Dive into the Painstaking Process of Restoring an 18th-Century Fan

Armed with tweezers, a porcupine quill, and more patience than most of us could fathom, the senior paper conservator of the Victoria & Albert Museum tackles a finicky restoration project in a new video. Susan Catcher walks us through her impeccably precise process as she restores a damaged fan dating back 200 years. She shares insights into her techniques and materials, all of which have to be reversible should the project need to be redone.

This video is one of many within the V&A’s series on conservation, which includes restoring Shakespearean costumes, a portrait of Marie Antoinette, and a Samurai figure. Watch more on YouTube.

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $7 per month. The article Dive into the Painstaking Process of Restoring an 18th-Century Fan appeared first on Colossal.

perforated terracotta screens enclose pool pavilion within indian residence

Pool Pavilion is shaped around water as a spatial counterpoint

Thirdspace Architecture Studio has completed The Pool Pavilion, a residence designed around the relationship between water, light, and spatial balance. Located within a dense urban neighborhood in Belagavi, India, the home integrates a semi-open swimming pool pavilion as both a climatic device and an experiential extension of domestic life.

The eastern setback of the plot is reinterpreted as a pool pavilion defined by terracotta screens and a glass canopy. This zone functions as a transitional layer between the interior and exterior, mediating light, temperature, and privacy. The public areas are arranged between the transparent pool enclosure and the solid private block, creating a sequence of interconnected volumes that balance openness with enclosure. Sectional openings enable layered views across spaces, allowing soft reflected light from the pool to animate the interiors. The plan adheres to Vastu principles while maintaining spatial flexibility. The design seeks equilibrium between programmatic density and a sense of openness, aligning the client’s requirements with environmental and contextual constraints.

the front view reveals a calm interplay of solid and open volumes | all images by Suryan and Dang

Thirdspace employs a restrained palette of timber and neutrals

The site demanded the accommodation of multiple functions, parking for seven cars, service areas, four bedrooms, a home theater, and a pool, within limited space. The architects resolved this through a series of calibrated spatial moves. The residence is raised on a high plinth, allowing the semi-ground floor to contain service areas in a compact layout. This frees the upper ground level for the primary living zones, organized along a north–south spine. The pool occupies the eastern edge, transforming the setback into a semi-open pavilion. Defined by terracotta jaalis on three sides and a glazed roof above, the pavilion contributes to passive cooling by moderating temperature and humidity. It also acts as a focal element within the spatial hierarchy, connecting the living and dining areas through adjoining decks and sit-outs.

A restrained palette of timber finishes and neutral tones defines the interior, complemented by diffused daylight and reflections from the pool surface. The use of natural materials and light modulation supports the home’s environmental responsiveness while establishing a calm visual identity. Externally, the building maintains a measured, opaque expression that contrasts with the openness of its interior configuration. Within, spatial overlaps, controlled vistas, and sectional transparency create varied experiences of movement and inhabitation.

the view at dusk highlights the warm glow of interior spaces and screened openings

the pool area acts as a light-filled extension of the main living zones

the dining space opens to views of the pool, enhancing the home’s sense of openness and connection

double-height glazing brings in abundant light, making the pool a focal point within the interiors

folding doors open the living area to the pool, blurring the line between indoors and outdoors

a quiet seating corner overlooks the pool, filled with dappled light filtering through patterned screens

the staircase forms a central spine, visually linking different floors and spaces

the interior connects living spaces with the pool area through layered openings and natural light

the bedroom pairs warm tones with soft daylight to create a calm, inviting retreat

gentle sunlight fills the bedroom, creating a serene and airy atmosphere

filtered daylight creates shifting patterns across the pool and interior walls

project info:

name: The Pool Pavilion (House for the Netalkars)
architects: Thirdspace Architecture Studio

principal architects: Praveen Bavadekar, Namrata Betigiri

design team: Praveen Bavadekar, Madhuri Gulbani

structural design: D L Kulkarni & Associates, Belagavi

gross built area: 600 sqm

location: Belagavi, Karnataka, India

photographer: Suryan and Dang

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nudes’ flow pavilion forms sinuous steel-pipe bridge between two exhibition halls in india

Flow Pavilion by Nudes fosters public interaction

Nudes designs Flow Pavilion for Design Democracy 2025 in Hyderabad, India, as an architectural intervention that connects two exhibition halls while fostering public interaction. The pavilion functions as a transitional space, transforming movement across the site into a spatial and social experience.

The design concept is derived from the behavior and form of water, fluid, adaptive, and continuous. The pavilion’s undulating geometry takes inspiration from the sine wave, a universal rhythm observed in natural phenomena such as sound, light, and currents. This form enables an effortless flow between structure and landscape, allowing the pavilion to act simultaneously as a connector, gathering point, and visual landmark within the event grounds.

all images by Vivek Eadara

Flow Pavilion’s steel frame takes a sine-wave form

Constructed from steel and PVC pipes, the pavilion balances structural strength with lightness. The steel frame ensures stability, while the rhythmically arranged PVC elements introduce transparency and modulation of light. Together, these materials create a layered envelope that filters daylight and enhances the perception of movement within the space. The interplay between the hard and soft materials reflects the dual nature of water, resilient yet fluid.

While the structure is designed for temporary use during the event, its modular composition allows for future adaptation. Following Design Democracy 2025, Flow Pavilion, by Nudes design studio, will be relocated to a public park in Hyderabad, extending its role as a civic space for rest, conversation, and reflection.

Flow Pavilion reimagines circulation as a democratic space of encounter

the aerial view reveals the pavilion as connective tissue within the exhibition grounds

the pavilion’s sine-wave geometry resonates with the pulse of movement through space

by connecting two halls, Flow becomes a living bridge for people and ideas

the form enables an effortless flow between structure and landscape

lightweight assembly techniques reinforce the pavilion’s temporary and adaptable nature

the oscillating PVC members generate a kinetic play of shadow and light

Flow Pavilion serves as both an infrastructural connector and a social catalyst

visitors experience the pavilion as a flowing corridor animated by rhythm

project info:

name: Flow Pavilion
architect: Nudes

founder & principal: Nuru Karim | @nurukarim

design team: Nuru Karim, Vatsal Kapadia, Manasvi Kharidia, Deon Dutta

client: Design Democracy

location: Hyderabad, India

photographer: Vivek Eadara | @vivekeadaraphotographer

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organic shell roof made of thatch and mud tops sculptural eco-retreat in india

Earth’s Embrace: An Organic Eco-Retreat in Wayanad

Set amidst a 4-acre hillside plantation in Wayanad, Kerala, India, Earth’s Embrace by Raving Dots Studio is both an eco-retreat and an architectural experiment in fusing computational design with vernacular wisdom. The project responds to two challenges: how to reconnect people with nature, and how to build with minimal ecological footprint. The form of the retreat is derived through parametric modeling, optimized to reduce surface area and material consumption while harmonizing with the site’s contours. The thin yet strong ferrocement shell structure allowed a sculptural enclosure with minimal resources. This shell is insulated with breathable mud plaster, balancing thermal comfort with natural tactility. Construction followed a philosophy of low-impact intervention: minimal cut-and-fill, orientation aligned with sunset views, and preservation of existing vegetation.

the cabin sits within a larger eco-retreat masterplan, connected by organic pathways | all images courtesy of Raving Dots Studio

organic sustainable construction by Raving Dots Studio

Inside, the spatial experience is meditative. Light filters in through carefully placed apertures, framing views of the plantation and sky, while the organic curves guide movement smoothly. Sustainability is embedded not only in form and material but also in environmental systems. The design integrates an Earth-Air Tunnel system for passive cooling, reducing reliance on mechanical conditioning. The cabin’s microclimate is further supported by preserved vegetation and natural ventilation paths shaped by the geometry itself. Earth’s Embrace represents a broader design ethos at Raving Dots Studio: to craft architecture that is simultaneously organic, computationally optimized, and deeply rooted in its ecological context. Rather than being a static object, the retreat is designed as a living participant in the landscape, one that will weather, adapt, and evolve with time.

parametric roof geometry draped in natural thatch, framing the cabin within lush vegetation

the sweeping ferrocement shell meets a band of glazing, allowing light to flow in

Earth’s Embrace blends into the hillside plantation, its organic shell roof merges with the surrounding greenery

curving ferrocement shells define the structure, combining strength with minimal thickness

the building is oriented toward sunset views, aligning architecture with the landscape

curved pathways and walls guide visitors to the cabin, integrating trees and planting into the built form

the cabin and swimming pool are set amid lush valley

project info:

name: Earth’s Embrace
architect: Raving Dots Studio | @ravingdotsstudio

location: Wayanad, Kerala, India

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DHaus redesigns a parisian-inspired micro apartment in the heart of london

London Pied-à-terre: Parisian-Inspired Micro Apartment in London

DHaus completes London Pied-à-Terre, a 26-sqm micro-apartment that examines the parallels between compact living in Paris and London. The project reconfigures a small interior into an open, light-filled dwelling that explores how minimalism and spatial clarity can enhance everyday urban life.

Both Paris and London face high housing costs and dense urban fabric, leading to a prevalence of micro-apartments and subdivided historic buildings. In Paris, former chambres de bonne, once servants’ quarters, have evolved into compact homes, while in London, Victorian and Georgian townhouses are frequently divided into small flats and basement studios. Within this shared condition, London Pied-à-Terre responds through adaptive reuse, efficient planning, and refined detailing.

all images by Declan Driver

design balances efficiency, material integrity, and spatial clarity

The redesign focuses on openness and light. By removing internal partitions and integrating the kitchen with the living area, the layout maximises daylight and visual continuity. Built-in furniture, concealed storage, and a restrained material palette maintain efficiency and cohesion throughout the space. A four-meter-high Egyptian-style entrance door acts as a spatial threshold, introducing a sense of scale within the compact footprint. Custom banquette seating, influenced by Bauhaus geometry, contrasts with a minimalist staircase whose handrail recalls a simple line drawing. Each feature contributes sculpturally, replacing traditional decorative elements with form-driven design.

For the project, DHaus architecture studio draws on lessons from Parisian small-space living, defined by optimised layout and lighting, multi-functional furniture, vertical extension, and minimalist coherence. Opening kitchens to living areas maintains clear sightlines, while using translucent partitions distributes light. Fold-out tables, sofa-beds, and storage are integrated into walls and niches. Tall shelving, under-bed compartments allow for double-height spaces. A consistent palette and uncluttered arrangement sustain a sense of calm.

London Pied-à-Terre reinterprets compact living through a minimalist lens

Compact layouts in Paris and London inspire DHaus’ approach

Material experimentation plays a central role in the project. DHaus employed Dinesen flooring from Denmark for its natural grain and durability, and introduced a custom stainless-steel kitchen, the studio’s first in a residential setting. At the core of the living space, the D*Table provides a transformable surface that adapts to dining, working, or entertaining, reflecting the flexibility central to the design’s concept.

‘We wanted to take lessons from Parisian micro-living and translate them into a London setting; compact, adaptable, and designed to make the most of every square meter,’ says David Ben Grunberg, Director of DHaus. Founded in 2017, DHaus operates between London and Paris, with a focus on experimental architecture and design. The studio’s approach emphasizes precise detailing, adaptable layouts, and material integrity, exploring how spatial efficiency can coexist with expressive architectural form.

the 26-square-meter apartment explores parallels between Parisian and London small-space design

DHaus transforms a compact footprint into an open, light-filled interior

removing partitions allows natural light to flow freely through the apartment

the interior balances efficiency, material integrity, and spatial clarity

Micro apartment interior Photo by Declan Driver

integrated kitchen and living areas enhance openness and continuity

the interior space opens up to a planted balcony

project info:

name: London Pied-à-terre

architect: DHaus | @the_dhaus_company

contractor: All In One Build

photographer: Declan Driver | @decphotos

flooring: Dinesen | @dinesen

stainless steel kitchen: Complete Catering Contracts Ltd

handrail: Metal Works London | @metalworkslondon

coffee table: The D*Table by DHaus

sofa: Ikea | @ikea

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new photos show rhythmic structure of belgium’s ‘gare de mons’ by calatrava

danica o. kus photographs belgium’s Gare de Mons

The Gare de Mons has opened in Belgium, marking the culmination of nearly two decades of design and construction led by Santiago Calatrava. Located near the French border, the multi-modal station connects local and international train lines while uniting the city’s historic center to the south with the residential area to the north. The project represents a major infrastructural and civic investment for Mons, creating a symbolic and physical bridge across previously divided districts.

From the street, the building’s sweeping white form commands attention through its precision and scale. A vast glass canopy extends outward in a continuous curve, shading the grand staircase and escalators that rise toward the main concourse. The structure’s rhythm of ribs and light evokes Calatrava’s consistent dialogue between architecture and engineering that’s rhythmic and expressive.

images © Danica O. Kus

Santiago Calatrava’s luminous station

Inside Santiago Calatrava’s Gare de Mons, the Galerie de la Reine serves as the station’s luminous core. The hall is framed by a sequence of branching supports in steel and concrete, and channels natural light across its polished floor and translucent ceiling panels. The architect‘s geometry produces a space that feels at once weightless and orderly, encouraging the steady flow of commuters while maintaining visual calm.

Architectural photographer Danica O. Kus captures the building’s tonal precision — the way daylight filters through the roof lattice, reflecting across the concourse and accentuating the structural pattern. Her images highlight the clarity of construction and the measured transitions between glass, steel, and timber accents along the interior frame.

Gare de Mons has opened in Belgium designed by architect Santiago Calatrava

an expressive structure for fluid movement

Beyond its sculptural form by Santiago Calatrava, Gare de Mons establishes a civic continuity that had long been missing in the city’s urban fabric. The raised gallery spans the tracks, linking the two sides of Mons with generous pedestrian access. To the south, at Place Léopold, Calatrava integrated a bus terminal and underground parking for approximately 500 vehicles. To the north, more technical facilities and parking spaces connect to the new urban plaza at Place des Congrès.

The design embraces infrastructure as an urban catalyst — an approach consistent with Calatrava’s broader body of work. The architect creates a sense of progression that is both spatial and social. For Mons, the station becomes an symbol of renewal, and serves as a gathering of people as much as for trains bound for Brussels, Paris, and beyond.

a sweeping glass canopy defines the building’s entrance and public presence

the new station connects the historic city center with the residential north of Mons

Calatrava’s rhythmic structural ribs frame movement and light throughout the concourse

glass, steel, and timber materials interact to create warmth within the monumental frame

the station integrates bus lines, parking, and pedestrian access on both sides of the tracks

project info:

name: Gare de Mons

architect: Santiago Calatrava | @calatravaofficial

location: Belgium

completion: 2025

photography: © Danica O. Kus | @danica_o_kus_photography

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atelier guo’s moonlit pavilion rises from the remains of an abandoned greenhouse in china

Atelier Guo’s Moon Pavilion rises over the waters of Huizhou

Atelier Guo transforms an abandoned greenhouse in Huizhou, China, into the Moon Pavilion, a compact, two-story structure. Conceived in collaboration with artists Meilin Gao and Gang Xu, the project draws from an ancient Chinese verse describing a poet, smiling and intoxicated among flowers, and translates this literary image into spatial experience.

The lunar element is central to the concept and the physical composition of the pavilion. On one facade, a rotatable art installation evokes the moon as a reflective, shifting presence, an artificial counterpart to its celestial original. Seen from a distance, both moons shimmer over the pond encircling the structure. As visitors walk along the water’s edge, the pavilion’s curved silhouette itself recalls the slow ascent of the moon over the horizon.

all images by Hao Chen, unless stated otherwise

Material Reuse in the Greenhouse Redesign

The design began with Shanghai-based Atelier Guo’s decision to reinterpret the existing greenhouse. Its lightweight pin-jointed frame, made from agricultural construction materials, informed the proportions and tectonics of the structure. While the original was dismantled, its language of temporary assembly with flat roof layers, arched middle span, and translucent polycarbonate cladding is reimagined as a more permanent yet equally permeable structure.

Artist Gang Xu’s collaboration extends the logic of reuse by employing steel members from the old greenhouse that are refashioned into stool legs, while the seat surfaces are made from compressed waste materials. Carbon-curing boards are used for the upper floor, reflecting an ongoing interest in sustainability and material afterlife.

The second-floor concrete slab serves as a raised terrain, an idea borrowed from the seasonal practice of lifting boats during the dry season. Supported by a dense, irregular array of steel columns that conceal mechanical systems, the geometry of the slab recalls the hull of a vessel. Above, the roof truss rises higher than the original greenhouse, enhancing lateral stability while amplifying the impression of a boat poised to drift.

Atelier Guo transforms an abandoned greenhouse in China | image by Zhu Yumeng

Continuity unfolds through vegetation and light in china

Though the physical structure of the greenhouse was not retained, its spirit of cultivation remains. Atelier Guo extends this continuity through a planted gradient that dissolves the architectural perimeter, composed of shade-tolerant species that occupy the space beneath the slab, while native vegetation spreads beyond.

From afar, the dark polycarbonate cladding of the Moon Pavilion gives it the appearance of a pair of sunglasses, a choice that references the agricultural context and amplifies the moon installation’s luminosity by contrast. The tinted skin reveals the steel hierarchy of the structure beneath. Working with sustainability consultants from Atelier Li Yin, the team integrates passive ventilation, shading, and mechanical misting systems to maintain comfort through airflow.

the Moon Pavilion is a compact, two-story structure | image by Zhu Yumeng

the project draws from an ancient Chinese verse describing a poet

the lunar element is central to the concept

on one facade, a rotatable art installation evokes the moon as a reflective, shifting presence

the pavilion’s curved silhouette itself recalls the slow ascent of the moon over the horizon

the design began with the decision to reinterpret the existing greenhouse | image by Zhu Yumeng

a planted gradient dissolves the architectural perimeter

translucent polycarbonate clads the pavilion

Gang Xu’s collaboration extends the logic of reuse | image by Zhu Yumeng

carbon-curing boards are used for the upper floor | image by Guowei Liu

project info:

name: Moon Pavilion

architects: Atelier Guo | @atelierguo

location: Huizhou, Guangdong, China

area: 120 square meters

principal architect: Liaohui Guo

project architect: Peiyao Xu

site architect: Peiyao Xu

design team: Liaohui Guo, Peiyao Xu, Wenkai Wang, Yanjun Xu

artists: Meilin Gao, Gang Xu

structural design: Zhun Zhang + AND Office

sustainability consultant: Atelier Li Yin (Architectural Design & Sustainability Consulting)

contractor: Sichuan Jiangren Qingshui Labor Co., Ltd., Guilin Mingxin Exhibition Co., Ltd.

client: Shanghai Fengyuzhu Culture & Technology Co., Ltd.

photographer: Hao Chen | @chenhao.etsam, Zhu Yumeng | @yumeng_zhu_coppakstudio, Guowei Liu

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green timber curves sculpt rhythmic facade for office building in norway

Oslotre builds Six-Story Timber Office Building in Kristiansand

Lumber 4 by Oslotre studio is a commercial and office building in Kristiansand, Norway, spanning six floors. A recessed ground floor constitutes the commercial level, with the five floors above dedicated to office spaces. The structure is composed of a mass timber construction with columns and beams made of glued laminated timber. The floors are constructed using a composite structure of CLT and concrete, creating a slim and efficient floor system that spans long distances while also addressing fire and acoustic requirements. Diagonals on the ground floor facilitate better vehicular access around the building. The existing communication core from adjacent building phases contributes to lateral stability and access to the office floors. Between the third and fourth floors, an atrium with an internal staircase made of masstimber has been introduced. Wood elements are prominently displayed in the interior, providing warmth in winter and cooling in summer.

all images by Kyrre Sundal

Green Curved Pine Facade Defines Lumber 4 Office Building

The facade is composed of prefabricated curved wooden elements in pine, treated with green paint. The eaves above the curved elements are straight, creating a curved shadow on the panel. Over time, the paint under the shadow will weather, leading to a changing facade with lighter and darker curved sections. For the insulation, Oslotre’s design team uses wood fiber throughout. The cladding consists of fire-treated pine. All load-bearing structures are exposed, and exterior walls are clad with white-pigmented spruce panels. Wood wool acoustic panels are used in concealed service areas and meeting rooms. Visible conduits are painted in a light beige color. The large floor-to-ceiling windows open up to the view and provide ample natural light. The construction of the building was completed in record time, with detailed planning and construction taking only 12 months. Lumber 4 demonstrates that it’s possible to construct competitive timber buildings when compared to the same technical standard concrete and steel structures. The building was 90% leased upon completion. Oslotre served as the architect, interior architect, and timber structural engineer for the project.

Lumber 4 by Oslotre Studio is a six-storey commercial and office building in Kristiansand, Norway

straight eaves cast curved shadows that will gradually weather, creating a dynamic surface

diagonal supports at ground level improve vehicular access around the site

exposed timber slats painted in light beige integrate into the material palette

floors combine cross-laminated timber and concrete for strength, fire safety, and acoustic performance

exposed timber interiors provide thermal comfort, cooling in summer and warmth in winter

large floor-to-ceiling windows provide generous daylight and outward views

project info:

name: Lumber 4
architects: Oslotre | @oslotre

lead designers: Jørgen Tycho, Christoffer Imislund

client: Skeie Eiendom

area: 3890 sqm

location: Kristiansand, Norway

materials: CLT and Glulam construction
photographer: Kyrre Sundal | @kyrresu

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What Do Astronomy and Jewelry Have in Common? In the Late Renaissance, Look to the Stars

In the famous first stanza of the 17th-century poem “Auguries of Innocence,” William Blake writes:

To see a world in a grain of sand
And a heaven in a wild flower,
Hold infinity in the palm of your hand
And eternity in an hour.

Perhaps Blake didn’t intend us to literally hold infinity in our hands, but he may have been aware that there was, in a manner of speaking, a way to don the entire known universe.

Combining the elegance of gold jewelry with the meticulous craftsmanship of intricate timepieces, a unique style of ring emerged from a fashion for the cosmos during the 16th and 17th centuries. Known as armillary rings, these deceptively simple gold creations can be worn on the finger like any other band, but when removed, they open up into a sphere made of several interconnecting circular bands operated by delicate hinges.

Examples of armillary rings in the British Museum and the Swedish National Museums of History have been traced to Germany, made during the Late Renaissance as the study of astronomy reached new heights. In 1543, Copernicus essentially launched the scientific revolution when he claimed that the Earth rotates around the Sun, not the other way around.

A few years later, Italian polymath Galileo Galilei, known as a pioneer of observational astronomy, built a telescope powerful enough to, for the first time, observe the stars of the Milky Way, see Jupiter’s four largest satellites, and make out Saturn’s rings, among other discoveries.

The historic gold rings are based on ancient astronomical instruments called armillary spheres, which emerged from the long-disproven theory that everything in the cosmos revolved around Earth. The designs, which were used since at least the 2nd century, place our planet at the center. A group of rings rotates on an axis, providing reference points for locating other celestial bodies. Separate bands correlate to the equator, the Tropics of Cancer and Capricorn, and the revolution of the Sun—a ring which also represents the constellations of the Zodiac.

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parabolic structures painted in burgundy stucco outline stockholm flagship for chimi eyewear

CAMPUS designs CHIMI’s new Stockholm flagship

CAMPUS completes CHIMI’s new Stockholm flagship eyewear store with an approach grounded in reduction, clarity, and sustainable practice. The design process began by removing accumulated additions to uncover the site’s original architecture, allowing the new interventions to emerge through precision and restraint. The architects treat the act of reduction as a design tool rather than an aesthetic gesture. By peeling away non-essential layers, they reveal the inherent character of the space, balancing material honesty with environmental responsibility. Subsequent additions are deliberate and minimal, each serving to enhance circulation, function, and brand identity. A central parabolic counter defines the spatial organization, while a preserved staircase, refined with burgundy stucco side walls, acts as both structural and visual anchor. Together, these elements illustrate the project’s guiding principle: to achieve expression through measured subtraction rather than addition.

store facade | all images by Mikael Olsson

CAMPUS utilizes subtraction as a design principle

The parabolic curve, first introduced in CHIMI’s New York flagship, reappears here as a key spatial motif. In Stockholm, this geometry is developed through the sweeping central counter, which unifies display and customer interaction within a single form. The staircase, with its warm, mineral finish, complements this curve to create a visual dialogue between the existing and the new. Lighting plays an equally structural role in the design. A four-meter-wide circular luminaire and five-meter ribbon-like ceiling lights define the ceiling plane, offering both illumination and acoustic softness. Their presence forms a counterpoint to the tactile, mineral palette below, reinforcing the spatial hierarchy without dominating it.

The CHIMI Stockholm flagship demonstrates how a process of careful subtraction and targeted refinement can produce a space of clarity and coherence. Through this balance of material reduction and formal precision, CAMPUS architectural studio redefines retail architecture as an exercise in restraint and environmental consideration.

the parabolic cashier’s desk and the staircase

a staircase leads up to the mezzanine

store overview

project info:

name: CHIMI’s new Stockholm flagship
architect: CAMPUS | @campus_architects

client: CHIMI | @chimi

location: Stockholm, Sweden

photographer: Mikael Olsson | @mikaelolsson_

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