Silver Interior Space and Exhibition Design · 2026
Vik Cars Automobile Museum
by Karina Mayer and Danylo Koshulynskyy
- A' Design Award 2026 Silver Winner in Interior Space and Exhibition Design
- Awarded April 15, 2026
- CLIENT: VIK Cars
- Estimated Number of Design Views: 17,332
- Verification code 59EA119255 · Verify this award
About Vik Cars Automobile Museum
The Vik Cars Museum is an exhibition space created to accommodate a private collection of functional vintage automobiles. The project is organized as an open-plan gallery where spatial layout supports clear circulation and visual order. Vehicles from different periods are displayed within a unified spatial framework. Linear lighting, perforated partitions, and floor markings structure movement and define exhibition zones while maintaining continuity. Reception, lounge, and retail areas are incorporated into the plan to support visitor flow and collection access.
Within the evolving tradition of experiential museum design, Karina Mayer's Vik Cars Automobile Museum represents a thoughtful synthesis of curatorial sophistication and spatial innovation that reimagines how audiences engage with automotive heritage collections. The design demonstrates particular sensitivity to the phenomenological experience of the visitor, establishing zones of repose through carefully positioned contemporary furniture groupings that invite sustained contemplation rather than passive viewing, transforming the museum visit from mere observation into embodied participation within a carefully choreographed spatial narrative. The chromatic strategy reveals considerable refinement, with warm leather tones in cognac and burnt orange establishing material continuity with automotive upholstery traditions while cool forest green elements provide refreshing counterpoint, this palette appearing to reference both natural materials and the rich interior appointments characteristic of vintage luxury automobiles. The theatrical lighting installation centered upon the primary display creates a moment of visual drama that elevates the featured vehicle to near-sacred status, the shimmering metallic backdrop functioning as both reflective surface and symbolic threshold suggesting transformation and passage. Structural elements of the industrial architecture have been retained and celebrated rather than concealed, the exposed ceiling infrastructure painted in dark tones that recede visually while providing honest acknowledgment of the building's material reality. The furniture forms themselves suggest productive dialogue between organic biomorphism and functional comfort, their tubular leather construction perhaps evoking both contemporary design innovation and nostalgic reference to automobile interiors of earlier eras. This installation invites consideration of how physical comfort and aesthetic contemplation might enhance rather than distract from engagement with cultural heritage, proposing that seated repose before these mechanical artifacts may yield insights unavailable to standing visitors moving quickly through conventional gallery arrangements.
Press Kit
- Unique Properties
- VIK Cars focuses on "silent architecture," where a minimalist 1500 sq.m. interior serves as a scenographic frame for 32 rare automobiles. The core innovation lies in the bespoke linear LED system that creates a rhythmic light narrative, highlighting the aerodynamic silhouettes and chrome textures of exhibits from different eras. Realized in just 60 days, the space functions as a hybrid cultural hub, merging high-end gallery aesthetics with adaptable event scenarios for a cinematic experience.
- Dimensions & Packaging
- Total Area: 1500 sq.m. Ceiling Height: 5 meters. The program includes a main exhibition hall for 32 vehicles, professional racing simulator zones, and a lounge area featuring retro-gaming consoles and vinyl records. A key feature of the central event zone is a massive 7 x 3,6-meter high-resolution screen designed for professional presentations, digital backdrops, and immersive events. The lighting system consists of over 500 meters of bespoke linear LED profiles, providing both ambient illumination and precise accents for the exhibits, integrated with the multimedia capabilities of the space.
- Tags
- Museum Design, Exhibition Scenography, Automotive Heritage, Lighting Design, Interior Architecture
- Production Technology
- The 1500 sq.m. facility was realized in a record timeframe of 60 days. The design utilizes a rigorous graphic grid and custom linear LED structures to organize the vast industrial volume. Walls are finished with perforated acoustic panels featuring parametric patterns, adding digital depth to the minimalist shell. The project integrated specialized flooring and ventilation systems required for fully operational vintage vehicles, ensuring a balance between high-end gallery aesthetics and technical functionality.
- Design Challenge
- The primary challenge was the "fast-track" delivery: managing the complex engineering of a 1500 sqm museum within a strict 60-day timeframe. Strategically, the team had to create a neutral background that wouldn't compete with 32 distinct car designs while maintaining a strong identity. This was resolved by prioritizing light as the main structural element, allowing for rapid installation and a high degree of spatial adaptability for future cultural events and presentations.
- Project Duration
- The project commenced on August 4, 2025, and was officially inaugurated on October 5, 2025, in Lviv, Ukraine. The most remarkable aspect of the realization was the record-breaking two-month execution period, covering the entire process from the start of on-site construction to the grand opening of the 1500 sq.m. facility.
- Operation Flow
- Visitors embark on a cinematic journey through automotive history, guided by a rhythmic flow of light. The open-plan layout allows for a non-linear exploration, where guests can move freely between themed "light cocoons" surrounding each vehicle. Interaction extends beyond viewing, with integrated zones for professional racing simulators, retro-gaming, and a lounge area for vinyl listening, creating a multisensory experience that blends mechanical heritage with modern lifestyle activities.
- Research
- The project explored the synergy between industrial heritage and modern experiential design. Research focused on using "architectural silence" to maximize the visual impact of high-value artifacts. By analyzing the psychological effects of lighting rhythms, the design team developed a system that eliminates visual noise, allowing the engineering details of cars from different eras to coexist. The result is a hybrid model that transforms a private collection into a functional public-facing cultural platform.
- Inspiration
- The project was inspired by the aesthetics of motion and the "golden era" of automotive engineering. The primary goal was to move away from traditional static museum displays and create a "scenography for cars." We envisioned a space where light acts as the main architectural material, creating a cinematic dialogue between the visitor and the mechanical masterpieces. The design celebrates the automobile not just as a machine, but as a cultural icon and a result of human ambition.
- Image Credits
- #1: Photographer Andrii Shurpenkov, VIK Cars, 2025. Image #2: Photographer Andrii Shurpenkov, VIK Cars, 2025. Image #3: Photographer Andrii Shurpenkov, VIK Cars, 2025. Image #4: Photographer Andrii Shurpenkov, VIK Cars, 2025. Image #5: Photographer Andrii Shurpenkov, VIK Cars, 2025.
- Patents
- Copyrights belong to Koshulynskyy & Mayer Interior Design (KM Design), 2025.
Colors of Vik Cars Automobile Museum
Design Interview about Vik Cars Automobile Museum
The main idea behind the project was to treat the space not as a traditional exhibition, but as a scenographic environment.
We moved away from a chronological or static presentation of the collection. Instead, we focused on creating a spatial experience where movement, perspective and light define how the cars are perceived.
The inspiration came from the contrast between industrial architecture and collectible objects. The goal was to create a restrained yet structured environment that enhances the perception of the exhibits without competing with them.
We moved away from a chronological or static presentation of the collection. Instead, we focused on creating a spatial experience where movement, perspective and light define how the cars are perceived.
The inspiration came from the contrast between industrial architecture and collectible objects. The goal was to create a restrained yet structured environment that enhances the perception of the exhibits without competing with them.
The main focus was on spatial clarity, movement scenarios and visual hierarchy.
The layout was designed to allow visitors to interact with the space freely, without a predefined route. The space functions as an open system, where each visitor creates their own experience.
Special attention was given to integrating technical elements — lighting, structure and engineering — into a unified architectural logic.
The layout was designed to allow visitors to interact with the space freely, without a predefined route. The space functions as an open system, where each visitor creates their own experience.
Special attention was given to integrating technical elements — lighting, structure and engineering — into a unified architectural logic.
We see this project as a model approach that can be scaled.
In the future, we plan to develop similar spaces where architecture acts as a system that enhances the perception of the collection rather than competing with it.
In the future, we plan to develop similar spaces where architecture acts as a system that enhances the perception of the collection rather than competing with it.
The concept was developed within a relatively short timeframe due to the fast-paced nature of the project.
The key decisions were made early and then refined throughout the process.
The key decisions were made early and then refined throughout the process.
This design was developed in response to a specific task.
We worked within real constraints and requirements, which allowed us to form a clear concept based on function, structure and spatial perception.
We worked within real constraints and requirements, which allowed us to form a clear concept based on function, structure and spatial perception.
No, this design is not manufactured or used by other companies.
It is a site-specific project created for a particular space and is not intended for mass production or licensing.
It is a site-specific project created for a particular space and is not intended for mass production or licensing.
This type of work was defined by the task itself.
We were working with a specific object and collection, which required creating a space that not only displays the exhibits but forms a complete experience around them.
We were working with a specific object and collection, which required creating a space that not only displays the exhibits but forms a complete experience around them.
No, this project was not influenced by other designers.
The target client is private collectors and spaces that work with curated objects.
These are projects where not only storage, but proper presentation and perception of the collection is important.
These are projects where not only storage, but proper presentation and perception of the collection is important.
The difference lies in the system-based approach.
The space is built as a clear structure where architecture does not decorate, but organizes perception and interaction with the objects.
The space is built as a clear structure where architecture does not decorate, but organizes perception and interaction with the objects.
The name was defined and approved by the client.
We used BIM modeling, 3D visualization and detailed technical documentation.
This allowed us to precisely control the project at every stage.
This allowed us to precisely control the project at every stage.
The most unique aspect is the balance between architectural restraint and spatial expression.
The space is not overloaded, yet it has a clear identity.
The space is not overloaded, yet it has a clear identity.
Yes, we involved specialized professionals.
This included a multimedia team, screen installation, virtual reality setup and professional equipment integration. It required precise coordination to ensure all technical elements were seamlessly integrated into the spatial logic.
This included a multimedia team, screen installation, virtual reality setup and professional equipment integration. It required precise coordination to ensure all technical elements were seamlessly integrated into the spatial logic.
Technology played a supporting but important role.
Audio systems, a projection screen and a virtual reality simulator were integrated as part of the experience without disrupting the overall spatial coherence.
Audio systems, a projection screen and a virtual reality simulator were integrated as part of the experience without disrupting the overall spatial coherence.
Yes, the project was shaped through analysis.
We defined the target audience, understood who the space is created for and considered how it should function in terms of self-sustainability and maintenance.
We defined the target audience, understood who the space is created for and considered how it should function in terms of self-sustainability and maintenance.
One of the main challenges was logistics.
We needed to transport cars to the second floor of the museum. This required the urgent design and construction of an external cargo lift.
We needed to transport cars to the second floor of the museum. This required the urgent design and construction of an external cargo lift.
We simply decided to take the step.
It was based on the understanding that without trying, it is impossible to evaluate your level and potential.
It was based on the understanding that without trying, it is impossible to evaluate your level and potential.
This project provided experience working under very tight deadlines.
It involved coordinating a large number of specialists and working with a demanding client, requiring clear organization and fast decision-making.
It involved coordinating a large number of specialists and working with a demanding client, requiring clear organization and fast decision-making.
No, the main aspects of the project have already been covered.
Grand Interview about Vik Cars Automobile Museum
For us, “architectural silence” did not mean the absence of architecture. It was a very deliberate architectural position: to create a space that does not compete with the cars, but allows the viewer to see them with greater attention.The Vik Cars Automobile Museum collection includes 32 automobiles, each with its own scale, color, character, history, and technical language. If the interior had tried to speak too loudly, it would have immediately disturbed this balance. That is why we worked with the idea of restrained presence: clear geometry, a dark background, controlled lighting, simple circulation routes, and a very limited number of expressive gestures.The spatial grammar of the museum is not based on a strict chronology. It is based on the dialogue between the cars. Some exhibits are perceived almost as sculptures, others as fragments of a particular era or personal story. Our role was to give these objects enough air, light, and distance.In this sense, the space feels both disciplined and expressive. Its expressiveness does not come from decoration, but from the way it structures attention.
We did not want to create the museum as a sequence of closed rooms or isolated scenes. For a private automobile collection, that would have felt too static. Cars are objects of movement, even when they are standing still. It was important for us to preserve a sense of route, changing perspective, and gradual discovery within the space.The open-plan layout allowed us to work not with walls, but with distances, light, and sightlines. A visitor can see several cars at once, but each of them still has its own area of attention. This creates a more dynamic experience: the viewer does not simply move from one exhibit to another, but constantly reads the relationships between them.The non-linear structure also helped us avoid the feeling of a museum “instruction.” We do not force the visitor to follow one correct path. Instead, the space supports different scenarios: a quick overview, a detailed study, photography, an event, a presentation, or a private viewing.We believe this flexibility is important for the future of privately held cultural collections. They should not only be places of preservation, but living spaces capable of supporting different forms of interaction.
Light became the main architectural instrument of this project. In an automobile museum, lighting cannot be only a technical function. It has to reveal the body shape, the depth of color, the chrome details, and the proportions of each car, while avoiding visual noise.We worked very closely with the lighting team because several tasks had to be combined within one system. The linear LED profiles form the overall spatial structure and establish rhythm. Accent lighting works with each car individually. Ambient lighting creates depth and prevents the space from feeling flat.The more than 500 meters of bespoke linear LED profiles were not simply a technical quantity. They became a way to define the architectural identity of the museum. Light was not added to the interior afterward; it became one of its structural languages.One of the key challenges was the psychology of rhythm. Too much light quickly tires the visitor. Too little light causes the loss of detail and reduces the quality of perception. We were looking for a balance between precision, comfort, and a certain dramaturgy without theatrical excess, but with a clear sense of focus.
For us, this award is important not only as professional recognition, but also as confirmation that a private initiative can create a meaningful cultural space. The Vik Cars Automobile Museum began as a private collection, but throughout the design process we treated it as a public environment, a place where people can encounter the history of technology, design, and time.We find it important that projects like this expand the definition of a museum. It does not always have to be a large state institution with a classical typology. It can also be a flexible, contemporary, well-designed space built around the personal passion of a collector, yet open to a broader audience.In this project, design was not an end in itself. Its purpose was to make the collection clear, accessible, and emotionally readable. Architecture works here as a mediator between the exhibit and the visitor.In a broader sense, this is also a conversation about heritage preservation. Not only through the restoration of individual objects, but through the creation of environments where these objects can continue to live, be seen, and be understood.
A 60-day construction period for a 1,500-square-meter space is a very demanding timeline, especially considering the technical requirements of housing a full automobile collection. Under these conditions, the most important decision was not to overcomplicate the system.From the beginning, we established a clear hierarchy: what was essential to the concept, and what could be solved more rationally. The essential elements were the planning, circulation logic, structural and technical preparation, lighting, the background for the exhibits, and the quality of the main materials. Everything else had to support these decisions.The second key factor was the parallel work of the teams. Design, technical coordination, production of individual elements, and construction could not happen one after another. They had to happen simultaneously, with constant decision-making and control on site.A restrained material palette also helped. It allowed us to preserve the integrity of the space and avoid losing time on unnecessary decorative details.In the end, this pressure shaped the character of the museum. The space became focused, precise, and quite honest. There are no random decisions in it, partly because there was simply no time for randomness.
The idea of creating a scenography for cars came from the understanding that this collection could not be presented as a conventional set of exhibits. A car has a very strong physical presence: its silhouette, reflections, body line, and engineering details. We needed to create a space where these qualities could be read gradually, through the movement of the visitor.We did not try to literally recreate the atmosphere of the golden era of automotive design. Instead, we took from it a sense of movement, precision, and respect for the object. The spatial layout is therefore built as a sequence of discoveries: from different points, the cars are perceived differently; their scale, silhouette, and relationship with neighboring exhibits constantly change.Light works here as a directing tool. It does not simply illuminate the cars. It structures the rhythm of the route, creates pauses, sets accents, and helps the viewer shift attention. As a result, the visitor does not move through the museum in a purely linear way, but through a series of visual situations.For us, this is what we mean by “cinematic dialogue”: not spectacle for its own sake, but a controlled interaction between the person, the space, and the exhibit.
The Vik Cars Automobile Museum is important to us because it is not limited to a single function. It is not only a museum and not only a private collection. It is a space that can operate as an exhibition, an event venue, a simulator zone, a retro-gaming experience, a lounge, and an environment for informal communication.This format changes the approach to museum design. We are no longer designing only a viewing route. We are designing different scenarios of presence: a person may come to see the cars, spend more time in the interactive zone, listen to vinyl, attend a presentation, or simply experience the atmosphere of the space.For the studio, this project became an important experience in working with a cultural function that is not static. It confirmed that a contemporary private museum can be flexible while still maintaining discipline and visual integrity.In future cultural and exhibition projects, we will certainly continue developing this approach: a space should not only display objects, but also create conditions for different levels of interaction with them.
For Koshulynskyy & Mayer, working with context has always been essential. We do not see modernity and tradition as opposites. We are interested in how history, material, craft, technology, and new ways of living can exist within one space without conflict.In the Vik Cars Automobile Museum, this approach is expressed through the subject of the project itself. Historic automobiles are not only machines. They are objects of culture, design, engineering thought, and a particular time. Our task was not to stylize the space as something from the past, but to create a contemporary architectural frame in which the past can be seen clearly and without unnecessary decoration.The fact that the project was created in Lviv by a Ukrainian studio and received international recognition has a particular meaning for us. It shows that Ukrainian design can be present in the global professional conversation not through exoticism or a purely local accent, but through the quality of thinking, precision of execution, and the ability to work with complex cultural themes.We see this award as recognition not only for one project, but also as part of the broader visibility of contemporary Ukrainian architecture today.
The acoustic panels with parametric patterns were not introduced as a decorative gesture, but as a response to a real task. A large open space with hard surfaces, automobiles, events, and visitors required acoustic control. Without it, the museum could have been visually strong but physically uncomfortable.It was important for us that the technical solution did not feel accidental. The acoustic panels therefore became part of the architectural language. The perforation gives depth to the surfaces, creates rhythm, and at the same time preserves the overall restraint of the space.The parametric aspect is not about complexity for its own sake. It allowed us to combine function, scale, and visual movement. Within the minimalist shell of the museum, these panels work as a subtle layer of detail noticeable at close range, but not aggressive in the overall perception.For us, this reflects an important principle: architecture is not perceived only through the eyes. Sound, light, distance, material, and even the level of silence shape the experience just as strongly as form
The individual lighting of each automobile was one of the most important tools in the project. In a large open-plan space, it is easy to lose scale and focus. We needed each car to have its own area of attention while still remaining part of a coherent collection.We approached every exhibit as an individual object. We considered its height, silhouette, color, surface character, chrome details, glass angles, and body proportions. Different eras of automotive design require different light: some cars are best revealed through soft grazing light, while others need a more precise accent on a line or detail.At the same time, it was important not to create isolated “capsules.” The lighting had to emphasize the individuality of each automobile without breaking the overall space. We were constantly balancing between local focus and the general atmosphere of the museum.This approach also reveals something about human attention in architecture. We do not perceive space all at once. We move from one focus to another, read details, compare forms, and return with our eyes. Light helps organize this process naturally, without the need for additional explanation.