An unassuming exterior conceals a gem of an interior.  Clever use of timber kit technology sculpts the modest form to create a double volume space, under the single storey roof.  Attention to detail promotes a non-institutional, contemporary mood.  Its three dimensional space not only acts as the public interface for Reception and Waiting, but also serves as a vehicle to exhibit features within the space - both architectural and applied. 

Space: The space in itself is a feature, accented by architectural events and lighting. The Reception Area announces itself upon entering the building, fusion of the Reception desk and wall, as one, with Corian worktop lines slices into the oak laminate wall panels.  An understated line of three Louis Poulsen globes draw the eye through the double volume space, as does the runway lights at the base of the panelled wall  while simple fluorescent fittings over the Reception area throw light into the apex of the roof, reinforcing the form.

The materials themselves, vinyl, carpet, doors and seating, dress the space in a considered manner using a palette of blues, greys and aqua highlights which flow through the main public space into adjacent corridors and consulting rooms.

Public Art: A make-over of both the Medical Practice and the new premises celebrate the rejuvenation of health service provision to Old Kilpatrick in a common theme.  Reference has been taken from the immediate proximity of the Forth & Clyde Canal and the River Clyde.  Modestly starting from the exterior; shades of blue symbolically refer to these physical features, with white cuts representing open and closed lock gates.  A corporate theme has been created, echoing colours, text and local images throughout the building  from simple text frosting on a glass panel, to Practice sign, to directional sign to aqua wall along the consulting corridor and digital 'art pieces'.   

Factual information can be read literally or appreciated as a piece of art.  The installation over the children's play area records the journey between nearby Bowling Basin through to its counterpart in Edinburgh.  The digital images are local, familiar themes of the River Clyde, the Canal and surrounding hills.  These act as art and context, tailored to suit the interior colours, with their abstract imagery remaining within the bounds of recognition.  Their presence is accentuated like a jewel, sparkling under a stylish picutre lighting.

Both art and building act as one.