From Architect to Developer: Simon Vernon on Heritage, Housing and the Future of Design
When Simon Vernon swapped the drawing board for the developer’s desk, it was a leap into the unknown. Today, as Design Director at City & Country, he leads some of the UK’s most ambitious heritage restoration projects, breathing new life into historic buildings while shaping new communities. We sat down with Simon to explore his journey, the challenges of adaptive reuse, and his advice for architects navigating a rapidly evolving industry.
A Career Built on Curiosity and Courage
Simon’s route into architecture wasn’t conventional. “I wasn’t great at maths or science,” he admits, “but I could draw, and I loved buildings.” After a BTEC and a degree at Portsmouth University, he cut his teeth in small practices before joining Branson Coates, working on the Geffrye Museum, and later Shepherd Robson. His portfolio grew to include National Trust projects and high-end homes along the Norfolk coast.
The turning point came when City & Country—then a client—offered him a role. “I said no twice,” Simon laughs. “It was scary. At architecture school, you think you’ll always work in a practice. But saying yes was the best decision I’ve made.”
The Developer’s Perspective: More Than Design
Moving into development changed everything. “As an architect, you wait for sites to come to you. As a developer, you’re hunting for them,” Simon explains. His role now spans feasibility, planning, and commercial strategy, alongside design leadership.
Working for a developer isn’t for everyone, he cautions. “Design is a smaller part of the job. You’re dealing with budgets, programmes, and risk. But you also see the full journey—from buying a site to handing over homes. That’s incredibly rewarding.”
Breathing Life into Britain’s Heritage
City & Country has built its reputation on transforming historic buildings into vibrant residential communities. Simon’s passion for heritage is palpable. “We’ve converted Victorian asylums, tobacco factories, even a tuberculosis sanatorium designed by Charles Holden,” he says.
One standout project is the former Surrey County Asylum, an 1840 masterpiece by Edward LaPage. “It’s a building with soul—stone mullions, metal windows, Tudor details. Our job is to polish what’s there and make it wonderful again.”
These projects are anything but straightforward. “Buying the site took three years. Then came planning, conservation negotiations, and design. Every apartment is unique—over 300 in this case. You can’t just stack identical units. You’re working around staircases, fireplaces, views, sunlight. It’s a labour of love.”
The Realities of Risk and Reward
Heritage work is expensive and unpredictable. “You might find dry rot or failing steelwork. Restoration costs can exceed sales values,” Simon explains. “That’s why location matters—London, Bath, Bristol, Edinburgh work well. Further afield, it’s harder.”
Despite the challenges, Simon thrives on the complexity. “You need to immerse yourself in history, dig through old plans, and understand the building’s story. It’s not for the faint-hearted—but it’s hugely satisfying.”
Technology, AI and the Human Touch
Has technology changed the game? “Not as much for conversions,” Simon says. “You still need to walk the building, feel the proportions, imagine living there.” While apps and digital tools help, the essence remains tactile and intuitive.
And AI? “It might handle repetitive tasks—sprinkler layouts, electrical plans—but creativity, context, and human judgement? That’s ours. AI won’t buy a site or create a place people love.”
Advice for Aspiring Architects
With his daughter about to start architecture school, Simon is reflective. “Visit lots of universities. Some are creative, others technical—the industry needs both. And get work experience early, even unpaid. It shows commitment and gives you a taste of reality.”
For graduates, he stresses confidence and curiosity. “Bring a strong portfolio, explain your thinking, and show you can collaborate. Practices want people who can grow into client-facing roles.”
Working with Developers: What Architects Should Know
Having sat on both sides of the table, Simon offers candid advice. “Be confident, be yourself. Understand the brief and bring ideas—lots of them. Creativity matters, but so does organisation. Developers need architects who can deliver on time and communicate clearly.”
He cites Fielden Clegg Bradley’s work in Bath as exemplary. “They’ve broken away from staid Georgian pastiche and embraced Victorian character with bold, exciting design. That mix of creativity and technical rigour is gold.”
The Future: Housing as a Creative Frontier
Simon is optimistic about the sector. “If government unlocks land and pushes for more homes, it creates opportunities for smaller developers and architects to challenge the blandness of volume housebuilding. Housing isn’t second-rate architecture—it’s where people live their lives. Done well, it can be beautiful.”
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