Interview with architect Bogusław Barnaś
The early years of my career were
filled with competitions
The early years of my professional career were primarily occupied with working on architectural competitions. I was well aware that the chances of a two- or three-person office winning a competition for a massive master plan or a bridge structure were very slim. Yet, I still participated. Looking back, I believe that these competitions contributed the most to my development, even though, in reality, I was investing in them rather than profiting from them,” says architect Bogusław Barnaś, founder of BXB Studio, author of the award-winning Farmhouse, and a juror for the Saint-Gobain Glass Design Award, an architectural competition organized by Saint-Gobain Glass Polska.
Competitions as a path to an architect’s growth
We are speaking in connection with the inaugural edition of the Saint-Gobain Glass Design Award, where conceptual and completed projects can be submitted until the end of March. As someone who has won multiple competitions, how do you feel about being a juror?
I haven't fully settled into the role yet (laughs), mainly because I haven't evaluated anything yet. However, I am honored to have the opportunity to fulfill this role and to select the best projects alongside distinguished colleagues. It is a great responsibility, and I take it very seriously. The weight of this task becomes evident when we consider the amount of effort that goes into the design process. As jurors, we must quickly compare, assess, and reject projects on which their authors have spent dozens, or even hundreds, of hours.
The Saint-Gobain Glass Design Award, as its name suggests, focuses on the use of glass in architecture. From a participant's perspective, could this be a limitation?
I believe it is quite the opposite. Glass is a material present in every architectural project, and the competition offers four distinct categories. The first two—Fascinating Form and Harmony with the Environment—focus on public-use buildings. The third category, Open Interiors, welcomes designs for both private and public spaces, while the last category, Functional Space, imposes no restrictions on the type of architecture. This gives every designer the opportunity to submit their most valuable work.
A significant advantage of this competition is its broad scope. A student who has designed their own room with an innovative use of glass can compete on equal footing with a large firm that has developed a massive shopping center. A young architect with their first single-family home design can go head-to-head with an established design studio. In my role as a juror, I will prioritize the quality of the designed space over budget or scale. I focus on the architectural value of each project, and because every project is unique, there are no universal criteria that define what I consider "architectural quality."
The competition’s debut presents a unique opportunity for young professionals to showcase their work...
I strongly encourage them to participate. As I mentioned, the Saint-Gobain Glass Design Award provides excellent opportunities for exposure and promotion—critical elements in a designer's career. Architectural competitions offer a platform to present one's work and have it assessed by a professional jury.
An additional benefit is the prestige associated with Saint-Gobain Glass, a well-known and respected brand. A young architect seeking to showcase their project on their own has limited outreach, relying mostly on personal media channels. However, submitting a project to a competition organized by a renowned company with extensive media reach significantly increases visibility.
This is particularly advantageous for young and emerging designers who have yet to gain broader recognition. I am confident that this exciting initiative will attract a diverse group of professionals, not just from the younger generation. I also believe the competition will serve an educational purpose. A public debate on innovative solutions will naturally emerge, and even the reasoning behind the jury’s verdict will contribute to architectural education in a broader societal context.
You receive prestigious awards for your BXB Studio projects nearly every month. Did you participate in competitions just as frequently as a young architect?
Nowadays, I focus on my design work, with competitions serving as a pleasant addition. My primary goal is to create valuable architecture. While awards are received quickly, designing a house typically takes a year or more—it’s a demanding process. For me, winning a competition is just a fraction of a designer’s daily work.
However, in my early years, architectural competitions were my main focus. Many were international and highly competitive. I remember the UNESCO-organized competition for the Afghanistan Museum, where 1,200 projects were submitted worldwide. Or the master plan competition for Seoul, which had about 700 entries, and the Sports Center competition in Daegu, Korea, which attracted 500 participants.
As a small, newly established firm, we didn’t win these large-scale international competitions, but we frequently ranked among the top projects and participated in exhibitions showcasing the best work. That was incredibly rewarding and boosted our confidence. I also recall our first bridge design competition in Poland for the country’s longest pedestrian bridge. We had no prior experience in bridge design, but we had imagination and enthusiasm. Our project ranked sixth—beating well-established engineering firms!
I always knew that the odds of a tiny two- or three-person office winning a massive master plan or bridge structure competition were slim. But I still competed. Looking back, I realize these competitions contributed the most to my growth, even though I was essentially funding my own participation. They gave me wings and shaped my character. They taught me how to handle failure, learn from more experienced designers, and celebrate small victories.
The Value of Competing
So, in the end, dedicating time and resources to competitions was worth it!
The great thing about competitions is that you don’t have to win to benefit from participating. By entering, you engage with other projects, analyze awarded works, and join the discussion. You inevitably educate yourself and interact with the architectural community.
As a participant, I would view the Saint-Gobain Glass Design Award as a holistic development challenge. It’s an opportunity to expand knowledge and awareness—something too valuable to miss. The key is motivation. There are plenty of great projects out there, but young designers often lack the drive to put their work forward.
Competing requires a decision, commitment, and effort. But I strongly encourage participation. After all, the Saint-Gobain Glass Design Award allows participants to submit up to three projects! Any student—every student—I say this as a former educator—can find and submit their three best works.
Honorary Patronage:
Łódź Design Festival, Association of Polish Architects (SARP), Faculty of Architecture, Warsaw University of Technology
Media Patronage:
Architektura&Biznes, Elle Decoration, Architecture Snob, WhiteMAD, Designteka.pl, Foorni.pl, Czas na Wnętrze, MAGAZIF.com, Bryła, Design Alive, Architektura Murator, Urządzamy.pl, Sztuka-wnętrza.pl, Sztuka-architektury.pl, BIZNES.meble.pl, Domosfera.pl, LABEL, Builder