Radical material reuse

Trace is a transformative deep retrofit residential project located on Drummond Street in Euston, London, designed by Bureau de Change for HGG London. The scheme reinterprets a four-storey brick building from the 1980s, extending it with two additional levels and accommodating five contemporary, light-filled apartments, while preserving and repurposing the majority of the existing structure.

 

Circular Economy Principles

At the core of the project lies a rigorous commitment to circular economy principles. Rather than opting for demolition and reconstruction, the design retains the original foundations, primary structure and defining architectural elements, including the characteristic archway, thus conserving the embodied carbon of the site. A key innovation is the development of a site-specific glass reinforced concrete (GRC) composite for the façade, incorporating materials harvested directly from the existing building.

The original mid-brown bricks are crushed and reused as visible aggregate, forming a new textured cladding that reconstitutes the building envelope. This process generates a materially expressive façade that both preserves and reinterprets the building’s history, allowing traces of the past to remain legible within a contemporary architectural language.

 

 

Design Philosophy

The architectural language draws from the layered historical context of Drummond Street and Tolmer’s Square, referencing Georgian urban typologies, the legacy of Euston Station, and successive phases of 20th-century redevelopment. The façade composition is informed by Georgian proportions, rustication, and articulated arches, reinterpreted through a contemporary construction system.

Organized within a rational grid, the openings reinterpret traditional segmental arches, enabling larger window apertures that enhance daylight penetration, cross-ventilation, and spatial quality. The inclusion of winter gardens at the rear further extends the living spaces, establishing a dynamic relationship between interior and exterior environments.

 

 

Layout & Urban Integration

The completed development comprises three two-bedroom apartments across the lower levels and two one-bedroom units on the newly added upper floors, each offering skyline views and access to outdoor terraces. The internal layouts are structured around double-aspect living spaces arranged in a stepped configuration, subtly organizing kitchen, dining, and living areas without rigid partitioning.

Aligned with the ambitions of the Euston Area Plan, the project promotes sustainable urban intensification while enhancing the character of the surrounding area. By demonstrating how existing structures can be elevated through adaptive reuse and material innovation, Trace positions itself as a model for low-carbon residential development within the contemporary city.

 

Subtle prisms

The project is a new flagship store for renowned jeweller, Nikos Koulis, located on the prestigious Voukourestiou Street in Athens. The store’s design takes its inspiration from the city and melds it with the intricate craftsmanship of Koulis’ jewellery pieces.

 

Façade Design

The design of this atmospheric space begins streetside, taking the simple facade of the 1960’s building and subverting the language of a typically over-glazed storefront. An irregularly shaped window is installed, which offers subtle glimpses of the interior -creating intrigue for passersby and inviting them to pause and look within the interior.

Surrounding this opening, the facade mimics the proportions of the nearby Athenian city walls and reproduces them in aluminium. At points, the aluminium is embossed with a pattern reminiscent of the intricate detailing found on 19th century jewellery boxes. Where the aluminium meets the street, the material shifts to solid slabs of travertine and marble, framing the window and merging the contemporary with the ancient -a nod to the Greek roots of the brand and the designer, echoing a sense of history and continuity. The store’s extruded aluminium door handle is folded and inlaid with gold -alluding to the precious materials within.

 

Interior Layout & Custom Structures

Within the interior, the design draws influence from the designer’s structured jewellery pieces -establishing an interplay between light and dark tones and smooth and textural surfaces. Silk wall coverings provide a soft sensuous finish to reflect the light and contrast strongly with the custom dark oak floor made from narrow linear planks brushed to give texture. At the rear of the store, a dramatic new staircase, hidden behind a series of bevelled glass panels, takes private clients up to a new mezzanine housing the high jewellery salon and viewing room. The staircase extends across the width of the store, leaving a theatrical double-height void between the threshold and the mezzanine itself.

The main mezzanine wall, which sits almost as an internal facade, is formed from a series of elongated prisms. The prisms consist of two highly polished metal surfaces and a third illuminated surface. Spaced to form a linear screen between the more private mezzanine area and the store beneath, the prisms wrap around the underside of the space to connect the two environments.

 

Materials & Furniture

Within the mezzanine space, the palette is pale and bright, with white carpet and soft furnishings that foster relaxation. From the street, these prisms and their light sources are seen through the stone-framed window, appearing as an illuminated curtain, creating a sense of mystery about what lies beyond it.

Preserving the bespoke nature and the imaginative essence of the brand, the store incorporates custom pieces produced with the specific needs of the client and space in mind, including a tea table, a desk mirror as well as a wall hung mirror by Nikos Koulis. Display cases are formed from lacquered wooden boxes set on delicate legs made from a mix of polished and matt metals. These cases are positioned in vertical and horizontal arrangements and placed carefully around the store. At the rear, a lacquered cabinet wraps a structural column, whilst in the store front the largest piece of cabinetry forms the window display.

In London’s Fitzrovia, a five-storey mixed-use building recasts the brick façade of its 19th-century neighbours in 5,000 sculpted blocks of blue clay.

 

Located in London’s Fitzrovia – where Riding House Street opens to Wells Street – sits The Interlock, a new five-storey mixed-use building designed by Bureau de Change architects for developer HGG London, a company established to commission design-driven innovative architecture.

Riding House Street hosts an extraordinary breadth of architectural styles. From John Nash’s All Souls church at its most easterly point, the street skips haphazardly from 19th Century terraces to post war commercial buildings; concrete slab structures and 20th Century apartment blocks. The street’s piecemeal aesthetic is unified by the use of brickwork which serves as the façade material of choice, at times so abundant that it forms the road surface.

The Interlock absorbs this history and responds by taking the proportions of the neighbouring 19th Century terrace and recasting its brick façade to create a building of uncertain heritage – one that is simultaneously historic and contemporary, familiar yet foreign.

 

Recasting the London brick

Abandoning the traditional dimensions of London brick, a collection of 44 misshapen and seemingly un-stackable clay blocks were developed.

Co-founder and Director of Bureau de Change Katerina Dionysopoulou said: “We were interested in taking these very traditional proportions and in some way subverting it – like a puzzle box that seems familiar and reveals a hidden complexity that increases the more you interact with it.”

 

The patterns visible across the surface are informed, in part, by the interactions between materials and structure. The bricks appear to lap up against glazing, swell and bow between floors and are inset frame-like to denote the building’s perimeter. For passers-by, the bricks appear to morph and twist like cogs. By modelling the facade in 3D, each facet could be individually adjusted to meet structural and fabrication requirements without diluting the integrity of the surface form.

 

From 14 moulds to 5,000 blocks

Staffordshire Blue Clay was selected as a contrast to the areas existing brickwork. The marl clay was set into 14 hand-crafted steel molds and fired in oxidation to create the matt blue finish. After firing, these 14 ‘parent’ bricks were divided to form the 30 ‘offspring’. Construction of the 5,000-block landscape took place over three months. The fabrication team used 1:1 printed templates that set out the number, typology and location of each brick. When collated on site, these 188 templates appeared like a construction manuscript, with each brick a different note to lay.

Co-founder and Director of Bureau de Change Billy Mavropoulos explained: “We worked iteratively with the team at Forterra – adapting and reviewing the bricks in 3D. We were walking the line of what would be technically possible, but through this process, found a point that was both buildable and produced the richness and movement we were trying to achieve.”

 

Stacked volumes behind the façade

Behind the façade, sit three new residential units and a café at street level with gallery beneath. The regularity of the façade’s proportion and fenestration belies the complexity of the building’s volume and massing.

At the rear, the building is set out as a series of stacked boxes of varying form and size. Each floor is shallower than the last with the deepest floorplan at the bottom and the smallest at the top. Within this stepped form sits a series of deep light wells and skylights that track daylight in to the centre and edges of the building, creating internal patios on the lowest floors and light wells on others. Facing the street, the rooms overlook the busy street and on higher floors, the rooftops and domes of nearby buildings. At the rear the light is more diffused creating calm in the private spaces.

Inside, the units are finished in a simple elemental palette – terrazzo bathrooms, natural stone worktops, sprayed-timber kitchens and oak floors.

 

A white café and a gallery

The light-filled café at the base of the building offers a counterpoint to the weight and inkiness of the façade. With every surface washed in white, the heavy-set mullions are halved and extruded from their frames to form ribbons that curve and fold over the ceiling in a style reminiscent of ornamental plasterwork. The monochromatic palette is broken only by cuts of oak that line the floor and counter tops. The floor below the café is a purpose-built gallery space hosting exhibitions, workshops and talks.

 

The project represents a shared vision between developer and architect to taking London’s architecture and re-approaching it in a way that brings something new to the streetscape.

 

Bureau de Change

Gilbert McCarragher