Cabins are customized by the client, produced in completion and delivered as a single unit to a prepared and permitted site, with permissions and installation services all handled in-house. Whether the cabin arrives on an urban rooftop or a pastural greenfield site, the streamlined installation process remains the same.

Each cabin consists of 25 square meters of flexible interior space, with functional zones intelligently and subtly designated by changes in floor level instead of partition walls. Designed with end user benefit as well as construction in mind, the Cabin One product is a high-quality and multi-functional environment for a variety of customers.

Learn how architect-founder Andreas Rauch balances architectural and entrepreneurial thinking about how we might live in the future, and the importance of embracing technology now.

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What is Cabin One?

Cabin One is a new way of minimal living, defined by our name and by our brand. We continue to question and explore what this means.

We developed a fully functional minimal house with 25 square meters of living space. It is produced as a full module, meaning it’s delivered from the workshop as a complete cabin by truck to its final destination, where it’s then lifted to its precise location by crane. The process to build the cabin and to get it installed on location in position is very fast.

Where can you place the Cabin and what are the legal requirements for buyers?

The cabin can be put anywhere: if it’s going in a green meadow in the middle of nowhere, on a mountain or on a rooftop, the procedure is the same. For the green meadow and for the rooftop, you need a permission, of course. As soon as you’re talking about living, you always need a permit, and so in addition to providing the cabin, we also provide the service of an architect to get the permissions for the desired location.

Installation is actually the same procedure no matter the site, but the level of technical difficulty varies. To bring a cabin to the green meadow, you just need to dig a hole, make the necessary installations there, and that’s it. For rooftops, you also need to have technical structural understanding and certified documentation about the condition and performance of the rooftop itself, the loadbearing walls and the structure of the house. You also need to guarantee fire escape and fire protection.

This is a bit more involved than on the green meadow, but it is mandatory to have an approved fire strategy that so that the firefighters can rescue from the rooftop, or you find your own way to get down. You always need to have two exit routes, and while it may be hard to get, there’s always a solution.

Is this also included in the services you provide as an architect, to see if a rooftop would potentially work or not?

Absolutely. We are very experienced with rooftops. We have inspected many rooftops here in Berlin and abroad, and we have a good idea of where cabins can be realistically installed and where it’s not possible at all.

Of course, there are some rooftops where there is no chance to get building permission, but there are rooftops where you can get a permission very easily. From one look at a roof area, we have a good idea if it’s possible or not.

Could you tell us a little about the process from designing and concepting the Cabin to the real product? What were the steps you took and what have been the challenges?

Before we started talking to producers, we were developing and designing the interior as we wanted it for 25 square meters. One main challenge was that we wanted to have one room—a living room—with a separate bathroom because of humidity and so on.

We wanted to separate the different zones of this one main room, even though we are not using walls. This was the central design point we were following. We separated the room by introducing elements which cause separation by putting functions on different levels.

We didn’t want to do this using furniture. You need to move to get a function out of the room. We decided all of the furniture within these 25 square meters has to be fixed because moving furniture around in a small space could cause you to lose things required for a function very easily, and we imagined having to change everything back to a previous function in order to find a lost item.

“We know that combining the design approach and the construction approach just made the whole product better.”

That is not something we wanted to do. So, every function is fixed with different separations. You have a wardrobe in the beginning of the entrance. Then you go through a hallway. Then you come to the bed, which is higher than the other room. Then you go through, and you come to the kitchen. Then there’s a different connection between the bed and the kitchen. Just by changing the levels between parts of the living area, you can be in your own separate room underneath the same roof. This is all the idea of Cabin One.

Then we talked to our producer about how we could produce that concept, because the design and reality are not always on the same page. We worked closely to find the solution for how to construct the cabin, and how to combine the construction method with our design.

This was a very, very interesting process because a member of the production side would say, “This could never work. Please find a solution for that” and we would work to resolve it, and send a new approach back, saying “Could this work? We were thinking of putting a frame there” and so on. From these discussions with the producer, we became aligned with this project.

Sometimes we needed to let go of our idea, but in general we know that combining the design approach and the construction approach just made the whole product better. There is always a solution, and we found the best solution each time for both construction and design.

How did you finance the production process?

We were financed by crowdfunding initially, which gave us a lot media attention all over the world. Then, when we were searching for a producer to make the first prototype, our prototype producer was more or less an investor. He was invested in making the cabin work, using the right materials and resolving all of the technical issues. The execution of our concept and design was his investment, and we had an open dialogue about what we wanted and what the user wants.

You partnered with a lot of companies. Are some invested in your company?

Our partners are mostly contributors who were interested in our idea. Most companies coming from the real estate and building construction industries are not as innovative as they would like to be, and when they saw in our idea, a very innovative idea, they saw a marketing opportunity and they wanted to support us. We have been very satisfied with the feedback of these partnering companies.

We’ve partnered with companies like Gira for switches and VELUX for sky windows. We found a great partner for all the water systems including and toilet and bathroom systems. Then we got Tado as a partner for the smart heating concept. We got Senic from Berlin, another startup helping to making the whole house smart. And Bosch, of course. We have a lot of companies helping us out with our idea. With most of the partners we tried to do co-operation for the series, which is starting right now.

The design of Cabin One is live, and you mentioned creating a series. Are you planning to create several versions of the house like in the automotive industry?

Actually, we changed the official product name to Cabin One, and its Edition Two, because Edition One is the prototype, but all following products will remain Cabin One. And, yes, we started to bring the prototype into a series.

The first series is the prototype to bring it in as a real serial product. The next steps might be connected cabins, maybe stacked cabins, maybe portable cabins, maybe a bigger one, or even maybe smaller one, which could work off grid. We want to develop a big portfolio of different cabins in the future.

Did you raise venture capital so far?

Until now we have found interested friends and people who support us with convertible loans, which are helping us to build up our company. At one point the loans convert to shares of the company, like an angel investment in a way. We haven’t had venture capital investment yet, but we are looking for VC to help us scale.

How do you structure the sales process and distribution of the Cabin?

The first projects are running. We sent out the first applications, and new projects are coming in. It has been a long process to build up the sales channel, but now it’s up and running and it’s working very well.

We got a lot of good response because of our website. If you’re on our homepage, which is one of our first sales tools, you are led through all of the steps to get your project started, and then it connects to us. After you have been introduced to us and to the product for your project, there will be several meetings and you will get in touch with the product to see how it feels for you, and you can test it and so on.

The next step is to make a contract for the service we provide as an architect, to get the permission for the location you have. Once permission is granted, we deliver the cabin to an already prepared site.

What is really important to us is that the customer gets the whole package from one person or from one site, and this is that what we can provide, convenience for them and for us.

So how much does the Cabin One cost in the moment?

The base module is ready to live in and it includes a bathroom with the rest of the space empty. With this module you can add your own furniture, your own appliances, and customize the interior design. The base model starts at the price of €75,000, excluding VAT, so, it’s nearly under €90,000, including VAT in Germany.

There are different additional packages. The first package is for beds, then comes the kitchen, then the e-appliances, and so on, so you can choose what you want from all of the different packages. The whole cabin with all of the packages will cost under a €100,000, including the service of getting it delivered, installed on your site, and lifted.

Who are your customers so far?

In the beginning, we predicted that our customers would be private homeowners who dream of having a second home surrounded by nature, but the results have been very different. There are a lot of different buyers and customers, beginning from B2C clients up to B2B for hotel cases, for example.

We have many clients who are young people, young professionals, but there are also older people saying, “I want to minimalize myself because all my kids are gone from the house. The house alone for me is too big. I want to get rid of the house, so the only thing I would need is just a small place to live.” The range in customers is really big.

You are interested in expanding the way we live in the future and creating a new aspect of how we live in cities. Could you tell us how you are developing Cabin One in these aspects?

From a historical perspective, living as we know it now hasn’t really seen change for the last 100 or 120 years. Before industrialization, people lived differently. The idea of the single-family house arrived, and this became a very popular and mainstream goal for living.

Today, I think there are several possibilities and several theories of how you could live, and they’re very strongly connected to the phases in your life. For example, you get out of your parents’ house, then you start to study. As a student you are often living in a collective. Then, probably after university, you might work for a company where you need to be more or less available all around the world, so you are actually strongly connected to the way of living in a hotel. There are so many different variations of how we can live.

I think that we are just triggering one way of living, and this is not the solution for everybody, but we have a solution strongly connected to flexible living. We call it flexible long-term living. Perhaps the only thing you need personally is a backpack with your computer and phone, where you can see where the next cabin is free and waiting for you, and you come in and find in the cabin with the same furniture and the same way of using the space as in the cabin you have been in before.

In this case, it’s wouldn’t be the space anymore which is changing in your life, it’s you changing the place where the space is, and this is an experience, and then we are talking about experience living. This is actually what we want to go into more deeply, where we want to push our research.

Do you track data within your cabin, like a Tesla does for example, so you would learn how the customer uses it?

No, not at the moment, but it could be a very interesting model. For example, we could offer someone to stay in the house for free, in exchange for their data. Or the other way around, we don’t want to have any of your data, but then you would pay a rate for living in the house. So, maybe there are models for this. We’re not the only ones thinking about this idea. Of course, living can be, and it will be, very strongly connected to data in the future.

“Living can be, and it will be, very strongly connected to data in the future.”

Are you planning on going internationally?

Absolutely. We are based in Berlin currently and it’s a goal for us to expand internationally, but we are already international in terms of the European Union as some of our team are working in Portugal and Austria. We have projects running all around Europe so far. And as we get bigger, we need to ask ourselves how we are going to expand and where, but this is absolutely the plan of the company.

How have the last three years of building your product and startup changed your thinking as architects?

Fundamentally, I’d say. The way architects think is typically very focused on how to solve problems in a spatial organization. But to build up a company and to find a product market fit for a product, which is actually a house—this is not the normal way of thinking for an architect.

“I can still think as an architect, but I can also think as an entrepreneur.”

It was very challenging for me to think differently at first, but in the end it was absolutely worth it. My perspective on things changed fundamentally. I can still think as an architect, but I can also think as an entrepreneur. Combining these two skill sets has been very interesting and been very hard work, but it was absolutely worth it.

What are your thoughts on the future of the built environment? How can it improve, and what continues to inspire you?

First of all, you should not deny the technology of the moment and the speed at which it’s developing. It’s important to be interested in several topics, not just architecture and new materials on the market for architects. Built environment professionals should be interested in a lot of things including mobility, data services, and of course, smart homes.

This knowledge of adjacent fields and embrace of technology comes with the architectural role. You should try to have a very good overview of all these things, which begins in architectural education.

To be successful in university and become an architect, it is most important that architectural skills are progressed and refined. Of course, outside of university, it is important that the buildings architects design actually get developed, but the architect is missing the education and the connection to the business and real estate market outside. This aspect of architectural education should be prioritized by universities because it is very important that future architects also know how to sell their design to a customer or to a client, and this, somehow, I missed in my university. —

The post Minimal, Modular & Mobile: Cabin One is a New Way of Flexible Living appeared first on Archipreneur.

David’s story is an inspiring one and one which demonstrates that using one’s individual skill set to build a thriving, successful enterprise is entirely possible and achievable, even as a young architect at an early point in one’s career. And this, crucially, without the several years of hard graft that’s a common prerequisite for graduate architects prior to securing their first project or client.

In our interview, David explains how his architectural sketching endeavor, Sketch Like an Architect, initially came to be and how he later developed it into a business that is now his full-time job and primary source of income.

David talks informatively about how to use architectural sketching as a marketing tool and shares his thoughts about the profession through the lense of his millennial generation.

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What made you decide to found Sketch Like an Architect? Was there a particular pivotal moment that sealed it for you?

Actually, there was. I can trace it back to a specific period in my life, when I was studying architecture at Aalborg University in Denmark. I’m originally from Prague, where I completed my bachelor’s degree. After finishing in Prague, my girlfriend and I decided to broaden our horizons and go abroad to do our master’s degree in architecture. We ended up in Denmark, at Aalborg University, or AAU. It’s a great school, but whilst there I also encountered some things that I found frustrating and dissatisfactory. So I guess you could say Sketch Like an Architect was actually created out of frustration.

What I experienced at AAU was that many of my peers really weren’t used to sketching things out by hand, or laying out their initial ideas through quick, pen-and-paper hand sketching. I initially thought, “That’s fine – they just use software and can jump straight in that way. It’s just a different approach.” But gradually I realized that when we discussed ideas together, the communication in general just wasn’t very smooth. And as architects, when you work in groups, it’s all about communication. Not just verbal communication, but also visual, right? Being able to visualize and communicate your ideas is integral to what we do as architects.

There would often be misunderstandings, not just because of the language barrier, but also because of the different ways we visually presented our ideas. It became very obvious very quickly just how clearly and effectively – or not – one was able to communicate their ideas.

This whole experience got me thinking and so, after I graduated, I thought, “Hey, I know a couple of tricks and really easy tips on how to get into the flow with architecture and sketching, on how to find your style, on how to get things down quickly on paper…”, and I’d always found that to be a really useful, valuable skill. I knew from experience that others valued it, too. I found myself wondering if perhaps others, even outside of the architecture profession, might also find it interesting, even in an era where the big focus is on technology and BIM, and all that awesome stuff. Which, don’t get me wrong, I’m also a huge fan of.

But I truly believe that there’s a huge amount of value in analogue, in hand sketching, and that it’s an important skill that we can still utilize and benefit from even today.

But I truly believe that there’s a huge amount of value in analogue, in hand sketching, and that it’s an important skill that we can still utilize and benefit from even today. So, Sketch Like an Architect initially came from this sense of frustration that architectural sketching, sketching by hand, was a skill that just didn’t seem to be being employed as widely and effectively as it could be, as a way of sharing and communicating ideas.

When did you discover your talent for architectural sketching for the first time?

I’m not a big believer in talent. If you define talent as something that comes naturally to you, and it’s a prerequisite that you’re just good at it naturally, then great, if you’re one of those people with that natural aptitude. But I don’t think I’m very talented when it comes to drawing or sketching, actually. I’m a big believer in putting in the effort and hard work, and really practicing to hone a skill. I think having that kind of commitment and discipline is much more important than, you know, the initial talent you may or may not start with, because either way,  you still have to develop your skills. I think it’s really important to get into the habit of practicing every day, to keep in shape and continue improving as much as possible.

I’m not a big believer in talent. […] I’m a big believer in putting in the effort and hard work, and really practicing to hone a skill.

As a kid, I spent a lot of time drawing – mainly superheroes like Batman and Spiderman, the Ninja Turtles, stuff like that. And then, once I got to my teenage years, I stopped. I didn’t want to sketch because I was afraid it wouldn’t be as good as I imagined it. Then I started again at architecture school in Prague, and that’s where I really learned to sketch properly, through studying the basics of architecture, and learning architectural sketching, which is quite a specific style. It’s completely different from industrial design sketching, for example. Industrial is much more dynamic and often uses markers, and very confident, fast strokes. Those things aren’t necessarily present in architectural sketching.

But I really took to the style of architectural sketching – it felt good to me. Not everyone I studied with enjoyed it, but it felt right to me. So I started using it often, as a tool for both design process and presentation. It seemed like the natural choice, because it was fast. You could brainstorm, you could solve problems, you could ideate, and you could communicate quickly when you were discussing with your supervisors, for example, or your peers. That’s the beauty of architectural sketching.

And from there, I just continued practicing and honing my craft. It’s been much more about the process and journey of development than about any initial talent, for me.

And then you developed that skill into an actual business, sketchlikeanarchitect.com. So how did that go? What was your first idea for a product and your vision for it?

There was absolutely no vision at the beginning. I had no idea where I was going with it, really, and I certainly had no intention or ambition to make it an online business. It was really, if anything, just a side hustle, not really focused on earning any money. After we graduated in Aalborg, my girlfriend and I moved to Copenhagen to look for jobs, and there was a period of unemployment where I was very focused on getting a job and preparing and submitting applications, getting my portfolio together and networking, all that stuff. Looking for a job was almost like a full-time job in itself.

But during that time, I did also manage to set aside some time for my own personal project. I thought it would be cool to create a little guide on how to sketch like an architect, with tips that my peers, and maybe even some other people, might find useful. At that time I was really delving into online courses, and learning a lot from courses on different platforms. So I thought, “Maybe I can create an online course myself.” I find it a really nice medium because it’s mostly video, so it’s very engaging and interactive. I really liked the idea of sharing my architectural sketching skills with a wider audience in this way.

So I got to work creating that, and alongside that, I put together this little PDF handbook which summarized all the information, including all the tips and tricks and the worksheets. These two products – the online course (affiliate link*) and the PDF handbook, have actually, unexpectedly, turned out to be the most popular products I’ve created.

That’s how it started, and it’s the backbone of what it’s become and what it is today. The PDF handbook (affiliate link*), a 60-page PDF document, and the accompanying online architectural sketching course (affiliate link*). I was just scratching my own itch, in a way, not to mention learning a lot in the process. As they say, it’s the teachers who really learn the most, because as a teacher, you have to really dig deep, do lots of research and practice a lot so that you can pass on your knowledge and skills to others. It was a really enjoyable process for me, and a huge learning curve.

While I was creating these, I was still unemployed. Eventually I started using Instagram, which I’d been putting off for a long time… it wasn’t until early 2017 that I really started posting frequently on the platform. I had decided to use it as a gallery of my works in progress, to share what I was working on, to share my sketches. Over time I learned more and more about Instagram and how it works, what hashtags are for and which combinations were most effective, etc – all those little tactics and practicalities. I became really hooked, actually. I’m a very visual guy, so it was very visually satisfying and addictive both to consume and to produce that kind of content.

So, that’s how it went, during my unemployed phase after graduating. I started this little architectural sketching endeavor and the rest, as they say, is history.

Great, and today, are you living from Sketch Like an Architect, or are you still practicing architecture on the side?

As I say, I started Sketch like an Architect with no real long-term vision or plan. I eventually I got a job as an architect in Copenhagen, and I kept SLaA going as a side hustle. It generated a little income, but not the sort that I could really live on. But we recently moved back to the Czech Republic, Prague, and I can now say that it’s been what I do for a living for some time now.

You have over 100K followers on your Instagram channel. That’s an impressive number! Do you think that a good social media strategy can lead to new clients for architects? And how important is it for Sketch like an Architect?

Yes. Our social media following has grown a lot. I actually put together a strategy, a vision, at the very beginning when I started using the platform, which I still stick to now. It’s basically just about providing valuable content on a very frequent, consistent basis. The question of what valuable content is is something that we talk about a lot these days. It’s well known that a valuable piece of content is either entertaining, educational, or inspirational/motivational, and ideally, you’d have a combination of these aspects in every piece of content that you put out.

I was always focused on providing tips on architectural sketching, tips and tricks, and showing not just “nice sketches”, but also to pose the question, what makes them nice? What makes an image work, and why does this particular image work well? I always try to break it down and translate it into tips that anyone could easily apply to their own illustrations.

That’s the kind of value I’ve always strived to provide. That’s my overarching, general strategy. Then, along the way, I’ve just learned more about the practicalities, about optimal frequency, about hashtag combinations, and so on. But it has both its advantages and disadvantages, a platform like Instagram. It can be very profitable in the sense that you can gain attention, which is basically the main goal of all businesses. The modern world we live in is a very hectic, very saturated one with lots of distractions, and everyone’s competing to get a little bit of your attention. Consumer attention is the most valuable commodity there is for businesses.

Instagram provides a great way to get attention if you know how to use it, and if you know how to provide valuable content on a sustainable and consistent basis. It’s really about thinking long term. It’s not about posting 10 posts a day, but, more importantly, about considering how long you’re able to sustain that. It’s about sustainable frequency – that’s really important. It’s an extremely useful platform for gaining attention, but at the same time, Instagram works on very instant basis, meaning that whatever you post has an extremely short shelf life.

If a post is three days old, no one really cares about it anymore. It’s that quick. It’s like a hamster wheel that you need to keep spinning in order to sustain or promote your growth, otherwise you run the risk of stagnating. So that’s a big downside of Instagram, because it can be really daunting and frustrating, and it requires a huge amount of very consistent work and upkeep. Particularly when you compare it to YouTube, for instance; you can make a video on YouTube, and it still gets views years after you originally posted it. With Instagram, it’s a different story.

It’s definitely a downside that I’m now more aware of than ever before, and I’m now trying to focus on something more long-term and more sustainable than just sprinting on the hamster wheel. In retrospect, knowing what I know now and what I’ve learned through experience, I have a sense that the time, effort and energy that that requires might be better invested elsewhere.

Instagram has also grown and developed since I started out on the platform. As a result, organic reach is decreasing hugely and I imagine it’s become much harder to grow in the way as I grew, for instance. As you said, we have over 100,000 followers now, and it’s been two and a half years of pretty much solid, daily work. But now, it would potentially be much harder than that.

So, of course, it always depends on your aims, your vision and what you’re trying to achieve, and it’s important to consider all of that in deciding whether Instagram is the right platform for you. It has its upsides and downsides, like anything else.

Would you say it’s an effective tool for architects, for example classical architects building buildings, to find new clients?

I still believe so, yes. I think it’s a good and sustainable strategy to share your process as you work as an architect, documenting your work, showing your work with clients. Stuff like: How’s the progress on that project? How was your site visit? How does an initial idea go from a sketch on paper to an actual physical realization?

I think that’s a very exciting process, and one that very few clients are actually aware of, or have an idea of how long it takes, what challenges it presents, the level of detailed preparation and thinking required. So I think it’s really interesting and exciting to share this kind of progress to educate your potential clients.

So if your aim is to get more leads and more clients, then you should put out content that is focused on and targeted at these clients. Not targeted at other architects.

So if your aim is to get more leads and more clients, then you should put out content that is focused on and targeted at these clients. Not targeted at other architects. That’s not the point, right? It’s about being approachable and about showing that you’re still human being behind the complex processes of your profession, and that you’re open to communication with potential clients. I think that could be a really solid starting strategy for many architects looking to make new professional connections and secure new clients.

How do you think architects can embrace their architectural sketching skills and use this as a communication tool in their marketing plans?

I think it’s actually very aesthetically appealing and attractive to share the initial sketches as part of the communication process. It could just be at the table in a client meeting, sketching things out together. I think it’s so powerful; sketching is a tool that, for me, opens up a dialogue beyond verbal explanations and imaginings. It’s much more open, because when you see sketched out images, you don’t have the sense that it’s set in stone. Architectural sketching is flexible, a process, and you can make changes. You can interact, you can contribute with your own doodles or sketches, as well as your words.

So yeah, I think it’s extremely effective to invite clients to approach projects in this way, as a way of getting a clear idea of exactly what the client wants, as well as discussing outer constraints and legislation, and site analysis, and all the stuff that’s essential in shaping your concept together with the client. I think architectural sketching is just a great, very natural, fast tool, in getting started with the developing of that concept.

I think using architectural sketching as a tool for communication and a way of engaging with the client on a more human, relational level is very important.

Of course, there will be clients that may perceive sketches, hand sketches, as something amateur. I’ve experienced that. It’s just a matter of taste. Some people are much more used to shiny digital visualizations, CAD drawings and stuff like that. If you bring a sketch, some people, albeit a small minority, might find it unprofessional, because they’re expecting computer generated images or drawings. So it really depends on the client you work with. But I believe in really engaging them in the process, and solving problems together with their feedback and comments on the sketches is just one of an array of very valuable approaches in how to market yourself.

It’s all about the communication, and how the client feels. The client doesn’t just want, for example, a home they would love to live in, but they also want to feel assured that you, as an architect, will accompany them through the process safely and professionally, guiding them along the way, and that you’ll take care of any issues which need resolved in order to successfully make their vision a reality. For the client, it’s all about feeling safe and in good hands.

So I think using architectural sketching as a tool for communication and a way of engaging with the client on a more human, relational level is very important. Architectural projects are usually a very long process and can be very challenging, and I think we as architects need not only to educate our clients, but, just as importantly, to show that we are there for them. We are serving them. We are providing a service. So, in an ideal world, the proceedings and communication should be as smooth as possible.

You represent a new generation of young architects. What are your thoughts on the profession in general? How would you like to see change in the future?

It’s a very big question. From my perspective, and particularly with reference to where I live, in Prague, I think we should be focusing much more on sustainability, on having a very environmentally aware approach. There are three pillars – environmental, social and economic, and I think focusing on all three of these aspects is an approach that we should be taking today. We need to be thinking more about future generations and leaving the Earth in a better state than we found it.

So that’s one thing. I think the other, which is connected to that, is about how we approach building altogether. When I was in school, we were mostly focused on designing new buildings, but what’s really in demand right now is reconstructions, refurbishments, taking care of old buildings and doing conversions and adapting them. I think this is a very healthy approach – taking what we already have and thinking about how best to work with it, because demolition is not always the answer. I feel that that’s a very necessary approach, and a healthy kind of architectural practice in the modern world.

Do you have any advice for Archipreneurs who want to start and build their own business?

It might be a little cliché, but clichés are based upon some truths, after all. I’d say that self-awareness is key: knowing what you are, who you are, what and who you want to be, what your weaknesses and strengths are, and where you can help other people, how you can be valuable to the world. Zone in on those things and find your niche, and be very specific about your target audience, the people that you want to serve.

What I’ve found along the way is that it’s always an ongoing process. I really want to help architects, designers and hobby sketchers, so those are the main groups I try to serve. These can be split into two rough groups: on the one hand, there’s a professional element to it, architecture students and professional architects, and professionals in neighboring areas such as interior design, landscape architecture or even civil engineering. Then there are the hobby sketchers, which is the non-professional group. Urban sketching is actually a hugely popular pastime. So upon discovering that, I realized I could potentially really help those people, too.

I didn’t realize how lucky I was in the beginning to have found my niche, and that this niche, architectural sketching, is kind of a mixture of architecture and drawing, and it’s actually quite narrow, as is, of course, the nature of a niche. It’s focused. But, at the same time, this particular niche is very fruitful, and there are plenty of people engaging with it. So in terms of business, it’s actually very sustainable, and this concept, this model, can work.

So, yeah, I think those are the two most important things to focus on: knowing who you want to serve and providing those people with value. And it’s important to remember, of course, that providing value usually involves providing useful, interesting content for free, on a consistent, regular basis.

You have to put yourself out there. I recently read a quote. I don’t know the author, but it stuck with me: “It’s not about being the best. It’s about being the best-known.” So you have to really market yourself and put yourself out there, which can be a daunting thing at first. But you have to take the plunge and go for it, because you never know what might come in return.

How do you see the future of the architectural profession? In which areas (outside of traditional practice) can you see major opportunities for up and coming architects?

I think it actually depends on how society perceives the role of an architect. It differs from country to country. What I really love about this profession is the very universal skill set that you have when you graduate from school. As an architect, you are capable of much more than just the production of architecture, producing drawings and bringing them to life in the physical world.

Our skills are, in part, very artistic, which lend themselves to areas like graphic design, video production, 3D modeling and rendering, and so on. We also have a wealth of very technical knowledge in terms of things like civil engineering. I thought about this myself a lot when I was looking for a job and trying to build my professional profile. I personally found myself much more interested in visual communication and visual presentation of architecture beyond just producing some drawings in AutoCAD.

That’s also the reason why I left my first job. I left shortly after my probation period was over, because I felt like it just wasn’t the direction I wanted to go in. I spent all day drawing in AutoCAD, clicking away on my computer, and I felt very unfulfilled. After leaving this first job, I decided to focus my professional profile even more on visual presentation of architecture, and I learned that there are actually at least three areas of architecture, in a broad sense. I’ll explain:

What I mean is that there’s the production phase, production area, which we’re trained to do at university. But there are at least two more equally important areas, which come at the beginning and at the end of that process. At the beginning there is inspirational phase, where the initial ideas and visions are born. So, there’s inspiration, there’s production, and afterwards, when production is completed, there’s the marketing and promotion. This means thinking about how you promote existing and new architecture, and the new developments of architecture, the urban themes of cities, stuff like that. And actually, in these two areas, the initial inspiration and the promotion at the end… there aren’t many people specializing in this kind of work.

I feel I can bring more value to those two areas than to the production, because the production is already somewhat oversaturated with architects. There are plenty of people producing architecture. But there are not that many people who provide inspiration at the initial stages of the process, and also who promote and celebrate what has been done following its completion.

I’m trying to talk quite broadly about the many different options and possibilities for architects, because as I’ve said, these are the areas where architects have the very broad skill sets required, but aren’t necessarily using them to their full potential.

I myself am still very young for an architect, so I can’t speak from decades of experience, as I don’t have that yet… so I can only speak from where I stand right now. And what I can say is that, when I was studying architecture, I only saw one path: to become an architect and to produce architecture, to design, to do the drawings, to see it through to realization. But there are so many more paths you can go down as a trained architect. That’s been a huge relief for me. I think it’s fantastic that I can take my skills as an architect and use them in other, neighboring areas, and not just directly in architectural production. I truly believe that the career possibilities for architects in the modern day and age are richly varied and that young architects today have, in many ways, broader horizons than ever before.

About David

David Drazil is a young architect, who loves to sketch. With passion for visual presentation of architecture, he’s sharing freebies and educational resources on how to #SketchLikeAnArchitect.

During his architectural studies, both in the Czech Republic and Denmark, David found his passion in the visual presentation of architecture – namely architectural sketching, visualisations, animation, and virtual reality.

In 2016, David graduated from Aalborg University in Denmark with a Master of Science (MSc.) degree in Architecture and Design. David has gained working experience from both Czech and Danish studios, such as Cigler Marani Architects, KHR Architecture, and Danielsen Architecture.

David has a successful online presence on his website SketchLikeAnArchitect.com and on Instagram – by sharing daily tips & tricks on architectural sketching, David has built a community of over 100k fans.

Today, his work includes online and live teaching, speaking at universities and conferences, architectural and graphic design projects, and multiple collaborations including sketching apps for iPad called Morpholio and ShadowDraw.

*Some of the links above are affiliate links, which means that if you choose to make a purchase, we will earn a commission. This commission comes at no additional cost to you. We are a participant in the Gumroad and Teachable affiliate program, affiliate advertising programs designed to provide a means for us to earn fees by linking to affiliated sites and products.

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How did you come up with the idea of starting a digital platform with a focus on engineers and architects?

We realized that the status quo of the application and job search process for architectural or engineering related jobs has room for improvement, mainly in terms of generating relevant search results and leads. The majority of potential employers posting job vacancies do not find their desired talent audience in a systematic manner. We were discussing the shortcomings and challenges in this regard and tried to understand the opportunities for improvement. Naturally we looked into ways how to digitize this and make the entire journey more intuitive for both employers and candidates.

Aside from the basic submissions when looking for a job such as a CV, in our industry space candidates typically will spend (too) much time creating and updating a portfolio. Unfortunately, a creative portfolio will often give a potential hiring manager only a cursory overview or vague picture of your actual capabilities and relevant experience.

For employers, the process of finding a pool of skilled candidates with relevant skills can also be cumbersome. Typically, this involves researching by asking around in your professional network for suitable candidates, as well as looking to a social network. Most companies will post vacancies on their own company websites, sporadic job ads or carry out a dedicated search via headhunters (given a certain level seniority for the open role). Unless a candidate is approached by a headhunter directly (assuming headhunters know where to find top candidates), a candidate’s active job search will be like looking for the needle in the haystack.

Talent within the built environment sector is no longer solely attracted to practice for its strong design and aesthetic sensibility. Today’s top talent also expects an agile working environment which embraces new technologies and established, functional workflows for collaboration and knowledge sharing. No one is looking for a 9-7 cubicle job any longer.

Can you tell us more about the process of creating and starting SKILLARY? What steps did you take?

We are very fortunate to have a great team of mentors and advisors who have continuously supported and encouraged us to follow through on this project. We refine our concepts, test various options along the way, remain open to the team’s feedback and make changes as necessary to help our solutions and products evolve.
This thought process and system of feedback loops were very helpful to develop a clear, solution-oriented mindset and focus on the key barriers. It is one thing to develop a product; but to make sure that it has an actual market is of course paramount.

Why do you think the recruitment process in the building industry is broken?

Broken seems a bit harsh. We don’t feel it is broken but rather feel that it is not yet digitized to a healthy extent. We conducted a survey in 2018 which showed us that merely 30% of all engineers and architects are listed on job or career portals. Clearly, active candidate sourcing via these portals will never lead to adequate results if 70% of the talent pool is in stealth mode. At the same time, our survey indicated that 90% of the same audience would list themselves if there would be a subject matter platform available.

In addition, companies have increasingly complex demands on the skills and abilities for new talent. A mere architect or engineer is no longer in demand. Today, companies are frequently in search of specialists for a certain assignment, with other adjacent skills such as relevant IT proficiency.

While recruitment agents and job portal services work to provide a digital product for job seekers and candidates to interact directly, quickly and efficiently, these platforms do not provide the special subject matter needs in order to be a real asset for our workforce and talent. For this reason, SKILLARY offers a new talent and tasks search feature. As a job portal focused specifically on our industry; we at SKILLARY understand that our sector is subject to constant change and reinvention.

Smaller firms with limited headcounts will often not have a dedicated HR person or department focused on traditional talent management and recruiting as well as on digital recruitment including the social media channels involved. Digitally linking architects, engineers and other professionals to potential employers is a great benefit to complement classic recruiting tools, if not substitute them entirely.

How would you like to develop the company in 2019?

By the end of 2019 our objective is to offer a fully developed platform that enables both candidates and employers to explore collaboration opportunities using an adequate user experience / UIX. We have successfully launched our MVP during the BAU2019 in January 2019 in our hometown Munich. From here we want to roll out into Europe, starting with Germany as a case study.

Do you have any advice for Archipreneurs who are interested in starting their own company in the built environment?

When launching your start-up, have a plan A, plan B and plan C ready. Also, 24/7 ­commitment to your vision is as important as your founding team.

What are your thoughts on the future of the built environment? How can it improve, and what continues to inspire you?

Future projects will be digitized further in order to share learnings from completed projects. There will be many developments in this space and we are keen on being part of this journey. We hope that SKILLARY will contribute to this transformative phase of our industry. —

About SKILLARY

Julia Stöckert
Founder & CEO SKILLARY

Andrea Kaiser
Founder, COO SKILLARY

Andrea Kaiser and Julia Stöckert, both originally from the Munich area, met on their first day of studies at Technical University of Munich (TUM) to study architecture. They worked together closely on various projects and assignments, particularly during their tenure as student research assistants, where they had valuable exposure to the responsibilities and challenges around the planning of larger scale buildings. Andrea and Julia completed their architectural studies and graduated from TUM in 2011.

Andrea then continued her academic career at TUM where she was responsible for the organization and management of the postgraduate Masters program for ClimaDesign. She also practiced as a freelance architect and worked for other architectural offices in Munich where she gained hands-on skills.

After graduation, Julia started her career at one of the leading German architectural companies where she was engaged in international projects, mainly for large industrial clients. Through that project work she learned first-hand about the complex challenges of large projects and how to develop good systems, interfaces and frameworks to identify and conceptualize solutions. She also continued TUM as a teaching assistant, and she began working as an independent architect in 2016.

At the end of 2018, Andrea and Julia founded SKILLARY.

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The office name of LAVA architects contains the word “Laboratory“. How do you span the conceptual link between architecture and research and what does it mean for you?

Tobias Wallisser: Architecture has always held a position between art and technology. Moreover, art and technology share the common ground of working in experimental ways. That is exactly what we wanted to stress by including the word “laboratory” in the name of our architectural practice, LAVA architects. Deliberately we did not include our initials but wanted to stress that we cultivate different ways of working together. In the end this also leads to fresh ways of generating projects.

Experiments are something we are very much interested in. We are equally dedicated to research just as we fulfill our clients’ needs and demands. For us, architecture is a wide ranging discipline that actively contributes to answering contemporary questions and concerns. In other words, our practice is a laboratory that conducts experiments with a very defined input and a clear research agenda.

Alexander Rieck: As a researcher in a lab you always have a clearly defined approach of analysis – assessing variations, finding conclusions and conducting the research to a final result. It is never linear but consists of parallel informed processes. That is similar to our design approach. By using different digital tools we are able to synchronize different design approaches in order to find the most ideal one.

Besides that, when entering one of our offices you are likely to encounter numerous experiments we are doing to improve our projects further. We love to do mock-ups and build prototypes ourselves in order to learn more about the process, the technology and its application.

Which of your current projects is the most innovative from the research point of view?

Tobias Wallisser: At the start of every project we immediately look for its potential of innovation. As a matter of fact, the German Pavilion at the Expo 2020 in Dubai is a good example to illustrate this further. From the beginning it combined a wide range of research fields, unifying the research into one single project. Due to the federal German political structure, we needed to find a cohesive agent that on the one hand expressed diversity and on the other hand, unity.

In our project this proved ideal as we ended up with different research elements which were united in one total environment – the German Pavilion as a vertical campus. Seen from this angle, the entire project offers a vast potential of innovation in most different ways. It is our goal to make this pavilion as exciting as possible, integrating as much research and innovation as we can possibly do in both the structure itself and the exhibits.

Both of you teach and research. How do both of you use the knowledge and information you retrieve from your academic pursuits in your architecture?

Alexander Rieck: I started my research work at the Fraunhofer Institute 20 years ago with topics such as virtual and augmented reality. In those days that kind of research had a strong focus on automotive and shipbuilding industries. However, my deep seated passion has always been for architecture and how modern technology can be adopted by the construction industry.

For example, at the Fraunhofer Institute I have been involved in the “Office 21” project for over 20 years now. There we study new concepts of work, like collaborative work spaces or co-working centers. In parallel I did my PhD on “Well-being at the Workspace”, in other words, how to integrate the psychological and physiological effects of the office environment into the planning and construction processes.

Nowadays that kind of research is very virulent because it deals with creative spatial environments in connection with the individual and cooperative well-being. And, as a matter of fact, all of this information is also flowing back into our architectural practice.

My students will be the architects of the future, and they will have to be equipped with the right knowledge, tools and ways of dealing with clients as well as the problems of society.

Further research initiatives of mine have dealt with the future of hotels and the “City of the Future” (“Morgenstadt”) where our office worked on MASDAR City in Abu Dhabi with regard to topics like traffic, energy and the Smart City. Right now I am involved in the subject “Construction site 2030” which deals with the future of the job-site and digital planning processes in combination with industry 4.0 and artificial intelligence (AI).

Tobias Wallisser: There are mutual benefits in running an office and pursuing an academic career at the same time. Teaching keeps you in constant touch with young people, their needs and their views of the world. On the other hand, the daily practical experience in the office tells you what makes the world go round. My interest in teaching brings both of these worlds together.

My students will be the architects of the future, and they will have to be equipped with the right knowledge, tools and ways of dealing with clients as well as the problems of society. Of course, there are also the aspects of teaching which identify future opportunities for architects, introduces you to new tools and ways of thinking and working. I personally like the speculative nature in teaching. There is a nice quotation by Wolf Prix (Coop Himmelb(l)au) saying that: “Tomorrow, today will be yesterday”. For me teaching is exactly about this relativity of time.

Your office designs a very broad range of projects, anything from a skyscraper in Abu Dhabi, the German Expo 2020 Pavilion in Dubai, a speculative office building for start-ups in Berlin or even a youth hostel in Bayreuth. Where is the common link?

Tobias Wallisser: Well, that is a very good question. If you have an office, you sooner or later become an expert in some fields of design. On the other hand, architects are generalists. We are educated very broadly, we are trained to have a wide range of interests and knowledge. Take for example an office building. It is not just about delivering a certain number of square meters at the cheapest price possible. That is not architecture, as only one parameter of many has been investigated.

Unfortunately, a lot of architecture nowadays is done just like that. However, for us at LAVA architects it is more productive to ask: “What type of office building is it? What type of work will be done there and what environment does that type of work really need? Asking these questions allows us to define specific answers.

Often, we rephrase the question and at the same time start the process of providing the answer(s). Take the instance of the Bayreuth Youth Hostel. The question was, why would you stay at a youth hostel at all? With regard to the food on offer, the bunk beds etc. it may not be a very desirable experience. Our answer was: A youth hostel is no standard type of accommodation. It may be simple and rough however, it creates lots of opportunities of meeting people and making friends. So, we designed a shell or a shelter that offers plenty of chances for social interaction. We looked into modular systems, but redefined them.

Our module is not a boxed space. It is rather a space-divider that accommodates all the infrastructure, i.e. showers, baths, toilets and the beds. Thus we ended up with a fairly unique spatial arrangement inserted into a larger structure. And at the same time, it has become a very adaptive structure – a concrete building with a wooden facade which could easily be converted into a kindergarten, a school or an old people’s home.

Alexander Rieck: The link is the approach towards the project. Sometimes we test our ideas in small projects and only then we are able to integrate them in bigger projects. The same amount of passion is injected into all of our projects, though sometimes you can pour more resources into bigger projects.

Have you been cultivating a particular LAVA architects style of design?

Tobias Wallisser: Our architecture is not about a signature style, on the contrary it is a specific way of dealing with problems creating opportunities. However, we go even further by rephrasing and redefining questions – i.e. often the original brief – we have been asked to solve. We systematically single out the space for innovation, research and for a new interpretation of basic needs.

Of course, we still see us as architects or designers with a clearly defined design intent. There is also a certain spatial language which we prefer, but that is secondary. Our pure interest is in developing something innovative as an answer to human needs.

Alexander Rieck: At the moment we are facing a very interesting period when a new architectural epoch appears on horizon, i.e. one that is based on a digital society. Let us challenge the new opportunities and redefine our design accordingly.

Are you implementing technologies like BIM or AI in your architecture and design process?

Alexander Rieck: Naturally, we use a lot of newly emerging tools and implement them into our design work. But, for example, BIM is no tool in our design process. Namely, BIM descripts a data linkage from which you deviate a planning process or a plan. Yet, within the entire digital cycle BIM is only one step and must not be overjudged. In the architectural design process you only have approximately 10% of extreme creative peeks. During the rest of planning process the work deals with rules, regulations, building codes, databases, material products, which are all parts of operative processes. Here, I believe, is a huge chance for automation with the help of AI.

The massive change in architecture will be the switch from linear processes to multi-parallel planning.

However, the massive change in architecture will be the switch from linear processes to multi-parallel planning. There a variety of “umbrellas” will open up – optimized and automated – for each individual design scenario. That will be totally different development processes which will also generate different business models.

Tobias Wallisser: Every designer, architect or any other person who deals with this technology should always ask the following question first: “What can I achieve with the help of this technology which I have not been able to do before?” For instance, most people in the Western world possess a smartphone, hence we might do away with street signs as people could easily find their ways with the help of their phones. Just think, what such an approach would do to architecture?

Therefore, technology should not just be a tool that helps you doing things digitally. It should rather enable you to generate a new environment, for example. Let us revert to the German Pavilion and the Expo 2020 with its motto “Connecting Minds”. We picked it up and interpreted it like this. Every visitor to the German Pavilion will be interconnected with any other visitor during his stay by an intelligent name tag. This will enable every single visitor, if they wish, to interact with each other freely. Theoretically each visitor should get a better understanding about his environment, socially, intellectually and even architecturally.

How do you collaborate with engineering practices such as Transsolar?

Tobias Wallisser: Architecture is a team sport! The size of what we have to consider is far too large for a single person to look at. Driven by the design process experts from different fields are introduced. The architect, as the generalist, is maybe the diplomat whose task it is to negotiate the deal. One could even say the architect is the glue!

The architect, as the generalist, is maybe the diplomat whose task it is to negotiate the deal. One could even say the architect is the glue!

This includes finding out ideal partners, i.e. experts. It is a very complex optimization process where you try to incorporate a lot of different parameters into one experience. That is something which I as an architect like very much. As a result of the negotiations we need engineers with strong opinions, which are rooted very much in contemporary life. In the end it is all about shaping life and you need people to look at that from very extreme points of view.

Alexander Rieck: Being on the cutting edge of architecture we always need the input of people with a similar approach. We love to implement their ideas and some of these outstanding international engineers enjoy working with us. Once you have the right team you are able to perceive a project as a comprehensive entity and not just as a collection of single problems.

Architecture is in a constant process of transformation. Where do you perceive the greatest advances and where do you think lies the future of architecture?

Tobias Wallisser: Architects are natural born optimists. Architecture is also a very slow discipline and there is a lot of disruptive transformation around us. We must not embrace everything at first sight, we have to retain a critical function. Therefore, it is necessary that most architects remain optimists, making a positive contribution in generating better lives for more people. I think that is our challenge.

Technology is one part in that equation, but it is not the only part. One has to look at the broader picture. There are ongoing transformations in many fields, we architects must “edit” the use of technology. In this context I still love what Cedric Price told one of his clients, “You don’t need a house, you need to divorce.”

Certainly, the next great step will be the integration of artificial intelligence into the planning processes and that will bring new solutions in terms of optimization.

Alexander Rieck: In future architecture and the construction industry will be collaborating much further. As a result we will experience different architectures and development processes. Certainly, the next great step will be the integration of artificial intelligence into the planning processes and that will bring new solutions in terms of optimization. Three key aspects are paramount to any kind of future architecture:

1. Reduction of worldwide carbon dioxide emissions: We have to build for 11 trillion people on this planet and simply cannot carry on as before.
2. Digitalization: It affects everything from production, schools, entertainment, shopping to new spaces which fit the demands of society.
3. Building procedures: We need new planning and building regulations as well as new business models in context with new information and data sets.

With all of these developments, I think, we are in the frontline of a renaissance in architecture which will also generate a new architectural language. These are very exciting times and it is a pleasure taking part. —

About LAVA Architects

Award winning international practice LAVA architects was founded in 2007 by directors, Chris Bosse, Tobias Wallisser and Alexander Rieck and was the 2016 European Architecture Laureate. LAVA architects combine digital workflow, nature’s structural principles and the latest digital fabrication technologies to build MORE WITH LESS: more (architecture) with less (material/energy/time/cost). Currently, 50 architects work from three locations on projects worldwide.

Chris Bosse
Director

Chris Bosse heads LAVA architects Asia Pacific and is based in Sydney where he is Adjunct Professor at the University of Technology, Sydney. Educated in Germany and Switzerland, he worked with several high-profile European architects before moving to Sydney. Whilst Associate Architect at PTW Architects in Sydney he completed many projects in Asia and the Middle East. His work on the Watercube Olympic swimming centre in Beijing received the Atmosphere Award at the 9th Venice Architecture Biennale; and he won an Emerging Architect Award from RIBA in 2008 London and a 40 Under 40 Award in 2012 and Australian Design Honour at the Australian Design Centre in Sydney in 2015.

Alexander Rieck
Director

Alexander Rieck, Director of LAVA architects, is based in Stuttgart where he works as a senior researcher at the renowned Fraunhofer Institute in Stuttgart. After receiving a degree in architecture in Stuttgart and Phoenix, he started his research career in the virtual reality environment. Having led many Office 21 research projects, he is a renowned expert on innovations in the fields of office, hotel, living and future construction, and an author of many publications about working environments and building processes of the future.

Tobias Wallisser
Director

Tobias Wallisser, Director of LAVA architects, is based in Berlin and teaches as Professor of Innovative Construction and Spatial Concepts at the State Academy of Fine Arts in Stuttgart. As Creative Director at UN-Studio in Amsterdam for 10 years he was responsible for many projects, the most prominent being the Mercedes-Benz Museum and the Arnhem Interchange. After receiving an architectural degree in Stuttgart, he completed a post-graduate at Columbia University (NY) in 1997. He worked with Asymptote Architecture on the Virtual New York Stock Exchange.

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In the Archipreneur Insights Report 03 we explore 3D printing in architecture with features about the design-driven tech companies Aectual from Amsterdam and 3F Studio from Munich. Both focus on digitally printed architectural products. Aectual founder Hans Vermeulen shares insights about how the company generates tools that enable architects to bring customizable and sustainable architecture to their customers. Mass customization is also a central topic of Berlin-based startup Cabin One, which developed a 25 square meter minimal, modular and mobile house as a new way of flexible living.

The featured architect-founders in this issue reflect the substantial changes in the fields of architecture and design due to globalization, rapid urbanization and technology. Martha Thorne, Dean of IE School of Architecture and Design and Executive Director of the Pritzker Prize shares her thoughts on the future of architectural education and the changing role of architects. Archibiz founders Ray Brown and Bec Kempster break down their top 3 tools for running a successful architecture business today, and Bryon McCartney shares strategies to improve and convert your firm’s website to attract the clients you want.

Opportunities are growing for architect-developers too. Carmen Panadero, Director of the Master of Real Estate Development at IE University also shares her thoughts on the Real Estate Industry in times of digital transformation. In an interview with Jonathan Tate, Founder of OJT, you will learn about his successes developing his own projects in New Orleans using alternative financing models.

The Archipreneur Insights Report 03 – Contents:

• The Future of Architectural Education & The Pritzker Prize in a Globalized World
• Minimal, Modular & Mobile: Cabin One is a New Way of Flexible Living
• Digitally Printed Products: Bringing Tailor-Made Design to Everyone
• Business Skills for Architects: What They Don’t Teach You in School
• Injecting Creativity: Bringing Architectural Imagination to Life
• From Research to Reality: Recyclable, 3D Printed Facades
• Real Estate in the Digital Age: An Industry in Transition
• Why Most Architecture Firm Websites Suck (and how to fix them)

Read the Archipreneur Insights Report here…

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