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I used to think designing in school and designing in practice were two different worlds. In this episode I argue the opposite: schools of architecture need to teach the same design process students will use when things actually get built. The test case? The dreaded overnight scheme — your boss tells you at 5pm that a design goes to the client tomorrow morning. No time for precedent studies, no lecturer feedback. So how do you become an expert overnight? The case study is the formula: that same evening, go visit a building of the type you're designing. Watch the users, feel how it works, note the construction, the ventilation, the thermal comfort — then ruminate, reflect, and draw your scheme. Skip this, and all you can offer the client is form-making: the latest style, a glass façade, and a superficial grasp of the actual subject.

This is also a case for visiting everything — not just award-winners to fanboy over, but mundane, straightforward buildings where you ask the unglamorous questions: how does the drainage work, where does the water tank go? An architect is the jack of all trades who can still be a master of many, and clients know it. So why isn't this learning the prerogative of architecture schools? School is where you can make mistakes without a real client — and if your building isn't pretty but it works, judge yourself: the tutor may give you a C, but your effort was an A. Get the process right in school, and you enter practice hitting the ground running.

© 2026 Talk Architecture, Author: Naziaty Mohd Yaacob. AI generated image.
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The Design Process is Crucial to understand by tutors and students.
Continuing the Q&A sparked by a listener's comments on my YouTube series, this episode tackles a question every student of architecture wrestles with: how much precedent analysis is enough before you start designing? My answer — designing is not a linear process. Analysis doesn't end when the scheme begins; it happens all the time, through every progress, interim and final crit, and even after the drawings look beautifully finished. The critics are analysing your work, and so are you — every time you massage your plans, letting the parts inform the whole. That famous "big sketch" that suddenly became architecture? What got published hides all the thought, reflection and reworking in between.

The real danger is paralysis by too much analysis — wanting everything perfect before daring to draw, often out of fear of a harsh critic from a previous session. But drawing a scheme is analysis: a sketch plan mapping the relationships between spaces is one of the most powerful analytical tools you have, and you can always loop back once the scheme doesn't feel right. Along the way I share how we ran crit panels in my studios — timing panellists, following up at the desk to interpret the feedback, and never re-inviting critics who tore students down. Your work is your baby, but a crit is a dialogue, not a verdict. Get rid of the fear, learn from the past, and move on.

© 2026 Talk Architecture, Author: Naziaty Mohd Yaacob. AI generated image.
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Scrolling Threads, I came across a post by Mior Aizuddin Fahmi of Bunga Design Atelier, setting out a pyramid he'd been given by Kevin Mark Low: the project at the top, then subcontractor, main contractor, community, requirements and brief, consultants, architect — and the client at the very bottom. Put the client on top, and the whole thing collapses. Commenters pushed back immediately. Isn't the client the paymaster? No client, no project. Mior's answer: yes and no. We're talking about a great project. The client is the foundation that makes it possible — money, ambition, opportunity — but if every decision flows down from one person's preference, the community becomes an afterthought and you get a monument rather than a collective piece of work.
I'd take it a step further. What this really maps is knowledge. The client is the one person on that list who arrives without it — what they have is money, and money isn't everything. So the architect's job is to interpret everyone else's knowledge and educate the client, which is exactly what Kevin Mark Low told me years ago: teach the client, and if they aren't interested, they'll go and find a different architect. The subcontractor holds the craft, the main contractor the management, the community the social meaning, the consultants the technical reasoning. The architect stands beneath all of it and holds it up. And with great money comes great responsibility — the client carries the most of all.
Copyright 2026 Talk Architecture, Author: Naziaty Mohd Yaacob.
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Malaysia is debating the repeal of the Universities and University Colleges Act 1971, and I want to go further: abolish AUKU, and abolish the MQA with it. Speaking as a former academic who felt the injustice of that Act first-hand, I don't see the equity in a law with the power to suspend students and force out staff — or the need for a qualifications agency layered on top of professional accreditation bodies that already do the job. Architecture already has LAM. Medicine has its own. So what exactly is the MQA for, beyond the "graduate on time" targets and publication counts that push supervisors and students towards work nobody believes in?
Then the harder question: what is a university actually for? I sketch an alternative — learners accumulating credits across institutions, seeking out the professors who genuinely teach rather than the ones distracted by research, verified by employers rather than certificates. Universities were built around the campus in an era before any of this was possible. Architecture education in particular has drifted towards rewarding form-making and software fluency when it should be teaching students to identify problems. Education is going to change whether we like it or not, and repealing AUKU is a step in the right direction.
© 2026 Talk Architecture, Author: Naziaty Mohd Yaacob. AI generated image.
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Most buildings and workplaces are built around one narrow prototype of how a person should communicate, learn and behave — and that choice stops looking like a choice once it becomes the standard. Drawing on Eva Redford's research-based essay How Society Excludes Autistic People by Design, this episode traces how institutions turn neurological difference into disadvantage without anyone needing to hold a biased thought. As Redford puts it: normal is not neutral, and it never was.
From there we turn to the physical environment: sensory design, acoustics, lighting, colour, smell and the power of genuine choice about where and how to work. Roughly 15–20% of people are neurodivergent, and companies like Microsoft and SAP have built hiring programmes around the strengths they bring. Yet universal design still says almost nothing about neurodivergent needs — a gap I'm still working out myself, and one worth naming out loud.
© 2026 Talk Architecture, Author: Naziaty Mohd Yaacob. AI generated image.

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Do subscribe for premium content and special features which will help to support and sustain Talk Architecture podcast on a more in-depth explanation on design thesis and processes. These special commentaries and ‘how to’ explanations are valuable insights and knowledge not found elsewhere!