Dhruv Gulabchande is an Architect and Associate Director at HFM Architects with 11 years of retrofit and refurbishment experience in the retail, commercial and healthcare sectors. He currently teaches at Central Saint Martins and Syracuse University London, with previous roles at the University of Sheffield, and University of Brighton. He leads award-winning non-profit mentoring platform, Narrative Practice, where his research focuses on promoting diversity through integrating long-term mentoring into architectural practice and academia. Recently, in recognition of his work, he has been selected as a RIBAJ Rising Star 2024 and a Curation Panel member for the London Festival of Architecture 2025.
1. Can you tell us a bit about your journey to becoming an architect?
I followed the traditional route into architecture, beginning with my Part 1 at the University of Westminster. During my third year, I took on work experience at HFM Architects, where I was later offered a placement role. From there, I completed my Part 2 at the University of Greenwich and my Part 3 final qualification at Westminster, rounding off my formal training. Each stage gave me a deeper understanding of architecture, but it wasn’t just about the technical/design knowledge – it was the connections I made along the way that shaped my career. Starting out in a supportive practice like HFM gave me insight into adaptive reuse but saying yes at the right moments has opened up a world of new opportunities.
2. Did you always want to be an architect?
Not exactly. I bounced between wanting to be a graphic designer, dabbling in print media, editorial design, and even animation. I enjoyed drawing and had a good head for numbers, but I hadn’t quite found the path that tied those together. It was my sixth-form art teacher who saw the connection before I did and encouraged me to explore architecture. She even supported me by setting up a work experience placement. That kind gesture changed everything. Architecture offered the perfect mix of creativity, technical skill, and the ability to physically make local change. Though I still love the clean gridlines of good editorial design, I don’t regret the shift – it’s been the right kind of challenge to get to where I am now.
3. What have you found to be the most challenging thing about working in the architecture industry?
When I started out, there weren’t many support systems to guide people like me into the field. I didn’t have anyone to lean on for advice, and the profession felt really intimidating. It’s much better now, with programmes like Arts Emergency and other initiatives and collectives that collaborate with Universities and museums and galleries offering clearer pathways for young people to navigate the industry. They provide the kind of community and guidance that can make all the difference. For me, this lack of support early on inspired my commitment to mentoring – so others don’t have to feel like they’re doing it all alone.
4. Can you tell us a bit about the organisation you currently work for? What kind of projects are they involved with?
At HFM, we focus on reimagining existing spaces. Our work spans retail, commercial, and healthcare sectors, and we specialise in adaptive reuse. This means taking underutilised buildings and giving them new purpose – whether that’s turning a vacant shop into an NHS Community Diagnostics Centre or working on historic buildings such as The Royal Exchange and imagining spaces to work within the existing important characteristics of the building. Sustainability underpins everything we do, but it’s not just about the materials; it’s about creating spaces that resonate with the people who use them. Storytelling plays a huge role in how I approach design – every project should have a narrative, and we try to reflect that in our work at HFM.
5. What do you enjoy about your role? What do you enjoy less about your role?
There’s nothing quite like seeing a building you’ve designed take shape in real life. Watching an idea you sketched on paper grow into a space people can walk through is surreal and deeply satisfying. On the flip side, architecture involves a lot more writing than most people expect. Reports, schedules, specifications – it’s not the glamorous part of the job, but it’s essential. Writing can be tedious, but it’s what ensures the precision of the work. It’s like writing a novel that perhaps sometimes no one will ever read but is absolutely necessary to the plot!
I mentor because I know what it’s like to not have access to guidance in a field that feels out of reach. Growing up, I didn’t have the financial stability or professional networks that could make architecture seem attainable.
6. Are there misconceptions that you’ve come across about the architecture industry? Are there things industry professionals could do to quash some of these misconceptions?
One of the biggest misconceptions is that architects earn a lot of money straight away. While salaries often improve with experience, the early years are financially tough for many. Another one is that there’s only one pathway into the field – formal education at university. Apprenticeships are becoming more common and provide an equally valuable route. The industry needs to do more to highlight these options, and careers advisors should be upfront about both the challenges and opportunities. I think making the field accessible starts with transparency.
7. Could you tell us about some of the other job roles within an architecture firm? Who do you collaborate with to complete projects?
Architecture practices can vary a lot in size, and with that comes a variety of roles. At HFM, which is a smaller practice, we have an Office Manager, Project Managers, a Project Administrator, an Architectural Designer, an Architect Apprentices, and Architects. Larger, multidisciplinary firms often include Urban Planners, Interior and Landscape Designers, Technologists, Sustainability Leads, and even Marketing, PR and HR teams. Beyond the practice, projects are very much a collaborative, design team effort. We regularly work with Structural Engineers, MEP Engineers, Fire Consultants, Quantity Surveyors, and, of course, the clients themselves. Architecture could be seen as a bit of team sport – you need the expertise of others for a successful result.
8. What advice would you give to a young person interested in a career in architecture?
Start by engaging with architecture in as many ways as you can. Visit end-of-year exhibitions at universities to see student work, explore well-known buildings in your area, or take a walking tour of your city. Pick up a book about architecture from your library and immerse yourself in the subject. Once you’ve done that, try sketching or model-making to see if you enjoy the process. Architecture is a wonderfully diverse field – it’s worth exploring it in all its facets before diving in. And most importantly, speak to an architect if you can. Hearing about their journey and getting advice directly can be invaluable.
9. You’ve mentored with Arts Emergency several times, what is your motivation for volunteering? Do you think mentoring can have an impact on the future of the industry?
I mentor because I know what it’s like to not have access to guidance in a field that feels out of reach. Growing up, I didn’t have the financial stability or professional networks that could make architecture seem attainable. Mentoring allows me to give back and share my experiences with those who might not have had the same opportunities. It’s not just about answering questions; it’s about building confidence and showing what’s possible. For the mentees, it’s a chance to gain clarity and support. For me, it’s equally rewarding – sharing knowledge and learning from them in turn. Mentoring is about creating a culture of openness that benefits the entire industry, not about gatekeeping and working in our own silos!
10. Where do you find your inspiration for your designs? Do you have a dream project?
I was taught early on that context and narrative are the foundations of good design. My tutors at Westminster (Jane Tankard and Julian Williams) and Greenwich (Melissa Clinch and Harry Bucknall) ingrained that into my approach, and it’s something I carry into every project. A dream project for me, that I shared recently with RIBA Journal, would be to tackle Bradford’s high streets. Growing up there, I’ve seen how the city’s industrial heritage and retail spaces have faded over time. I’d love to combine community mentoring, architectural consultation, and academic design to reconnect its fragmented urban fabric. It’s about bringing life back to the heart of the city, not just for nostalgia’s sake, but to create a vibrant city for the next 50 years.
Find out more about Dhruv's architectural research and mentoring platform Narrative Practice here.