There is a moment of realization that occurs when you get your first real job in an architectural office that maybe architecture school and what is now going to be expected from you are a little out of phase with one another. Are you prepared, do the differences matter, and what happens when you come to the conclusion that your job and almost everything you have experienced so far based on your time in college, seem so different. Have you made a terrible mistake, or are things about to get amazing? Welcome to Episode 170: Studio versus Real Life
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today we are going to be talking about the differences between the studio experience of architecture students versus the realities of an actual job. There are a handful of emails that I routinely receive and in almost all cases, I would write a blog post with my normal response so that rather than rewriting my answer to the same question over and over again, I could simply point them towards the blog post on the matter.
01 The Pace is Different jump to 3:49
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I’ve noticed that once you transition from school to professional practice, the pace of architectural work changes drastically. In school, you might have an entire semester to refine every last detail, but in a firm, every hour is assigned a dollar value (that might be an overly dramatic way of saying it but not entirely inaccurate). As your experience (and billing rate) grows, so do expectations for quicker, more efficient problem-solving. It can be just as cost-effective to pay a higher-rate veteran for one hour as it is to hire a newcomer for five. That dynamic pushes me to rely on my familiarity with codes, circulation, and design principles without having to look everything up or explore countless dead-ends.
At professional architectural offices, this emphasis on speed is front and center. We frequently prepare proof-of-concept studies before contracts are even signed, compressing weeks of design into just a day or two. Recently, another colleague and I modeled a 160+ key hotel with retail, a parking garage, and amenities—complete with a commercial kitchen—in roughly a day and a half. Though not entirely final, it was accurate enough to move forward with confidence. This accelerated process can be stressful, but it also highlights how crucial experience is in making fast, informed decisions
Speed and stress
02 Project Typology jump to 9:24
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I’ve been thinking about project typology—the kinds of buildings we design in school versus the kinds we actually end up designing in the real world. In my own college experience, I worked on three or four museum projects, but I’ve never once designed a museum in my professional career. Instead, everyday architecture often involves strip centers and anchor stores, which are obviously less flashy. Yet someone has to design them, and that’s where many of us find ourselves in practice. It doesn’t mean there’s no pride in such work; in fact, the hotel project I’m involved with now is shaping up beautifully, with plenty of room for creativity and thoughtful design moves.
Still, there’s an undeniable difference between the conceptual exercises we tackle in school and the real-world projects we take on later. My theory is that academic assignments are intentionally fantastical because professors want to teach you how to think rather than lean on preconceived notions. In school, you might end up designing a space for traveling poets and butterfly researchers—something so unusual that you can’t rely on a cookie-cutter approach. My colleague suggests that projects like museums and interpretive centers also have simpler programs, which keeps students from being overwhelmed by logistics and allows them to remain creative. Whatever the reasoning, I’ve come to realize that those outlandish academic projects serve a valuable purpose: they stretch your imagination and push you to develop a rigorous thought process, even if you never actually design a museum once you enter the workforce.
03 The Technical Aspects jump to 12:42
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Always believed that student projects covered plenty of technical ground, but real-world constraints quickly showed they barely skim the surface. Dealing with mundane realities—like how a janitor moves trash or how cities regulate dumpsters—forces problem-solving before aesthetics can truly shine. At first, everything revolves around intricate technical demands, and only after grasping them can I circle back to making the design look great. Colleagues like Lane Acree, who have mastered these complexities, seamlessly incorporate them into the creative process, proving that once the fundamentals become second nature, the focus returns to the art of design.
Never expected to watch someone struggle so much with a simple CMU house until a coworker overlooked basic requirements like pilasters and conduit for electrical. Walking him through those details underscored just how much the technical side drives aesthetic decisions. Mastering these elements early means fewer surprises down the road, avoiding a scenario where each new discovery upends the entire design. Progressing from school’s aesthetic-first mindset to a place where technical expertise is second nature marks the real evolution in professional practice.
04 Drawings are NOT the End all Be all jump to 20:18
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Seems like there’s more to architecture than just producing drawings. Putting together specifications, managing budgets, meeting with clients and contractors, and handling contracts can be just as significant as the design itself. Serving as a de facto project manager brings unexpected tasks, such as running OAC meetings every week, taking minutes, and aligning everyone’s efforts before a construction set ever gets issued.
Turns out the “end-all be-all” label often assigned to architectural drawings doesn’t hold true in practice. Drawings stand as a crucial piece, yet they only represent one facet of a larger machine. The actual work involves constant coordination, financial oversight, code compliance, and a lot of communication to ensure a project can be built smoothly and legally. These responsibilities highlight the multifaceted nature of modern architectural practice beyond what’s taught in studio.
05 Design is Not the Only Path jump to 0:00
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Seems clear that pursuing architecture doesn’t mean everyone becomes a designer. School programs tend to suggest otherwise by focusing almost exclusively on design, causing some students to feel inadequate. Yet countless other roles—project management, business development, specifications, and more—are essential to running a successful practice. Gaining exposure to these possibilities early could save many from quitting simply because they don’t see themselves as star designers.
Education could benefit from a broader, Bauhaus-inspired framework that introduces multiple paths before students commit to specializing. Skills like communication, financial oversight, and marketing can be just as vital as producing beautiful drawings. Many paths exist, and tapping into each person’s unique talent makes for a healthier, more resilient profession.
06 There are No Solo Tasks jump to 0:00
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Working in architecture means continually collaborating with a wide range of professionals. In school, group work felt rare, but in practice, every project features numerous players—colleagues in your own firm, specialized consultants, and sometimes even separate design teams. An ambitious courtyard concept for a hotel might start with an internal blueprint, yet the final shape reflects input from landscape architects, structural engineers, and other experts who each have a say.
Staying flexible is crucial because the best solutions often emerge from diverse perspectives. Sometimes it’s tough to watch another team alter your design, but handing off tasks to the right specialists results in a stronger overall project. Even when disagreements arise, respecting others’ expertise leads to projects that function well and satisfy clients, proving that architecture is far from a solo endeavor.
07 It is Not Your Work jump to 0:00
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Fulfilling a client’s vision under real-world limitations defines professional practice. Preferences, budgets, and consultant input often override personal design ideals, reinforcing the reality that architects serve as facilitators. The ability to work in any style, even one that doesn’t resonate personally, distinguishes a professional from a hobbyist who only produces what they personally admire.
A recent hotel project highlights this dynamic. Installing a dumbwaiter to move food from a ground-floor kitchen to a rooftop bar sounded ideal, but high costs threatened to eliminate it. The final decision preserved the dumbwaiter by reallocating funds elsewhere, illustrating the balance between design goals and client constraints. In the end, the project belongs to the client, so every choice—from materials to overall style—reflects their tastes and priorities.
08 School Juries vs. Client Meetings jump to 0:00
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Encountering a school jury can be a draining experience. Standing alone in front of critics while they dissect every perceived shortcoming leaves many students feeling personally attacked. That environment often contrasts sharply with client meetings, where feedback is more constructive. Clients may disapprove of a direction but generally remain focused on collaboration and solutions rather than harsh criticism.
Observing this difference makes it clear that real-world practice has a different energy. Clients are typically excited about seeing their projects come to life, so even criticisms come with a sense of forward momentum. The school environment aims to push students to learn quickly but can feel negative in its intensity. While both experiences offer valuable lessons, client meetings show how genuine collaboration and shared goals create a more positive framework for design discussions.
09 Construction Exists jump to 0:00
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Seems clear that school doesn’t fully prepare anyone for the lengthy and intricate process of construction. Spending a year designing a building doesn’t compare to the one or two years (or more) watching that design come to life. A dedicated construction administration team can consist of people with decades of experience, guiding the project through countless hurdles that no studio assignment could replicate.
Realized early on that high-end residential work is less likely to encounter catastrophic mistakes, because master craftsmen often intercept problems. Commercial projects, however, can spiral quickly if something major gets overlooked. That hard-earned knowledge of budget constraints, code compliance, and damage control is what shapes a true understanding of architecture, far beyond the design studio experience.
10 You HAVE to Communicate jump to 0:00
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Developing strong communication skills is essential for growth in any architectural office. Relying on emails or hoping to avoid direct contact simply doesn’t work in a field where collaboration drives every phase of a project. Clients, colleagues, and principals all expect quick, clear interaction rather than ticketing systems or unreturned messages.
Encounters with a team member who tried to dodge face-to-face requests only reinforced that point. Owners will walk straight over if they need something, and the project’s success depends on engaging promptly. Being responsive and personable not only cultivates positive working relationships but also accelerates career opportunities in ways that solitary focus never could.
Hypothetical jump to 57:15
There is no monetary incentive to help guide you in your decision making process when answering today’s hypothetical question. The goal in these questions is really to force you to think through the loopholes and help define the rules so that both answers are equally terrible. Sounds like fun, right?
You have to choose between speaking like a pirate or an old prospector for the rest of your life … Which one are you going to choose and why?
I will admit that it took some time to figure out how an old prospector sounds (this was our best clue – prospector Gus Chiggins) , and do you have to use the appropriate vernacular and
Ep 170: Architecture School versus the Real World
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Cheers,
