Founded on curiosity rather than convention, Agata Kurzela Studio sits at the intersection of research, emotion, and spatial experience. Rejecting fixed aesthetics and rigid disciplinary boundaries, the studio’s work unfolds through context, narrative, and a deep sensitivity to how spaces are felt as much as they are seen. From adaptive reuse and modern heritage projects to large-scale contemporary interventions, each project is treated as a singular inquiry shaped by culture, materiality, and human experience. In this conversation, Agata Kurzela reflects on the evolution of her practice, the realities of leading a creative studio, and the balance between intuition and structure. She speaks candidly about collaboration, storytelling, and the importance of designing spaces that invite interpretation rather than prescribe meaning, offering insight into a philosophy where architecture becomes not just a physical construct, but an emotional and perceptual language.
What inspired you to start your own studio, and how has your vision evolved since its inception?
For a long time, the idea of running my own studio was genuinely intimidating. I was concerned that the business side of practice would take away from what mattered most to me — the ability to think, explore, and work creatively. What I discovered instead was that leading a studio fundamentally changes the relationship to the work. As a studio founder, responsibility is very clear. The praise comes directly to me, and so does the feedback. That immediacy creates a direct learning loop where decisions can be assessed, refined, and acted upon without dilution. It also reframes effort. When significant time is invested, it is either in service of building something meaningful or it becomes a clear lesson that informs future judgement. Both outcomes are valuable. The vision itself has not changed, but it has matured. Over time, the work has gained clarity and confidence, supported by a strong sense of purpose. Equally important has been the development of a supportive team — a group that learns together, understands each other intuitively, and continues to evolve. That shared growth is central to why the studio exists.
How would you describe the identity and philosophy of your studio? What makes it unique in your field?
The projects we work on are intentionally diverse. If there is a recognisable quality to the work, it comes less from a fixed aesthetic and more from an underlying approach.
That approach is research-led, exploratory, and collaborative. We are unashamedly contemporary while remaining deeply contextual. Context, for us, extends beyond the physical site to include narrative, cultural, historical, and social dimensions. Each project is allowed to develop its own logic rather than conforming to a predetermined language.
Another defining aspect of the studio is a resistance to rigid disciplinary boundaries. The distinctions between architecture, interior design, landscape, urbanism, or object design often feel artificial — shaped more by academic structures and contractual packages than by how space is actually experienced. We work fluidly across those thresholds, treating design as a continuous field rather than a collection of separate disciplines.
How do you balance the creative side of your work with the practical aspects of running a studio?
It is a balance between two very different modes of thinking. The business side of practice is structured and predictable. It can be organised, scheduled, and managed through clear time allocation. Creative work operates differently. It is less linear and requires space to test, pause, and reassess before reaching clarity. That unpredictability is not inefficiency. It is where depth and originality come from. The key is structuring time so that creative exploration can happen without interruption while remaining within clear professional frameworks. Good work should conclude when it reaches the right level of resolution — because the design is ready, not because time has dictated an outcome.
Can you walk us through your approach when starting a large-scale project, from concept to execution?
Large projects often begin with a careful reading of both objective and subjective information — client needs, site conditions, historical layers, and cultural context. We have been fortunate to work on several projects involving adaptive reuse and modern heritage, where an existing architectural base already holds value. In those cases, the process starts with identifying what is worth carrying forward and using it as a foundation for new work.
Early stages are analytical but also intuitive. Ideas remain open and flexible before gradually sharpening as the project develops. From the outset, execution is considered alongside concept. Materials, fabrication techniques, and construction realities are tested early and continuously. Beyond the visual, we focus on how a space feels. Scale, proportion, light, texture, sound, and material presence shape emotional response. Other senses — touch, tactility, even smell — contribute to an experience that is cohesive and immersive. When successful, the space communicates on multiple levels, often in ways that are felt rather than consciously analysed.
What’s been the most challenging project you’ve worked on, and how did you overcome the obstacles?
All projects encounter challenges — shifting briefs, site constraints, or ambitions that stretch what initially seems possible. These situations are part of practice. What makes them manageable is dialogue. When communication remains open between clients, project managers, contractors, designers, and collaborators, solutions emerge. Challenges often become productive moments that refine the work and strengthen the final outcome.
How do you incorporate storytelling and emotion into your designs or installations?
When we employ storytelling in our work, it is rarely literal. Emotion is embedded early on through careful listening and a deep understanding of what the client is trying to express, even when that intention is still abstract or difficult to articulate. Clients often communicate through words, references, and aspirations. Our role is to translate those inputs into spatial experiences that allow those emotions to be felt rather than explained. This happens through scale, proportion, material choices, light, and spatial sequencing, which together shape how a space is perceived and inhabited. Rather than relying on explicit narratives, we focus on suggestion and openness. This allows the space to resonate with users in a personal way. The aim is to create environments that support interpretation and emotional connection without being prescriptive.
How do you collaborate with clients, other artists, or teams while maintaining your creative vision?
Collaboration begins with understanding. That means understanding people, what motivates them, and how they work best. Different collaborators respond to different levels of structure, and recognising this early allows the process to adapt rather than impose.
Instead of a top-down approach, we establish frameworks that leave room for contribution and evolution. Even within large and complex projects, flexibility allows new ideas to surface and sometimes redirect the work in meaningful ways. When collaboration functions well, contributors feel part of a shared endeavour rather than isolated roles. That sense of collective authorship strengthens both the process and the outcome. It also builds relationships that continue beyond individual projects and deepen over time.
Are there any artists, designers, or experiences that have significantly influenced your recent work?
Working alongside people with different ways of thinking consistently broadens perspective. Recent collaborations with a wide range of designers and artists have been particularly influential through exchange rather than imitation. Dialogue sharpens ideas, challenges assumptions, and leads to more mature outcomes. Exposure to other practices keeps the work intellectually active and responsive.
What emerging trends or technologies are you excited to explore in your future projects?
Rather than focusing on a single trend or technology, we are interested in tools and methods that expand perception, creative expression, and making. While much attention is currently placed on artificial intelligence, it represents only one part of a broader technological landscape. Our interest lies in critically engaging with tools — digital or analogue — that meaningfully support design, fabrication, and spatial exploration. Remaining curious and adaptable is more valuable than committing to any one direction too rigidly.
If you could take on any dream project without limitations, what would it be and why?
Limitations are often productive, but an ideal project would allow for the creation of something spatially new, possibly in dialogue with nature. Projects connected to culture — visual arts, performance, collective ritual — are especially compelling, as are purely artistic explorations that push the boundaries of craft and fabrication. On a more aspirational level, spaces for worship and transcendence remain profoundly interesting. Working with architecture as a poetic and emotional language capable of engaging the intangible would be deeply meaningful.
