitioner PhDs. Flora Samuel is known for her unorthodox
writings on Le Corbusier, about whom she has published extensively. A mother
of three daughters, she is based in Wales.
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Why Architects Matter
Evidencing and Communicating the
Value of Architects
FLORA SAMUEL
vi
First published 2018
by Routledge
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
and by Routledge
711 Third Avenue, New York, NY 10017
Routledge is an imprint of the Taylor & Francis Group, an informa business
© 2018 Flora Samuel
The right of Flora Samuel to be identified as author of this work has been asserted by her
in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988.
All rights reserved. No part of this book may be reprinted or reproduced or utilised
in any form or by any electronic, mechanical, or other means, now known or
hereafter invented, including photocopying and recording, or in any information
storage or retrieval system, without permission in writing from the publishers.
Trademark notice: Product or corporate names may be trademarks or registered trademarks,

and are used only for identification and explanation without intent to infringe.
British Library Cataloguing-in-Publication Data

A catalogue record for this book is available from the British Library
Library of Congress Cataloging-in-Publication Data

Names: Samuel, Flora, author.
Title: Why architects matter : evidencing and communicating the value of
architects / Flora Samuel.
Description: New York : Routledge, 2018. | Includes bibliographical references and index.
Identifiers: LCCN 2017043980 | ISBN 9781138783928 (hb : alk. paper) |
ISBN 9781138783935 (pb : alk. paper) | ISBN 9781315768373 (ebook)
Subjects: LCSH: Architectural practice–Social aspects. | Architects–Training of.
Classification: LCC NA1995 .S33 2018 | DDC 720.92–dc23
LC record available at https://lccn.loc.gov/2017043980
ISBN: 978-1-138-78392-8 (hbk)
ISBN: 978-1-138-78393-5 (pbk)
ISBN: 978-1-315-76837-3 (ebk)
Typeset in Univers LT Std
by Out of House Publishing
vi
What kind of house will you build for me, says the Lord, or what is
the place of my rest? ACTS 7:47
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ix
Contents
List of illustrations xi
Acknowledgements xiii
Introduction 1
Part I
The undervaluing of architectural knowledge 11
1 Public image, misinformation and the bogey of dispensability 13
2 The profession 29
3 Cracks in the professional foundations: the right body

of knowledge 51
4 The research culture of architects 74
5 The value agenda 90
Part II
The value of architects 101
6 So what is an architect? 103
7 The value of social architects 119
8 The value of cultural architects 142
9 The value of knowledge architects 154
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Contents
Part III
Making the most of architects 167
10 Education for uncertainty 169
11 Developing a shared language of research 183
12 Models of academic and practice research collaboration 191
13 Incentivizing research in practice 201
14 Risk and research strategy 212
15 Managing knowledge in practice 226
Conclusion 238
Index 242
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List of illustrations
1.1 The Point Youth Centre in Tadley by ACG Architects (2016).

Photo © Hufton and Crowe. 21
2.1 ‘Prospectus for the formation of a society to be called
“The Society of British Architects”’ dated 15 February 1834.
Reproduced with the permission of RIBA Collections. 32
2.2 Propaganda by Architects’ Revolutionary Council. Reproduced
with the permission of the Architectural Association. 36
3.1 Garden elevation, Stock Orchard St by Sarah Wigglesworth
Architects. Photo © Paul Smoothy. 53
3.2 Evolutionary Tree of Modern Architecture (1970) by Charles Jencks.
Reproduced with the permission of Charles Jencks. 54
3.3 Matrix Feminist Design Co-operative leaflet. Reproduced with the
permission of Anne Thorne. 60
3.4 Stonehenge Saucers. © Louis Hellman. 62
3.5 Design studio at Bath University. Photo author. 64
4.1 The Building Research Station’s first home, the Labs at East Acton.
Reproduced with the permission of the BRE. 77
6.1 The Image of the Architect. © Louis Hellman. 104
7.1 Agrocité R-Urban in Colombes, France (2016). Photo © Atelier
d’Architecture Autogérée. 125
7.2 Consultations with URBED in Anfield, Liverpool with Debbie
Fuller (2006), in Old Trafford, Manchester with David Rudlin
(2011) and in Rochdale with Shruti Hemani (2005).
Photo © URBED. 127
7.3 Volunteer assisting with frame fabrication of Mess Building,
Westonbirt Arboretum, Gloucester, Invisible Studio (2016).
Photo © Piers Taylor. 129
7.4 Willows School by Architype. Photo © Leigh Simpson. 130
7.5 Increasing Disorder of the Dining Table: Stock Orchard Street.
© and authorship Sarah Wigglesworth, 1998. 131
7.6 The Social Networks of a Turkish Café in London (2008).
© Nishat Awan. 132
8.1 Danish National Maritime Museum, Helsingør, Denmark by
BIG (2013). Photo author. 145
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List of illustrations
8.2 Dongdaneum Design Plaza, Seoul (inaugurated 2014),

Zaha Hadid Architects and SAMOO. Photo author. 147
9.1 DEGW image cards from DEGW Archive. Photo author. 156
9.2 Story Board for the Olympic Museum by Stephen Greenberg.
© Metaphor. 158
10.1 University of Reading School of Architecture students
constructing a gridshell with Piers Taylor (2017). Photo
© Piers Taylor. 175
10.2 Sheffield University School of Architecture Live Project
students working at Greenhill Library. Photo © Live Projects. 177
11.1 Niall McLaughlin Architects, Bishop Edward King Chapel,
Oxfordshire (2013). Photo © Nick Kane. 185
14.1 Homes in BASECO region, Manila, Philippines (2016).
Photo © Rizalito M. Mercado. 213
14.2 Children foraging in flood waters, BASECO region, Manila in
the Philippines (2016). Photo © Rizalito M. Mercado. 213
14.3 AStudio research strategy timeline to 2050.
© Emma Flynn/AStudio. 217
14.4 Diagram showing how the practice Hawkins\Brown
uses its time (2016). © Hawkins\Brown. 218
14.5 A lecture at the University of Reading on using
photogrammetry to capture existing buildings and
create virtual models in immersive virtual reality.
Photo Dragana Nikolic/University of Reading. 221
15.1 AHMM Practice Organogram (2017). © AHMM. 227
15.2a AiBuild Interior Finishes research showing a 2.3m
high wall finish printed in twenty-four hours.
Photo © Zaha Hadid Architects. 231
15.2b AiBuild puddle chair. Photo © Zaha Hadid Architects. 232
15.2c AiBuild’s formwork technique for casting concrete.
Photo © AiBuild Ltd. 232
15.2d Thallus designed by ZHCODE and fabricated by AiBuild
large-scale 3D printing technology with Philips Lighting.
Photo © Zaha Hadid Architects. 232
15.3 Ash Sakula Lightbox custom build housing system.
Photo © Ash Sakula. 233
15.4 Pentwortham School in Wandsworth by ZCD Architects.
Photo Charles Hosea. 236
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Acknowledgements
As economic historian, Chris Powell at Cardiff University heroically supervised the

latter stages of my PhD on Le Corbusier. Looking back I realize what an important
influence this extraordinary, forward-thinking, kind and funny man was on me.
This book is in many ways in memory of him. I hope he would approve.
As the book progressed, I sense-checked its contents with multitudes of
people both within and without architecture, some of whom are mentioned here.
Dyfed Griffiths, Simon Foxell, Robin Nicholson and Walter Menteth gave me very
useful comments on parts of the text. I have been the beneficiary of many con-
versations but all errors are entirely my own.
It is such a pleasure to be helping Lorraine Farrelly develop her vision for the
new School of Architecture at the University of Reading. I find the professionalism
and enthusiasm of my colleagues Oliver Froome Lewis, Daniela Perrotti, Carolina
Vasilikou, Izabela Wieczorek and Penelope Plaza very inspiring. The school was
the brainchild of Stuart Green in the School of Construction Management and
I have benefited hugely from careful introductions to the research world of con-
struction while working with colleagues there, among them John Connaughton,
Roger Flanagan, Chris Harty, Will Hughes, Libby Schweber, Martin Sexton, Dylan
Tutt, Dragana Nikolic, Ian Ewart, members of our Urban Living Research Group
and colleagues from Real Estate and Planning, particularly David Clapham, Geoff
Meen, Claudia Murray, Richard Nunes, Kathy Pain, Ruth Pugh and Emma Street.
The DEGW archives currently being unpacked with great skill by Hiral Patel are in
the Special Collections at Reading under the expert care of Guy Baxter. Spending
time with Frank Duffy, John Worthington and the DEGW diaspora, notably Alastair
Blyth, Steve Smith, Despina Katsikakis, Nicola Gillen and Stephen Greenberg, has
been extremely inspiring.
I am also grateful to colleagues at the University of Sheffield School of
Architecture when I was Head there. I was exposed to so many new things at
this extraordinary politically driven school and by the people there, most notably
Irena Bauman, Jian Kang, Doina Petrescu, Fionn Stevenson, Sarah Wigglesworth,
Bryan Lawson, Judy Torrington, Stephen Walker, Prue Chiles, Renata Tyszczuk,
Julia Udall and Peter Blundell Jones, the latter much missed. Important interdis-
ciplinary influences at Sheffield were Jackie Harrison (Journalism), Jackie Marsh
(Education), Carys Swanwick (Landscape), Craig Watkins (Planning), Gill Valentine
(Geography) and Mary Vincent (Geography).
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Acknowledgements
I am particularly indebted to the members of the Research Practice Leads

group, who have made me so hopeful about the future of the profession –among
them Darryl Chen (Hawkins\Brown), Craig Robertson (AHMM), Gillian Horn
(Penoyre and Prasad), Mark Lumley (Architype), Aditya Aachi (Cullinan Studio),
Malca Mizrahi (then Scott Brownrigg), Julia Park (Levitt Bernstein), Joe Jack
Williams (FCBS), Peter Fisher (Bennetts), Elizabeth Kavanagh (Stride Treglown),
Marilys Ramos (PRP), Rory Bergin and Phoebe Eustance (HTA), David Ayre (ACG),
David Green (Perkins + Will), Emma Flynn (AStudio), Tom Dollard (PTE), Lucy
Plumridge (HLM) and Veronica Simpson (Blueprint).
The ARENA network initiated by Murray Fraser has helped me develop a
European perspective on the matter in hand. The late Johan Verbeke has done
so much to promote the case of research in architectural practice, despite not
being an architect. He will be sorely missed. I have enjoyed working closely with
Fredrik Nilsson, Johan de Walsche, Oya Atalay Franck, Roberto Caballo and João
Menezes de Sequeira.
There are some remarkable people working in and around the RIBA. The help
and support of Presidents Jane Duncan and Ben Derbyshire and members of
Council, especially student members Lily Ingleby and Simeon Shbutanaev, who
have been right behind me on promoting research in the institution has been
great. On staff, Lucy Carmichael, Anne Dye, Neal Shasore and Alex Tait have been
particularly close and important collaborators as have staff in the RIBA Library
including Kent Rawlinson. I am grateful to Hayley Russell and John Paul Nunes
for supporting the development of the RIBA Student Destination Survey, which
is now in its sixth year. Liam Foster (Sheffield) has been a generous and rig-
orous source of social science advice for its development and I am very glad
that Kelly MacKinnon (Northumbria) has taken over its leadership to give it new
life. It couldn’t have been done without the seven schools that have co-operated
in its development: Birmingham City University, Cardiff, Kingston, Northumbria,
Sheffield, Queens University Belfast and Robert Gordon University Glasgow.
Nathan Baker (ICE), Brian Green (Brickonomics), David Hawkes and David
Barnes (CIOB), Jeff Matsu (RICS), Tom Kenny (RTPI), Neil Paterson (BRE), Veronika
Schropfer (ACE), Peter Mould (UIA), Jutta Hinterleitner and Jasper Kraaijeveld
(BNA) have provided important perspectives from other kinds of professional
institutions. The policy dimension has become much clearer to me following
conversations with my local MP Jo Stevens, the experience of parliamentary
launches facilitated by David Birkbeck of Design for Homes, and being part of
meetings with Lord Waldegrave, Nick Raynsford and members of the DCLG.
I have had the privilege of working with two really excellent research assis-
tants, Laura Coucill and Rowena Hay. I am really grateful to the CVoA team,
Carolyn Butterworth, Sophie Handler, Jo Lintonbon and Nishat Awan, and the
many people who helped us with the consultation. The Home Improvements
team, Fiona McLachlan (Edinburgh), Stephen Spier (Kingston), David Birkbeck
(Design for Homes), Nick Rogers (Taylor Wimpey), Jonathan Rickard (Radian), Sam
Brown, David Rudlin, Cany Ash, Robert Sakula, Stewart Dodd, Robin Nicholson,
Alan Jones, Kate Pahl, Paul Iddon and Simon Bradbury, did an excellent job
on the CVoA Advisory Group. Robin is a very inspiring person with seemingly
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Acknowledgements
inexhaustible energy to fight the cause of good architecture. His introduction to

the talented and highly resourceful Edge Group has been really important to me.
Paddy Conaghan, Richard Lorch, Helen Taylor, Simon Foxell, Jane Briginshawe
and Elanor Warwick. Important client viewpoints have been offered by John
Davies (Derwent),Tim Helliwell (Royal College of Pathologists) and Lanra Gbolade
(L & Q).
In no particular order I am grateful to these people for their advice and
thoughts: Koen Steemers (Cambridge), Julie Godefroy, Edward Ng (Chinese
University Hong Kong), Andy von Bradsky (PRP), Richard Saxon (former Chair
of BDP), Peggy Deamer (Yale), Rob Imrie (King’s College), Peter Clegg (FCBS),
Danna Walker (Built by Us), Richard Brindley (ACE), Sunand Prasad and Greg
Penoyre (Penoyre and Prasad), Denise and Rab Bennetts (Bennetts Associates),
Roger Hawkins (Hawkins\Brown), Piers Taylor (Invisible Studio), Niall McLaughlin
(Niall McLaughlin Architects), Dinah Bornat (ZCD), Walter Menteth (Project
Compass), David Rudlin (URBED), Dyfed Griffiths (Bath), Simon Sturgis (Sturgis
Carbon Profiling), Lynne Sullivan (Sustainable by Design), Pierre Wassenar (Stride
Treglown), Andy Jobling (Levitt Bernstein), Anne Thorne and Fran Bradshaw (Anne
Thorne Architects), Jen Forakakis (HOOP), Caroline Buckingham, Melodie Leung
(ZHA), Carl Turner (Carl Turner Architects), Patrick Lynch (Lynch Architects), Dale
Sinclair (AECOM), Alan Jones, Jane and Ron Darke, Louis Hellman, Casey Rutland
(ARUP), Hans Wamelink and Marina Bos de Vos (Delft), Chris Williamson (Weston
Williamson), John Cole (QUB), Oliver Smith (5th Studio), Deborah Saunt (LSA),
James Soane (Project Orange), Maria Henshall (Sheffield), Sam Diston (Sheffield),
Nigel Ostime (Hawkins\ Brown), Karen Shook (Times Education Supplement),
Richard Hayward, Bob Allies and Paul Appleton (Allies & Morrison), Nick Ray
(Cambridge), Jon Ackroyd and Oliver Lowrie (Ackroyd Associates), Andrew
Wright (Andrew Wright Associates), Matthew Gaunt (ACG), Peter Newton (Barton
Wilmore), Martin Gledhill and Alex Wright (Bath), Adam Sharr and Graham Farmer
(Newcastle), Paul Jones and Peter Holgate (Northumbria). I am also grateful
for the thoughts of the practices that have invited me on fact-finding CPD ses-
sions: Farrells, Penoyre and Prasad, Cullinan Studio, Levitt Bernstein, AHMM,
Barton Wilmore, HLM, Pollard Thomas and Edwards, Scott Brownrigg (Edinburgh).
Being part of the Hong Kong Research Excellence Framework opened my
eyes to the remarkable research work that is going on in Asia. Representing
‘Europe zone 1’ on the scientific committee of the 2017 UIA convention in Seoul
was a mind-expanding experience which I really appreciated. My thanks are due
to my reviewing colleagues and the amazing organizational team. My gratitude
also goes to staff and students at Harbin University in China, where we developed
a very educational (for me, anyway) architectural studio on ‘urban atmosphere’,
the Built Environment panel of the Hong Kong Research Excellence Framework,
which gave me a global perspective on the issues in hand, and the highly commit-
ted staff at Santo Tomas School of Architecture in Philippines, who reminded me
of the desperate problems they face on a day-to-day basis as a result of climate
change and inequality. I look forward to developing our PhD programme together.
My thanks also go to Fran Ford at Routledge, who had faith in the book, and
Trudy Varcianna, who has been very patient and helpful for several years. Being
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Acknowledgements
a radical change of subject for me, it has been like doing a second PhD, but my
conviction that this book is needed has kept me going, together with Alex, my
husband, and home.
Research for this book was supported by three grants from the Arts and
Humanities Research Council: Home Improvements, The Cultural Value of
Architecture in Homes and Neighbourhoods and Evidencing and Communicating
the Value of Architecture.
xvi
1
Introduction
Architects are not very good at explaining why what they do matters.
Alan Penn (Farrell, 2014, p. 65)
This is a book about why architects matter, why the quality of the built environ-
ment makes a difference, why more people need to get involved in architecture
and what we need from architects to help them do so. In the words of Michael
Sorkin (2011, p. 1), ‘Architecture is for everyone’ –so why aren’t they getting it?
Our skylines are dominated by what I call narchitecture –narcissistic archi-
tecture –self referential, confusing (purposely or through lack of care), excluding
and damaging to wellbeing and the environment. I was inspired to write this book
when I wrote to complain to my local council about the design of the library at
the edge of my local park. The response I received from ‘the architect’ was that
‘good design costs money’, something which I fundamentally refute. In my expe-
rience architects are remarkably good at making something from almost noth-
ing. However, affordability is a design problem which architects are ruled out of
(Dulaney, 2012), often because of erroneous assumptions about expense and
risk, the result being the unloved, short-lived and soulless buildings that act as
the scenery for most of our lives. The resultant waste is unacceptable (Osmani
et al., 2008).
We are dependent on the environment around us, animate and inanimate, to
self-actuate (Huskinson, 2018). Why Architects Matter is built on the premise that
the built environment can impact strongly on quality of life and that good –and
I mean good with all its moral associations –clients and project teams can do a
great deal to promote wellbeing through their activities. ‘We need to articulate
who the baddies are. What is right and what is wrong’ (Imrie, 2017). One of my
fundamental premises is that not all architects are the same. I want to make the
case that architects who are professional, research-focused, innovative and ethi-
cal do exist but need much greater acknowledgement and support. While I hope
this book will inspire architects to be more effective, it is really written for non-
architects –policymakers, clients, potential clients and potential architects –to
get insight into why this particular field of expertise is so important and what they
can do to help.
1
2
Introduction
Some academics have turned their attention to theorizing the problems of

other countries, attracted perhaps by their alluring otherness as well the fees of
overseas students and potential research funding. Although it is always worth-
while to highlight the problems of the developing world, the distinctly unglamor-
ous look of British deprivation often remains ignored. There is much work to be
done at the neo-liberal coal face of value to focus attention back where it should
be, on the key role that the built environment plays in the lives of people and
to remember that it is possible to do economics, and indeed design, ‘as if peo-
ple mattered’ (Schumacher, 1993). There is a chance that we can produce a built
environment for future generations that we can be proud of by encouraging an
understanding of value in its fullest sense.
‘Collaboration’ is a word that is prominent at this time, but it is rarely associ-
ated with its partner ‘trust’ or the conditions to support that trust, as these are
bound up with the messy touchy-feely world of human relations. Why Architects
Matter is written as a polemic with the aim of fostering trust and the conditions
needed for trust –evidence, clarity and rigour, as well as shared ways of work-
ing. The possibility of a construction industry in which contractual complexity is
replaced by trust, a recognition of competence through ties of familiarity, clear
evidence and/or the potential for internet-based forms of highly visible feedback –
think Airbnb and Uber –all enable the client to manage the risk of trusting their
team and to work together for infinitely better results. This book is born out of the
perhaps idealistic hope that advances in knowledge sharing and data collection
can support the development of a culture of trust and the development of shared
vision to eradicate the waste and misery caused by litigation and poor quality
design. While I am under no illusion that much can be done to change the damag-
ing and unethical attitudes of the build-it-and-flog-it school of development –one
that many of us lazily promote through our pension funds and investments –I do
believe there is much to be done to help owner-occupier clients, buyers and ten-
ants ask more of their architects and their landlords.
To be a profession is to profess custody of a particular body of knowledge. In
making the case for architects I am making the case for what it is that they know
and what they do with that knowledge. I argue that architects are socio-spatial
problem-solvers, integrators of complex bodies of information and masters in
space-craft. Despite the fact that architectural practices are well known from out-
side to be ‘knowledge-based organisations’ (Winch and Schneider, 1993, p. 1),
‘“knowledge” is not a word with which most architects instinctively feel very
comfortable as a way of describing the essence of their professional discipline’
(Duffy, 1998, p. xiii), but it is my thesis that the knowledge and skills of archi-
tects need to be reframed and developed strategically for a twenty-first-century
context of accelerated change. Discussions of knowledge seem to imply that
it is a static resource to be exploited like money in the bank, which of course
it isn’t –hence recent emphasis on processes of ‘organizational learning’ and
the structures needed to help this happen (Easterby-Smith and Lyles, 2011).
However, both ‘knowledge management’ and ‘organizational learning’ are alien to
most architects, so the subtle differences between them are slightly immaterial
in this context. I want to highlight what it is that architects know in the hope of
2
3
Introduction
improving organizational learning. While my focus is on architects, conclusions

may be drawn from this book with applicability to a range of learning and ‘knowl-
edge-based’ organizations.
My difficult ambition has been to write a book that sits on a table between the
shelves marked ‘Practice Management and Law’, ‘History and Theory’, ‘Design’,
‘Housing’, ‘Sustainability’, ‘Health’, ‘Marketing’ and ‘Advice for Clients’ in a typical
architectural bookshop, bringing these aspects of the profession into an accessi-
ble whole. It has been conceived, in particular, to cross the uneasy cultural divide
between architects and other built environment professionals. This book veers
purposely between the extremes of creative expression and nitty-gritty aspects of
contract law, because they are in reality linked. This is, however, largely uncharted
research terrain. I am particularly concerned with making the business side of pro-
fessional training more engaging by setting it within its cultural context, in this way
encouraging critical engagement with this neglected area of practice. I take inspi-
ration from Howard Davis, who gives a ‘cross-cultural’ take on building as a ‘unified
social process’, but my emphasis is on the contribution of the architect to that pro-
cess within the UK (Davis, 2006). Another key book in this area is Robert Gutman’s
excellent Architectural Practice: A Critical View (1988), which addresses a good
deal of the territory covered here, albeit from a US angle and written some thirty
years ago, but with minimal attention to the knowledge economy of the field and
no attention to diversity. Steven Groak’s unsurpassed The Idea of Building (1992),
written from the perspective of a civil engineer, is a really important source. Why
Architects Matter is also in some ways a response to Jeremy Till’s Architecture
Depends (Till, 2009). I will argue that architects are neither autonomous nor
dependent (Imrie and Street, 2014). The book has been developed in conversa-
tion with Simon Foxell, whose Professionalism for the Built Environment is forth-
coming. I should also mention the books Architecture Matters (Betsky, 2017) and
Why Architecture Matters (Goldberger, 2011), which are both written from a US
perspective. This book is about architects, not architecture, a subtle but important
distinction to be discussed in Chapter 6, ‘So what is an architect?’
My territory is what Ernest Boyer calls the ‘scholarship of integration’ and
‘application’, making connections across disciplines, ‘placing specialities in larger
context’, often educating non-specialists too’ (Boyer, 1997, p. 18). An additional
aim is to offer researchers outside architecture a way into the field and to encour-
age them to help us investigate the links between the built environment and
wellbeing. Such diversity is challenging at a methodological level, requiring
what Abbott calls the ‘usual disclaimer a synthetic writer makes to area special-
ists’ (Abbott, 1988, p. xii). Further, it is hard to set the limits of a poorly defined
entity, architects, in a constantly changing context with a paucity of evidence and
hence ‘to keep the coverage even’, an academically desirable quality. One solu-
tion, adopted by Gutman (1988, p. 2), is to use a slightly different methodological
framework for each chapter depending on the matter at hand, the whole stitched
together with a consistent thread that winds through the narrative –architectural
knowledge and its value.
Supporting the development of research in practice in order to generate
the knowledge necessary to be more effective and more inclusive is a primary
3
4
Introduction
concern. Publishers of books aimed at industry generally suggest that the authors
use extremely simple language and few or no footnotes, filling their books with
bullet points and pull quotes for hard-pressed people to digest at speed. With this
publication I have tried to offer a difficult middle ground between such industry-
oriented writing and more highly theorized academic forms of communication.
Parts I and II are built on more solid research than Part III, which is more specula-
tive, with the aim of galvanizing an industry readership into action. I have peppered
the text with references to other work partly, of course, to give acknowledgment
to others, but partly also to show the extent of further reading that is possible,
particularly within refereed journals, the highest quality information source, now
more freely available over the internet. The intention is that these footnotes help
provide solid back-up for arguments to be used by architects, clients and others
in report presentations, funding applications and debate. I acknowledge more
than a passing interest in ‘evidence-based marketing’, the use of data to promote
the cause of the field. The references form the backbone of the online platform
Valuing Architects developed in parallel with this book to help professionals com-
municate their offer and, unlike this book, designed for consumption at speed.
Thinking fast and slow are radically different procedures, as Daniel Kahneman has
shown (Kahneman, 2012).
To say that Why Architects Matter focuses on Western culture alone would be
to stereotype what is Western and what is not (Bonnett, 2004). I take inspiration
here from the work of anthropologist Aihwa Ong’s work at Biopolis, a genomic
research centre in Singapore, in which she argues that scientific outcomes are
the result of complex mediations between ‘global technologies’ and situated
forces framed by what she calls a ‘global assemblage’, a viewpoint that avoids
overly simplistic contrasts between East and West, North and South. I argue that
there are global lessons to be derived from UK practice set within the melting pot
of knowledge which is the Royal Institute of British Architects (RIBA), an organiza-
tion with members, chapters and schools across the world –some 17000 of its
40000 members are from outside the UK. At any point in time architects may be
in demand on one side of the globe while floundering in recession on the other,
with large global practices adjusting their services and presence accordingly. Its
base, London, is arguably ‘the world’s global design hub’ (Miller et al., 2013),
being deemed a relatively stable world centre of finance and the epicentre of the
former British Empire, in which a large proportion of the globe was oriented to UK
ways of working and the English language system. In 2015 approximately 42.4%
of the total gross value added of the UK architecture sector came from London, a
figure that has been steadily rising over the last few years (GLA Economics, 2017,
p. 8). Being an architect outside London is very different from being an architect in
London, where architects’ fees are but a small element of the overall real estate
value of a project and the expectation of quality is much higher, but where the
cost of living makes the lives of architects, young and old, almost untenable.
Ong is also inspirational in the way in which she draws on Donna Haraway’s
ideas of situated knowledge to make her own personal stake in her research
very clear. ‘No book about design is politically value free, whatever its apparent
claim to objectivity’ (Potter, 2002, p. 7). What then is the situated nature of my
4
5
Introduction
authorship? Well, a born and bred Londoner, I was a practitioner for eight years
and have been an educator outside London for over twenty more, Head of the
University of Sheffield School of Architecture for four of them. My interest in
business and leadership was spawned when, like most academic leaders, I was
catapulted into this role for which I had remarkably little training. I am now based
in the newly created, industry-focused School of Architecture within the School
of Built Environment at the University of Reading, conceived to deliver a truly
research-based industry education, discussed in detail in Chapter 10. This book is
based on knowledge gained through thirty years of active engagement in industry
and education in an increasingly cross-disciplinary and global context.
The positions I have held have not traditionally been held by women (Samuel,
2016). One of the things that makes this book on the construction industry unu-
sual is that it includes a consideration of the way in which women and indeed
other minorities have been excluded from the way the built environment is made.
Drawing on feminist approaches to writing, I dust my account with moments
from my own highly subjective experience as a counterbalance to the academic
argument. I hope it gives the book a different flavour, making it more widely
accessible than some others in this territory. As a mother of three daughters I am
fully aware of the difficulties faced by the next generation and I want to write a
book that they can read.
Being the daughter of two architects, trained at the Architectural Association
in London after World War II, I admit freely that my love-hate relationship with
architecture is part of my ‘family romance’. Hence, I think, my particular long-
term interest in the Franco Swiss Modernist Le Corbusier, who explored in an
extremely self-conscious way what it meant to be an architect, perhaps because
he never went to architecture school. He understood that a difficult balance
between the needs of ‘the individual and the binomial’ was actually at the core of
what it is to be an architect, the paradoxical synthesis of poet and engineer, the
scientific and the ineffable. This, in essence, was what I was investigating in the
course of writing five books on his practice –research which will emerge from
time to time in this book.
While in some ways I have been preparing to write this book ever since my
youth, most of the writing took place during the years 2012–2017, a period of enor-
mous flux, not least in the construction industry and related institutions, begin-
ning with deep recession following on from the global financial crisis of 2008.
I have had to repeatedly revise the text in the light of new developments, the UK’s
2016 vote to exit the European Union (EU) being one; the 2017 Grenfell Tower dis-
aster, the entirely unnecessary and tragic loss of life caused by a fire in a housing
block in West London, being another. This book is a snapshot at a certain moment
in time. Many of the conversations that informed its development happened as a
result of my temporary and active engagement in the RIBA, as an elected and re-
elected National member of Council and as Chair of its Research and Innovation
group. As a trustee of the RIBA and a chartered architect I am bound by rules of
professional conduct in reporting my observations. I have, however, been fortu-
nate to be part of the RIBA during its current process of realignment towards
research, as evidenced by its most recent strategy document developed under
5
6
Introduction
the auspices of the visionary RIBA President Jane Duncan (2015–2017), as well as
her successor Ben Derbyshire (RIBA, 2016).
There is ‘a new role for academia to link up with practice in order to carry out
an archaeology of the processes of architectural production, in a non-threaten-
ing but critical manner’ (Till, 2007, p. 4). I thought that being an academic would
impede discussions with practitioners, but the opposite has been the case –they
have opened up to me with remarkable generosity. As a piece of Participatory
Action Research (essentially researching by doing things with other people) it
has been challenging to fit within the established boundaries of university eth-
ics procedures, which correctly favour extreme transparency (Hart et al., 2013),
as the book encompasses thinking and encounters right across my professional
career (Jarzombek, 2016). The need to develop practical ethical guidelines for col-
laborative work such as that done by architects and other construction profes-
sionals is urgent.
Words such as ‘practice’, ‘technology’, ‘theory’ and even ‘science’ have radi-
cally different meanings in different contexts and at different times (Groak, 1992,
p. 72). Practice can be interpreted very differently by different theorists (see for
example Pantzar and Shove, 2010). Why Architects Matter is a plaintive call for the
role that history plays in understanding where we are now (Cayer et al., 2016).
The history of the architecture profession has been eloquently set out by Andrew
Saint in his book The Image of the Architect (1983), in which he builds on the work
of Howard Colvin, Barrington Kaye and Frank Jenkins. Most histories foreground
issues of design and philosophy, one result being that we have a very poor under-
standing of how architects have operated as professionals over time and in rela-
tionship with others. Did they, for example, deliver on time and on budget? Such
issues, of low import to academia, continue to be neglected in professional edu-
cation. In this book I will not dwell on the normative readings of history that make
up the canon of architecture; my account is unbalanced by what I perceive as a
need to bring in other voices.
On a similar note it is necessary to distinguish between ‘traditional art’ –
often an object in a gallery which ‘demands the physically distanced, passive
contemplation of the viewer, for whom meaning is anchored to the artist’ (Hill,
1998, p. 3) –and some forms of contemporary art in which ‘the subject is recog-
nized as an active, engaged participant’ (Joselit, 2013, p. 2), exemplified perhaps
by the work of the art/architecture co-operative Assemble, winners of the 2016
Turner Prize for Art. Unless stated otherwise, references to art refer to the former,
traditional, category.
Part I of Why Architects Matter sets out the problem that I am seeking to
address –the nature of the profession and its increasing marginalization from the
construction industry. I argue that the key attributes of a profession are knowl-
edge, ethics and professional judgement. However, lack of clarity about what it is
that architects know makes it very difficult for them to defend their territory. The
discussion will lead to the knowledge base of architects, concluding with a reflec-
tion on architecture’s poor fit with the prevailing culture of audit and value. Part II
starts with a working definition of the term ‘architect’ and then sets out some of
the very different ways in which the profession brings benefits both to clients and
6
7
Introduction
to society, through economies of social value, cultural value and knowledge. Part
III offers a strategy for developing a resilient, rigorous, respected research-led
profession. This book is built on the scenario of business roughly as usual – devel-
opments such as climate change might change everything.
The way in which architects use their knowledge is at the foundation
of three Arts and Humanities Research Council-funded studies, the primary
research for which underpins the discussion in this book: Home Improvements
(Samuel et al., 2014b), Cultural Value of Architects (Samuel et al., 2014a) and
Evidencing and Communicating the Value of Architects, which included a study
of UK architect attitudes to post-occupancy evaluation (Hay et al., 2017) and
the growth of the Research Practice Leads group –individuals leading on the
research agenda in twenty-five highly innovative architectural practices. This
group has provided an important means to gather information and test some of
the ideas herein. It also builds on the RIBA Student Destinations Survey, a ten-
year longitudinal study of architecture graduates involving seven schools which
I instigated in 2011. While, as Gutman found in 1988, there is more data avail-
able on architectural practice than is generally acknowledged, its quality is ‘very
uneven’ (Gutman, 1988, p. 2). I am therefore very grateful to those research-
ers, often from Organization and Management Studies (OMS) and Science and
Technology Studies (STS), who have focused their attention on architecture and
professional practice in the construction industry, for example Lu and Sexton’s
empirical studies of knowledge exchange in small professional practices and
Imrie and Street’s work on attitudes to regulation in design practice. Such pro-
jects have provided me with rocks of rigorous research in a swirling miasma
of hearsay, focus groups and spin exemplified by ‘corporate social science’.
Disagreements between architecture and the social sciences over the nature of
rigour and the need to be propositional will emerge as a recurring theme in this
book. If I go too far in generating conclusions from a set of dislocated circum-
stances (Abbott, 1988, p. 10), or in suggesting new categorizations, it is in the
pragmatic name of a call to action.
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British Library Cataloguing-​in-​Publication Data

Library of Congress Cataloging-​in-​Publication Data

1 Public image, misinformation and the bogey of dispensability 13

3 Cracks in the professional foundations: the right body

4 The research culture of architects 74

5 The value agenda 90

6 So what is an architect? 103

7 The value of social architects 119

8 The value of cultural architects 142

9 The value of knowledge architects 154

10 Education for uncertainty 169

11 Developing a shared language of research 183

12 Models of academic and practice research collaboration 191

13 Incentivizing research in practice 201

14 Risk and research strategy 212

15 Managing knowledge in practice 226

1.1 The Point Youth Centre in Tadley by ACG Architects (2016).

8.2 Dongdaneum Design Plaza, Seoul (inaugurated 2014),

As economic historian, Chris Powell at Cardiff University heroically supervised the

I am particularly indebted to the members of the Research Practice Leads

inexhaustible energy to fight the cause of good architecture. His introduction to

Some academics have turned their attention to theorizing the problems of

improving organizational learning. While my focus is on architects, conclusions

Potter, N., 2002. What is a Designer: Things, Places, Messages. Hyphen, London.

Public image, misinformation and the bogey of dispensability

Cracks in the professional foundations

The research culture of architects

The value agenda

The value of social architects

The value of cultural architects

The value of knowledge architects

Education for uncertainty

Developing a shared language of research

Models of academic and practice research collaboration

Incentivizing research in practice

Risk and research strategy

Managing knowledge in practice

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British Library Cataloguing-in-Publication Data

Library of Congress Cataloging-in-Publication Data