What would you consider the key steps, the highlights of your career that have brought you to where you are today?
I guess it has been a very interesting journey for us and every step of the way has contributed in some way or other to our identity as architects. We both have quite a diverse educational background with studies in Greece, in London at UCL and the Royal College of Art. Then working for Norman Foster and Thomas Heatherwick as well as doing independent projects for the Tate and Selfridges exposed us to a wide range of clients, ideas, and design processes. Following that when setting up our practice one of our very first projects – the Brooklyn Academy of Music Harvey Theatre extension – was definitely a highlight and then the Interlock – a new-build residential building in Fitzrovia/London which re-defined contextual architecture in London.
How did architecture enter your life, and what is the story behind discovering your creative path? How did it begin, and how has it evolved over time?
I think we both had families that were interested in design and architecture in some way or other so the appreciation for good design and good buildings is something that was ingrained to us from a young age. Also we travelled a lot with our families and I think this gave a wider perspective on what spaces, buildings and cities look like and how they perform. This made architecture studies a natural choice for us. Then our professional path shaped our identity further but also helped us figure out a practical, business approach through which we can bring our designs to life.
In what ways do you feel your aesthetic has evolved?
We were always – and still are – on the fence between being very creative and very practical. At Foster+Partners we learned the importance of the perfect plan, the perfect layout, designing efficient buildings that perform. Then at Heatherwick we learned about pushing the boundaries of materials, about creating architecture that is textured and three-dimensional, design that is fun and different. And when working independently for cultural and retail institutions we learned about branding, about creating a unique identity through spatial design, about how interiors affect us and how they can challenge our senses.
What do you consider to be your most important achievements so far?
Our recent building Trace where we used the demolition waste to create a new façade was definitely a highlight for us as we managed to create a sustainable building through inventing a new material.
Being part of the Seoul Biennale was also a significant moment in the life of the studio. Being part of such an amazing team of creative people, designing and building such a unique collection of architectural pieces in the centre of Seoul for the public to enjoy was incredible.
Is it particularly challenging to design in a different cultural or geographical context?
We find designing building or spaces in a different cultural or geographical context particularly rewarding. We get the opportunity to research and learn about places and cultures that sometimes are so different to ours. The project in Korea is great example – through the design process we learned so much about Korean culture – past and present – we studied their countless local crafts, their unique traditional architecture and got to learn about the country and the people. Also when we visited for the Biennale opening we understood so much more about the place having been through that research process.
What are the core design principles that guide your work and that you consider non-negotiable?
The starting point of every project is that is has to be unique. It has to be specific to the site and the context, to the client, to the brand, to the individual brief that we are given. It is very important for us that our projects are all different and responsive to their own parameters. Then the next thing that is non-negotiable is the material investigation. We try to challenge materiality where applicable and we make sure that this becomes part of the DNA of every project.
What are the defining characteristics of contemporary global architecture, and how do you think the international audience is being educated? What kind of feedback do you receive from your own audience?
I think we are going through a period in architecture where multiple different ‘styles’ co-exist and develop side by side. However it does feel that the ‘big idea’ and scale seem to be the preferred route with the human scale, the tactility and texture sometimes being forgotten. The feedback we seem to be getting is that people want to see more contextual buildings, buildings that relate more to the locality and the environment within which they are built. There’s also need for spaces and buildings to feel more bespoke, unique, catering more to the individual users.
Do you follow a consistent methodology when approaching a project, or do you prefer to experiment?
Our general approach is always the same. Focus on extensive research at the beginning so we can identify the historical, contextual and individual threads that will inform our design. From that point onwards the experimentation comes naturally whether it is in the form, the function or the materiality.
Has the international architectural scene become an arena dominated by star architects, or do you believe there is still space for emerging talent?
The international architectural scene is indeed still dominated by ‘starchitects’. However we see more and more younger smaller practices getting attention and being included in projects that traditional are reserved for the larger, more established architectural practices. In the UK in the recent years for all the big prestigious competitions it is a prerequisite that the bidding teams constitute or a larger more established practice and also a small emerging more creative practice, alongside all the other consultants. This is a great way to give emerging talent visibility and experience – and it also makes these projects more interesting.
How differently do you approach the design of a private residence, and what type of projects do you most enjoy designing?
We approach private residences like all of our other projects. Same process, same creative attitude. What is different with private residences is that the client and their brief is more critical as they are personally invested in the project. We make sure that they are part of our journey and that their needs for their home are at the forefront of the design. We really enjoy these projects as we get to shape the environment in which people then spend a substantial part of their lives. We also particularly enjoy hospitality projects – hotels, restaurants etc – retail and cultural projects too as their impact is greater, more people get to enjoy them. At the moment we are doing a project for the Science Museum in the UK and through that we have learned so much about how people approach and consume culture and it is great that we get to become part of that process.
Which values are expressed through interior design, and what elevates a space? What makes a space truly stand out?
I think we also go back to the idea of individuality. If a space has been designed with care for the user, with interest in the origin of the place, the brand, the function then the base of that design is already powerful. Then it is about how all that is expressed through the materiality, the textures, the tactility and three-dimensionality of the design, the colors and the light (or lack of where necessary).
What materials are you most drawn to, and what philosophy underpins the spaces you create?
We are open to all materials and techniques. At the moment we are building a house in London which has a 3d printed ceramic façade which we are making in Barcelona. A couple of years ago we worked with an artist on a project that involved glass made of crushed mussels. We are also now finishing a house that is covered with slip cast ceramic tiles made by hand in Italy, a jewellery store in Paris where we are using compressed paper to clad the walls and an office in London where all the desks are made from 100% recycled plastic. We are going through a phase where we try to look for and push new innovative sustainable materials.
How much of Greece is present in your work?
We both grew up in Greece so Greek culture is our DNA. Our love for light, for craft and the fact that we want our buildings and spaces to have some emotional connection to the user all stems from there. Of-course now that we have projects in Greece we make sure we celebrate all things Greek in our designs – we have a country that has amazing craftsmen, amazing creative people in all fields, and we have such a rich and long tradition of making so, we try to utilise this as much as possible.
What is the first thing you observe when entering a space?
The light and then the composition of shapes and colors.
Do you believe a space should evolve and change over time, or do you prefer it to remain the same?
Spaces should evolve with time the same way we do. Our needs change, our attitude, our experiences, they all develop and so should our spaces.
What advice would you give to someone designing their own space?
Think about it three-dimensionally – that’s how we perceive space.
Do you believe that creativity make us better people?
I don’t know if it makes us better people but it definitely makes us happier and more productive. There’s countless studies that prove that beautiful functional spaces and buildings affect us emotionally and physically.
Architecture has the ability to shape and cultivate its users. Do you agree?
100%. We are talking about our cities, our houses, our offices, the places we go for entertainment, for holidays, for education. The places we socialise, we enjoy culture, we train and play sports. Architecture affects every single aspect of our lives, which is why people should care about it more, appreciate it and pursue its improvement.
Is it the purpose of architecture to create emotions and when it is considered to have achieved its purpose?
Architecture naturally creates emotions as it affects so much of our everyday life. However there are buildings and spaces that really move us and then there’s the majority of them that are indifferent. A carefully designed and crafted building is usually one that truly affects us emotionally and that is the kind of architecture we should be producing more of.
Describe a dream project, or something you would love to design in the future.
We would love to do more cultural projects – designing a museum would be the dream project at the moment.
Bureau de Change is an award winning architecture practice founded by Katerina Dionysopoulou and Billy Mavropoulos. Its work is a direct product of the founders’ upbringing, passions and experiences – combining the pragmatism and formality of their architectural training with a desire to bring a sense of theatre, playfulness and innovation to the design of spaces, products and environments. The result is a studio where rigorous thinking and analysis are brought to life through prototyping, testing and making.
Within the last four years Bureau de Change has won numerous awards from the FX Breakthrough Talent of the year 2016 to the Sunday Times Architect of the Year award 2019 and was most recently shortlisted for the RIBA Awards 2020.
The studio’s work was selected as part of the 250th Royal Academy Summer Exhibition.
Bartlett graduate Katerina Dionysopoulou trained at Foster+Partners before joining Heatherwick Studio. During this time she led the team designing the UK Pavilion at the Shanghai Expo, winning the coveted Lubetkin Prize. She later worked alongside Danny Boyle as the project leader for the iconic Olympic Cauldron for London 2012.
Billy Mavropoulos studied at the Royal College of Art and trained at Foster+Partners. Prior to founding Bureau de Change, Billy worked as an independent design consultant on projects for the Tate Modern, Tate Britain and Selfridges. In 2010 he featured in Wallpaper* magazine’s next generation issue as a designer who will change the face of design within the next 30 years.
Billy and Katerina currently teach UG4 at the Bartlett School of Architecture.
