Lehmann Maupin Gallery
Hong Kong by OMA


A sliding plywood wall divides this OMA-designed art gallery inside a historic building in Hong Kong (+ slideshow).

Lehmann Gallery Hong Kong by OMA

The Lehmann Maupin Gallery is located in the Pedder Building, which was built in 1923 and is one of the oldest commercial buildings in Hong Kong.

Lehmann Gallery Hong Kong by OMA

OMA divided the gallery into two exhibition spaces, the first of which is arranged around a pre-existing column and overhead beams.

Lehmann Gallery Hong Kong by OMA

The column and beams were left in their original state to contrast with the clean white walls of the room.

Lehmann Gallery Hong Kong by OMA

A sliding wall allows the second, smaller space to be separated or combined with the main space as required.

Lehmann Gallery Hong Kong by OMA

Plywood and polished concrete were chosen to echo the OMA-designed Lehmann Maupin gallery in New York's Chelsea neighbourhood.

Lehmann Gallery Hong Kong by OMA

A long and narrow office is tucked behind the main space to take advantage of natural light from the building's large windows.

Lehmann Gallery Hong Kong by OMA

The gallery opens this month with a solo exhibition by Korean artist Lee Bul, which runs until 11 May 2013.

The architecture of OMA's Kunsthal gallery in Rotterdam was criticised last year following the theft of seven paintings – see all galleries on Dezeen.

OMA was recently chosen to masterplan an "airport city" in Doha, Qatar, while the firm's principal Rem Koolhaas will curate the Venice Architecture Biennale in 2014 – see all architecture by OMA.

Photographs are by Philippe Ruault.

Here's some more information from OMA:

The Pedder Building, site of the Lehmann Maupin Gallery in Hong Kong, is one of the few surviving pre-war structures in the center of the financial district. OMA’s design of the gallery reveals rather than conceals the patina that distinguishes the historic building from its more glossy neighbours.

The gallery is divided into two exhibition spaces. The newly constructed white walls of the main space are constructed around a central column and overhead beams – objects of time left in their found state. The second space can be joined with the main space or separated with a sliding wall, facilitating smaller exhibits and use as a private viewing room.

Integrated ambient tubes and spot lights contrast with the raw quality of the exhibition spaces with polished concrete floors. The materials of the gallery emphasises neutrality. Plywood, polished concrete floor, and white surfaces serve as the backdrop for artworks.

The entrance of the gallery is a corner door that obscures the boundary between the interior and exterior while allowing the ingress of large art works. When both of the doors are open, the end of an otherwise narrow and compressed building corridor completely disappears and opens up the Lehmann Maupin Gallery to Hong Kong.

Status: Completion 2013
Client: Lehmann Maupin Gallery
Location: 407 Pedder Building, 12 Pedder Street, Central, Hong Kong
Programme: 1,130 sq. ft of exhibition space and offices
Partners-in-charge: David Gianotten and Rem Koolhaas
Project Architect: Miranda Lee

  • Dr Subtilis

    This project has nothing special. Our cities are full of interior projects, more interesting than this and made by young and talented architects. More meritocracy and less star system!

    • michal

      I agree that this project is not bad. I respect OMA and actually I like the modesty of it, but then again, Dezeen could be filled by ten projects like this one every day. This one made it here just because it is OMA. And for an unknown architect, that could mean a lot, while OMA does not need any more recognition. Certainly not for this project. I know Dezeen could say it´s all about the project, but context matters. I hope this site does not become a spamblog like Archdaily. A bit of editing and more confidence. You can say no to Koolhaas, dear Dezeen.

    • andi

      It’s a normal project, neutral to the artworks. I’m actually happy to see this sort of work from OMA: doing something humble and good.

    • Davvid

      Is there a plan for how to achieve a meritocracy in architecture and roll back the internet star machine? It seems to me that marketing will always be part of this profession and the star system is merely a part of the marketing game.

      Even the anti-star star Peter Zumthor needs to maintain some level of cultural relevance to keep the business going. If there is great work being built out there that isn’t getting the attention it deserves, someone needs to hire a photographer, have the project photographed, prepare a press release and send it to Dezeen.

      • Christine

        Sorry did you say anti-star Peter Zumthor? Are you kidding me? To be an anti-star is the ultimate achievement of the star system! Zumthor is marketing himeself as the most famous rebel of the starchitects. Thousands of architects are ready to kiss his bum cheeks just to work for him, while others rever him as the god of architecture without a glimpse of questioning on the global relevance of his projects.

        • andi

          Christine, if you read the interviews Zumthor is trying to avoid beeing an anti-star. He’s even creating a website so that he is not perceived as a no-website snob. I think the media needed an anti-star and they stumbled upon him. He was doing this kind of work for some 30 years without any media attention. And a project doesn’t need a ‘global relevance’. It’s just a project and that’s it.