Espace Gabrielle Chanel Art Library Opens in Shanghai

Espace Gabrielle Chanel establishes a new typology for cultural institutions in China. It is housed within Shanghai’s Power Station of Art. The project merges reading, exhibition, and performance in a reconfigured industrial space.

Espace Gabrielle Chanel multi-level library interior with integrated staircases, wooden flooring, and open reading areas within Shanghai’s Power Station of Art. — The spatial continuity of Espace Gabrielle Chanel merges circulation, storage, and seating into a unified system. The design emphasizes horizontal movement and visual permeability across levels. (Image © Iwan Baan)

Design Concept

The museum’s third floor was redesigned to form a continuous ramp linking a library, a 300-seat theatre, and a dedicated design exhibition area. Solid walls were replaced with open shelving, and unobstructed sightlines encourage fluid, barrier-free movement. The mezzanine level features a section devoted to Chinese contemporary art, grounding global content within a local context. This approach aligns with current trends in interior design.

Espace Gabrielle Chanel exhibition space with suspended white sphere, fabric tent, and industrial steel staircase within Shanghai’s Power Station of Art. — The installation zone features a minimalist intervention: a floating sphere, a draped textile structure, and unobstructed views to the Huangpu River. The design contrasts raw structural elements with soft, temporary forms. (Image © Iwan Baan)

Materials & Construction

Timber flooring provides acoustic warmth. Modular shelving defines zones without enclosure. The original industrial ceiling remains exposed. This preserves the building’s character. Structural changes were minimal. Only lightweight supports were added for the ramp and mezzanine. Such methods reflect efficient construction practices. They also show how building materials can bridge eras quietly.

reading area with wooden bookshelves, round tables, and white structural columns within Shanghai’s Power Station of Art. — The reading zones integrate furniture directly into the shelving system, minimizing visual clutter. Natural light enters through tall windows, reinforcing a calm, focused atmosphere. (Image © Iwan Baan)

Sustainability

Espace Gabrielle Chanel avoids new construction. It reuses existing space instead. This cuts embodied carbon significantly. Natural light reduces artificial lighting needs. Passive ventilation lowers energy use. The project did not pursue formal green certification. Yet the project follows core sustainability principles. These choices support long-term operational restraint.

multi level library interior with integrated shelving, walkways, and white structural columns within Shanghai’s Power Station of Art. — The spatial sequence merges circulation, storage, and study areas into a single system. The design prioritizes horizontal movement and visual continuity across levels. (Image © Iwan Baan)

Urban/City Impact

The library sits along the Huangpu River. It offers free, sustained access to art and design resources. Most such spaces in China are commercial or temporary. Here, access to knowledge is structured as public infrastructure through spatial design The theatre hosts screenings, sound works, and talks. This expands the role of cultural events. The model may inspire other Asian cities. Espace Gabrielle Chanel acts as both archive and forum.

The Power Station of Art stated: The library aims to cultivate an environment for deep reading and reflection, inviting readers to explore freely and embark on a journey of discovery, reinterpretation, and creation.

There is no announced end date for the installation. Organizers expect it to remain semi permanent. Could similar projects emerge in other public museums?

Architectural Snapshot: A gently sloping art library in Shanghai layers reading, exhibition, and performance within an adaptive industrial shell.

ArchUp Editorial Insight

The announcement of Espace Gabrielle Chanel frames a cultural library as neutral ground, yet its institutional scaffolding Chanel’s patronage within a state museum reveals embedded asymmetries. Sakamoto’s ramped layout favors curated discovery over open access, echoing a wider trend where architectural generosity masks selective gatekeeping. The project’s material restraint is commendable, avoiding stylistic excess in favor of spatial continuity. Yet such collaborations risk normalizing private branding within public knowledge infrastructures a model unlikely to endure beyond the sponsorship cycle.