Kelvin Ho developed an early fascination with creative arts, structures, shapes and formations. His intrinsic curiosity for the composition of built forms and how people interacted with those forms intensified when he began skateboarding in his youth. The exposure to new places opened his mind to the possibilities of architectural design.
Skateboarding fuelled a newfound appreciation for the built environment and Kelvin didn’t waste any time launching a career in the field. By the age of 15, he was already offering his time to architects working on residential projects. He put his hand up to assist with all facets of the residential design and construction process, from physical labour to drawing and model making.
Kelvin arrived at the University of Sydney to study architecture, already armed with practical and hands-on knowledge. During university, he was offered a position with his first-year design tutor Michael Muir, where he predominantly worked on residential projects. One of the first projects he could recall involved designing and constructing a house for Michael, in about 1997 or 1998.
Edwards House by Akin Atelier.
Image: Terence Chin
“He offered an incredible viewpoint on design. He spoke about the narratives around parenthood and how the house is a vehicle to help kids interact, learn and socialize in the family unit. He emphasized the importance of designing a house around a philosophy and a way of life,” Kelvin said.
“What really struck me was this idea that the house was really an extension of the occupant’s values, beliefs and lifestyle choices. That was really quite profound for me at the time because up until then it was more about creativity for me, so this idea of infusing a way of living into a building was powerful.
“He discussed balancing the role of architecture in creating an experience with aesthetics and the more tactile elements. I learned a lot from that.”
Upon graduating from university in 2003, Kelvin came to the realization that while he enjoyed being involved in residential projects, he was yearning for new opportunities. “I was really interested in interiors and the opportunity to work on projects that were small, more dynamic, really client-focused, and that could incorporate some of my interests outside of architecture like art, music, fashion and pop culture into the work. I was trying to create work that I felt more intrinsically connected to.”
In 2005, Kelvin founded Akin Atelier, a practice comprised of architects, interior designers and strategists that explores the confluent relationship between architecture and interior design with other creative forms such as art and storytelling.
Art Gallery of New South Wales Gallery Shop by Akin Atelier.
Image: Rory Gardiner
A notable recent project of the studio was the Art Gallery of New South Wales Gallery Shop. “The brief was to create a retail encounter of world-class calibre. It was really about elevating the retail experience into something that felt more artistic, more significant and more powerful than a traditional bookshop,” Kelvin said.
“That was an incredible process and project to be involved in because it’s such a significant cultural building for Sydney. Our client truly trusted and endorsed us, which allowed us to do our best work.
“The project ticked so many boxes in terms of creating a form that a lot of people could experience, having a great team behind you, and being encouraged to explore and undertake this deep study of materials. There were a lot of aspects to that project that made you feel like you were really quite lucky to have all of those factors falling into place.”
Art Gallery of New South Wales Gallery Shop ticked so many boxes for Akin Atelier in terms of creating a form that a lot of people could experience and having a great project team behind them.
Image: Rory Gardiner
Akin Atelier has worked hard to cultivate a positive working culture not only within their organization, but also in their external relationships. “One of the key insights I have learned is that the project is only as good as the people who are around it,” Kelvin said.
“Having the right client, site, builder, and project team is crucial, and coordinating that team is often more challenging than designing.”
As to how his approach has evolved between his first and last project, Kelvin mentioned that while the fundamentals of design, client management, and cultivating a positive culture have remained relatively consistent, his trust in his own intuition has strengthened.
The advice he would provide to his former self is to “trust your instincts more” because sometimes as a junior architect, “you end up in situations where your intuition is telling you that a particular method or strategy doesn’t feel like the smoothest or most practical approach but you don’t feel like you have the authority to say anything.”
“Without confidence in yourself, you may agree to things that you feel uncertain about or that feel inauthentic to you,” he said. “A lot of those experiences have shaped me into a better architect. I’ve always been open-minded about experimenting with design and even if it doesn’t feel 100 percent right when it comes together, we’ve still gained knowledge from that experience and with that knowledge we are able to educate clients and provide a more informed perspective.”
His other pieces of advice? To experiment, trust the process, step out of your comfort zone, celebrate the breakthroughs and welcome the mistakes because all of those components make up part of the learning journey.
