I meet architect RŪTA BENETYTĖ near Tate Modern, the starting point of her favourite London walk. From London Bridge to Southwark and past the London Eye, the route offers a captivating glimpse of the city’s evolution, where historic landmarks coexist with modern architectural skyscrapers.
Rūta describes herself as both sensitive like an artist and precise like a mathematician – qualities immediately apparent to anyone who knows her or even meets her briefly. A partner at VITA ARCHITECTURE, she channels a deep-rooted altruism inherited from growing up in a family of medical professionals into her work. Her designs create spaces where people can live, work and dream. “I’ve always wanted to change the world, to create meaningful architecture where every element is carefully and thoughtfully considered,” says the Lithuanian architect, who has called London home since her teenage years.
You’re always calm and positive. How do you maintain this remarkable serenity?
I don’t know if it’s truly serenity, but maybe it comes from experience and focus. I went through an intense educational path: twelve years studying architecture in England at Plymouth, London South Bank, and Westminster universities. Back then, life was all about architecture – no other activities, just studying and working. For several years, I travelled to teach every six weeks, used my vacations for teaching, and during the pandemic, I taught remotely. Perhaps work helped me develop calmness, the ability to concentrate, and emotional control.
You grew up in a family of doctors but chose architecture. How did that happen?
Yes, both my parents are doctors, but neither I nor my siblings chose medicine. My father often worked abroad, and once, he brought home a brochure for a Catholic girls' school in Sydney. I thought, why not? I wasn’t baptized or Catholic, but I agreed. Later, I got the opportunity to study at Solihull College and left for England at just 17.
By the age of 11, I already knew I wanted to be an architect. I’ve always wanted to change the world, create, and leave behind physical spaces for future generations. I didn’t know much about the profession at the time, but I liked how it combined mathematics and art. I was always drawn to art and excelled in mathematics – for a couple of years, I was the best in my college.
While studying in Lithuania, I didn’t always prepare for lessons responsibly, but schoolwork wasn’t difficult – I didn’t need to put in as much effort as others. In England, however, I felt a sense of responsibility and discipline – talent without hard work is nothing.
How did your collaboration with Ben Lee start, and how did you become colleagues and business partners at Vita Architecture?
Ben and I met at a London architecture firm, where we worked side by side for three years and got along very well. Ben was the first to decide to start his own business, and at that time, I felt I had reached a point where I couldn’t give any more energy to my job. I planned a vacation in Australia and asked my boss for a three-week break. Unfortunately, he wouldn’t grant me the time, so I resigned. Before leaving, Ben offered me freelance architectural work, marking the beginning of our collaboration.
I flew to Australia and, jet-lagged, rented a car and drove along the coast for two days – though I don’t remember much of the trip, it all ended well! I experienced a lot, including driving while utterly exhausted in a foreign country. Sometimes, experiences outweigh fears, and that trip confirmed that when an opportunity arises, I take it. Even if you make mistakes, you still learn something valuable.
In Australia, I was also visiting a friend to see if we could develop a relationship, but the trip marked the end of that chapter. It didn’t take three weeks to realize I wouldn’t want to live there. When I returned to England, Ben invited me to join as a business partner. Together, we decided to build and grow our company.
Are you and Ben more similar or different? How does this reflect in your projects?
We’re different, and we complement each other perfectly. Over time, we’ve learned to trust each other more. We don’t micromanage but support and help whenever possible. I’m the one who comes up with ideas and develops creative concepts, while Ben rationalizes, finalizes, and ensures they’re fully implemented. This balance and efficiency enhance our work.
We view design similarly – we want to create something unique but subtle and understated. We aim for our projects to appear simple, yet they conceal a lot of meticulous work and effort.
What priorities do you set for your practice and your team?
Ben and I agreed that our studio should have around 25 people – it’s important for us to create a work environment where the team feels good. If growth demands more people, we’d still want to maintain humanity. Our priority is caring for employees and fostering a healthy work environment. We don’t want our team to experience the stress we faced early in our careers.
In architecture, there’s often this mindset that working without sleep is like a “badge of honour.” But that’s not healthy – it’s possible to be a good architect and still get enough sleep. In the future, I want to explore this area – during my architectural studies, I noticed high rates of depression and suicide, and I believe that student and architect well-being should be a priority.
I heard that Vita Architecture’s website was featured at an Apple product launch. How did that happen, and did it impact your practice?
An Apple representative contacted us and asked if they could use our website for a MacBook presentation. Of course, we agreed, and I jokingly asked if they could send us customized Apple phones (we’re still waiting for those!).
We didn’t even know the date of the presentation and had forgotten about it until a few friends who closely follow Apple news told us they saw our project page featured during the launch. We checked our website’s visitor stats – there was a spike, but it didn’t lead to new projects.
What trends in architecture do you find most significant today?
One of the biggest trends is creating bright, spacious areas or at least the illusion of them. Sustainability is also critical, but it’s challenging, especially when applying sustainable concepts to older buildings.
Most people now want separate zones for different functions, so everything is very individual – everyone needs different spaces.
What projects do you primarily work on, and what challenges do you face?
We started mainly with residential projects, but as we grow, we’re branching out into commercial spaces, hotels, golf clubs, and restaurants. We have many international projects (currently in about 18 countries worldwide).
Our practice is still relatively young compared to larger firms. Today, entering competitions for significant projects is challenging – in the past, for example, the Barbican Centre was designed by three young architects who walked in with sketches and won the competition. Now, such projects require years of experience with similar-scale works. It’s tough for talented architects to break through – it takes time and effort.
We’re growing gradually, focusing on quality rather than quantity. While we may not become the largest architecture firm, we want to create a sustainable, happy work environment and high-quality buildings.
How does your work differ between projects in the UK and Lithuania?
When working abroad, we always collaborate with local architects. The requirements differ, and our qualifications are only partially applicable everywhere. Responsibilities are also distributed differently – both in the UK and Lithuania, we sometimes encounter bureaucracy that is not always easy to understand. In the UK, we handle projects from initial concepts (stage 0) to finalcompletion.
We usually prepare the initial design outline in Lithuania, while local architects handle the submission, permit acquisition, and other documentation. We strive to collaborate and incorporate their ideas and suggestions into the final project.
In England, architects face higher expectations, as they must address both design and technical and construction-related issues. In the UK, we deal with greater liability but have more opportunities to execute projects according to our vision and fully control the process.
How do you choose materials for your projects? What criteria are most important to you?
When selecting materials, the most important consideration is longevity and durability. Materials should be healthy, natural, easy to maintain, and not appear "worn out" after a few years. In every project, we think about how the spaces will be used and how they can be adapted in the future.
Sustainability is important but for me it means adaptability – the space must be easily transformable to meet new needs.
Personally, I believe the space should be designed for people, not just to meet strict standards. Otherwise, it’s merely “greenwashing.”
Why do you think clients choose you?
Choosing an architect is a very personal decision, so we strive to deeply understand the client’s lifestyle and what matters to them. We aim to discover what kind of space would suit them specifically, how to meet their needs, and highlight that in the architecture. This personalized approach allows us to create a meaningful architecture where every element is thoughtfully designed for the person who will live in that space.
We also care about the environment and community. For example, we are members of the Dorking Society, where we voluntarily contribute ideas for the town's development. We promote a circular economy – still theoretical in some aspects, but we hope some of these projects will come to fruition.
Architecture isn’t just about drawings; it also has an altruistic element – how to improve people's lives regardless of their environment or demographics. With its diverse cultural population, architecture gains additional significance in London – it becomes a connecting element that unites varied needs.
You taught architecture remotely at KTU and the Academy of Arts in Lithuania. Why did you want to teach?
When I worked long hours, there was practically no time for self-expression or teaching – it was just work, home, and back to work. However, after establishing my own practice, I gained the freedom to dedicate time to what matters to me.
I can draw from morning till night because I’m ready for it, but over time, the question arises – what does this give to others? What’s my contribution, my legacy? How can I inspire or help others with my ideas? Sometimes people just need a little encouragement to move forward.
Did your business partner support this idea? It might seem that with so much “extracurricular activity,” less time would be left for business and work.
Yes, my business partner and I discussed how we could integrate the desire to create and inspire into our daily work. It’s important for us not just to build houses but to make a meaningful contribution and inspire others. For me, this might stem from the altruism of my family of medical professionals.
Working with students is a mutual process where we search together for ways to create something new. It’s an opportunity to share my experience and simultaneously learn from students. Their thinking is often so fresh and innovative, allowing me to view everyday problems from a new perspective.
Why did you choose to teach in Lithuania after spending so many years abroad?
I left Lithuania at a young age and had lost touch with it, but I always wanted to maintain a connection and observe how Lithuania changes and what people create.
My entire family – my mother, father, and brother – are in Lithuania, so I missed my loved ones, even though I didn’t feel a strong desire to return permanently. We’ve lived in different countries for many years – Denmark, Sweden – so adapting has always been easy. When an opportunity arises, I take it and act.
What advice would you give to those still searching for their true calling?
I think it’s important to pursue what you enjoy and what you excel at because then you don’t have to struggle – you naturally strive for perfection. Everything we do in life contributes to shaping our inner world.
When you find something that resonates with you and brings you joy, you do it well and with pleasure. That brings peace to your life, and challenges become opportunities to grow.
I found what suits and excites me relatively early, but I know not everyone is so lucky. In life,every experience has value – every step, no matter where it leads, adds new skills. At any stage in life, there’s no need to worry or stress too much if you haven’t found yourself yet. Everything you do teaches you something and will eventually lead you to your path.
What places in London inspire you the most?
I enjoy walking from London Bridge to Southwark, passing by the London Eye. Along this path, I observe how the city’s buildings change and blend with the environment.
One of my favorite buildings is Tate Modern because of its unique spaces and integration into the city’s structure. I’m also fascinated by the Barbican Centre – the history of this brutalist-style project is very interesting to me. After the war, there was a need for a lot of housing, so everything was elevated above ground, with parking below and people living above.
The coldness, the strict lines, bricks, and concrete – while the building appears harsh, it has a magical harmony of light, water, and squares.
What about in Lithuaniat?
In Lithuania, I was deeply impressed by Gintautas Natkevičius’ crematorium near Kaunas. I believe death can be seen more calmly, without such heaviness. Lithuanians have deep mourning traditions, but to me, the crematorium feels more like a family gathering place, where the person becomes a uniting element.
It’s not a place that weighs you down; it’s open spaces where you say goodbye and leave the pain behind.
I also really like Vienybės Square in Kaunas – it’s lively, dynamic, community-oriented, withintegrated buildings.
Finally, which architects inspire you the most?
I’m most inspired by Peter Zumthor from Switzerland and Tadao Ando from Japan. They are incredibly sensitive in their choice of materials, colors, and lighting, creating spaces that evolve over time.
I resonate with their philosophy of observing how light and materials change over the years. I believe that to be a good architect, you must have a clear philosophy and concept.
There are many architects who can draw well, but only those with a unique style and philosophy can create meaningful architecture.
