Exhibition design, both for temporary touring shows and more permanent gallery fit-outs, has long been an important part of architectural practice. It is seen as a chance to experiment in space-making, fabrication and materials as well as to collaborate creatively with fabricators and lighting designers.It often provides a platform for younger practices to quite literally showcase their design work. But increasingly, too, given the temporary and traditionally wasteful nature of exhibition fit-outs and installations, its also a fertile ground for experimentation in sustainable, reusable and low-carbon builds and materials. The AJ approached prominent practitioners for insights into exhibition and gallery design.David Kohn, founding director, David Kohn ArchitectsDescribe a key recent projectOur programme reinvigorated Modern Art Oxford as a welcoming, inclusive and accessible venue. It is now better equipped with space and flexible structures for exhibitions, learning and participation work. With much of the historic fabric remaining intact, we revealed features such as cast iron columns, which recall the buildings industrial past while giving rhythm to the spaces. A new shop and a caf, designed by artist Emma Hart, enhance visitor enjoyment and the venues economic sustainability. Source:Max CreasyModern Art Oxford, reworked by David Kohn Architects with artist Emma HartHow do you look to ensure sustainability in designing exhibitions/gallery fit-outs?We have advocated both the reuse of materials and the design of adaptable systems. One example is the reusable lightweight carbon-fibre display system we designed for the Design Museum in 2011, which we reused as recently as 2019 at a Bauhaus exhibition at the Aram Store.AdvertisementWho are the key collaborators and consultants you work with regularly? We often work with Weber Industries on the joinery, such as that at Modern Art Oxfords new community gallery, education space and shop. They are brilliantly collaborative. We also work with artists such as Eva Rothschild and Monster Chetwynd on gates and gargoyles at New College, Oxford. Source:Max CreasyModern Art Oxford, reworked by David Kohn Architects with artist Emma HartWhat other art/cultural projects are you working on or looking forward to?Last year we won an international design competition with noAarchitecten and Asl icek for the 95 million expansion of the S.M.A.K. museum of contemporary art in Ghent, Belgium. While the brief expected demolition of the existing building, our winning proposal proved the structure could be retained and insulated, with its brick and stone faades being mined like a quarry to create a new appearance. We are currently also working with artist David Shrigley on a new studio complex in Brighton. Following an early collaboration with artist Fiona Banner on A Room for London, we are in discussion to create A Room for Fremantle together for the 2027 Perth Festival in Australia.How does exhibition or gallery work feed into your wider practice?The practice is incredibly fortunate to work with very talented artists. Recently in conversation Fiona Banner spoke of an idea from German composer Karlheinz Stockhausen, that it takes a lot of spiritual work to remain young. Speaking to Fiona and other artists has a similar effect.Project dataProject Redevelopment programmeLocation Modern Art OxfordClient Modern Art OxfordStart on site June 2024CompletionOctober 2024Budget 2 millionShaun Ihejetoh, director and co-founder, West PortDescribe a key recent projectFor Our Street at the Barbican, we were asked to recreate a London street that facilitates play, whether ball, group or solo games. The show created a space that encouraged people to touch, feel and explore, with a mixture of prompts and activities. As lead designers, we worked closely with St Lukes Primary School in Islington, co-designing the space together, along with invited artists and illustrators. Key to the project was designing through the eyes of children, which included everything from the heights of shopfronts to the mix of colours and tactility of surfaces.Advertisement Source: Jesse Olu OgunbanjoOur Street pop-up play space at the Barbican, designed by West PortHow do you look to ensure sustainability in designing exhibitions/gallery fit-outs?Exhibition design can be very wasteful, so we have a list of sustainability targets at the outset of every project: reusing existing materials where possible, using standardised sheets to reduce wastage, working with suppliers to explore more sustainable products such as the carbon-neutral fibreboard made from 100 per cent cellulose waste and fibre residue, a by-product of the paper industry, that we used on a previous exhibition, Real Families at the Fitzwilliam Museum.Who are the key collaborators and consultants you work with regularly?We have often worked with London-based graphic designers ChillCreate and lighting designers Beam, ControLuce and Lucy Record. Weve also worked with amazing contractors over the years, such as Sam Forster and The Moule Partnership, amongst others, who, to tight timescales, have delivered excellent builds. Source: Jesse Olu OgunbanjoOur Street pop-up play space at the Barbican, designed by West PortWhat other art/cultural projects are you working on or looking forward to?Building on what weve achieved in the past four to five years, 2024 saw us shortlisted for several significant cultural projects across the UK. At the moment, we are working with the Royal Academy on their autumn show, the largest British survey of the work of renowned American painter Kerry James Marshall.How does exhibition or gallery work feed into your wider practice?It has made us more collaborative and, crucially, better facilitators of the project programme: working to tight completion dates that cannot be moved and instilling a mindset of efficient working practices. It gives opportunities to conduct R&D on new materials, test ideas in fun and engaging ways but, best of all, interact with end-users.Project dataProject Our Street pop-up play spaceLocation Barbican Centre, LondonClient Barbican CentreStart on site July 2024Completion August 2024Budget Undisclosed2025-03-07Rob Wilsoncomment and share