14
INSIGHTS Adapting to change
Although the practice has designed several award-winning university buildings, Emrys explains that the old OJEU procurement system made it diffi cult to secure further projects in the education sector. This prompted a shift towards private-sector commercial projects.
Emrys goes on to outline the challenges the practice faces today.
“Today, the two biggest challenges are fi re and planning. Fire, post the Grenfell disaster, has understandably called for a whole new level of compliance. This does create time lags which can sometimes be a bit frustrating. I still wonder if it would have been a lot better to simply update and tighten up the Building Regulations to ensure fi re safety, making the complicated process smoother. In terms of planning – we need to fi nd a way to unblock the system to get things moving and built.”
Ethos
While the practice has evolved considerably over the years, one of its core principles has remained constant. Emrys explains, “The principle that has remained constant is that it’s not all about me. This has meant that the studio has naturally evolved.” This ethos is refl ected in the studio’s “Practice with purpose” philosophy, which sits at the heart of Emrys Architects. The practice’s stated mission is to improve the world, placing purpose and the wider impact of its work at the centre of its approach. Emrys expands on this: “In our case, our purpose is to design every project as well as we possibly can, thereby improving the lives of those that inhabit our spaces, and hopefully through that design journey, infl uence/nudge their views about the built environment.” The practice also hopes that this dialogue encourages people to be more aware of the issues of the day, while potentially helping them to address the challenges of tomorrow.
Culture
The practice’s emphasis on listening extends to its staff. Emrys believes that creating an environment where everyone feels able to contribute is essential to the way projects develop. “Listening to clients is key to any project. If you don’t listen, then you don’t get the brief right, and if you don’t get the brief right, then the project goes off the rails very early on. We have been very lucky with our clients. They have been very loyal to our practice, and part of the reason for that is because we listen, and then we go the extra mile to make sure we have interpreted their requirements correctly.” That same principle applies within the studio, where Emrys encourages team members to take ownership of projects from the outset. “As part of this listening process, it’s also important that all members of our team feel involved from the get go, and that their opinions are also listened to. To achieve this, we encourage ownership and autonomy, because we think that is the way people build confi dence. We also discuss projects as a team so that everyone understands the issues and opportunities. Wherever possible, we try to avoid ‘second hand’ briefi ngs.” The practice has also retained a studio-based way of working, post-Covid, viewing it as benefi cial for communication and collaboration. Alongside the day-to-day interaction between colleagues, the practice has a regular social and cultural programme. This emphasis on connection, he suggests, is part of the wider responsibility the practice feels towards its people. Ultimately, the same consideration for people informs how the
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practice approaches project designs. Emrys’ ethos doesn’t separate looking after the team and delivering good architecture, seeing them as facets of the same approach: understanding what people need, listening carefully and refl ecting those needs in the work.
Design approach The studio doesn’t claim a standard design signature, but instead deploys a ‘consistently bespoke’ strategy to each project by enquiring, questioning and keeping an open mind. Emrys explains, “Having that open outlook always creates a bespoke and often surprising design solution for each project. As much of our work is retrofi t, every project has a unique signature.”
This approach is something the practice actively encourages staff to pursue with every project. Emrys characterises the outcome as a “narrative/handle that gives each building an overall coherence/ legibility to the design.” For Emrys, the constraints of the sites the practice works with can also become a catalyst for creativity. “As much of our work is in central London, on tight, highly constrained sites, that pressure often seeks creative solutions, which is our true signature.” With each project, Emrys aims to combine both effi ciency and
delight. Emrys explains that the key to providing a result that embodies a client’s character is to “take the client with you. At the end of the day, it is their building/home, and therefore it needs to refl ect their sense of humour.”
ADF OCTOBER/NOVEMBER 2026
COURTYARD CUPOLA A retrofi t combining two buildings in Bloomsbury for Great Portland Estates to form the Courtyard building offi ce scheme includes a cupola repurposed as garden room © Emrys Architects
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