The focus of architecture at university in the early 00s wasn’t enough on people, so I wanted to steer my working roles in that direction. If I am really honest there also wasn’t enough happiness; my days of undergraduate study were marred by an eating disorder. So I’ve strived ever since to make architectural education more fun (and by that I mean a space in which mistakes and experimentation are welcomed as the process by which we learn), more relevant to everyone and more open to enjoying multiple influences rather than a singular vision. ​

 privilege to be able to do so with such a diverse range of voices. I am always learning.
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Concurrently and unforgivably in this day and age, social mobility continues to go backwards, particularly in the creative industries. Until I see this tide change, I will be driven to undertake these rather mad but wonderful builds – and hopefully raise aspirations, build skills and open up new avenues for the next generation.

I’d love to have more time. Matt, Lucy, Tilly and I all have multiple jobs. That is good – it keeps things fresh and you definitely don’t get bored - but it is also born out of financial necessity. It would be amazing to have more time to devote to this initiative and to maximising the value it can offer. More time to draw, paint and make would also be fun, and to test out new models for collaborative practice, design and making.
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My architectural education at the Mac and the Bartlett tutored me in the creative and technical processes of designing buildings as an individual author. Nothing prepared me for the reality of architectural practice where the process of making architecture is a collaborative, shared process where negotiation, and sometimes compromise, are generally critical to success.

I do what I do because I can see the profound and positive impact my collaborations bring to others. By sharing the skills I have gleaned over the years, I am able to empower and enable those I work with to positively shape the places in which they live, work and play.

Much of my time is spent being reactive and consumed by the morass of decision making and agitating that required to bring our projects to life. One very small positive to be gained from all our recent isolation, is the real benefit that having mental space to reflect, brings to thinking creatively and strategically. As the world speeds back up I will cherish this space and defend it from being eroded. I hope to think more, do less and make better. 
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​I finished my schooling and first degree in New Delhi before moving to London for my Masters at the Architectural Association. I have had an architectural career of 18 years, with work experience spanning India, UK and Hong Kong. The last 15 years of that have been with Zaha Hadid Architects. 

​In my role within Zaha Hadid Architects, the projects I have personally delivered have made a positive difference to the revitalisation agenda of the programmes that were associated with them. 

They include the 2010 RIBA Stirling Prize-winning Evelyn Grace Academy in Brixton, delivered as part of the Academies Program giving Lambeth their first secondary school in one of the poorest wards of London. The design of the school was seen as instrumental in bridging the ties between a fragmented community. It made it onto the ‘Brixton 5 pound note’, used by local traders. 

I also delivered the 2017 RIBA London Awarded ‘Mathematics : The Winton Gallery’ which was part of the Science Museum Group’s on-going regeneration masterplan. Since opening, the gallery saw visitor footfall of over a million within the first year and a marked increase in retention times. Working closely with the curating team, we have successfully redefined the perception of how STEM subjects may be displayed to straddle both educational and artistic aspects. 

​Zaha Hadid of course has been a significant influence in my life at a personal and professional level. Working with Zaha for over a decade taught me to question the obvious and pre-established cultures that we operate within. I am driven to re-imagine them, and to relentlessly test those thoughts to find creative solutions that work for all. 

Within the built realm, I find old world architecture fascinating. Structures like the Kailashnath temple in the Ellora Caves near Mumbai and the Incan architecture of Machu Picchu are a testament to how complex problems can have very precise and simple solutions. These are engineering feats which have defied time. 

And the third thing that I probably spend a lot of time observing and understanding is our social cultures and sense of identity. I was born in Damascus, have lived in New Delhi, London and recently Hong Kong, but many people probably think I belong on Mars. My personal experience together with the knowledge that architecture might create a sense of place, but this would mean nothing if it does not serve the numerous social contracts that we try and abide by. These in themselves are constantly evolving, meaning a sustained fascination for creating design which enriches this experience.

From an early age, I enjoyed creating spaces. My sister would always complain that I would spend time with her building a giant barbie house out of cardboard blocks, but then I never wanted to play with the dolls. I do feel quite guilty about that now. When I was a teenager, I would sit at my art desk and take my Dad's graph paper to start drawing designs of my future home. Even my high school boyfriend worked at Philip Johnson's estate in New Canaan, Connecticut, but those are stories for another time.

I ended up at the University of Massachusetts studying history because I wanted to understand what had happened in the past to get us to where we are today. I loved reading autobiographies of people's lives and what they did to influence their future. I had taken some architecture introductory classes, but I wasn't sure what the degree would entail so I wasn't convinced at first that it was right for me.

While I enjoyed learning how history unfolded through lectures by great story-telling professors, my creative side was growing impatient. Apart from having a terrible memory at remembering dates, I felt the need to learn in the here and now. I switched majors after my first semester to test out what architecture was like and at once, I knew it was for me. I thrived on the architectural process of research, testing and learning from peers and professionals.

​During the first weeks of my second year at school, the September 11th tragedy happened, which changed everything. My architecture class entered The World Trade Center Memorial Competition and it was then that I really learned about the connection that architecture has with people. We discussed how spaces can share in the role of comforting, addressing the process of grieving and being thoughtful. It was the first time that I really considered the value of architecture. This relationship between architecture and people was ingrained in me then and has always been of particular interest to me and my work. 'Architecture is for people' is a phrase I continue to come back to.

During undergrad, I spent an incredible summer living in New York City and interning at the New York Historical Society researching the history of Times Square for an exhibition by one of my professors, Max Page, called "Crossroads of Desire : A Times Square Centennial" for the AXA Gallery in NYC. I discovered then that apart from the rich built history, it was the people who made this space - from the strip show girls and punters to the artists and actors. The stories of characters were endless. I didn't realise it then, but I think this experience gave me the confidence to think about curating projects on my own.

I was encouraged by my professors to take a year out and go work in the industry, but my desire to push through led me to apply to Pratt Institute which had just started a graduate architecture programme run by Bill MacDonald. As one of the youngest students there, I dove in eagerly to learn the software programmes, catch up as best as I could with students who had been working in practices for years and who had much more life experience than I did. Living in New York City, learning with people from backgrounds such as dance, banking, engineering and more from architects who were from every corner of the world was inspiring. It was a two year whirlwind of memories and friendships that will last a lifetime and opened my eyes and gave me the confidence to keep striving higher.

Bill MacDonald suggested that I interview with Zaha and Patrik when they came to town for her Guggenheim show in NYC. I don't think I had ever been more nervous in my life knowing this was an incredible opportunity for me to start my career. I met them both in the Mercer Hotel's restaurant along with my future colleagues and friends pacing the pavement outside waiting for their turns to discuss their portfolios.

I moved to London right after graduation in 2006 and began work at ZHA on a series of competitions. After about two weeks, I decided I didn't want to be an architect, but I wanted to do something for the greater good of the profession.

I started a gallery called Nous with two architect friends and that was the first step to where the Museum of Architecture is today. Luckily I was moved to interiors and furniture at Zaha's where I worked with very encouraging colleagues and I credit their belief in me with giving me the courage to take the step to venture out on my own.

After three and a half years I left to re-brand the gallery as the Museum of Architecture and create the consultancy, Nous Collaborative.

While I am no longer working for an architect, and never became a licensed architect, I feel so strongly about what I do in educating the public about architecture and encouraging architects to be entrepreneurs. Architecture is for people and we need to give people the reasons to care as much as we do.