Category: Architectural Designer

Dorset Maker Studio blogs for architecture design

  • The RIBA’s Protection of Function for Architects: A Bid to Save the Profession and fees, or to Gatekeep the Industry?

    The RIBA’s Protection of Function for Architects: A Bid to Save the Profession and fees, or to Gatekeep the Industry?

    Does this aim to re justify the architect title and meaning?

    Normally, I have a great deal of respect for the RIBA. I have completed two RIBA-accredited degrees, achieved a Master’s degree in architecture, and spent a few years within a system that teaches you to take the built environment seriously. That is probably why the current debate around the “protection of function” for architects feels so important, and also why it feels uncomfortable.

    The RIBA is now calling for a new regulatory approach to architectural work in the UK, based around what it describes as a competence-led model. In simple terms, the proposal moves beyond protecting the title of “architect” and instead looks at whether certain activities, such as submitting full planning applications, building control applications, and final compliance certificates, should become reserved activities for suitably competent professionals. The RIBA also proposes replacing the current Architects Act framework with new legislation and a wider built environment oversight model. 

    On paper, that sounds reasonable. Public safety, competence, accountability, and quality are all things the construction industry should be taking seriously, especially after the failures exposed by the Grenfell Tower Inquiry and the wider building safety debate. The question, though, is whether this proposal genuinely improves public protection, or whether it risks becoming a late attempt to reclaim territory in an industry that has already changed. This is mainly coming off the back of the AJ journal article which was marked as subscriber only for something that impacts the whole industry. So I can only gather the content from reactions online and other articles including the main source of the RIBA.

    The title “architect” is not the whole industry

    The current system protects the title “architect”, but not every function commonly associated with architectural work. That means someone cannot simply call themselves an architect without being registered, but many forms of design, planning, technical coordination, and project support are already carried out by a much wider group of built environment professionals.

    That is not a loophole in some distant corner of the industry. It is how much of the industry already works.

    Planning consultants submit planning applications. Architectural technologists and technicians often handle technical design and building control information. Architectural assistants, designers, project runners, and consultants all contribute to work that the public may loosely describe as “architecture”, even when a registered architect is not the only person doing the work.

    This is why the proposal becomes complicated. It is not simply about whether architects are valuable, because they clearly are. It is about whether reserving certain functions now would improve outcomes, or whether it would disrupt an already established ecosystem of competent professionals who are not all architects.

    Who is this really for?

    The strongest version of the RIBA’s argument is that the public deserves buildings shaped by competent, insured, accountable professionals. I agree with that principle completely. I would happily work within a clearer competence-led framework if it applied fairly across the industry and measured people against what they actually do, not simply the title they hold.

    As an architectural designer, I still try to follow many of the principles associated with architectural practice. That includes acting with care, being honest about competence, taking insurance seriously, and treating residential work as something that affects people’s lives rather than just a set of drawings.

    I have also been told before that, as an architectural designer, I have no formal obligation to hold myself to certain professional expectations in the same way a registered architect might. That may be true in a narrow sense, but it does not sit comfortably with me. If you are designing homes, advising clients, preparing information, and influencing the built environment, then ethics and competence should not be optional extras.

    The real question is whether the answer to that problem is to strengthen competence across the sector, or to narrow key activities around one professional identity.

    Planning applications feel like a strange place to draw the line

    One of the areas that seems to have caused the most reaction is the idea that full planning applications could become a reserved activity. This is where I think the debate becomes especially messy.

    Planning is important, but it is not the same as detailed technical design or construction sign-off. A planning application often sits early in the project timeline, before the building has entered construction and before many technical decisions have been fully developed. It carries risk, of course, but it is a different kind of risk from the risks involved in detailed building control work, fire strategy, structural coordination, or compliance on site.

    It is also already an area where many other professionals operate. Town planners, planning consultants, urban designers, architectural technologists, and experienced designers all play substantial roles in shaping, preparing, and submitting planning information.

    That is why some of the reaction from planners and other professionals has been sharp. One comment I saw online made the point rather neatly: if architects argue that only they are qualified enough to submit planning applications, a planner could just as easily argue that architects are not qualified enough to do the same from a planning perspective.

    That might be a slightly cheeky argument, but it exposes the problem. Once professional groups start drawing lines around functions, every discipline can make a case for why their expertise should control part of the process.

    Competence should matter more than professional territory

    The built environment does not improve because one title wins a regulatory argument. It improves when competent people do work they are actually capable of doing, and when clients can understand who is responsible for what.

    That is where I think the debate should be heading. Not towards a simple architects versus non-architects divide, but towards clearer standards of competence, better transparency, suitable insurance, and realistic accountability across the whole project team. I tried to approach the RIBA for questions over the level of cover for PI for myself and they simply didn’t want to help or provide guidance. Thankfully the ARB where, although I’m not qualified they were able to give guidance and standards they would expect from Architects as their best advice.

    A chartered architect may be the right person for a project. So might a chartered architectural technologist, a planning consultant, an architectural designer with strong residential experience, or a properly coordinated team of several professionals.

    The project should dictate the competence required, rather than the industry trying to force every project through a single professional doorway.

    Has the architect become a public-facing title?

    This is the part of the debate that architects may not enjoy, but I think it is worth asking.

    Has the architect, in some sectors, become more of a public-facing title than the sole driver of the work? I sometimes refer to them as ‘tv architects’

    In many practices, the work that leaves the office is produced by a mixture of people. Part 1 and Part 2 architectural assistants, technologists, technicians, designers, project architects, directors, consultants, and administrators all contribute to the process. The architect may carry responsibility, lead the design, or oversee the work, but architecture as a service is often a team effort.

    That does not diminish the role of the architect. It simply reflects reality.

    For the general public, especially in small residential work, the distinction is often even less clear. Many homeowners do not know who produced the drawings, who submitted the planning application, or whether the person they spoke to was an architect, designer, technologist, assistant, or director. In many cases, they simply want someone who can understand the brief, explain the process, and help them improve their home.

    That gap between professional identity and public understanding is exactly where this debate becomes difficult.

    The residential sector needs affordability as well as quality

    From my perspective, architectural designers often provide a more approachable and affordable route into residential design. That matters, particularly for homeowners who are not building luxury houses but simply trying to improve the way they live.

    I think many architects forget architecture is a luxury product, there are countless items where the architect cannot provide valuable input because it’s just not econmical. If regulation makes small residential work more expensive without clearly improving outcomes, then it may reduce access to design rather than improve it. That would be a problem.

    Good residential design should not become something only available to clients with large budgets. Extensions, conversions, internal reconfigurations, garden rooms, and modest new homes all benefit from design thinking, but they also need services that feel realistic for ordinary people.

    That does not mean standards should be low. It means the route to competence needs to be proportionate.

    Grenfell should not become a professional marketing tool

    This is the most sensitive part of the conversation, so it needs to be handled with some sensitivity and care.

    The Grenfell Tower fire exposed deep failures across procurement, regulation, product testing, accountability, construction culture, and professional responsibility. It should force every part of the built environment sector to think seriously about competence and public safety.

    What makes me uneasy is when Grenfell becomes a rhetorical shortcut for one profession to strengthen its own position. Public safety should not be used as a decorative shield for professional protectionism. If the argument is genuinely about safety, then it needs to apply across the whole chain of responsibility, not just the parts that help one professional body regain influence.

    That does not mean the RIBA’s concerns are automatically wrong. It means the reasoning needs to be tested carefully, especially where proposed reserved activities overlap with work already carried out by other competent professionals. Proposals to raise standards across the board would be more welcomed such as a unified design certification process for project stages.

    The industry has already diversified

    One of the challenges for the RIBA is that the industry has already moved on. The old idea of the architect as the single controlling professional across every part of a project does not reflect how many projects now operate.

    Planning consultants, technologists, interior designers, project managers, contractors, energy consultants, heritage consultants, fire consultants, engineers, landscape architects, and architectural designers all sit within the built environment. Some projects need all of them. Others need only a few.

    So when the RIBA proposes reserving functions, the question becomes: who gets included, who gets excluded, and how is competence judged? Does that exclude any none chartered members or professions such interior designer or urban designers from planning applications?

    The RIBA’s own position does acknowledge that other chartered professionals may be competent to carry out some of the proposed reserved activities, including chartered planners for planning applications and chartered engineers for building control applications. That is an important distinction, because the debate should not be reduced to “architects only” if the stated aim is competence.

    Even so, many people outside the architect title will be watching closely, because any new framework could reshape who is allowed to do what.

    So, is this about saving the profession or protecting the public?

    The honest answer is that it may be both.

    The architectural profession has real issues. The title is protected, but the value of that title is not always understood by the public nor is it sometimes not respected in the industry. Fees are under pressure, routes to qualification are long and expensive, and many people doing architectural work sit outside the traditional architect label.

    It is understandable that architects want stronger recognition for the responsibility they carry. It is also understandable that architectural designers, technologists, planners, and others are wary of a reform that could restrict work they already do competently. I know a lot of Studios who fly the flag as architectural designers, would they be forced to close?

    That is why the outcome matters.

    A good version of this reform would raise standards across the built environment, recognise different forms of competence, protect the public, make responsibilities clearer, set standards for PI and increase access to the industry. A bad version would simply narrow the market, increase costs, and use public safety language to protect professional territory.

    Final thoughts

    I do not think this debate should be reduced to architects versus architectural designers, or RIBA versus everyone else. That is too simple, and the industry is far too complex for that especially with AI on the horizon.

    The real question is whether the built environment needs clearer competence standards. I think it does. The next question is whether reserved activities are the best way to achieve that. I am less convinced, especially if the system risks excluding professionals who already carry out valuable work with appropriate insurance, knowledge, and care.

    If applications are being approved, projects are being signed off, and clients are receiving competent support, then the measure of progress should not simply be whether the person involved holds one particular title. It should be whether they are properly skilled, properly insured, transparent about their role, and working in the public interest.

    So, is the RIBA’s protection of function a bid to save the profession, or a way to gatekeep the industry?

    That depends on what happens next.

    If it becomes a fair competence-led framework that recognises the wider industry, it could be useful. If it becomes a defensive move to protect professional territory, it risks creating more division than progress.

    And the public, who this is supposedly meant to protect, may still be left wondering what any of us actually do.

    Link to the RIBA article.

    Cover image item base from the AJ Journals Article.

    https://www.riba.org/campaigns/competence-led-approach-to-architects-regulation

  • Quoted £3,000 for a Wood Slat Wall, So I designed & Built One for Much Less

    Quoted £3,000 for a Wood Slat Wall, So I designed & Built One for Much Less

    Before I start, I am not a carpenter..Unfortunately

    Nor am I a builder. I am though, an ambitious local interior designer who loves natural materials, good proportions, and trying to work out whether something can be made better than the version being sold to me.

    So please take the method in this blog with a pinch of salt, and if you are planning to do something similar in your own home, consult a builder or someone who knows what they are doing structurally. What I really want you to pay attention to is the bespoke interior design thinking behind it, because that is where this project became interesting. Sure I’m going to sell you the idea of interior design services but hopefully you can leave here with some confidence on cool design thinking.

    Lately, I have felt that everything in interiors has to be sold as a product, a system, or a complete ready-made solution. There is a panel for this, a kit for that, a luxury finish for something that used to be made by hand. Somewhere along the way, we seem to have lost a bit of that older idea of bespoke, crafted, problem-solving design, where someone looks at a space and asks what could be made specifically for it. I will admit I fall for this or well my wife does, I love Ikea and John Lewis but that’s not saying they can be improved on but more on that in another blog.

    This is where this wood slat wall started.

    Why we wanted a wood slat wall in the first place

    When we moved into our first home, we knew we wanted to bring more warmth into the living space. The room needed something with texture and depth, but we did not want it to feel overly polished or too modern. The aim was somewhere between modern cottage interiors, with clean lines but enough natural material to make the space feel soft, warm, and lived in.

    A wood slat wall felt like the right answer because timber has a way of doing that without trying too hard. Natural materials can elevate a room very quickly, and why would they not? We have been using wood, stone, clay, plaster, and fabric for hundreds of years because they work. They age, they change in the light, and they bring a kind of depth that manufactured finishes often try to imitate but rarely quite manage.

    For me, it was never just about adding a feature wall. It was about using a real material to change how the room felt as a considered interior. looking at the idea of a DIY wood slat wall, or wooden feature wall.

    The quote that made me rethink everything

    Originally, I saw a really nice wood slat wall in an interiors shop and asked who had made it. Needless to say, it came from a company that supplied luxury interior products, which usually means you should prepare yourself emotionally before asking for a price.

    I gave them a call, explained the size of the wall, and was told it would be around £1,000 per linear metre. Our wall is roughly three and a half metres wide, so the cost was heading towards £3,000 very quickly.

    What surprised me even more was that the product was not even solid wood. It was oak-faced MDF.

    Now, I have nothing against MDF when it is used honestly and appropriately, but at that price I expected something more than a timber effect surface on a manufactured board. The alternative was to buy one of the cheaper slat wall products you see in DIY stores, but those often have that slightly fake wood appearance, where the finish looks acceptable from a distance but loses all its charm the closer you get.

    So I was left with two options that did not feel right. Spend thousands on something that was not really solid timber, or spend less on something that looked like a compromise.

    That was when I thought, surely I can build something closer to what I actually want going down the route of affordable bespoke interiors.

    Designing it from scratch

    Once I had decided to make it myself, the first step was measuring the wall properly and thinking about the proportions. A slat wall looks simple, but the spacing, depth, rhythm, and shadow are what make it work. If the battens are too shallow, it can look flat. If the spacing is wrong, it can feel busy or awkward. The whole thing relies on repetition, but that repetition has to feel deliberate.

    I got in contact with Christchurch Timber, who had supplied smaller pieces of wood for me in the past. After explaining what I was trying to do, they mentioned that the minimum batten width they could cut was around 22mm. Even better they could do oak faced MDF for a good price. I believe my cost of materials was around £300 to £350 which also gave a lot of of cuts and spares.

    That became the starting point for the whole design.

    If the timber was cut to 22mm, I could alternate the visible faces of the battens, using the side, then the front, then the side again, to build up the panels. It meant the wall would have a more considered rhythm rather than just being a set of flat strips glued to a backing board.

    This is the part I enjoy most in projects like this. You start with a constraint, in this case the minimum cut size, and instead of seeing it as a limitation, it becomes the thing that shapes the design.

    Building the panels

    I spent a few days gluing the battens together and fixing them to the wall. It was not glamorous work, and I am sure a professional carpenter would have had several opinions about my method, but it worked.

    I used moisture-resistant MDF as rails to attach the panels onto, and I added new oak-faced skirting over the old skirting to allow the panels to sit neatly and create enough depth for the top section. I should say again that this is not necessarily best practice, but it made sense for the space and gave me the finish I wanted.

    The panels were fixed in place using a nail gun, with Gorilla Glue added to make sure everything sat securely. Once everything had dried, I added a top rail with a slight overhang, which helped create shadow and made the whole piece feel more finished rather than just stopping abruptly at the top. Those small types of details are what makes a project come together than merely smashing materials together.

    That shadow detail ended up being more important than I expected.

    What makes a good wood slat wall

    A good wood slat wall is not just about the wood. It is about shadow, texture, and how the light moves across it during the day.

    If you are thinking about adding one in your own home, I would always look at where the light falls before deciding where it should go. A wall that catches changing light will show the grain, depth, and rhythm of the slats much better than one that sits in a flat, dark corner.

    That is where timber really earns its place. It does not stay visually static. It shifts throughout the day, catching warmth in the morning, creating deeper shadows in the evening, and making the room feel less flat overall.

    This is also why ‘real’ timber mattered to me. I say real as its oak faced with real oak edging strips. A printed or fake plastic finish might copy the idea of wood, but it does not behave like wood. It does not catch light in quite the same way, and it does not have the same irregularity or depth.

    Why making it yourself changes the result

    The real benefit of designing something from scratch is not only that it costs less, although in this case that definitely helped. The bigger benefit is that you can respond to your own space rather than forcing a standard product into it.

    You can choose the spacing between the battens, and whether to introduce wider panels, shelves, LED lighting, or a different top detail. You can also make decisions based on the room, the light, the proportions, and how you actually live there. Working with an interior designer and carpenter, I would say now you’re cooking.

    That is the bit that gets lost when everything becomes a ready-made product. Convenience is useful, but it often removes the opportunity to make something personal. I read there’s a boundary between meaningful changes and changes for the sake of profit. Are you doing changes like this to increase the value of your house or are you creating something special to pass onto others.

    Interiors should be personal. Not in the sense that every corner needs to be covered in sentimental objects, but in the sense that the space should feel like it has been thought about properly.

    I know I make a lot of mess when building, I can’t help it.

    What this project proved to me

    The point of this project was not just that I managed to reduce the cost, although going from around £3,000 plus to roughly a tenth of that was obviously satisfying. The real point was that a bit of creative thinking and effort can often produce something more personal than the expensive off-the-shelf version.

    Sometimes, when people think about hiring an interior designer, they imagine someone pointing them towards the most expensive products or pulling together a collection of luxury finishes. But good interior design is not about choosing the most expensive thing in the room.

    It is about looking at a space and working out what will actually make it better.

    Sometimes that might be a high-end product, but often it is a smarter use of material, a more thoughtful detail, or a bespoke solution that fits the room properly. In this case, it was as simple as building a wood slat wall from scratch rather than buying one that did not quite feel right.

    Final thought

    I am not suggesting everyone should pick up a nail gun and start building their own bespoke interiors without help. There are plenty of reasons to bring in trades, and plenty of things that absolutely should be done by professionals.

    But I do think this project says something important about design.

    A good interior is not built from expensive products alone. It is built from good decisions, honest materials, and a willingness to question whether the standard solution is actually the best one. This is material-led interior design

    For us, the wood slat wall added exactly what the room needed. Warmth, texture, shadow, and a bit of personality. More importantly, it felt like ours, not because it was perfect, but because it was designed for the space rather than bought as a system.

    And sometimes that is the difference between a room that looks finished and a room that feels considered.

    As mentioned those off cuts where important as I could add them to other rooms to make features that connected the the rooms together.

    FAQ: Wood slat walls, bespoke interiors and working with a local designer

    How much does a wood slat wall cost in the UK?

    The cost of a wood slat wall in the UK can vary widely depending on the material, size of the wall, and whether you choose a ready-made panel system or a bespoke design. Luxury slat wall systems can cost significantly more than DIY or locally sourced timber options, especially if installation is included. Best idea is to work out your budget first and why you are committing to the project. Of course we spent around £400, tools and extras included but I guess my time was free where as our rough quote we got was 1k a linear metre.

    Is a wood slat wall worth it?

    A wood slat wall can be worth it if you want to add warmth, texture, and depth to a room without completely redesigning the space. The most successful slat walls are not just decorative features, but considered design details that respond to the light, proportions, and character of the room. They can be all the way up to ceiling or just a little addition.

    Can an interior designer help with small home projects?

    Yes, an interior designer can help with small home projects, including feature walls, material choices, layouts, furniture placement, lighting ideas, and bespoke design details. Interior design is not always about full renovations or luxury schemes, it can also be about finding creative ways to make one part of your home work better.

    I like to think of it as this. Why have a room for one purpose when it can serve multiple at roles at once.

    Why work with a local interior designer?

    Working with a local interior designer can be useful because they understand nearby suppliers, trades, materials, and the character of homes in the area. A local designer may also be better placed to suggest bespoke or cost-effective solutions that suit your space rather than relying only on standard products.

    What is bespoke interior design?

    Bespoke interior design means creating a design solution specifically for your home, rather than simply choosing an off-the-shelf product. This could include custom furniture, built-in details, material-led features, or small design changes that make a room feel more personal and considered. It becomes more integrated with local trades to find the best solution for you.

    Do I need an interior designer if I already know what I like?

    You do not need to hand over your taste to an interior designer. A good designer helps refine what you already like, making sure the materials, proportions, colours, and details work together in the actual space. This can save money by avoiding choices that look good online but do not work as well in your home.

    Can a local designer make interiors more affordable?

    A local designer can often help make interiors more affordable by suggesting alternative materials, local suppliers, and bespoke approaches that avoid unnecessary luxury mark-ups. Good design is not always about spending more, but about knowing where spending actually makes a difference.

    If you have some interior projects in mind contact us via the form.