What is a creative practitioner?

Phil Smith defines a creative practitioner as someone who uses creative tools, such as drawing or noticing, to understand the world and inform their professional work. He distinguishes this from being a professional artist, which he views as a specific vocational commitment.

Why is ownership important in placemaking?

According to Phil Smith, community ownership is the most important ingredient for the success of a public place. This ownership is generated through story, meaning, and identity, which ensures the community values and protects the space.

How does community consultation affect urban design?

Phil Smith argues that community consultation benefits design by slowing down the delivery process. This creates space for design narratives and nuance that might otherwise be rushed. He describes it as a risk management tool that ultimately builds better outcomes.

The intersection of creativity and placemaking: why successful places need 'story'

We often separate the “serious” business of city-building—statutory planning, engineering, and delivery—from the subjective world of creativity.

But according to Phil Smith, an architect and urban designer with 30 years of experience, we all deserve a creative life.

In this episode of The Placemakers, I spoke with Phil, the Urban Design Lead at AECOM on the Sunshine Coast, about why creativity is actually a pragmatic tool for better urban outcomes.

The rise of the ‘Creative Practitioner’

Phil has a deep personal interest in sketching and drawing, often creating “quirky observations on the world”.

However, he hesitates to call himself an artist.

“I do avoid using the term ‘artist’ because I haven’t, like many of my artist friends, made the commitment to actually build a life on arts practice,” Phil explains.

Instead, he identifies as a “creative practitioner”.

For Phil, drawing isn’t just a hobby; it is a way to “make sense of what I don’t understand about the world”.

He argues that this practice of “noticing” directly informs the technical work of designing buildings and communicating with clients.

“It’s a powerful learning tool that we can use… to bring into our job regardless of what discipline or sector that we’re in,” Phil says.

Successful places rely on ownership

When asked what makes a public place successful, Phil points to one critical ingredient: ownership.

“I think community and ownership of a place by a community is the most important thing to its success,” he says.

But how do you build ownership? Phil argues it comes from “story and meaning”.

Humans are driven by story; it is how we preserve and pass on knowledge. When we embed meaning into a place, the community values it.

Phil uses the Sydney Opera House as a prime example—a place where Australians feel a “collective ownership” because it connects to their identity.

When that connection fades, or when a place undergoes “corporatization,” the sense of ownership bleeds away, and places often fail.

Why consultation is a designer’s best friend

One of the biggest changes Phil has seen over the last 20 years is the rise of community consultation.

While it introduces “difficult political elements,” Phil views it as a major benefit for design.

Consultation “slows the process down,” creating time for nuance and “space for a design narrative”.

“Governments get it,” Phil notes. “They understand that it’s a risk management tool… but they also understand that it builds better outcomes”.

For young practitioners entering the field, Phil’s advice is clear: understand your passion (“Start with Why”), find a mentor, and read constantly to refresh your thinking.

🎧 Listen to the Episode
We discuss the definition of a ‘creative practitioner’ and how to build ownership through storytelling.

[Listen on Spotify]

📄 Accessibility & Reference
Prefer to read? Download the full word-for-word transcript of this interview.