Kiddie Express is the third branch of a children’s salon brand, located within a busy shopping mall in Dubai. Designed to accommodate both children and teenagers, the project builds upon operational and technical lessons learned from the client’s earlier outlets. The design prioritizes functionality, durability, and efficient space planning within a high-footfall commercial environment.

The spatial layout is organized to ensure clear zoning and smooth circulation. Dedicated areas support simultaneous use by young children, teenagers, parents, and staff, allowing the salon to operate efficiently during peak hours. Circulation routes were carefully considered to maintain comfort and accessibility while optimizing workflow.

The design language balances playful elements with a more mature aesthetic. Yellow and green accents introduce vibrancy, while terrazzo-patterned surfaces add visual texture without overwhelming the space. This approach broadens the salon’s appeal across age groups, creating an environment suitable for both younger children and teenagers. The overall visual identity aligns with the brand while representing a progression from previous branches.

all images courtesy of Euphoria Interiors unless stated otherwise

playful accents define the children’s hair salon interiors

Euphoria Interiors, led by designer Amanda D’Souza, selects materials guided by durability and maintenance requirements. Porcelain tiles were specified for flooring due to their resistance to wear and ease of cleaning. Finishes and surface treatments were chosen for safety, longevity, and suitability for continuous commercial use. Each material was evaluated for performance within the constraints of a mall setting, where heavy daily traffic is expected.

The execution phase required coordination with contractors and mall management, particularly in relation to commercial approval procedures. Despite time constraints associated with these processes, structured planning and contractor selection supported consistent quality and project delivery. Kiddie Express demonstrates how commercial interior design can integrate operational efficiency, age-inclusive aesthetics, and material durability within a high-traffic retail environment.

the salon is designed to serve both children and teenagers within one cohesive environment

dedicated stations accommodate children, teens, parents, and staff simultaneously | image by Inn Decor LLC

yellow and green highlights introduce energy across the salon | image by Inn Decor LLC

terrazzo-patterned surfaces add texture without dominating the space | image by Inn Decor LLC

material choices respond to the operational demands of a mall environment | image by Inn Decor LLC

the interior accommodates multiple age groups without visual conflict

finishes are selected for safety, longevity, and ease of maintenance

service zones are arranged to optimize workflow efficiency

Kiddie Express occupies a high-traffic retail unit within a Dubai shopping mall | image by Inn Decor LLC

project info:

name: Kiddie Express Kids Salon

designer: Euphoria Interiors | @euphoriainteriors.ae
lead designer: Amanda D’Souza
location: Dubai, UAE

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: christina vergopoulou | designboom

The post terrazzo patterns and vibrant hues animate children’s hair salon in dubai shopping mall appeared first on designboom | architecture & design magazine.

Znamy Się design studio takes over the interior design of AUGA, an optical salon and specialist clinic in Wrocław, Poland. The concept is structured around the biological process of vision, translating the anatomy of the eye into spatial organization, material selection, and lighting design.

The project takes the human eye as its primary reference. The overall layout reflects the path of light as it travels through the eye, from cornea and lens to retina and neural transmission. This sequence is interpreted architecturally as a progression from the entrance area through the retail space and into the consulting rooms. The interior is organized as a spatial narrative, where circulation mirrors the transformation of light into visual perception. Form, color, and material decisions are informed by anatomical structures, establishing a cohesive relationship between biological function and built environment.

all images by Migdal Studio

light, material, and spatial sequencing outline AUGA’s layout

The design team at Znamy Się introduces a glass installation with a ridged, biconvex profile that references the form of the eye’s lens. Positioned to interact with natural daylight, the element refracts and distorts incoming sunlight, echoing the optical function of focusing light onto the retina. Through this intervention, light operates not only as illumination but as a shaping device within the space. At the core of the salon stands a circular counter made of burl wood, illuminated by a suspended LED chandelier. This central element functions as a spatial analogy to the macula, the part of the retina responsible for sharp central and color vision. Its position and concentrated lighting establish it as the primary focal point within the interior.

Horizontal shelving lines the walls, creating a sense of lateral continuity and subtle motion. A blue gradient transitions from the entrance toward the consulting areas, reinforcing directional flow. These elements reference rods, the photoreceptors associated with peripheral vision, motion detection, and low-light perception. The deep navy tones evoke the Purkinje effect, in which blue wavelengths remain perceptible as overall light levels decrease. Linear LED light guides suspended from the ceiling extend throughout the salon and into the consulting rooms. These illuminated lines suggest neural pathways, referencing the transmission of visual information from the eye to the brain. Functionally, they provide wayfinding, directing visitors through the space while reinforcing the conceptual framework.

AUGA optical salon in Wrocław designed by Znamy Się

the interior concept is structured around the biological process of vision

horizontal shelving emphasizes peripheral movement along the walls

tpatial organization translates the anatomy of the human eye into architecture

linear LED light guides extend across the ceiling plane

wall elements subtly reference rods and peripheral vision

light becomes an active spatial component rather than passive illumination

deep navy tones recall the Purkinje effect in low-light conditions

the optical salon’s interior operates as a spatial narrative of visual perception

project info:

name: AUGA Clinic

architect: Znamy Się | @znamysie_architects

design team: Wojtek Nowak, Bogna Kawa-Nowak, Monika Jokiel, Ula Dachnij-Seredyńska, Anna Petryszyn
location: Wrocław, Poland

photographer: Migdal Studio | @migdal.studio

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: christina vergopoulou | designboom

The post ocular anatomy informs optical salon’s interior in poland appeared first on designboom | architecture & design magazine.

dongqi Design has transformed three existing structures in downtown Shanghai’s Jing’an District into a mixed-use complex integrating retail, exhibition, food and beverage, and office programs. The project reconfigures a three-story brick–concrete building facing the street to the north, an 8-meter-high former factory building, and a single-story brick-concrete structure to the south into an interconnected yet functionally distinct ensemble.

The northern three-story building accommodates a leisure area on the ground floor, with office spaces on the second and third levels. A dark gray external sunshade curtain system has been added to the facade, with its tracks and electromechanical components enclosed in horizontal stainless steel tubes. These tubular elements unify the elevation and establish a consistent proportional order. The upper-floor window openings have been reconfigured with operable steel plates on the interior side and fixed glazing on the exterior, allowing the windows to function as display surfaces. Integrated lighting enhances their visibility. The varying positions of curtains and illuminated openings generate shifting facade compositions and alter the building’s presence along the street.

The ground-floor leisure space is organized around tall elm tables designed for standing use, encouraging circulation and informal interaction. Existing wall textures are retained, while a hot-rolled steel counter serves both interior and exterior areas. Large hopper windows along the street lift upward toward the ceiling, integrating the interior with the public realm when open. Their tracks are concealed within stainless steel wall and ceiling surfaces, reinforcing material continuity.

external tracks and electromechanical equipment are wrapped in steel tubes | all images courtesy of dongqi Design

Integrated Steel Systems Shape the Retail Hall by dongqi Design

The central factory building houses the primary retail and exhibition functions, along with an independent VIP room. Within the double-height volume, eleven cross-shaped display racks and a suspended overpass structure define the spatial organization. The overpass employs an ultra-thin, beamless steel system composed of a single 12-millimeter-thick stainless steel plate. It is suspended from the central columns of selected display racks using stainless steel stay cables. The cable connection fittings are folded extensions of the steel plate itself, forming an integrated structural assembly.

Each cross-shaped display rack consists of four metal frames arranged orthogonally around a central axis. Shelving elements are inserted within the frames, and in some cases, a secondary upper layer is supported by steel cables. The bases of the racks are aligned flush with the floor and connected to embedded structural beams. Together, the display racks, stay cables, and suspended overpass operate as a unified structural system. Stairs, platforms, racks, and connection fittings are designed to appear as if cut and folded from continuous steel plates, reinforcing a cohesive tectonic language.

The designers at dongqi Design select materials that emphasize exposed metal surfaces, including stainless steel plates, hot-dip galvanized finishes, and metal mesh. The partition between exhibition and bar areas is formed by a double-layer dark metal mesh that allows visual permeability while maintaining spatial separation. The mesh produces a moiré effect that changes with movement and light conditions. Doors are assembled from galvanized plates fastened with visible straight-head screws, with stainless steel inserts applied at high-contact areas for durability.

when the sunshade curtains are lowered, the building facade is enveloped in a dark veil

the design introduces Structural Rhythm and Material Contrast

Detailing reinforces structural clarity and user comfort. Wider vertical joints on the finished metal plates of the display racks establish a measured rhythm, while beveled undersides and recessed flanges of shelving components refine their profiles. Stainless steel strips are embedded along accessible mesh edges to prevent abrasion and accentuate linear continuity within the space. The overpass railing is formed from stainless steel round bars that interlock with the steel plate edges, while similar round elements are used in the suspension system and lighting supports. Linear lamp tubes are mounted to metal plates using stainless steel straps and arranged across racks and ceilings, contributing to the industrial spatial character.

The southern single-story building contains the food and beverage area. Auxiliary spaces are concealed behind metal sliding doors treated with oxidized metal powder patterns referencing traditional landscape imagery. The enclosed bar counter is constructed from hot-rolled steel plates, and seating booths are upholstered in orange fabric, introducing contrast within the predominantly metallic interior.

the oversized hopper windows along the street can be lifted upwards to be nearly flush with the ceiling

a dark gray external sunshade curtain system is added to the three-story building facade

the enclosed bar counter is made of hot-rolled steel plates, while the booths are upholstered in bright orange

the overpass adopts an ultra-thin beamless steel structure system, which is the result of precise calculation

the overpass is made of one piece of solid stainless steel plate, which is suspended from display racks’ columns

the stairs, the overpass, the display racks and the steel cable connection fittings are seamlessly integrated

the lamp tubes, with round elements as well, are fixed to metal plates with stainless steel straps

the stairs, the overpass, the display racks appear cut and folded from a single solid steel plate

straight-head screws assemble metal plates, installed at the front of the overpass steps for anti-slip purposes

the cable connection fittings on the edges of the overpass are an integral part of the overpass steel plates

metals define the material language, with stainless steel plates, hot-dip galvanized finishes, and metal mesh

racks of different heights spread out on both sides, while diagonal lamps flare like mechanical wings

project info:

name: Architectural Renovation Project in Jing’an District, Shanghai
architect: dongqi Design | @dongqi_design
location: Jing’an District, Shanghai, China

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: christina vergopoulou | designboom

The post dongqi design wraps shanghai mixed-use complex in steel frames and shifting facades appeared first on designboom | architecture & design magazine.

In Milan, Mara Bragagnolo designs the Officina Satinine perfume store as a reinterpretation of the city’s historic entrance halls into a contemporary retail environment. Terracotta floors, cathedral glass, oak boiserie, and satin-steel details shape a tactile landscape that invites visitors to step inside and experience Milan through scent, light, and craft. Located in the heart of the Italian design capital, the project positions hospitality as its central architectural principle, balancing modern rigor with material richness and sensory depth.

store front with central view of the illuminated perfume display | all images by Riccardo Giancola and Tiziano Ercoli

historic italian buildings act as inspiration redesign

The project stems from a reflection on the character of Milan and its ability to blend rigor with intimacy, memory with innovation. The space draws inspiration from the entrance halls of Milan’s historic buildings: threshold places where architecture becomes a welcoming act. This vision translates into a project that elevates hospitality to an architectural principle, shaping an intimate environment where modernist rigor engages with contemporary sensibility. Like the entrance hall, Officina Satinine offers itself as a discreet and welcoming refuge in the heart of the city: a gentle form of luxury, meant to be shared.

The store unfolds through distinct yet interconnected environments: the portineria, a contemporary reinterpretation of reception, transforms the gesture of gifting into a ritual; the sensory room, a soft and private cocoon-like space, invites visitors to discover fragrances with all their senses; the curatorial area, conceived as an ever-changing setting, hosts collaborations and temporary installations, projecting the brand into a continuous dialogue with the worlds of design and art.

front view of the store with marble table display for perfumes and marble sink

local craftsmanship is key to perfume store aesthetic

The interiors of Officina Satinine combine design rigor with the excellence of local craftsmanship. The project was developed through close collaboration with local artisans and manufacturers, with particular attention to material quality and the regional supply chain. The connection with Milan’s memory is tangible in every detail: the Lombard terracotta-tiled flooring, laid using traditional techniques, connects the space to its roots; the glossy ceramic tiles, arranged vertically, pay homage to the textures of Milanese apartment buildings; the cathedral-glass partitions evoke the discreet luminosity of doors opening onto entrance halls.

Balancing these materials, the oak boiserie introduces warmth and hospitality, counterpointing the cardinal marble, the burl-and-mother-of-pearl counter, and the satin-steel details in a harmonious interplay of contrasts. From the wooden structures to the furnishings and lighting fixtures, every element has been custom-made and entirely handcrafted, in a process that celebrates artisanal mastery and the precision of Milanese making. The lighting, developed in collaboration with lighting designer Martina Frattura, envelops the space in a soft, diffused illumination that recreates the ‘satin’ effect from which the brand draws its inspiration.

main view and curatorial area with tiled and wooden shelving along marble podiums

the ‘portineria’ area with coffee bar

green velvet room detail, view from the store when door is open

green velvet private room with soft furnishing and furniture by Azucena and Giorgio Bena

glass and wood door that connects to private room, detail of the desk made of radica with mother of pearl logo

the main store desk becomes a secret bar with high chairs

project info:

name: Satinine Perfume Store
interior and furniture design: Mara Bragagnolo | @maragold

location: Milan, Italy

photographers: Riccardo Giancola and Tiziano Ercoli

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: claire brodka | designboom

The post cathedral glass partitions pay homage to local architecture in milan’s satinine perfume store appeared first on designboom | architecture & design magazine.

At London’s Heathrow Terminal 2, Marc Fornes / THEVERYMANY, in collaboration with Louis Vuitton Architecture, completes a new outpost for the French fashion house. The project consolidates the Louis Vuitton store and Le Café by Cyril Lignac into a continuous architectural envelope, a fuselage-like volume that appears to have landed among the steady flow of departing and arriving passengers.

From afar, the volume reads as a dynamic, aerodynamic body. Its thin aluminum surface curves upward as a vertical plane before bending forward into an enveloping form, recalling the logic of aircraft construction. Glass openings are inserted with precision, maintaining visual continuity between café, store, and terminal, and reinforcing the impression of inhabiting a constructed, mobile object momentarily paused.

all images by Henry Woide

A single envelope for retail and dining

The team at Marc Fornes / THEVERYMANY merges the shopfront and the café into one inhabitable form. The sculptural volume defines the café as an interior body while extending outward to construct the facade of the store. Conceived as a fully operational coffee space, the structure organizes thresholds, entrances, and circulation with the precision of a calibrated system.

Fornes’ characteristic organic language binds these programs into a continuous geometry, open and breathable. The envelope is designed as a calibrated inner volume that separates the enclosed café from its outer skin, forming an intermediate air plenum. This zone enables a non-conventional airflow system that supports both the café and the terminal environment beyond.

a new outpost for the French fashion house | image courtesy of Louis Vuitton

Material logic and crafted detail

The lower portion of the skin reaches nearly fifty percent porosity, allowing air to circulate directly through the architecture. Achieving this degree of openness is technically demanding, particularly as the perforated skin remains structural and self-supported.  At its crown, a circular oculus consolidates structural and technical requirements into a single gesture. Acting as a compression ring, it stabilizes the envelope while integrating fire and safety strategies. Sprinklers, lighting, hanging points, and security systems are embedded within this architectural body.

Up close, the fuselage metaphor sharpens through detail. Ultra-thin aluminum panels are assembled with visible rivets, directly referencing aircraft fabrication techniques. The precise perforation patterns and exposed connections foreground assembly as aesthetic language.

Nested inside, Le Café by Cyril Lignac introduces a softer spatial condition within the continuous movement of the terminal. Articulated openings reveal glimpses of the interior, while the café itself provides a defined pause within the infrastructure of travel.

the Louis Vuitton store and Le Café by Cyril Lignac at London’s Heathrow Terminal 2

a continuous architectural envelope

a fuselage-like volume that appears to have landed among the steady flow of departing and arriving passengers

the volume reads as a dynamic, aerodynamic body

Fornes’ characteristic organic language binds the programs into a continuous geometry

a circular oculus consolidates structural and technical requirements into a single gesture

the thin aluminum surface curves upward as a vertical plane before bending forward into an enveloping form

a calibrated inner volume that separates the enclosed café from its outer skin

reinforcing the impression of inhabiting a constructed, mobile object momentarily paused

project info:

name: Louis Vuitton at Heathrow Terminal 2

architect: MARC FORNES / THEVERYMANY | @theverymany, in collaboration with Louis Vuitton Architecture

location: Terminal 2, Heathrow Airport, London, UK

commissioner: Louis Vuitton | @louisvuitton 

photographer: Henry Woide

The post marc fornes / THEVERYMANY lands fuselage-like louis vuitton café and store at heathrow appeared first on designboom | architecture & design magazine.

BARR x Cutburo Café and Flower Shop is a monochromatic retail and cafe space in Tbilisi, Georgia. The design objective was to unify two distinct sensory experiences – the social ritual of a café and the delicate, organic nature of a flower shop – under a singular, futuristic aesthetic. The project operates on the principle of ‘industrial coldness,’ using a sharp, silver-toned palette to frame and elevate the natural life contained within. The material selection is central to the project’s spatial identity. Stainless steel serves as the primary medium, chosen for its reflective properties and its ability to create a dialogue between manufactured surfaces and surrounding textures. These metallic elements are grounded by the heavy, tactile presence of brutalist concrete and the timeless elegance of veined marble.

all images by Grigory Sokolinsky

stainless steel backdrop serves as spatial bridge at barr 

The manufacturing process focused on precision joinery and seamless transitions between metal and stone. Polished steel surfaces act as mirrors, capturing the movement of light and the vibrant colors of the flora, ensuring that the architecture remains a dynamic participant in the atmosphere. The layout by Sandro Kvirikadze is designed to facilitate a coexistence of aromas and functions within a unified shell. The ‘simple, harsh beauty’ of the structure does not compete with the products it houses; instead, it provides a neutral, high-contrast backdrop that allows the scent of fresh flowers and the aroma of coffee to dominate the sensory landscape. The result is a timeless, rhythmic environment that functions as a spatial bridge that transports visitors away from the familiar and into a dimension where unconventional materials reign supreme.

the project operates on the principle of ‘industrial coldness’

the design objective was to unify the two distinct sensory experiences of a café and a flower shop

the scents of fresh flowers and specialty coffee to dominate the atmosphere

the construction centered on natural transitions between brutalist concrete, veined marble, and polished steel

rather than competing with the objects, the structure serves as a neutral backdrop

the timeless, rhythmic environment functions as a spatial bridge

material selection is central to the project’s spatial identity

project info:

name: BARR x Cutburo Café and Flower Shop
architect: Sandro Kvirikadze

location: Tbilisi, Georgia

photographer: Grigory Sokolinsky

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: claire brodka | designboom

The post stainless steel and concrete build futuristic backdrop for tbilisi flower shop and cafe appeared first on designboom | architecture & design magazine.

Delvaux opens its first flagship store in the United Arab Emirates at Dubai Mall’s Fashion Avenue in 2022, marking a significant milestone for the Belgian luxury leather goods maison. Designed by Vudafieri-Saverino Partners and brought to life through the interior fit-out by Italian specialist barth, the boutique translates Delvaux’s heritage of craftsmanship into a contemporary retail setting in one of the world’s most prominent luxury destinations. Conceived as an immersive spatial narrative, the project reflects both the maison’s savoir-faire and Dubai’s role as a global crossroads for high-end fashion and culture.

barth realizes Delvaux’s first flagship store in the United Arab Emirates at Dubai Mall’s Fashion Avenue in 2022 | all images courtesy of barth 

barth combines artisanal knowledge with industrial precision

At the core of the realization is barth, an Italian company internationally recognized for executing complex, high-end interiors for luxury retail and hospitality. Founded in 1877 in Italy, barth has built its reputation on translating architectural concepts into meticulously crafted spaces, combining artisanal knowledge with industrial precision. Its long-standing experience in working with premium materials and bespoke detailing positions the company as a key partner for brands seeking spatial coherence and technical excellence.

This background naturally feeds into the Delvaux project, which embodies barth’s ability to interpret a strong architectural vision while honoring brand identity. For Dubai Mall, the company acts as a mediator between concept and execution, ensuring that Vudafieri-Saverino Partners’ design language is expressed through refined craftsmanship. The flagship thus becomes a representation of what barth stands for, which is continuity between tradition.

the boutique translates Delvaux’s heritage of craftsmanship into a contemporary retail setting i

the marble, gold detailing and wood reflect the brand’s luxury

The boutique experience begins with a minimalist shop window conceived as a precious casket, immediately signaling the value of what lies within. Visitors pass through a fabric-covered portal framed by monumental marble, a carefully staged threshold that introduces Delvaux’s understated luxury. This sequence sets the tone for the interior, where restraint and material richness coexist.

Anchoring the main space is a custom-made bar counter produced by barth, featuring a marble top and pale gold metal detailing. Referencing the European café as a place of exchange and conviviality, the element functions both as a social focal point and as a symbolic bridge between Belgian heritage and cosmopolitan Dubai. Its precise execution highlights the importance of bespoke craftsmanship within the overall design.

custom-made bar counter produced by barth, featuring a marble top and pale gold metal detailing

Throughout the store, barth realized a series of curved boiserie elements, wall-mounted and mural cabinets, display tables, pedestals, and oval wall panels. Satin pale gold metal structures are paired with extra-clear glass, fabric claddings, and marble surfaces, creating a layered interior landscape. A distinctive wall installation with seven metal niches and a fabric-covered display for antique cutting tools reinforces the artisanal narrative at the heart of the maison.

A burgundy-toned vestibule leads to the VIC lounge, conceived as a more intimate environment for private client experiences. Here, custom interior elements executed by barth are combined with a bespoke De Stijl-inspired wallpaper, introducing a graphic and cultural reference that enriches the spatial story while maintaining a sense of exclusivity.

a burgundy-toned vestibule leads to the VIC lounge, conceived as a more intimate environment for private client experiences

throughout the store, barth created a series of curved boiserie elements, wall-mounted and mural cabinets, display tables, pedestals, and oval wall panels

the store’s precise execution highlights the importance of bespoke craftsmanship within the overall design

the flagship store embodies barth’s ability to interpret a strong architectural vision while honoring brand identity

satin pale gold metal structures are paired with extra-clear glass, fabric claddings, and marble surfaces, creating a layered interior landscape

custom interior elements executed by barth are combined with a bespoke De Stijl-inspired wallpaper

barth ensures that Vudafieri-Saverino Partners’ design language is expressed through refine craftsmanship

project info:

name: Delvaux | @delvaux

company: barth | @barth.interiors

design: Vudafieri-Saverino Partners | @vudafierisaverinopartners

location: Dubai, United Arab Emirates

photography: Xavier Ansart

The post barth realizes delvaux’s first flagshipstore at dubai mall bringing belgian leather goods to UAE appeared first on designboom | architecture & design magazine.

Lammhults Design Group opens a new showroom in central Stockholm, unveiled during Stockholm Design Days 2026 and designed by Note Design Studio. At Norrlandsgatan 20, the space unfolds gradually, moving away from the idea of a showroom as a display and instead operating as a shared environment where furniture, acoustics, light, and material choices shape how workspaces are experienced and inhabited.

Note Design Studio co-founder Cristiano Pigazzini takes on the role of creative advisor for Lammhults Design Group, extending his involvement beyond the architecture of the showroom to the broader creative direction of the group. The work begins with a close reading of each brand’s archive, looking at how materials, construction methods, and design approaches have evolved over time. Pigazzini uses this material as a working tool, allowing earlier technological shifts and design decisions to inform a spatial language that looks forward.

images courtesy of Lammhults Design Group

note design studio conceives the showroom as meeting place

The street-level space housing the showroom connects the city with the interior world of the group. From outside, large windows reveal soft seating, acoustic textiles, and warm tonal palettes that slow the pace of the street. Inside, long sightlines, filtered daylight, and subtle changes in floor level guide movement through a sequence of rooms that feel closer to workspaces and lived-in interiors than to a conventional exhibition setting.

For Pigazzini, the location of the showroom plays a central role in how it operates. ‘Norrlandsgatan is as central as it gets in our industry. Lammhults Design Group is aware of its role as one of Scandinavia’s leading design players and wants to come closer to the people who actually use the products, inspire them and at the same time take a more active role in leading a market that is changing very rapidly,’ he says. ‘In a way, everyone in the group is not only ambassadors for their own brands, but also for a Scandinavian way of thinking about work, life and community, values that have existed for a long time and that are still highly relevant.’

The Stockholm-based team at Note Design Studio imagines the showroom as a place to meet. Furniture is arranged in contextual settings that suggest use, conversation, and pause, allowing products to be encountered through situations. The emphasis shifts away from individual objects and toward the relationships between them, allowing different design approaches to coexist within a shared spatial rhythm. 

linear lighting guides movement through the interior

rooms in sequence reflect new direction

The space gives form to Scandinavian Design. Multiplied, the group’s new direction, by weaving together products by Lammhults, Abstracta, Fora Form, and Ragnars. As Susanna Hilleskog, CEO of Lammhults Design Group, notes, ‘The showroom is designed to function as a physical manifestation of the new strategy, where the entire portfolio can be experienced in inspiring, contextual holistic solutions rather than merely as individual products. It will become a hub for customer dialogue, creative collaborations and inspiration, while also strengthening the interplay between design, business and customer needs.’

The interior is designed to be moved through repeatedly. Its sequence of rooms encourages lingering and conversation, allowing atmospheres to shift subtly with use, time of day, and the people passing through.

a wall of chairs is treated as a moment of pause

openings framed in deep color connect adjacent rooms

curved seating forms a gathering space

encouraging face-to-face interaction

lounge furniture is arranged in lived-in groupings

the kitchen area forms a working backdrop

anchoring everyday use within the space

a long meeting table sits alongside filtered daylight and acoustic panels

large suspended lights hover above a communal table

meeting spaces are enclosed by acoustic curtains

a darker room introduces a more intimate atmosphere

the facade reveals interior activity through large windows

project info:

name: Lammhults Design Group showroom

architect: Note Design Studio | @notedesignstudio

creative advisor: Cristiano Pigazzini

location: Norrlandsgatan 20, Stockholm, Sweden

client: Lammhults Design Group | @lammhults

The post note design studio arranges lammhults design group’s stockholm space as sequence of rooms appeared first on designboom | architecture & design magazine.

Dreamer Stone House is a spatial project by PENG & PARTNERS that examines marble as an architectural medium rather than a surface finish or display material. Conceived as an immersive environment in Shenzhen, the project repositions stone as an active element shaping spatial rhythm, atmosphere, and sequence. Instead of presenting marble as a static object, the design integrates it into a continuous architectural narrative that unfolds through movement and perception.

The project departs from the conventional showroom typology by prioritizing spatial experience over product display. The design is structured as a gallery-like environment in which architectural composition, material transitions, and sensory engagement guide the visitor. Marble operates as the primary material framework, informing proportion, texture, and visual continuity throughout the interior.

The spatial organization combines a rational, axial layout with a restrained atmospheric approach. Influences drawn from Milanese modernism inform the clarity of circulation and symmetry, while Eastern spatial principles introduce subtle transitions and layered separation. This dual strategy allows the space to balance formal order with perceptual depth, positioning marble as both structure and surface.

all images by Jack Qin, Zuxi Huang, Si Yu

Dreamer Stone House is a gallery-like sequence of spaces

The spatial journey begins at a controlled entrance threshold and unfolds through a sequence of aligned corridors and interconnected rooms. Symmetry, axial alignment, and repetition establish orientation and rhythm, while variations in scale, transparency, and light create moments of pause and transition. Deep openings, translucent partitions, and layered sightlines support continuity without full visual exposure.

The design team at PENG & PARTNERS calibrates material selection and detailing to moderate the visual weight of stone. Wood veneers, copper elements, glass, and controlled lighting are introduced to soften contrasts and articulate joints. Natural light plays a key role in revealing surface textures and enhancing the spatial depth of the stone applications.

Stone is treated as a curated architectural element rather than an exhaustive display. Materials with restrained veining and balanced coloration were selected to align with the spatial composition and to maintain coherence across different programmatic areas. Craftsmanship is emphasized through variations in finish, scale, and assembly.

marble is treated as an architectural medium rather than a surface finish

retail showroom positions stone as a narrative material

In circulation zones, green marble is used across wall surfaces and fragmented floor inlays to establish continuity with subtle variation. Meeting rooms employ gray stone in both split-face and polished finishes, highlighting contrasts between texture and refinement. In the kitchen area, a Brazilian meteor stone island with a natural split-face surface functions as both a tactile focal point and a working element. Technical detailing, surface treatment, and lighting were carefully resolved to ensure durability, usability, and material stability.

The project situates natural stone within a broader contemporary material context, acknowledging the increasing presence of engineered alternatives while emphasizing the distinct qualities of geological material. Rather than competing on replication or efficiency, natural marble is positioned as a medium defined by material specificity, temporal depth, and visual uniqueness.

Through controlled composition, reduced visual mass, and precise detailing, stone is presented as a flexible architectural element capable of conveying lightness, continuity, and spatial clarity. Minimalist strategies and calibrated lighting allow the material’s inherent variation to emerge without excess emphasis. Dreamer Stone House operates as a spatial study in material-driven design. By aligning architectural order, sensory experience, and material expression, the project explores how stone can function as an active agent in contemporary interior architecture, supporting narrative, atmosphere, and spatial cohesion through design rather than display.

the project reframes stone as an active element shaping spatial rhythm and sequence.

an immersive interior replaces conventional showroom display strategies

marble defines proportion, texture, and visual continuity throughout the project

the interior is conceived as a gallery-like sequence of spaces

axial planning establishes clarity, symmetry, and spatial order

aligned corridors create rhythm through repetition and symmetry

variations in scale and light generate moments of pause and transition

natural light reveals surface textures and material depth

stone selection favors restrained veining and balanced coloration

craftsmanship is expressed through variations in finish and assembly

marble and stone unify walls and fragmented floor inlays in circulation zones

split-face and polished stone surfaces contrast texture and refinement

a natural stone partition functions as both tactile object and bookcase

the project positions stone as a narrative material within contemporary interiors

project info:

name: Dreamer Stone House
architect: PENG & PARTNERS

location: Zone B, Design Commune, Vanke Cloud City, Shenzhen

area: 245 sqm

chief designer: Wang Peng

project director: Li Yuan

art director: Lv Qing

furnishings consulting: P Projects

construction: Maili Digital Technology (Hangzhou) Co., Ltd.

suppliers: MOORGEN, SAVOIA, COSY SPACE COIN, NÍNG, MENGLV, SHANGMEI, V-ZUG, SEGGI, KBH, CETTIGA, SINGCHAN, TABU, ALPI

photographers: Jack Qin, Zuxi Huang, Si Yu

video: Chen Qiuquan

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: christina vergopoulou | designboom

The post green marble clads gallery showroom’s immersive interiors in shenzhen appeared first on designboom | architecture & design magazine.

YEARLY PLAN showroom, designed by SHISUO Design Office, is located on Yongyuan Road in Shanghai and occupies an irregular existing interior. The project is structured around a single continuous hanging rail that extends for nearly 100 meters, serving as both the primary display system and the organizing element of the space.

In response to the constraints of the site, the design reconsiders the hanging rail as a spatial device rather than a fixed retail fixture. The rail adapts to existing walls, columns, and building services, bending, rising, and shifting in section as needed to navigate obstacles. This continuous line traces the perimeter and interior conditions of the space, transforming site irregularities into an active spatial sequence. Suspended above the floor, the rail maximizes display capacity while defining circulation and visual continuity throughout the showroom.

The rail functions as a linear framework that establishes relationships between architecture, garments, and movement. Rather than operating as an isolated object, it responds directly to its surroundings, framing the interaction between displayed clothing and the existing building fabric. Through this strategy, the showroom emphasizes spatial continuity and adaptability over conventional zoning or compartmentalization.

all images courtesy of SHISUO Design Office

YEARLY PLAN merges fashion, architecture and material expression

Complementing the suspended rail system, the design team at SHISUO Design Office distributes a series of sculptural concrete display stands throughout the space. These elements are composed of cast-in-place concrete modules assembled into interlocking configurations. The stands reference the work of sculptor Eduardo Chillida through their mass, material presence, and emphasis on gravity and balance. Their rough textures and inherent imperfections are intentionally preserved, allowing them to function as spatial anchors within the showroom.

The contrast between the heavy concrete forms and the lightweight, suspended rail establishes a clear material and structural tension. This relationship is further reinforced by the surrounding surfaces, where hand-dyed white timber slats form a subdued backdrop. These vertical elements recede visually, allowing the displayed garments and primary spatial components to remain prominent while maintaining a neutral and consistent interior field.

As garments are introduced into the space, material contrasts become more pronounced. The softness and movement of textiles are set against the rigidity of concrete and steel, creating a layered reading of weight, texture, and motion. This interplay reinforces the showroom’s emphasis on spatial relationships rather than isolated product presentation.

YEARLY PLAN showroom occupies an irregular interior on Yongyuan Road, Shanghai

Custom design elements replace standard retail display systems

Stainless steel full-length mirrors are integrated throughout the interior as reflective elements. Rather than presenting a continuous reflective surface, each mirror is segmented into staggered geometric facets. These fragmented planes distort reflections and suggest movement, introducing temporal variation into the otherwise controlled spatial composition. The mirrors contribute to the perception of motion and bodily presence within the showroom without functioning as purely utilitarian fixtures.

The project avoids standard retail display systems in favor of custom-designed architectural and furniture elements developed specifically for the brand. These components are conceived as durable, long-term installations rather than seasonal commercial fixtures. Through the integration of architecture, display systems, and material articulation, the showroom establishes a spatial identity that aligns fashion presentation with architectural structure and contemporary art practices.

a single continuous hanging rail organizes the entire showroom layout

the rail adapts to walls, columns, and existing building services

bending and rising, the rail traces the interior conditions of the site

the hanging system functions as both display and spatial framework

circulation and visual continuity are defined by the suspended rail

sculptural concrete stands are positioned throughout the showroom

the display stands are formed from interlocking cast-in-place concrete modules

hand-dyed white timber slats form a neutral backdrop for the space

material contrasts emerge between concrete and soft textiles

the showroom integrates fashion, architecture, and material expression into a unified spatial sequence

stainless steel mirrors are segmented into geometric reflective facets

mirrors function as spatial elements rather than utilitarian fixtures

project info:

name: YEARLY PLAN Shanghai Showroom

architect: SHISUO Design Office | @shisuodesign
design team: Sanif, Changshan, Zhang Yichi, Lin Zihan

location: Shanghai, China

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: christina vergopoulou | designboom

The post continuous steel rail traces shanghai showroom’s sculptural interior, like a freehand drawing appeared first on designboom | architecture & design magazine.