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In the process of implementing circular economy within the built environment, quantifying progress and performance towards this effort has posed a substantial challenge. In response, this paper reviews the current state of building-specific circularity indicators, creates a taxonomy, and integrates them within the Royal Institute of British Architects (RIBA) Plan of Work, a commonly employed framework within the UK's built environment. Through a systematic literature review considering both academic and grey literature, 32 building circularity indicators, developed by academia, consulting agencies, and governments, are identified. The first contribution of this study is the creation of a taxonomy of building circularity indicators, which classifies the identified indicators into 8 categories, such as basic characteristics of indicators, circularity level, and sustainability pillars. The second contribution of this study is the alignment of circularity within the stages of Plan of Work framework. It is revealed that the framework does not currently incorporate circularity, resulting in the proposal of a new Stage 8: End of Life to encompass demolition, disassembly, and deconstruction activities. Alignment of the taxonomy to Plan of Work framework provides a guide in utilization of building circularity indicators throughout the process of designing, constructing and operating building projects. • Building-specific circularity indicators are reviewed for the built environment. • A taxonomy of 32 building circularity indicators is created across eight categories. • A new Stage 8: End of Life is proposed for RIBA framework to enhance circularity. • The circularity indicators are integrated with the RIBA Plan of Work framework. • A traffic light approach is employed to guide the use of circularity indicators. [ABSTRACT FROM AUTHOR]

This paper introduces findings from the Recycling by Design Research Project (Phase I) (see note 111Note: Further information on the Recycling by Design Research Project, including all project reports, can be obtained from the website: http://www.recyclingbydesign.org.uk.). The importance of developing new markets for recyclate in the UK is first established. Selected research findings are then presented from a questionnaire survey response obtained from 539 architects and 142 designers, and follow-up interviews conducted with 20 of those respondents. These findings identified that UK architects and designers do not currently specify recycled products and materials, and that there are a range of obstacles to their doing so. A concluding discussion briefly examines the UK Government’s current position on addressing such obstacles. [Copyright &y& Elsevier]

The article focuses on British architects and architectural historians' gradual discovery of Spanish Romanesque and Gothic architecture in the nineteenth century. Topics covered include the important role played by Swiss artist Johann Heinrich Müntz in prompting British curiosity for Spanish Islamic and Gothic art and British writings about Iberian architecture. A parallel interest in Spain's Christian architectural heritage is also cited.

An essay is presented examining the history of 16th century fortification-building in England and the different forms of expertise that were used by the state. Details are given overviewing the adoption of domestic builders as experts after failures in dealing with previous Continental workers. Further analysis is offered comparing the dynamics between experts by knowledge or experts by experience within the arrangements.

There can be little argument that the design jury features as a key symbolic event in the education of the architect. 1 However, while the centrality of the design jury as a site for learning disciplinary skills, beliefs, and values is now widely acknowledged, there continues to be considerable disagreement about what is learnt and how. While critical pedagogues argue that the design jury is a critic-centered ritual that coerces students into conforming to hegemonic notions of professional identity, the more commonly held conception is that the jury is a student-centered event that supports students in the construction of their own architectural identities. 2 This article, inspired by Michel Foucault’s studies of relationship between power and the formation of the modern self, reports on the findings of a year-long ethnographic study carried out in one British school of architecture. 3 The research sought to unravel the complexities of the design jury as a site of dichotomous power relations, and the findings bring into question the efficacy of the design jury as a ritual that supports useful learning. The article concludes by proposing that the design jury be replaced by a new set of pedagogic events that are carefully constructed to support student learning. [ABSTRACT FROM AUTHOR]

The article focuses on the issues related to the architectural profession of the 1960's in Great Britain. The author stresses that the debate might appear forceful, while he has made samples from a single building type utilized to stand for the state of the profession as a whole. It cites various journals that addressed different parts of the profession including "The Architect's Journal" which viewed the public need of practical help that negotiate the minefield of regulations and construction techniques, the "Architectural Review" which talked on the disinterested public and the "Architectural Design" which deals on the impartiality of the profession.