The Scottish company behind some of the most eye-catching whisky distilleries
Despite the ongoing headwinds, whisky distilleries are being planned, built and opened in Scotland. Bari Reid, director at Organic Architects talks to Rosalind Erskine about inadvertently becoming a main player in building sustainable distilleries, dream projects and weathering the current industry storm
Organic Architects, a firm based in Helensburgh, has become the go-to for sustainable and eye-catching distillery design. But this wasn’t the plan. “It was very much a case of being in the right place at the right time,” explained director Bari Reid. “We were working on the Ardnamurchan peninsula on a renewable heating job when the opportunity came up to pitch for Ardnamurchan Distillery. It was one of the early “new wave” projects and a steep learning curve in the best way.
“That led quickly to more distillery work, including Lindores Abbey and Nc’nean, and we realised we’d found our lane. We like distilleries because they are shaped by process, place and people. A good distillery should feel like it could only belong there, much like the spirit.”
Distilleries in Scotland tend to be old traditional buildings, meaning many have to be creative when it comes to upping their sustainability game. But with new builds, the imagination can run wild. Sustainability has become something that’s a must in building now, as Mr Reid explained: “Sustainability has shifted from being a “nice to have” to being central to the design brief.
“A big driver is simply cost, because energy and water now have a real impact on day-to-day operating budgets. Distillers are rightly focused on the practical stuff that makes a difference, such as energy efficiency, controls, heat recovery and water use.
“But sustainability is wider than utilities. Distilleries can be brilliant anchors for rural communities, with year-round skilled jobs and spin-off businesses. When it is done well, the project does not just minimise harm, it strengthens the place it is in.”
While technology has come on in leaps and bounds for sustainable practices in distilling - this month saw Annandale in the Scottish Borders move to use wasted wind power - Mr Reid said things like the distillery size can play a part, but that “joined up thinking” is key.
He said: “There is not one single answer to sustainability in new building design, because it depends on the site, the budget, the production aims and even the spirit character.
“There have been big improvements in distilling equipment, but the most efficient kit is not always feasible for smaller operations.
“What we are seeing more of is a joined-up approach. Reduce heat demand first, then recover and reuse heat, reduce water use, and think hard about how the place will actually operate day to day. In some cases, that can even mean revisiting older techniques where they genuinely make sense. The most sustainable answer is usually a set of good decisions rather than one headline technology.”
The whisky industry has, undoubtedly, changed since the days of the “new wave” distilleries, so how does a firm like Organic Architects weather the current downturn? “The industry is cyclical, and distilleries run on long lead times,” said Mr Reid. “From first drawings to spirit being laid down, and then finally to bottles being sold, can take years. Some teams see a downturn as the moment to plan and build, because they are aiming to be ready when the cycle turns.
“The bigger truth is that lots of schemes get planning but never reach site, and the reason is usually funding. Capital for distilleries has always been competitive. When the headlines are negative, investors become more cautious and the bar gets higher. The projects that keep moving tend to be the ones with experienced teams and a clear route to finance before they go public.”
Visitor centres are now a key part of any distillery, and with destinations such as The Glenturret with its Two Michelin Star restaurant, the sky can be the limit when it comes to attracting visitors. Mr Reid explained how design can feed into this, and why a striking building isn’t always for the best. He said: “Architecture should be the built form of the brand. If your brand is understated, the building should not shout. If it is bold, you can push harder. New distillers do have the chance to do something different. Benbecula’s “Still-in-a-lighthouse” is a great example. It really makes sense when you understand the site on the edge of the island and the style of spirit they are making.
“No one wants to visit a new distillery where the visitor centre feels bolted onto the side of a big, clinical, production shed. The best places let you feel the production without getting in its way.
“Scotch is also a very long game. You cannot be too fashionable with the building, because if it ages badly you will still be living with it when you are trying to sell a very expensive 21-year-old.”
As for a future dream project, Mr Reid has his sights on an island build: “I’d love a distillery on the Isle of Mull, which is my homeland. Being able to apply everything we have learned about malt distilleries, visitor experience and efficiency into a contemporary building on the island is a long-term ambition. If I ever need a stress-free change from architecture, I can obviously take up the famously relaxing job of building a distillery. As if I am short of grey hair.”
Things may still be slow for the whisky industry but it’s a busy rest of 2026 for Organic Architects who have Glen Tromie as well as plans for Ardrishaig and Coleburn. As for the future for the industry, Mr Reid said: “It is a tough time for people at the sharp end, particularly sales and marketing. Hopefully we start to see a recovery with the bigger players, because that tends to reset confidence across the wider industry. The positive is that the talent and ambition in whisky has not gone anywhere, and the projects with substance will be the ones that last when things turn.”
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