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AIA UK Welcomes New Members

Fiona Mckay

This has been a busy year for the Chapter’s membership committee. Membership is at an all time high of 235 members and 32 new members joined the AIA UK this year! The Chapter membership and Board of Directors would like to welcome the following members who have joined since the first of the year.

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AIA UK Reduces Membership Dues

Fiona Mckay

In an effort to keep AIA dues affordable, the AIA UK board of directors unanimously voted to reduce the 2020 chapter dues by the same amount the National dues are increasing.  This means your 2020 dues will be the same as 2019, despite the increase in National dues.  

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‘Crossing the Pond’ 20 Years On … Part 3 of 3

Fiona Mckay

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Continued from Part 1 and Part 2… 

Uncertainty and Change

The 1986 Big Bang had a positive effect on the UK economy, and the American firms that followed it were comfortably settled by 1999.   Since then, the British economy has cycled hot and cold. The most recent recession – the 2008 ‘Credit Crunch’ – was a sharp jolt to complacency, taking its toll on all UK-based architects and dispersing many to the Middle East or Asia for survival. The large American firms were not immune, and some are reported at the time to have dropped staff by as much as 80%.  

Having endured the Credit Crunch, today’s architects are now faced with an anxious global disquiet – economic uncertainty, unsettled political conditions and trade deterioration.  In the UK, general disquiet is overshadowed by the prospect of the UK leaving the European Union – or ‘Brexit’.  

The potential loss of European staff through immigration controls is of primary concern.  All UK-based architectural firms rely on a pool of talented individuals, but what happens when the ‘pool dries up’?  In the early 1980s, Stephan Reinke claims ‘anyone who could hold a pencil could get a job’, and until 2006, British citizenship was relatively easy to obtain.  Now more countries are putting up barriers and the visa situation has become a serious challenge.   

KPF’s Scalpel in context: London skyline continues to grow. (Photo credit: Hufton + Crow)

KPF’s Scalpel in context: London skyline continues to grow. (Photo credit: Hufton + Crow)

There is more than just concern for the economy and the practical issues of hiring staff. Many US architects worry that the special magic of London today will dissipate and the dynamics will change. ‘London grew and developed’ explains David Walker, ‘because huge financial effort went into making change happen, but it was not inevitable. On the surface it all still looks great and maybe it will be OK, but I am uneasy. Architects are still coming from America and around the world, but it is no longer that loving, inclusive place’.

Relocation, Relocation

An ironic twist to the American ‘invasion’ of the British market in the 1980s and 90s, has been the reverse infiltration – invasion is too strong a word – of the American market by British/European architects.  Stephan Reinke points out UK architects have been particularly successful in ‘penetrating the US with high end buildings – arts facilities; scientific laboratories; incredible transport hubs; high spec, complex buildings – rather than everyday works’. 

More than one participant cites as a prime example the British/European influence on that most iconic of US projects – the redevelopment of New York’s World Trade Center.  At one point in the competition’s convoluted history, 4 of the 5 shortlisted buildings were by British/European architects and only the centrepiece has resulted in an American design. Perhaps literally ‘the project from hell’, overwhelmed by national emotion and political hurricanes, the centrepiece was ultimately produced by SOM’s New York office.  

In today’s technically advanced age, there remains a question whether there is any need to physically relocate when working in another country, and the various American firms differ in their responses.  There is potential work for PLP Architecture in the US, but Lee Polisano insists that all international work would remain concentrated in London to preserve core identity and design strength.   

Sport Concepts’ Turkish Arena, Ankara: Designed in the UK

Sport Concepts’ Turkish Arena, Ankara: Designed in the UK

Michael Lischer works on large stadia and arenas scattered across the globe, making a base in London fundamentally convenient.  P+W is currently ‘localising’ and has sub offices in Dublin and Paris, each with its special area of expertise.  KPF maintains strong ties with its New York headquarters and there is frequent cross pollination of personnel.  After sampling the unpredictability of the international circuit, David Walker and Stephan Reinke both prefer working locally in London and the UK.  

Although Gensler retains London as a European hub, it has taken a different approach and grown organically to 49 global offices, insisting it works best when its designers are ‘close to the people they designs for’. As President of the AIA UK Chapter in 1999, Steven Steimer, AIA, Gensler did not pursue a British architectural license as he had believed an ARB and NCARB reciprocity agreement was pending. In another ironic twist, Steimer – who has stayed with Gensler but moved back to the US - is now rumoured to be working in London again, spearheading a local project.

Gensler’s Illumina Array: Combines tenant wellbeing and workplace needs.

Gensler’s Illumina Array: Combines tenant wellbeing and workplace needs.

Complex Identities   

British and European firms are making inroads into the US.  British firms hire individual US architects based on general qualifications, not American training.  US firms in the UK now rely on local UK or non-US staff. Talented US architects have started their own UK companies.  Office locations are of lessening relevance. Faced with this litany of changes from 1999, is the distinction ‘American architect’ at all relevant in today’s global market? 

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The 1999 article alluded to prejudice against Americans.  Although this may linger in some quarters, it could be argued that over time concerns about national origin have simply lapsed into indifference. There is a general consensus that the overt, 1990s American influence on British architecture has long passed its peak.

David Walker has now spent half of his life in the UK, with the past 17 years in his own practice. He believes ‘this American thing is no longer relevant.  In fact, being American could still be a detriment’.  When asked outright if he was an American or British architect, he replied - after serious consideration - he feels more a British architect than an American one, but ‘if you ask my clients and other professionals who I work with, they would probably hesitate and settle on ‘American’’.  With a lighter note, he believes ‘some might hope I remain Canadian.’  

On the other hand, Stephen Reinke claims to be ‘probably the most quintessential American you could ever meet’; however, he maintains ‘there is no longer a particular American-ness in architecture.  Good clients quickly pass on from ‘are you an American?’ and accelerate to ‘do you know your stuff?’’

Samantha Cooke does not hesitate to describe herself matter-of-factly as ‘an American architect working in the UK’ but adds the qualification, ‘on projects everywhere but in Britain’.  Alex Miller says he will ‘always be from Texas.’ When asked what he is doing in the UK, he responds, ‘trying to be the best architect I can; my approach is US, but my experience is UK’.  

Whereas David Green felt compelled on arrival in the UK to draw attention to his British ancestry, he now recognises that ‘being an American in London is the perfect combination’.  Lee Polisano is unequivocal in his statement: ‘PLP is not hired because it is American – it is an office of individuals’ without any reference to national stereotypes.

Chris Harvey recalls the standing joke that Americans ‘can be heard coming, their cheerleader ‘rah rah’ voices at a volume two to three notches too high’.  It might be a slow process, but Americans can acclimatise - ‘they can calm down’.  In a journey not atypical of other architects, Harvey started in the US, worked on projects in Europe, moved to the Middle East, relocated to Chicago, returned to the UK for projects in China and is now safely ensconced in KPF.  Chris claims he is ‘American, but thinks British’ – or is this what it means to be a ‘citizen of the world’? 

Like David Walker, Kevin Flanagan has a Canadian backstory, and his tri-part American, British and European training also exposed him to ‘multiple views’ early in his career. Without actually claiming global citizenship, he simply resists national branding.  Steven Steimer, who was unavailable for comment, moved back to the US many years ago, and it can only be assumed that he has profited from his design experiences in the UK.

The range of responses to the question of national identity are perhaps inevitable. It is said - after living in a foreign country - national identity begins to blur as local conditioning seeps into the sub conscience at varying rates.  It is also reported that the US diplomates are discouraged from foreign assignments over four years, least they return with non-American thought patterns. Although unscientific, random sampling suggests Americans living in Britain stop hearing British accents after two years and hear American ones instead.  However, there is no indication that any of this has a permanent effect on architectural quality. 

When asked the direct question ‘is the distinction ‘American architect’ still relevant in today’s global market’, Justin Cratty does not query his Americanism, but - believing the UK title ‘architect’ is often too restrictive –  queries whether he remains an architect at all given his deviation from a traditional role.  

Perhaps, Alex Miller speaks for all when he confronts the relevance of the question itself. ‘Shouldn’t this’ he asks, ‘be about the challenges in the global market to the architectural profession as a whole? The way I see it, it is simply no longer about being American.

Yes - but then - that would be an even longer, continuing story …

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Written by: Lorraine Dale King, AIA – ‘I was here years before the 1999 article and in the years since have contributed my share to the London skyline as an American woman in the British construction industry.  I still retain my American accent - if nothing else - despite 37 years of acclimatisation’.  

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You can check out, but can you ever leave…?

Fiona Mckay

Ex Chapter Presidents Lorraine King, AIA, Michael Lischer FAIA, and Lester Korsilius, FAIA, meet up in August for a short get together with Josye Utick, AIA - past Vice President (2009).

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Although Josye returned to the US before she could take up her presidency, she left the Chapter a legacy in her strong commitment to modern graphics and communications, being – arguably – the first to take the Website and Newsletter seriously as communication tools, as well as being an active, innovative event organiser.   We have come – we hope – a long way since her tenure – but she was a prime moderniser.  

Josye currently works in Hartford, Connecticut with an ‘international hospitality’ focus, but there is a slight possibility – perhaps at this stage only a desire -  that she could return to the UK. We await developments. 


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AIA SUPER SATURDAY 2019, CAMBRIDGE: SUSTAINABILITY

Fiona Mckay

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Who wouldn't choose to get-up early on a warm Saturday in July to travel to a village north of London to spend the whole day being talked at about sustainability and architecture for hours on end?  It probably helped that the day began (and ended) with a variety of pastries to accompany the tankards of coffee and tea, with the intervening gaps filled by a seemingly never-ending buffet lunch; and the sprawling historic estate of St. John's College in the heart of Cambridge provided a more than tolerable backdrop to this feast of continuing professional development credits.

 After the initial mountain of hot croissants, we began the day with a walking tour through the university town, skilfully navigating our way through the various tourist phalanxes with the help of our trusty guide and recent graduate of the University - Maria Capot.  Through a mixture of anecdote, history, and ambiguous facts, we were taken through some key architectural works ranging from 1280 to 2018  - including a finalist for this year's AIA Design Awards.   Before partaking of more croissants, we sampled a range of cuisines at a lavish buffet lunch back in the grounds of St.John's.  

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To distract us from the rather stodgy cooled pastries, Hero Bennett from Max Fordham thoughtfully took us through the architectural sustainability implications, challenges, and opportunities of the forthcoming New London Plan.  Jumping from the scale of the city to that of the building, Oliver Smith from Fifth Studio then skilfully guided us through the intricacies of their exemplary renovation of the Grade I-listed eighteenth century Trinity New Court buildings next door, showing that highest sustainability standards can be met through careful design and execution.  Max Kettenacker from Allies and Morrison then rounded off our afternoon of talks with an engaged discussion of the meanings and proliferating benefits of sustainable masterplanning, using their near two decades of work on King's Cross, London as a case study. 

 With notions of sustainability reconsidered from a range of angles and at a variety of scales - both physical and temporal - we forwent the less than appealing remaining croissants to experience an integrated sustainability approach in person at nearby Churchill College – a place famously described as 'the Blenheim (Palace) of the Welfare State' by Colin Rowe.  Rory Corr of 6a Architects expertly walked us through the context, process, challenges, and realisation of their new Cowan Court accommodation block, showing that even on a tight budget innovative high quality sustainable architecture is more than achievable.  With the magic hour providing some final Instagrammable moments, we then retreated to the riverfront for a refreshing drink (or three).

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A common theme of the day was that we - as architects – are constantly shaping what sustainability means through our work, and that with commitment, imagination, and rigorous design, we can make a real and lasting difference.  Perhaps we all knew that already, but being reminded of that important responsibility through the actions, words, and work of colleagues, was inspiring, and made a warm Saturday in July all the more memorable.

Huge thanks are due to the invaluable co-ordination of bookings and marketing by our AIA UK Chapter Executive Genie Khmelnitski; the ever-efficient financial management of our Treasurer Anna Foden; the strategic CES-navigation support of Bea Sennewald; the overarching input and coordination of our great leader President Amrita Raja; and all of the attendees for making it such an enjoyable day.  We are especially indebted to all of our speakers for so generously giving up their time to so openly share their work, thoughts, and experiences.

[Attendees earned 7 HSW CES credits]

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Event Organised and Hosted by Mark E Breeze



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A Conversation with NCARB /A pathway towards Licensure

Fiona Mckay

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Since graduating from architecture school at the University of Pennsylvania, I have always wanted to get my US architecture license.  However, working in the UK and getting licensed outside the United States always seemed too daunting a task. Luckily, the AIA UK recent workshop ‘A Conversation’ with Jeremy Fretts, the Assistant Vice President of Experience and Education at NCARB, finally relieved some of the stress I had been feeling by clarifying the requirements and breaking down the licensure process.  For anyone who missed the session, I hope this summary of the conversation will be helpful. 

In order to become a US licensed architect, you need three basic components:

  • a professional degree from an institution accredited by National Architectural Accrediting Board (NAAB), 

  • documented professional experience via the Architecture Experience Program (AXP), 

  • and completion of the Architecture Registration Exams (ARE).

There may be additional requirements depending on your registration state - for example, there is an additional examination in California or additional hours in New York.

The most straightforward path to getting a certified professional degree is to attend an NAAB accredited school. This is not limited to the institutions in the US. The America University of Dubai and the American University in Lebanon provide accredited programs.

However, for anyone who did not study at an accredited university and would like to register in the US, you can use the ESSA program to evaluate the education credentials of your professional institution against the NCARB education standard. This can be found through the link HERE.{https://www.naab.org/eesa/}  A price breakdown for the evaluation processes is included. As soon as you start work after graduation, you should start logging our AXP hours through the NCARB website. You need to show you are getting experience in all the phases of projects and elements of architecture practice.  For anyone like me who has already started their AXP journey, a really helpful tip is that you are only required to log a minimum of 1860 hours working under a US licensed architect. The remaining hours can be completed under the supervision of a non-us licensed architect or engineer. 

An alternative path to show the competent performance of the AXP task is to complete an AXP portfolio. This track is geared towards design professionals who have extensive experience in other countries. The NCARB link can be found HERE. {https://www.ncarb.org/sites/default/files/AXP-Guidelines.pdf}Towards the end of the session, Jeremy discussed the ARE exam procedures and explained how NCARB provides resources on their candidate portal website such as practice exams and an extensive list of reference materials to help us pass the exams.  

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For those seeking the US accreditation who already have ARB credentials - unfortunately - there is currently no formal reciprocity agreement between the US and UK.  However, both the RIBA and the AIA and their respective licensing bodies, the ARB and NCARB, continue to discuss this possibility; although, there is no clear timeline when this will be accomplished.

After the conversation with Jeremy, I feel more confident in my pursuit of a US license from abroad.  I hope by reading this you will be encouraged to push through the process. If any of you are working towards your license as I am, the AIA UK Chapter is here to help.  Feel free to contact us at emergingprofessionals@aiauk.org. We offer encouragement and support (via hosting workshops and peer mentoring events as well as maintain a resource library) and we can put you in touch with other UK-based ARE takers or others who have experience with the full process.

Visit the AIA UK Chapter website HERE  { http://www.aiauk.org/emerging-professionals }for more information and join our mailing list. 

Written by: Elaine Wong, Master in Architecture, 2015, University of Pennsylvania Design School

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