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      Ten gallery interiors that are artworks in their own right

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      A subterranean gallery carved into a sand dune and a treehouse-style art museum feature in our latest lookbook, which collects striking gallery interiors from around the world.

      Art galleries are specifically designed as spaces for showcasing artworks such as sculptures and paintings. As a result, they are often characterised by neutral and minimalist interiors so as not to divert attention from the objects on display.
      However, some galleries are defined by statement designs that not only complement the artworks they house, but transform their interiors into masterpieces themselves.
      From a converted Iranian brewery to a Milanese basement, read on for 10 galleries with memorable interior designs.
      This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration see previous lookbooks featuring inviting entrance halls, terracotta kitchens and Crittal-style windows.

      Top: Helsinki’s Amox Rex museum. Above: image is courtesy of IK LabIK Lab, Mexico, by Jorge Eduardo Neira Sterkel
      Curving cement walls and undulating vine floors provide an alternative backdrop for artwork within the gallery at the Azulik resort in Tulum.
      The gallery, which visitors must enter without shoes via a winding walkway, is elevated above the ground and reaches the height of the surrounding tree canopy. Circular windows of various sizes flood the space with natural light.
      The gallery was opened by the resort’s founder and designer, Jorge Eduardo Neira Sterkel, after the great-grandson of the famed American art collector Peggy Guggenheim and a Tulum local suggested the idea.
      Find out more about IK Lab ›
      Photo is by Wen StudioTaoCang Art Center, China, by Roarc Renew
      TaoCang Art Center is comprised of two disused granaries located in the village of Wangjiangjing in China’s Zhejiang province. Shanghai studio Roarc Renew connected the volumes with a pair of sweeping brick corridors that are lined with arches.
      Functioning as distinct gallery spaces, the granaries are characterised by striking arrangements of lotus flowers on their floors – an ode to the village’s lotus-flower industry and a pond adjacent to the site.
      Find out more about TaoCang Art Centre ›
      Photo is by Ye Rin MokMaison Lune, USA, by Sandrine Abessera, Lubov Azria and Gabriella Kuti
      Designers Sandrine Abessera and Lubov Azria, founders of the contemporary art gallery Maison Lune, worked with interior designer Gabriella Kuti to set it within a former private house in California.
      Spread across rooms in neutral hues, the gallery is laid out like a collector’s home featuring a varied cluster of artworks and design pieces. Multiple terraces and internal stepped areas provide plinth-like display units for the objects throughout the property.
      “We want to build an alternative to traditional galleries, which are often perceived as too elitist and intimidating,” explained Abessera and Azria.
      Find out more about Maison Lune ›
      Photo is by Tuomas UusheimoAmos Rex, Finland, by JKMM Architects
      Finnish studio JKMM Architects designed the Amos Rex art museum in Helsinki with a series of domed subterranean galleries, which bubble up through the ground to create a sloping outdoor playground.
      While a portion of the museum is housed in the renovated Lasipalatsi, a functionalist 1930s building at street level, Amos Rex was also extended underground to include the domed galleries. These subterranean spaces feature minimalist monochrome interiors illuminated by large round skylights.
      Find out more about Amos Rex ›
      Photo is by Sergio LopezStudio CDMX, Mexico, by Alberto Kalach
      A multi-purpose artist residency and gallery come together at Studio CDMX, a space in Mexico City designed for Casa Wabi founder Bosco Sodi in which to work and exhibit his pieces.
      Constructed on the site of a former warehouse, the building reflects its location’s industrial roots with concrete, metal and brick elements arranged in chunky formations. Sodi’s sculptural works, finished in materials including stone and ceramic, also influenced the interiors.
      Find out more about Studio CDMX ›
      Photo is by William Barrington-BinnsPrivate gallery, Thailand, by Enter Projects Asia
      A winding rattan installation traces an overhead route through this private gallery in Chiang Mai, Thailand.
      Architecture studio Enter Projects Asia used an algorithm to design the structure, which snakes in and out of the gallery’s various indoor and outdoor spaces.
      “We sought to create an immersive experience, giving the space a warmth and depth uncharacteristic of conventional art galleries,” said studio director Patrick Keane.
      Find out more about this private gallery ›
      Photo is by Duccio MalagambaFondazione Luigi Rovati Museum, Italy, by Mario Cucinella Architects
      Layered stone walls line the new basement of the Fondazione Luigi Rovati Museum, an art gallery housed within a 19th-century palazzo in Milan that was both preserved and expanded by Italian studio Mario Cucinella Architects.
      The basement walls were created from overlapping layers of limestone ashlar, which curve upwards to form domed ceilings. Free-standing and wall-mounted cases designed by the architecture studio display two hundred Etruscan artifacts, including ancient jewellery and cinerary urns.
      Find out more about Fondazione Luigi Rovati Museum ›
      Photo is by Ahmadreza SchrickerArgo Factory Contemporary Art Museum & Cultural Centre, Iran, by Ahmadreza Schricker Architecture North
      US studio Ahmadreza Schricker Architecture North renovated a 1920s brewery in central Tehran to create the Argo Factory Contemporary Art Museum & Cultural Centre, preserving many of the factory’s original industrial features.
      Designed without middle supports, a curvilinear concrete staircase was inserted into the building to connect the museum’s lobby and its six galleries above. The staircase is one of a number of new elements with a rounded shape, created to contrast the uniform brick architecture.
      Find out more about Argo Factory Contemporary Art Museum & Cultural Centre ›
      Photo is by Wu QingshanUCCA Dune Art Museum, China, by Open Architecture
      Carved into a dune on a beach in Qinhuangdao, this coastal art museum is comprised of a network of subterranean concrete galleries.
      Beijing-based firm Open Architecture took cues from caves for the interlinked spaces, which are illuminated by organically shaped openings and feature an irregular texture.
      “The walls of ancient caves were where art was first practiced,” Open Architecture co-founder Li Hu told Dezeen.
      Find out more about UCCA Dune Art Museum ›
      Photo is by Kevin ScottMini Mart City Park, USA, by GO’C
      Mini Mart City Park is a community arts centre with a gallery built on the site of a former 1930s petrol station in Seattle.
      Local studio GO’C referenced the location’s history when creating the design for the centre, opting for classic signage, an overhanging roof and divided metal windows.
      Inside, the gallery space is characterised by exposed wooden rafters and smooth grey-hued floors, providing a neutral backdrop for the exhibition of artwork.
      Find out more about Mini Mart City Park ›
      This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration see previous lookbooks featuring inviting entrance halls, terracotta kitchens and Crittal-style windows.

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      StudioX4 designs cavernous meditation space in downtown Taipei

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      A dark, canopy-like ceiling and an LED-lit oculus are among the features that are meant to enhance the experience of this meditation space in Taiwan.

      Situated on the second floor of a residential building in Taipei, the space was created by local design company StudioX4 to provide a quiet sanctuary in which urban citizens can practice mindfulness, meditation and yoga.
      The space can be used for meditation, yoga and mindfulness practicesThe interior consists of a semi-circular space with chamfered walls and ceiling that flow into each other, known as a Bezier surface – a term used in computer graphics to describe a curved volume that has no set central point, unlike a circle or ball.
      The structure was built using planes of plywood planks built up in layers to create a smooth, flowing surface. A  straight wall at one side of the room is a line with mirrors, which create the illusion of the space being double its actual size.
      It is characterised by its curved ceiling and wallsThe reflection is meant to symbolise a sense of balance gained in meditation, according to the studio.

      “Via mirror reflection, the interior area completes its whole entity,” said the studio. “Combining the two halves implies the meditation path of seeking balance for both sides.”
      Sliding doors lead out onto a balcony overlooking the cityDark greys and blacks were chosen for the colour palette.
      “We were thinking of finding a way to reach inner peace – as a result we chose the colour of natural rock,” Lynch Cheng, lead architect of StudioX4, told Dezeen.
      Rounded forms are found throughoutThe walls and ceiling have a subtle, dappled finish that complements the softness of the rounded edges and corners.
      Circular recessions are punched out of the surface of the ceiling to increase the emphasis on rounded forms.

      Hilarchitects completes contemplative meditation hall in eastern China

      One of these voids contains a 150-centimetre diameter oculus, which acts as a focal point for class instructors and is a bright visual anchor in the middle of the dark space.
      It is lit by cool-toned LED lights to give the illusion of being lit from above by natural light.
      The oculus is a focal point within the interiorFurther light sources include large windows that filter natural light into the space, through sliding doors leading to a balcony that overlooks the city.
      In addition to the oculus, accent lighting is present in the form of backlit skirting boards, which delineate the line between the floor and walls.
      It is lit by LED lightsThe low, smooth ceiling and integrated walls also help to create an acoustically complex environment in which users can speak and hear their voices echo.
      “Normally in acoustic design, we try to avoid reverberation. But in this case, we tried to control it so that it goes back to the origin point, so humans can talk to themselves,” said Cheng.
      Tapered edges create softnessStudioX4 drew on the Buddhist idea that “form does not differ from emptiness; therefore, emptiness does not differ from form” for the treatment of the interior.
      “This project is a meditation hideaway for urbanites to explore their minds, to enlighten self-awareness, and to undergo the practice of mindfulness.”
      Self Revealing is among five projects shortlisted in the leisure and wellness interior category of this year’s Dezeen Awards.
      Other projects in the running include a cinema that uses dramatic stage lighting by One Plus Partnership Limited and a beer spa in Belgium by WeWantMore.
      All images are courtesy of StudioX4.

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      Atelier Boter enlivens Taiwanese fishing village with glass-fronted community hub

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      Both locals and tourists can gather at this see-through community hub, which design studio Atelier Boter has created in the heart of Qifeng in southern Taiwan.

      The community centre – named F.Forest Office – is the brainchild of a young Qifeng resident who wanted to establish a buzzy social space where locals could hang out, and where tourists could come to deepen their knowledge of the fishing village.
      F.Forest Office is fronted by glass windows on two sidesThe venue occupies a prominent corner plot that overlooks a number of houses with verandas, where residents often sit and chat as the day draws to a close.
      To give the centre the same air of openness and conviviality, Atelier Boter fronted the building with a number of glass windows.
      The community centre houses a hybrid dining room and classroom”We echoed the existing social patterns [of the village], while at the same time enhancing social behaviour by using the visibility of the space,” the studio explained.

      “Observation of the locality is an important process of the design, which we took seriously.”
      A white curtain separates this area from the centre’s workspaceA thick concrete patio was installed at the building’s entryway, inviting passersby to stop for conversation.
      Inside, the 53-square-metre community centre is almost entirely lined with plywood. A white curtain set on a curved ceiling track helps loosely divide the floor plan into two sections: a classroom and a workspace.
      ….
      The latter is anchored by a communal desk with a thick cork countertop and two pendant lights dangling from yellow wires.
      A partition wall at the back of the workspace is fitted with a couple of bookshelves and a small hatch, which is used to serve meals from a kitchen at the rear of the centre.
      Warm-hued plywood lines the interiorThe adjacent classroom is populated by a couple of circular tables and red metal stools.
      When the central curtain is drawn back, the two rooms can function together as a 30-cover dining area or an events space. The curtain also provides some privacy to the hand-washing station that accompanies the centre’s toilet.
      A patio encourages passersby to stop and chatF.Forest Office has been shortlisted in the small workspace interior category of this year’s Dezeen Awards.
      Other projects in the running include chef Yotam Ottolenghi’s test kitchen in London and a warm-hued wine bar by Note Design Studio that doubles as an office.
      The photography is by James Lin. 

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      Crawshaw Architects transforms cow shed into Stanbridge Mill Library

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      London studio Crawshaw Architects has transformed a former cow shed in Dorset into a library and office, organised around a wooden, barrel-vaulted arcade that references the client’s collection of books on classical Palladian architecture.

      The Stanbridge Mill Library, which has been shortlisted in the civic and cultural interiors category of Dezeen Awards 2022, occupies one of several outbuildings of a Georgian farmhouse on a grade II-listed farm.
      Crawshaw Architects has overhauled a former cow shed in DorsetThe narrow, gabled brick shed was originally built to house Standbridge Mill Farm’s cows but had stood neglected for over forty years, used as storage for gardening equipment and farm machinery.
      Looking to give the building a new purpose while maintaining its existing character, Crawshaw Architects made only small structural interventions, replacing two of its original roof trusses with portal frames that open up the interior.
      The studio has transformed it into a library and office”While a decisive transformation of the interior was called for, we felt that the original use of the building needed to be part of the story,” explained the studio.

      Stanbridge Mill Library’s focal point is a central “nave”, which is filled with seating areas covered by a wooden barrel vault and slotted between two narrow aisles lined by bookshelves. This plan references classical architectural forms, which are the focus of many of the client’s books.
      The Stanbridge Mill Library is organised around a barrel-vaulted arcadePale, solid oak has been used for the floor, shelving, storage and the central vault, half of which is covered with planks and the other half left open to allow in light from new skylights.
      “The high nave and pair of aisles are in the form of a classical library, but are set out in the register of the original building using the materials and construction techniques of traditional farm carpentry and metalwork,” explained Crawshaw Architects.
      The office occupies the northern end of the building”The vault, columns, shelves, tables and seating are made of the same solid oak planks and sections, deliberately selected to show knots and natural blemishes,” the studio continued.
      Desks are organised to take advantage of light from the windows and are illuminated at night by large pendants suspended from the vault.

      Steimle Architekten transforms traditional German barn into Kressbronn Library

      The office space occupies the northern end of the building underneath an original roof truss, which is separated from the library by an arched glass door and windows that frame views through the nave and aisles.
      To the south of Stanbridge Mill Library, a dog-leg in the plan is occupied by a small kitchen, positioned opposite a bathroom and a small lobby area.
      Pale solid oak has been used throughoutStanbridge Mill Library features in the civic and cultural interior category of Dezeen Awards 2022 alongside the renovation of the Groote Museum in Amsterdam by Merk X.
      Another project on the shortlist is the interior of F51 Skate Park in Folkestone by Hollaway Studio, which won the public vote for the same category.
      The photography is by Ingrid Rasmussen.
      Project credits:
      Architect: Crawshaw ArchitectsDesign team: Pandora Dourmisi, Aidan CrawshawStructural engineer: Hardman Structural EngineersContractor: CanDo Constructions ltd

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      Chzon studio designs airport departure hall to reference Parisian life

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      French design agency Chzon studio has added archways and fountains that reference iconic Parisian monuments to a departure lounge at the Charles de Gaulle Airport in Paris.

      Chzon studio redesigned the boarding gate area in Terminal 2G with the aim of creating a dynamic representation of Paris’ design and history in a typically utilitarian area of the airport.
      The vast space is punctuated by white columns and sculptural installationsThe 1,300-square-meter space is populated by rounded seating in dark blue and green upholstery, which takes aesthetic cues from the 1960s and 1970s, arranged in benches, booths and pairs.
      To zone the space and instill privacy, the studio added partitions and expressive white sculptures by artist studio Les Simonnets, which double as alternative bench seating.
      References to Paris are made at varying scales throughout the spaceThe studio made reference to iconic Parisian monuments by installing archways that nod to the Arc de Triomphe, as well as a fountain that is reminiscent of the water feature in the Jardin du Luxembourg and surrounded by green metal chairs similar to those found in Paris’ parks.

      Rows of wooden tables have been inlaid with chess boards in another reference to the parks of Paris. Passengers can use these as workspaces, to eat at, or to play games on while waiting for flights.
      The miniature fountain is a focal point within the terminalAs well as designing some of the lighting for the interior in-house, the studio also sourced and installed antique lighting and other decorative objects from the city’s St Ouen flea market, including giant wall lights and aluminium sunshades.
      To keep the space relevant to its function, Chzon also made references to aeroplane design by employing metallic details, patterned finishes and reclining plane-style seats designed by Italian architect and furniture designer Osvaldo Borsani.

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      “[The design] dramatises the boarding lounge while keeping the passenger informed,” Dorothée Meilichzon, founder of Chzon studio, said of the interior design.
      “The departure lounge becomes a smooth transition between the Paris that we are leaving and the plane that is going to take off.”
      The mural is applied to perforated sheets and wraps around the walls above the windowsThe space also features a mural inspired by the work of French painter Sonia Delaunay that sits above the windows, which overlook the runways and allow views of planes taking off and landing.
      This fresco also references symbols used in airport signage and carries similar rounded motifs to the ones present in the retro-style seating and lighting.
      Rounded elements in furniture, lighting and decor reference the design of the 1960s and 1970sCharles de Gaulle Airport, also known as Roissy Airport, is the French capital’s principle airport.
      Other airport-related projects published on Dezeen include the cosy remodelling of an airport in Colorado, USA by Gensler and an airport that contains the world’s tallest indoor waterfall by Safdie architects.
      Images are courtesy of Chzon studio

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      Hitzig Militello sets restaurant within historic Buenos Aires home

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      Repurposed materials and decadent accents come together in this Buenos Aires restaurant and bar that fits within a historic house overhauled by local studio Hitzig Militello Architects.

      Named Moshu Treehouse, the restaurant was built within a two-storey home in the Palermo neighbourhood, near the architecture studio’s main office.
      Moshu features raw materials and playful accentsThe neighbourhood is one of the older areas of the city and has a wealth of existing structures such as this one.
      According to the architecture studio, traditionally, these Argentinian houses are built around a courtyard, which becomes the main gathering area for socialising.
      Hitzig Militello designed the restaurant in Buenos AiresHitzig Militello Architects wanted to replicate this experience by creating a new courtyard area at the entrance that preserves the original facade of the home.

      In addition to marking the arrival into the restaurant, this feature is intended to facilitate carry-out orders and outdoor dining.
      A local Moshu tree planted in the courtyard gave the project its name.
      It features both indoor and outdoor dining”Our first major design strategy was to create an access courtyard immediately adjacent to the facade as both a symbol and shock effect,” said Hitzig Militello Architects.
      This new access courtyard allows visitors to enter the restaurant in two different ways: into the primary courtyard or up a set up stairs to access the second floor.
      “This allowed for a new facade with a language of its own, the core idea behind it being the preservation of the old style of the main facade,” it added.
      The facade is made up of a grid of windows with wooden shuttersPart of the courtyards facade is made up of a grid of windows with wooden shutters, which also cover the entrance to the indoor aspect of the restaurant. These are operable and can be opened up to capture the breeze, or closed in bad weather.
      They are slightly angled and offset from one another, creating a dynamic and irregular composition.

      Hitzig Militello Arquitectos combines two homes in one building in Buenos Aires

      The restaurant itself is laid out on two levels, with a cocktail bar upstairs and a terrace at the back of the building. The interiors preserve many of the raw finishes from the existing home.
      “The interior architecture language is one of vernacular composition of the typical demolished industrial style,” they explained. “Surrounding them is a run-down, abandoned house where the dry vegetation has taken over,” they added.
      Accent walls made of different sizes of tubes that form an archwayHitzig Militello Architects also added some playful features to the interiors, such as accent walls made of different sizes of tubes that form an archway.
      The ground floor contains a bar, and a variety of dining rooms set up inside or within small courtyards exposed to the sky.
      Upstairs is a large, decadent barIn total, the restaurant offers 240 square metres of interior space and 90 square metres uncovered.
      Upstairs is a larger bar, which spills out onto a terrace overlooking the front of the building.
      It spills out onto a terraceAn exterior stair leads from this upper patio directly to the street-facing entrance. Depending on the restaurant’s hours of operation, the upper floor can be reserved privately for events.
      Hitzig Militello Architects was founded in 2006 and also has offices in Miami.
      Buenos Aires has seen a number of renovations and additions to its existing building stock. Other examples include a home from the 1930s that underwent a “subtle” renovation by Torrado Arquitectos, and a self-designed office by Studio Nu that is set within a former auto mechanic’s shop.
      The photography is by Federico Kulekdjian.
      Project credits:Concept design: Arch. Vanik Margossian, Arch. Dolores GayosoConstruction documents: Arch. Vanik MargossianManagement: Arch. Marcela Bernat, Arch. Vanik Margossian

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      Norman Kelley refreshes lobby of postmodern Chicago skyscraper

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      US architecture studio Norman Kelley used materials such as brass and polished quartz to update the lobby in a 1980s skyscraper designed by John Burgee and Philip Johnson.

      The project – formally called the 190 South LaSalle Street Lobby – is located within a postmodern-style office tower in Chicago’s Central Loop. The 41-storey building was originally designed by American architects John Burgee and Philip Johnson and opened in 1987.
      Norman Kelley updated the lobby with materials including brassThe current owners, Beacon Capital Partners, hired local studio Norman Kelley to update the ground-level lobby, which is open to the public.
      “The overall goal of the project was to provide a safe interior public space that encourages community and contemplation, or a space to linger within,” the studio said.
      Rose-hued marble pilasters were kept intactThe lobby has a number of notable features that were kept intact. These include rose-hued marble pilasters, a black-and-white marble floor, and a 50-foot-tall (15-metre) vaulted ceiling sheathed in gold leaf.

      Norman Kelley added a range of new elements, including electric turnstiles, security desks and a cafe. Brass and polished quartz were used for the desks and cafe.
      A black-and-white marble floor was also preservedThe studio also designed new furnishings for the project, including a curvy sofa and long banquette, both in a vanilla hue.
      The seating was inspired by two sources – Vitra’s office furniture and group seating in the now-shuttered Four Seasons restaurant in New York, designed by Philip Johnson.
      A vanilla-hued banquette was designed by the studioThe seating was paired with round, brass-and-marble tables topped with portable LED Carrie lamps by Norm Architects.
      The north apse, which once held a marble security desk, was redesigned as a semicircular amphitheatre measuring 12 feet high and 27 feet wide (3.7 by 8.2 metres).
      The semi-circular amphitheatre has gold seatingThe tiered seating is made of perforated brass risers and honed, off-white marble with gold veining. Railings are made of brass pipes.
      To animate the space, the architects created an “immersive audio experience” in collaboration with the studio iart and sound scenographer Idee und Klang.
      Brass and polished quartz were used for the desks and cafeThe weather-inspired audio installation was designed to be triggered by 81 light sensors and three motion sensors that are located behind the risers.
      “Once the amphitheatre senses one’s presence, a musical score comprising 15 instruments, four tempos, and seven keys and scales play across eight of the nearest 91 speakers,” the team said.

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      “The brass-and-marble amphitheatre is a responsive instrument that uses real-time data inputs, like weather and time of day, to compose an ever-changing sonic environment.”
      The amphitheatre stands in contrast to the southern apse, where a towering bronze sculpture, called Chicago Fugue by Anthony Caro, was installed in 1987. The abstract sculpture is composed of anomalous shapes and alludes to musical instruments.
      A bronze sculpture by Anthony Caro features in the space”Like an aural diptych, the lobby presents two musical sculptures: one figurative, the other literal, to welcome you back to work,” the team said.
      Norman Kelley was founded in 2012 by Carrie Norman and Thomas Kelley.
      The studio’s other projects include an Aesop store in Chicago’s Bucktown neighbourhood, which features reclaimed bricks arranged in pinwheel patterns, and a flagship store for clothing retailer Notre that is housed in a building dating to 1906.
      The photography is by Kendall McCaugherty Ristau.
      Project credits:
      Architect: Norman KelleyOwner: Beacon Capital PartnersGeneral contractor: Power Construction CompanyMedia architecture: iartSound scenography: Idee und KlangAcoustics: Walters-Storyk Design GroupMEP: Kent Consulting EngineersStructural engineering: Klein & HoffmanAudio visual services: Global Service TechniciansMillwork: HuberExpediter: Burnham NationwideFilm: Spirit of Space

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      New Practice brings warmth and colour to Glasgow's century-old Kinning Park Complex

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      A historic community centre that was saved from demolition by activists – including Scotland’s first minister, Nicola Sturgeon – has been given a new lease of life by architecture studio New Practice.

      New Practice founders Becca Thomas and Marc Cairns opted for a light-touch approach in the renovation of Kinning Park Complex, a century-old former school building in the southwest of Glasgow.
      A new roof dotted with skylights makes the building weather-proof againAlthough the building was in a poor state, with an extremely leaking roof, faulty electrics and a broken heating system, the Glasgow-based architects’ approach was to save as much of the existing structure and interior as possible.
      They adopted a reuse and recycle strategy, while also making subtle changes that improve the building’s functionality and accessibility.
      Pink denotes the community space on the first floorThe revamped interiors are animated by a system of colour-blocking, which helps to ensure the building can be easily navigated by people of all literacy levels.

      “One of our key aims was to keep the building feeling familiar,” explains Thomas in a video about the project.
      First-floor workspaces are picked out in yellow”Lots of people have hugely strong memories and love for the building and we didn’t want to change that too much. By taking this adaptive reuse approach, we just kept the building feeling like itself and tried to elevate that,” she said.
      “Every choice to remove something original has been taken only where we absolutely needed to remove that, for the safety and for the future of the building.”
      Kinning Park Complex was originally a school buildingKinning Park Complex first became a community centre after the school closed down in 1976, but looked set for demolition when the council announced plans to close it in 1996.
      Local residents and campaigners, including a then-25-year old Nicola Sturgeon, staged a sit-in to protest the closure. After 55 days, the council agreed to let the community take over the building’s running.
      The building stayed in use for another two decades, but over time its problems became hard to ignore.
      A reconfigured ground floor features a large community kitchenThe trustees, led by local resident Helen Kyle, approached New Practice after seeing Many Studios, a creative hub that the architects created in a converted Glasgow market hall.
      The challenge was not only to refurbish the building but also to help support the community’s ambition to buy the property, by improving opportunities for income generation.

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      Thanks to government and lottery funding, the architects were able to plan a full overhaul of the interior in collaboration with engineering firm Max Fordham.
      The roof was replaced as sensitively as possible, while the interior layout was gently adjusted to make room for a lift.
      A double-helix staircase, originally sub-divided, has been opened upThe atrium, which was once subdivided to separate boys and girls, is now opened up. The result is a space that feels generous and bright, thanks to the skylight overhead.
      Three floors of classroom and office spaces have been adapted for a range of uses. A community kitchen can be found on the ground floor, while the second level has become a co-working space.
      The building was taken over by the community following a sit-in in 1996″A key decision that we had to make was to ensure that the work that we were doing in the building didn’t sanitise this rich, abrasive history of activism and community-led dialogues and debates,” said Cairns.
      “We really tried to keep that at the forefront of our thinking.”
      Original wood floors have been rejuvenatedFlexible partitions allows the ground- and first-floor halls to be easily subdivided if required.
      Other spaces include a quiet room that could be used for anything from prayer to breast-feeding, and a series of small studios and workshops.
      The restored handrails are painted in the same burgundy they were in the pastRealising the project in the context of the pandemic proved a challenge. With the architects unable to be on site all the time, they found it difficult to fully realise their ambition to reuse as much as possible.
      Thomas and Cairns recall coming to site to find elements such as doors and balustrade railings had been thrown away by builders, despite their instructions.
      Nonetheless there are still plenty of recycled details to be found, including a framed patch of original wallpaper and a series of storage cabinets built into the walls.
      Original details, like a patch of ageing wallpaper, are celebratedThey hope the building can help to become a positive example of adaptive reuse, particularly in light of the COP26 environmental conference that recently took place in Glasgow.
      This sentiment is echoed by Sturgeon: “The challenge of refurbishing and imagining a building like this, for decades to come, is fantastically dynamic for the architecture and design industries,” she said.
      “We just took it for granted that buildings would reach the end of their natural life and then they would sort of fall into dereliction, and thankfully communities decided that that wasn’t going to happen. So we’ve learned how to reimagine things for the future and preserve for the future.”
      Photography is by Will Scott. Video is by Pretend Lovers.

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