We design galleries as architecturally sophisticated frameworks for art – working sensitively with site context, light, visitor flow and curatorial variability. We create exhibition spaces that do not distract from the art, but enhance it. In our view, contemporary gallery architecture does not need to dominate – often an elemental mass, a clear structure and a connection to the history of the site is enough.
Flexibility and variability of space
In each proposal we seek a balance between architectural purity, operational logic and the variability required by curatorial intentions. The gallery space must be flexible – capable of hosting contemporary art, historical exhibits and multimedia installations. This requires thoughtful work with light, visitor movement and a clear hierarchy of spaces.
Light as the main tool
Light plays an essential role. Both natural and artificial lighting must support the atmosphere of the exhibition while protecting the artifacts on display. We use skylights, indirect lighting and clever use of materials to make the light soft, even and glare-free. We situate window openings and vistas so that visitors perceive not only the works but also the surrounding environment – connecting the gallery to the city or landscape creates another layer of experience.
Minimalism and Elementary Matter
In our opinion, the contemporary gallery does not have to be pretentious. On the contrary – we often choose simple, elemental masses that let the content stand out. Minimalist architecture has the ability to let the exhibits do the talking while remaining visually strong. In historical contexts, then, we look for ways to connect the past and the present. New interventions can become a confident contrast or, conversely, an unobtrusive addition – but always with respect for the original work.
Example: the Gočár Gallery in the Automatic Mills
One example is Gočár’s gallery in the Automatic Mills. We have conceived its expansion as a story in three chapters: the cleaning of the original Gočár’s work, the preservation of the renovated part of the background and the completion of the new mass. On the one hand, it was an independent, contemporary architectural intervention, on the other a sensitive rewriting of the history of the entire site. The new element – a subtle, fragile mass – refers to the new function of the building and creates a dialogue with the existing buildings. The spatial dilation between the old and the new creates a clear boundary and connection at the same time. Instead of an extension, a new building was created, which harmoniously closes the site. This project shows how a gallery can be a bridge between the past and the present without one component overpowering the other.
Gallery as a part of city life
When designing, we also make sure that the gallery is not an isolated object, but part of the urban structure. Accessibility, connection to the public space and natural integration into the life of the city are key. We believe that a gallery should be a meeting place – not only between artist and viewer, but also between different groups of people who might not otherwise meet.
Materials and context
Material solutions are chosen according to the context. In an industrial environment we work with concrete, metal and glass, which we complement with warmer accents of wood. In historic centres, we look for inspiration in traditional materials, which we combine with modern technology. This creates architecture that is both authentic and timeless.
Our philosophy of gallery creation
Each gallery space is an original for us – it responds to the specific place, purpose and community for which it is created. But the common denominator in all projects is a respect for art, an emphasis on functionality and the ability to bring visitors not only an aesthetic but also an emotional experience. Whether new construction or sensitive renovations, our goal is always to create an environment where art and architecture complement and reinforce each other.
Are you interested in our work? Contact us.