The Uzbekistan Art and Culture Development Foundation (ACDF) has announced the transformation of a 1912 industrial building in Tashkent into the Centre for Contemporary Arts (CCA), set to become the first permanent institution dedicated to contemporary art and research in Central Asia. Designed by the French architecture practice Studio KO, led by Karl Fournier and Olivier Marty, the project integrates preservation of the city's industrial heritage with a new cultural identity for the historic site. The building, originally designed by Wilhelm Heizelmann, known for the Treasury Chamber, was constructed as a diesel station and depot for Tashkent's first tram line. After decades of serving the city's electricity network, the structure was transferred to the Foundation in 2019 as part of Uzbekistan's long-term cultural development strategy. Under the leadership of Gayane Umerova, the project now represents a major step in shaping a contemporary cultural infrastructure for the region.
The architectural approach taken by Studio KO emphasizes continuity between past and present. Retaining the industrial character of the structure while introducing new design elements, the project engages with traditional Uzbek materials and light-filtering motifs to create spaces that are both contemplative and adaptable. As the architects explain, the goal is to "honour the memory of a powerful industrial building while giving it a new poetic life." Through this strategy, the building becomes a vessel for cultural exchange, designed to evolve alongside the diverse programs and ideas it will host. This adaptive reuse project situates the Centre not only as an exhibition venue but also as a symbolic link between Tashkent's history and its cultural future.
The CCA will open fully to the public in March 2026 with the inaugural exhibition Hikmah, meaning "wisdom" in Uzbek. Curated by Dr. Sara Raza, the exhibition brings together a wide range of contemporary voices, including Ali Cherri, Kimsooja, Nadia Kaabi-Linke, Nari Ward, Muhannad Shono, and Tarik Kiswanson. Alongside them, Uzbek and Karakalpak artists such as Shokhrukh Rakhimov, Vladimir Pan, Daribay Saipov, and Bakhtiyar Saipov will present both new commissions and recent works. Among the highlights are Kaabi-Linke's Flying Carpets, on loan from the Solomon R. Guggenheim Museum, Kimsooja's participatory work Archive of Mind, and a site-specific ceramic installation by Rakhimov.
Looking beyond its opening exhibition, the Centre aims to establish itself as a dynamic platform for cultural production and exchange. Year-round programming will include residencies, youth initiatives, and professional development opportunities, alongside workshops and interdisciplinary labs. In 2026, two new annual events will be introduced: the multidisciplinary Navruz Gala and the citywide Tashkent Public Art Festival.
In other recent developments in Tashkent, the Uzbekistan Art and Culture Development Foundation (ACDF) has announced the groundbreaking of the National Museum of Uzbekistan, designed by Japanese architect Tadao Ando. The project marks Ando's first major commission in Central Asia, signaling a significant addition to the region's cultural infrastructure. At the same time, Cross Works has revealed plans for New Tashkent, a large-scale urban expansion that will extend the capital's boundaries and reshape its metropolitan fabric. Meanwhile, Uzbekistan's pavilion at the 2025 Venice Biennale, with its exhibition A Matter of Radiance, focuses on the nation's modernist architectural legacy.
