Keeping the environment unspoiled 

 

– The idea is crucial for us. We strive to fit the form of the buildings we create into the surroundings,” says Kamil Domachowski. We discuss the importance of local design contexts with the founder of IFA Group.

 

 

Marcin Szczelina: I’m always fascinated by the stories behind the names of architectural firms. Why IFA Group?

Kamil Domachowski: It’s an acronym, a remnant of the initial thoughts about the studio. It doesn’t have much to do with what we do today. In practice, we focus on shaping form in the context of a place using the latest technologies, emphasizing individualism. The original name comes from innovation.

 

You established the studio in 2014, but the idea dates back another ten years. What drove the need to have your own studio at such a young age?

Since childhood, I built my own toys, during my studies, I reworked furniture (Refurniture). I always had the need to create and invent. Before founding IFA Group with Maciej Busch, I worked in other architectural offices, including Studio Kwadrat in Gdynia. After gaining a bit of experience, the belief in my own abilities emerged.

 

What has changed at IFA since the first project?

We initially handled the first projects as a duo, and now the studio consists of nine architects. Each of these individuals possesses different skills that contribute to the whole. There is no turnover here; rather, it’s a slow increment. With us are Karolina, Ada, Magda, Kuba, Julia, Dorota, and Artur. Over the past 7 years, we’ve completed several houses, some larger projects, and competitions that have been noticed and awarded. It results in a small number of actual realizations considering the constant enormous workload. However, we are moving forward, as a strong group that feels we can bring many valuable designs to the market. 

 

Dom Zosi fot. Hanna Połczyńska/Kroniki

 

And how has your client base changed?

We have many projects coming from recommendations and articles about our completed works. We are collaborating once again with the same investors on their new investments. This is significant because it means they trust us. Clients who have already realized something with us are aware of what we do. They know that we propose logical structures. We always seek authenticity arising from the project’s idea, which we express through forms and materials. The truthfulness of these materials, not pretending anything, an unconventional, consistent approach to design is what we like. So, we attract people – clients who think similarly. 

 

IFA Group is based in Gdańsk. The Tri-City and Pomorskie region, in general, don’t have a particularly strong architectural network. How do you navigate it here?

I’m not sure if there isn’t one… In the Tri-City, there are 400 registered design businesses, including a few large offices and then very small, two-person ones. Maybe we’re a bit of a niche here because we have a professional team, but we don’t work on large volumes or estates. The team’s energy is rather directed towards small objects where the idea is important. This process takes a lot of time. Building a brand is a slow process. Our buildings sometimes don’t stand out externally because that’s how we want them to fit into the context—they are meant to blend in. It’s only when you enter inside that you see the concept. Sometimes the volumes are located at the back of the plot, not visible to every observer. We try to keep the guiding idea in the created buildings, understand the context, know how to relate to it, whether to respect it or create something that will only begin to be a context for others. We build projects on models, where we also recreate the environment. Few offices operate this way; there’s no time for it, and that’s our strength. We have an investment in Kociewie, in a small village with individual houses, for which the model turned out to be very helpful in obtaining building conditions. We met with officials on the site to defend the idea of a house that shouldn’t stand out from the surroundings, even though it’s different from what’s around. It could be a topic for discussion on paper, but in space, it works.

 

Klinika stomatologiczna fot. Hanna Połczyńska/Kroniki

 

What frustrates you about the architecture in Pomorskie?

Disorder in the back districts of Gdańsk, the so-called bedroom communities. It would be a huge challenge to analyze the environment, find a common denominator, define the context correctly, and decide on a course of action. Whether to blend in, hide, or create a design as a message for further repairs to the space. These are relatively new districts without architectural layers. There are also districts closer to the center where architectural layering occurs. We see a wide range of volumes – from small historical houses, through blocks from the seventies to modernist blocks. Maybe not in such a chaotic environment, but in a neighborhood with fairly diverse single-family housing, one of our projects was created – Zosia’s House. In this house, the concept originated from the interior, framing views of what we want to see. This ugliness of ours applies to many Polish cities. The most challenging task is to fit into the context of such a neighborhood. We are constantly searching for the right ideas, and time will verify whether the assumptions were correct.

 

Do you have any influence on this? Is the environment moving in this direction?

I think that either at our own business or the work for SARP (Association of Polish Architects) – these two issues can’t be reconciled. It’s a long-term job. To do something well, you have to dedicate your life to it. Now, we are too busy with our own projects, trying to fix our local world from the bottom up, raising awareness among clients, and changing reality on a small scale. The more beauty you see, the higher your expectations for the environment, and you have to intensify that, and it’s slowly happening. I don’t really believe in systemic actions. We have local plans that “command” something, but what’s the use if Polish creativity works in every direction. Issues of spatial aesthetics should be conveyed in schools from the earliest, conscious years of children. It’s a matter of mindset. We have a colleague in the office who dedicates half a day every week to such education in kindergartens and primary schools.

 

Dom w Iławie fot. Hanna Połczyńska/Kroniki

 

Let’s go back to IFA Group. Which project was a breakthrough for your studio?

One of the first projects was a house on the border of Gdańsk Żabianka and Gdańsk Oliwa, done somewhat by chance. Initially, we were supposed to design a garage on the client’s plot – that’s why I went there. On-site, the investor mentioned that he wanted to rebuild the house but already had an older architect as a designer. I proposed that I would prepare a concept for this house. If he liked it, we would continue, and if not, I wouldn’t charge him for it. We designed the house in context – between lower and higher neighboring buildings, we proposed a contemporary interpretation of a mansard roof. The project didn’t get a building permit because the Department of Architecture deemed it not a mansard but something strange. The investor liked the project; he worked in the medical industry, and the upper window reminded him of a medical stethoscope or a headlamp, so he gave us permission to appeal. The higher authority agreed that it was a contemporary interpretation of a mansard roof, considering the context of the surroundings.

 

Another of your projects, the house in Iława, is not a typical single-family development. How do you persuade investors to accept your ideas?

In this case, it was primarily the investors’ great courage; there was no need to convince them. We wanted to maximize the potential of the location. We understood the context – everything was different – and that’s also a bit of an idea for the form. Additionally, there was the function, scenic views, and the delineation of quiet zones. There was nothing to refer to. The investors said they wanted the house to be open to the river flowing nearby. We pushed the house back into the depth of the plot to avoid city noise. The plot is very narrow, on the northern slope. At the front, we created a garage to avoid having a driveway destroying the plot. We connected the garage to the house, creating a southern patio and, in the process, ensuring a high level of privacy and the intimacy of the space.

 

You design not only new buildings but also adaptations and revitalizations. One of your works is the reconstruction of a historic tenement in Sopot.

There were many interested buyers for this plot, but the conservator did not agree to expand the structure, which has historical value. We didn’t want to pursue historicism, so we were contemplating how to interpret the character of this building in a contemporary way. We recreated the outline of the roof, angles of the building, and referred to the lines of the plinth and the upper decorations of the tenement. There is a gap between the old building and the new extension. The conservator really liked the idea of concrete and freshness, while still respecting the historic form. This is another project that won’t be noticed from the outside because it is hidden behind trees at the back of the plot. New windows align with the facade, including those added to the historic structure. Another example is the house in Gdynia Orłowo, located among repetitive buildings. This house was built from scratch; we reconstructed the form with window divisions characteristic of this part of Gdynia. We illuminated the house with additional contemporary windows aligned with the facade. The additional windows are positioned to avoid direct contact with the close neighborhood but to illuminate the interior.

 

Your latest project, a dental clinic in Gdańsk, has already generated significant interest even before its opening. It’s also an adaptation. From the outside, we see a modest form, but the interior is quite surprising: everything is new.

The structure is a former granary, the last one left in the city. Indeed, nothing has changed on the outside. The front facade was preserved due to conservation requirements, and we reconstructed the roof. The functional idea was simple: the offices need light, so all rooms requiring light were located along the building’s outline. The central space remained for the waiting area, illuminated with skylights. The investor aimed for a high standard and timelessness, ensuring that the project remains relevant for years. From the beginning, she emphasized that she wanted a clinic that doesn’t look like a clinic. The context of the location was crucial to her. The interior was meant to reference the granary, incorporating steel elements and leather pendant lamps above the reception areas. The offices are somewhat unconventional, utilizing the pitch of the roof. Each one has a height of 6 meters, making a significant impression. The investor’s dream was also to place a piano in the space.

 

What are your dreams related to design?

I wouldn’t want to ruin the environment that is