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The project takes place in Vilnius city, in former abandoned buildings which are now in use for The cultural complex established by the Lithuanian Interdisciplinary Art Union, operating on the principles of community and self-government. The particular space is designated for the “Architecture Foundation” which works in the field of architectural and cultural education. The room is used as an office workplace, a meeting place and a gallery.


In the project we choose to accommodate different functions and zones without dividing the space into separate cabinets instead we proposed a dynamic installation. In this way, depending on the needs, the interior transforms into a different shapes. These new functional objects are realised as a transparent layer allowing to observe the nature of the building with its past signs. Therefore, the interior takes over the aesthetic atmosphere of the whole complex and becomes an integral part of it.

The Architectural foundation’s private workspace is defined by a transparent object that is pushed out into the hall during the working hours. Object on itself can carry on a relevant exposition from the activities of the foundation. An act of extrusion is a communication message for visitors of the building, that the space is open. To make the inside room spacious the elements are concentrated parallel to the walls. At the steady position they serve for gallery. Unfolded and taken out they form an environment for various office needs. Materials used in the interior represent the construction body that makes up the architecture itself. The details express links to missing elements that are easily recreated by fantasy.

Interior project is highly dependent on the context of the whole building complex. It overcomes its utilitarian issues with transformable attributes. Design demonstrates a softly dissolving boundary between the private workplace and the public realm.

Status: completed, competition, I st. prize

Location: Sodas 2123, Vilnius, Lithuania

Area: 40 sq.m

Year: 2020

Photographs: Norbert Tukaj

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