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Graduation for architecture students is always daunting. After enduring a course of surpassing training, the path to our profession is yet unknown. Fortunately, the contemporary world has various opportunities to offer.

The practice of architecture has changed over time and has become diverse. The idea of an architect as the sole mastermind in design composition has moved to a collaborative and collective vision.1 The practice, huge or small, has become dependent on different agencies and stakeholders: its team, the users of today, the future recipient,2 the environment and the advancement of technology.

Today, architecture is not only aesthetic and physicality but also has become relational, transcendental and transitional, connecting the present, past and future. As a result, this created various excellent new opportunities for architectural positions.

Some practices have become attentive students of heritage and become a custodian of the past. An award-winning architectural practice, Vokes and Peters has dedicated themselves to research in Brisbane suburban. They draw ideas on heritage and human occupation, making their architecture meaningful.3

To make a change, sometimes, the practice challenges the prescribed building code. In Brisbane City, BVN, an agency of collective designers, is leading a transformation in high-rises. Challenging the existing building codes, they offer the ground level back to the public realm

in return for a zero lot line above ground.4 Their office building exemplifies experimentation and innovation in design, offering a unique working environment of hot-desking.5

Culture could also excite curiosity and attention in architectural practice. Kathy Moir spends her time mapping the city of Darwin. Understanding the First Nation’s culture and history and the town’s narrative is fundamental for Katie in thoughtfully making design decisions and propositions for the town’s development.6

International architectural practices have invested in social landscapes. In Japan, Teco and Fujiwalabo are exploring possibilities of spaces to accommodate communities of all ages,7 rejuvenating old areas and their social culture.8 9 This social landscape goes as far as fully immersing their employees in all stages of design, from research to experimentation to building and experiencing the actual after-builts. 10 11

In an unusual case, Atelier Bow-Wow has found a bizarre interest in the city of Tokyo, particularly in “Dame” architecture or “No- good” architecture. 12 “No-good” is because of a prescribed perception embedded in society.13 However, Atelier Bow-wow mapped the city, its unusual structures and people’s behaviour without prejudice to understand the natural phenomena in a physical environment, after which they built on this paradigm.14

Architecture draws heavily on society’s resources to build the physical environment. The materials and the building systems used and the energy consumed by buildings is vital to a responsible structure.15 Some companies have become conscious of the environmental impact of architecture and have become environmental advocates.

Amanda Levete Architects (ALA) has invested time and resources to explore and test new materials in their project, The Belgrade Philharmonic Concert Hall in Serbia. It proposes using crushed glass and corks and is prepared to take any necessary steps to make it happen.16

Meanwhile, Rotor, a collaborative design practice in Brussels, investigates the organisation of the material environment. The practice found advantages in second-hand architectural material and promoted its use and environmental benefits in their projects, exhibitions, books, economic models and policy proposals.17

However, one could also be a speculative architect. Inspired by Archigram, Liam Young documents scenarios influenced by technology, and speculates their possible impact on space and time.18 Liam does not build buildings but creates documentary films to spread awareness of the environment and reality.19

Whether a writer, a teacher, or any of these plausible architectural positions previously mentioned, we could delve into these many talents in our profession. However, we must know how to be our own selves. 20

Louis Kahn once says, “A man doesn’t really learn something that is not part of himself.”21

The university and the marketplace are there to prime our way to our profession and to spark interest. But it is “we” who have to find our way and expression.22

My own experience has only proven Khan’s quote. Twenty-two years from today, I first studied Bachelor’s in Architecture Design in the Philippines in 2000. Bombarded with strict design rules, often rather a strict list of absolutes, I struggled to become someone I was not.

Nevertheless, I managed to graduate and become an architect in the Philippines. I travelled and worked, but at the same time searched for meanings and questioned my passion for architecture.

Today, I found myself graduating from the same course at the University of Queensland. However, I am humbled to have found my way back to myself- a lover of life and an advocate of nature and humanity. The things truly a part of myself have directed me towards my language in architecture.

All have nothing to do with design or material specifications, yet slowly unfolding my interest in architecture that puts humanity in the centre, respecting the natural environment and the laws of nature. I have discovered my passion for writing and reading that transcends my thoughts outside the conceptual sphere. All inspired by just being myself.

When it suits our purpose, as architects later, we will probably need to break some rules to find our own expression. What we revere often is always from someone who has been inspired by another, a life circumstance, and so on.23

Architecture has no presence.24 It has no preference. 25 Just awaiting an offering.26 Thus, we keep an open mind and offer what’s unique: ourselves and our talents.