The genesis of the PLATO Gallery project in Ostrava emerged from a challenge to breathe new life into a dilapidated slaughterhouse built over a century ago. The run-down brick walls and battered interiors of the structure bore witness to the Czech city's industrial legacy. This building had been used as a slaughterhouse up to the 1960s, after which it was used as a warehouse and then a garage. It was abandoned soon after and partially collapsed, too. Yet the structure held decades of industrial architecture history, and the potential for renewal. By embracing its imperfections and history as features that add character to an immersive gallery experience, the Polish architecture practice KWK Promes, led by Robert Konieczny, mobilised the preservation of its architectural heritage while infusing it with contemporary vibrancy. What began as an international competition by local authorities for the adaptive reuse of a structure, evolved into a visionary project that not only saved this historic building from further deterioration but also reinvigorated the surrounding environment, which now fosters a new era of accessibility to art and culture.

Central to the design concept is the notion of connectivity within the building and the broader community. The existing openings in the structure, both intentional as well as the openings formed by continual deterioration have been repurposed as dynamic passageways. This was achieved with the help of a unique and innovative solution—through the use of rotating walls. This intervention aimed to maintain the functionality of the openings as the links of the structure to the city. Thus, the new infill walls are pivoted, allowing them to rotate, and granting direct access from the exhibition halls to the exterior. This innovation has presented artists and curators with exciting new prospects to exhibit their works and facilitated the physical extension of art into the surrounding area. The newly restored art gallery now transcends traditional boundaries, and democratises access to culture, bringing contemporary art into the everyday lives of city residents.

At the heart of the revitalisation effort was meticulous attention to detail, honouring the building's original character while introducing modern elements to fill the gaps. All the original brick ornamentation was retained and restored while the deteriorated areas of the brickwork were filled and repaired with bricks salvaged from a previously collapsed part of the site. In place of the former atrium, a new structure, made of modern materials such as micro-concrete, has been designed. This new mass is embedded within the larger layout of the structure spatially, connecting the different gallery spaces inside. Yet, externally it starkly stands out due to its modern materiality, which is visually the same as that of the rotating walls, bringing balance to its exterior composition. The use of a distinct material for the new additions brings out the contrast quite well while eliciting harmony between the old and the new elements.

Visually and structurally, the six new rotating walls stand out, with two serving as entry points to the PLATO gallery, and the remaining four linking the galleries to their surroundings. When shut, these walls seamlessly merge with the exhibition space and are structurally almost airtight owing to the design decision to replicate the brick architecture on the concrete rotating walls, to conform to the varying section thickness of the brick walls. Despite their substantial size, they need simple and concealed mechanisms, which need maintenance only once a year.

The structure’s interior design nods to the guiding principle of preserving the built heritage. Inspired by the building’s former interior appearance, the walls have been coated in a lime plaster finish. All the exhibition galleries have this white finish over mineral board insulation. Meanwhile, soiled brickwork is left exposed in the transit spaces, serving as a poignant reminder of the site’s industrial architecture roots.

The deteriorated wooden roof which used to be coated in dark felt, has been substituted with a steel framework enveloped in a light membrane to prevent heat island effect and ensure a pleasant interior temperature. Similarly, in the window openings, new glazing systems featuring ceramic screen prints have been installed. These screens mellow the harsh incoming light, lending the interiors a subdued and sombre appearance.

The KWK team’s role extended beyond the gallery's walls, as it sought to revitalise the once-contaminated grounds surrounding the building. Recognising the need for green space in the urban landscape, and in the immediate context of the gallery, the project gave shape to a biodiverse park. Water-permeable floors, flower meadows, and retention basins were just a few strategies initiated to form an inclusive environment that sensitised visitors to art and environmental stewardship. The residents were involved with the architects in the plantation and growth of the park where this ensuing collaboration turned the entire complex into a community-led cultural hub.

PLATO's legacy extends beyond its physical footprint, encompassing initiatives such as the ‘library of materials’ which encourages industries to not mindlessly dispose of waste, and gives free access to recyclable materials to small businesses. Free lectures are held at the amphitheatre and several educational programmes are held for children every day within and around the complex. As Ostrava's cultural landscape continues to evolve, PLATO Contemporary Art Gallery stands as a testament to the transformative power of creativity and collaboration. Alluding to a powerful intent, a moving implementation, and a distinctive design, the project was also one of the distinguished finalists for the 2024 European Union Prize for Contemporary Architecture – Mies van der Rohe Awards.