01 The Profession
THE PROFESSION
These observations are the result of more than twenty-five years of working with, and learning to understand, admire and respect architects.
Architecture as a profession seems always to have been dogged by contradictions. It is a profession, but in comparison with others, is sometimes less well paid and often doesn’t have the respect it deserves. In general, architects are highly intelligent and well educated; they love debate and sometimes love that debate as much or more than its purpose. In fact, architecture can be seen as a calling rather than a profession. At least, that may be one reason for a lack of commercial awareness. How many project budgets suffer from the hours of over- and re-design? And there are few other jobs where working through the night is seen as an acceptable and even necessary rite of passage.
The architecture profession has been through many changes in the past twenty years. These have included an increasing self-awareness and a genuine attempt to bring improved commerciality and business knowledge into the curriculum. This thrust has been long overdue, given that well over three quarters of architects will run their own business – it’s a profession with many sole practitioners or smaller practices. Alongside the knowledge of finance, marketing and technology, HR plays its role in how a commercial practice should and can be run.
At the time of writing, things seemed to be developing well for architecture, but the effects of the recent recession have been far reaching. Records suggest that architecture suffered more job losses than any other profession during this time, and the number of architects claiming jobseeker’s allowance (JSA) skyrocketed. The situation was similar for other property-, construction- and design-related professions.
Although the profession has matured, new challenges have arisen. The need for flexibility, speed of reaction, versatility and commercial awareness has increased. From an HR perspective, it is heartening to note, for example, that HR is included in the Professional Criteria for Part 3 of the ARB. Knowledge of HR-related matters is specifically listed in three of the 50 criteria, namely: personnel management and employment-related legislation; staff development, motivation, supervision and planning; team working and leadership. It seems widely acknowledged that architecture at least, among the creative industries, is dependent upon managing people in such a way that they are able to explore their creativity.
The Creative Environment
Although creative companies share many characteristics, there are also identifiable types. Ask yourself which one you belong to, because that will influence much of how you approach your staff and the whole issue of HR and people management.
Creative companies encompass a wide spectrum, ranging from architecture and interior design, product and graphic design, to fine art, publishing, fashion, music, TV and film. My own experience is largely with companies that could be described as being related to the built environment, so: architects, interior designers, product and graphic designers. Even so, there are many similarities across the spectrum.
Let’s take a look at some common types of company in the architecture and design world and see if you can find one that best mirrors your own.
One man bands: not quite slaving over a drawing board or computer in a garret with a guttering candle, but the modern day equivalent. Driven by the desire to create and living from hand to mouth. This member of the species is common and often has to supplement more creative projects with house extensions or similar work to feed self and dependants.
Micro-studios: Started as a solo player and through luck, perseverance, talent or a combination of these, gained more lucrative or prestigious projects which have propelled the solo artiste to form a band of perhaps five or six people. Still probably working from the largest bedroom or a purpose-built extension of the owner’s house. Looking to make the leap to their own premises. An exciting place to be, where hope is high and the possibilities endless.
Small to medium boutique design agencies: Often started by a few friends from university or a family-based partnership. They have a strong brand and want to keep it that way. The founders will be supported by a young and enthusiastic team of juniors, largely straight from university. Very much driven by the mindset and ethos of the founders, but still desperately clinging on to the concept of creativity, client response and flexibility. Beginning to realise why the companies that they left to set up on their own had so many policies and procedures in place. Have experienced their first ‘rogue’ employee and are conscious of the time, cost and repercussions involved.
These three will form approximately 85 per cent of design practices.
However, the size and influence of the remaining 15 per cent is significant. These can be classified in several ways.
The ‘names’: As it suggests, the name of the practice reflects the names of the owners or founders. Now rather cynical and jaded, they have developed a successful practice over 10 or 15 years and have put in place the next level of management so that they can still focus on design while someone else does the day-to-day running of the company. They have developed a niche portfolio in a couple of sectors which provides them with regular workload and income. They’ve grown to employ perhaps 25/30 staff and it looks as if they may need to grow further. This is a slightly frightening prospect and they suspect it may have implications of some sort in terms of employment and responsibility towards staff, but there is no urgency to look into it. The next level of management will do so for them. They may develop into …
Black cape architects: Founded by a famous individual, usually male, and rather orientated around his personality, ego and lifestyle. This is what most architecture students assume they will be or dream of being before the harsh reality of life in the architecture profession hits them. Highly successful in the commercial sense or in their profile, these individuals will die in harness through a combination of ego and failure to provide for the future. The attraction of working for one of these practices is to have the name on your CV. It is likely that you will learn a lot about the creative process simply by hanging on the coat tails of this famous individual, but it is equally likely that this is an unrealistic way of directing your career: your own chances of developing your own design profile are more limited, or you may not be as talented as the individual concerned.
Cooperative: Some SMEs may go down this route, for instance, where the company ethos began with ‘we all studied together and got on well, so let’s start a business’. This may sound like the practices described above, but it is different in that it has kind of settled into itself. There was no ego strong enough to wish to become a black cape architect. Those who founded the company, hired staff and acted as mentors to hone their design talent and management skills. A very egalitarian company where the founders do not take exorbitant salaries or take all the kudos for the work produced by the practice. They still enjoy what they do and pass on this love of design throughout the company. Graduates and less experienced staff members love it and learn a lot. These companies save the tortured souls that emerge from university wanting to change the world and help them to find a way to make a difference or make their mark
without needing to have their name in lights above the highest building in the world’s national capitals.
Business disguised as ‘design’: Big, big, big, except when the economy crashes and they cut their cloth (and staff) accordingly. Often international, they see no limit to their horizons. Probably the most commercially astute, they have robust systems and procedures in place for almost every aspect of their work. Typically very competitive in their salaries and with good benefits and compensation packages. They may compromise on design and tend to be client focused rather than innovative. You need to be able to play the political game to get on, as well as developing the hide of a rhino. A great training ground, you’re unlikely to fulfil your creative dreams here, but can make use of the generous opportunities for training and development to make some steps to your own self-actualisation.
Family: Tend to be long established with a broader demographic than most creative companies. They are able to engender a great deal of loyalty and long service. Their reputation as a caring company is not ill founded. However, the route to the top is likely to be through length of service. They are founded on a somewhat paternalistic hierarchy, almost like an apprenticeship scheme; you may hear: ‘we had to do it, so they can too’ regarding working through the night, hours redesigning lobbies and toilets, filing drawings, and so on. These companies provide perhaps a more secure working environment than most. Their designs and creativity are unlikely to set the world on fire, but are generally of a good workmanlike standard. Again, this is a fine training ground for a structured approach to work. The law is unlikely to be broken ever because the level of risk is minimal.
These examples illustrate the wide variety of creative environments that exist. They also illustrate the vastly different approaches to people management that can occur.
No one type of working environment will fulfil the needs of all creative individuals. Ultimately, people generally gravitate towards the environment that suits them best and best enables them to express their creativity.
People Management in Creative Companies
Let’s conclude this chapter by a few words about what this all means for people management in the architecture profession and other creative organisations.
Creative people need the space to be creative. However, if they have chosen to be engaged to work for you, you will inevitably have some kind of responsibility for them and this is where the restrictions resulting from that responsibility come into play.
You are faced with the challenge of legal compliance and good practice while trying to establish a working environment in which your most creative people can produce their most creative work.
I’ve been told by several creative people that one of their greatest challenges is managing themselves. They have all the great ideas but these can overwhelm them and – if left undirected – can simply result in chaos. The workplace provides an environment where ideas are channelled towards specific client projects. A structure is provided in which the creative person is guided towards completing a genuinely creative result.
Managing creativity without stifling it is certainly not easy. It is elusive and intangible. So, how do you create an environment in which creativity can flourish? It’s not necessarily about providing brainstorming dens, or walls to draw on, or lights or images to stimulate. Here are some guidelines:
Current Focuses for HR and People Management
There are numerous challenges in the current marketplace. Here are some examples that we will focus on in the following chapters:
Finding the right staff with the right skills: This has always been a necessity, but can involve varying sizes of pools of expertise because people may leave the industry in economic downturns due to lack of opportunity or other personal reasons. Although there may be a rush to recruit in some areas, there is also a keen search for specific skills. A lesson learned from the economic downturn is that companies are less likely to hire simply for talent alone with the hope that they can find somewhere to fit in the individual.
Keeping the right people: There is also a heightened desire to retain and develop the ‘good’ staff. Increased competitiveness as the market stabilises means that rival employers need to seek ever more innovative ways in which to hang on to the talents of those who exemplify the skills and behaviour they wish to support and perpetuate in their company.
Addressing below-standard behaviour: The other side of the coin to keeping the right people is managing those who may not be such an asset to your company. Although no one relishes difficult conversations, recessions do seem to teach companies that a problem ignored is a problem increased. There is a reluctant acceptance that the processes and procedures needed to address performance and possibly dismissal are there for a purpose and, although not to be welcomed, can be used to the advantage of the company. This helps you gain the workforce you need and want in order to produce the work that you wish to do for your clients. The beauty is that every company is different and someone who doesn’t work well in one particular working environment may flourish elsewhere and vice versa.
Management skills/leadership: As all of the above points indicate, it’s now even more the case that simply being a good architect is not enough to run a practice successfully. Some people believe that leaders are born not made; nevertheless, some basic training in management skills will help to prevent the major forms of bad practice, and will – ideally – engender an environment where your staff can flourish profitably to the benefit of your clients.
Succession planning: The profession has been notoriously vague about succession planning, albeit we have more recently seen some fine examples of how this has changed for the better. Nevertheless, architecture as a form of vocation does not lend itself easily to structured retirement, and that poses a challenge for the next generations and the future of your practice.
Without doubt, architecture and the creative industries are people orientated. Without the skills and knowledge of your people, you have no product and no business. Explore the chapters of this book to help you make the most of the talent that you have at your disposal.