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    Chzon studio designs airport departure hall to reference Parisian life

    French design agency Chzon studio has added archways and fountains that reference iconic Parisian monuments to a departure lounge at the Charles de Gaulle Airport in Paris.

    Chzon studio redesigned the boarding gate area in Terminal 2G with the aim of creating a dynamic representation of Paris’ design and history in a typically utilitarian area of the airport.
    The vast space is punctuated by white columns and sculptural installationsThe 1,300-square-meter space is populated by rounded seating in dark blue and green upholstery, which takes aesthetic cues from the 1960s and 1970s, arranged in benches, booths and pairs.
    To zone the space and instill privacy, the studio added partitions and expressive white sculptures by artist studio Les Simonnets, which double as alternative bench seating.
    References to Paris are made at varying scales throughout the spaceThe studio made reference to iconic Parisian monuments by installing archways that nod to the Arc de Triomphe, as well as a fountain that is reminiscent of the water feature in the Jardin du Luxembourg and surrounded by green metal chairs similar to those found in Paris’ parks.

    Rows of wooden tables have been inlaid with chess boards in another reference to the parks of Paris. Passengers can use these as workspaces, to eat at, or to play games on while waiting for flights.
    The miniature fountain is a focal point within the terminalAs well as designing some of the lighting for the interior in-house, the studio also sourced and installed antique lighting and other decorative objects from the city’s St Ouen flea market, including giant wall lights and aluminium sunshades.
    To keep the space relevant to its function, Chzon also made references to aeroplane design by employing metallic details, patterned finishes and reclining plane-style seats designed by Italian architect and furniture designer Osvaldo Borsani.

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    “[The design] dramatises the boarding lounge while keeping the passenger informed,” Dorothée Meilichzon, founder of Chzon studio, said of the interior design.
    “The departure lounge becomes a smooth transition between the Paris that we are leaving and the plane that is going to take off.”
    The mural is applied to perforated sheets and wraps around the walls above the windowsThe space also features a mural inspired by the work of French painter Sonia Delaunay that sits above the windows, which overlook the runways and allow views of planes taking off and landing.
    This fresco also references symbols used in airport signage and carries similar rounded motifs to the ones present in the retro-style seating and lighting.
    Rounded elements in furniture, lighting and decor reference the design of the 1960s and 1970sCharles de Gaulle Airport, also known as Roissy Airport, is the French capital’s principle airport.
    Other airport-related projects published on Dezeen include the cosy remodelling of an airport in Colorado, USA by Gensler and an airport that contains the world’s tallest indoor waterfall by Safdie architects.
    Images are courtesy of Chzon studio

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    University of the Arts London spotlights six interior and spatial design projects

    Dezeen School Shows: an app that makes use of disused car parks and a community cafe feature in Dezeen’s latest school show by students at the University of the Arts London.

    Also included is a museum that examines the role of female workers in the industrial revolution and a scheme that aims to integrate the physical and digital worlds to connect people to their surroundings.

    Institution: University of the Arts LondonSchool: Camberwell College of ArtsCourse: BA Interior and Spatial Design
    School statement:
    “Camberwell College of Arts is a renowned art and design college. We give students the space to explore their creativity. Staff will support and challenge you to rethink current practices. Our facilities embrace both traditional craftsmanship and digital technology.

    “Our design and fine art courses will make you think about your social responsibility, as well as develop your critical and making skills.
    “View our recent graduate’s work online at the Graduate Showcase website.
    “Join our online and on-site open days to learn more about Camberwell College of Arts and our courses. Click here for more information.
    “For the following projects, Camberwell’s BA Interior and Spatial Design students collaborated with students at IED Kunsthal, a design university located in Bilbao, Spain.
    “Students focused on the regeneration of Zorrotzaurre, a post-industrial area of Bilbao built on an artificial island.
    “The project’s aim was to design proposals for a former biscuit factory site, which required remote online working with students at IED Kunsthal as they researched and explored the area together.
    “Each student created a map of the urban landscape through a variety of media including textiles, projection and interaction.
    “Some Camberwell students also visited the site in Bilbao, where they exhibited their urban fabric mappings of the current condition of Zorrotzaurre and design proposals for the future of the island.
    “They also took part in a show at the university, as well as delivered presentations and workshops as part of the DRS2022.”

    Community and the Vernacular: Physical and Virtual by Lea Fakhouri
    “Community and the Vernacular is an expansion of my thesis around the idea that people in today’s society are considered inert consumers that only use the spaces that they inhabit, and are not actually part of the process of designing them.
    “My project explores the merging of the physical and digital world to help revitalise the connection between people and space.
    “The physical world houses six separate pavilions suspended across the site of the Artiach Cookie Factory in Bilbao, Spain.
    “The virtual world houses the united pavilions suspended together to represent the capabilities of the community to inform and transform its topography.”
    Student: Lea FakhouriCourse: BA Interior and Spatial Design

    Mobile Community Repair Cafes by Mia Bizard
    “Using my research on themes exploring accessibility, connection and communities, this project continues my investigation into the architecture of connection – connecting people, city, and environment.
    “Proposing a series of workshops and gallery spaces that essentially become repair cafes, all connected with foldable canopies, this project promotes the reduction of waste and sustainable, social community-focused lifestyles.
    “The idea is to bridge and connect these places – located around the island of Zorrotzaurre in Bilbao, Spain – as well as the local community through this fragmented series of spaces.
    “It aims to empower residents to take an active part in shaping their communities, as well as building on the legacy of the site by adding a participatory and engaging design that will help promote and attract people to the area.”
    Student: Mia BizardCourse: BA Interior and Spatial Design

    Zorrotzaurre’s Art District by Maya Mammoud
    “The project offers a unique experience to its visitors by taking them through a ‘designed walk’ across three spaces: a gallery, an auditorium and a multi-purpose social space.
    “The project is aimed at the local community and those with a common interest in Bilbao’s growing art scene.
    “The spatial layout explores the act of observing, using thresholds and viewports to make visitors see, experience and question their surroundings.
    “The aim of using viewports as a tool for observing fragments of other spaces, allowing sudden interactions to happen between visitors.
    “It also forms a deeper understanding of visitor experiences and how it is influenced by the creation of space.”
    Student: Maya MammoudCourse: BA Interior and Spatial Design

    Time Traveller by Qiao Wang
    “I created a temporary exhibition to promote local cultural heritage in Zorrotzaurre, Bilbao, Spain.
    “This solar-powered installation is based on the simplified shape of Zorrotzaurre, which is intended to provide visitors with a quick tour of the island.
    “To arouse the interest of visitors, they will feel as if they are exploring the maze while walking inside the installation, just like they are discovering and seeking knowledge in an unfamiliar city.
    “This project promotes the industrial heritage culture of the region to visitors from all over the world while boosting the local tourism economy and providing educational cultural dissemination.
    “In the installation, I used the pulley structure of the factory and woven fabric, which was inspired by my map. All materials used are sustainable.”
    Student: Qiao WangCourse: BA Interior and Spatial Design

    Fabric-Women-Museum by Shiyuan Liu
    “Fabric-Women-Museum aims to spatialise the inequalities suffered by women in the workplace during the industrial revolution.
    “The project is based on research into the history of Artiach during the industrial revolution when approximately 80 per cent of the workers were women.
    “Although Artiach offered work opportunities for women, their working conditions and treatment were poor.
    “The design translates the inequality of women in the workplace into four thematic rooms: control, inconvenience, isolation and vulnerability.
    “The interactive exhibition helps visitors understand the conditions suffered by women workers in workspaces during the industrial revolution.”
    Student: Shiyuan LiuCourse: BA Interior and Spatial Design

    (Junk)scape – Rethinking and Recycling Non-Places by Kiwi Chan
    “This project represents creative ways to transform car parks from non-place, anonymous spaces to ones with urban character.
    “The (Junk)scape app is a system and service that proposes efficient uses for ‘wasted’ spaces and energy around ‘non-places’ i.e. car parks.
    “This app rethinks and recycles underutilised parking lots by using a renting and scheduling system.
    “My primary design proposal for my rented ‘non- place’ explores ‘placeless’ people, in hopes to provide support for the local homeless community and raise awareness around this ‘invisible class’ through film.
    “This proposal also aims to incorporate responsible involvement with Bizitegi, a non-profit organisation that contributed to the construction of services for individuals from the worlds of exclusion and mental illness in Bilbao.”
    Student:Kiwi ChanCourse: BA Interior and Spatial Design
    Partnership content
    This school show is a partnership between Dezeen and the University of the Arts London. Find out more about Dezeen partnership content here.

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    R for Repair London exhibition features “sympathetic” repairs to sentimental objects

    A rattan cast created to protect the damaged wing of a toy puffin and a fractured plate held together with steel staples feature in R for Repair, an exhibition of repaired objects presented at the V&A museum as part of London Design Festival.

    Curated by Jane Withers and Hans Tan, the exhibition is the second edition of R for Repair, and follows the first iteration of the show that was held in Singapore last year.
    R for Repair is on display at the V&A in LondonThe show presented at London’s V&A museum includes 10 damaged objects repaired by 10 different designers from Singapore or the UK. They are displayed alongside three repaired objects from the original exhibition.
    Responding to an open call, members of the public were invited to contribute sentimental but broken objects to the project. Designers chosen by Withers and Tan then repaired the objects in various creative ways.
    Ng Si Ying repaired a toy puffin by creating a rattan cast for its wingDesigner Ng Si Ying created a cast and belt out of rattan and thread for Graham Secrets, a toy puffin owned by UK-based Oli Stratford, which was a gift from the owner’s parents on his 30th birthday.

    Originally made by Danish silversmith and designer Kay Bojesen in 1954, the object was damaged by Stratford’s cat. Ying created a cast for the puffin’s wing in Singapore using an intricate weaving technique.
    Rio Kobayashi used Japanese joinery to adapt an antique sewing chest”We wanted to pair designers who would be sympathetic to the owner’s emotional attachment and what are often quite moving stories behind the objects and why the owners treasure them, but might also have an unexpected take on the object and add new layers of meaning, enriching this evolving narrative of ownership,” Withers told Dezeen.
    “We also looked for designers who might bring interesting techniques and unexpected experimentation to the repairs.”
    The chest now has space to display drawings and paintingsAnother object repaired for the 2022 edition of the exhibition is an 18th-century antique sewing chest owned by Eleanor Suggett Stephens in the UK, which she inherited from her grandmother.
    Suggett Stephens discovered that the chest contained previously unseen sketches and watercolour paintings by her grandmother, who wanted to be an artist but never achieved her dream.
    Other objects include a repaired doll’s house by StudiomamaLondon-based designer Rio Kobayashi used traditional Japanese joinery techniques to raise the furniture’s feet, and also created a large tabletop designed to display and celebrate the secret artwork.
    Kobayashi used walnut, ash, cherry, sapele, paint and glass to repair the chest, which Suggett Stephens said “represents that creative dream which never happened for [my grandma] and reminds me how fortunate I am to have a career in the arts.”
    Studio Dam put a broken plate back together with staplesOther objects in the exhibition include a porcelain dinner plate that broke down the middle and was repaired with steel staples and epoxy glue by Studio Dam in Singapore.
    British owners Karen Birkin and screenwriter Andrew Birkin, brother of actor Jane Birkin, submitted the plate for repair with an entirely open brief. Andrew Birkin quipped that Studio Dam could make a spaceship out of it.

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    In response, the multidisciplinary studio took visual cues from Stanley Kubrick’s film 2001: A Space Odyssey, which Andrew Birkin worked on early in his career.
    Studio Dam was informed by juci, a traditional Chinese porcelain repair technique that involves the use of metal staples.
    At the V&A, the objects are presented on bright yellow boxes”On one hand, the primary motivation was to bring creativity to repair through design,” explained Tan, discussing the exhibition.
    “At the same time, we thought having designers and objects from two countries would add a dimension to the project as a design and cultural exchange.”
    Tzen Chia playfully repaired a glass bottle for an anonymous ownerWithers also added that the exhibition intends to celebrate the process of repair and encourage the idea of giving possessions a second life.
    “I think it is important to broaden the discussion around repair and explore the psychological as well as functional dimension,” concluded Withers.
    “To understand why we keep things and how that can inform the design of products. How can things be designed with repair in mind so they improve with age?”
    As London Design Festival kicks off in the capital, see other installations that are part of the event, such as a collection of rotating stone chairs by Sabine Marcelis.
    The photography is by Zuketa Film Production. 
    R for Repair is on display at the V&A in London from 17 September to 2 November. 
    London Design Festival 2022 takes place from 17-25 September 2022. See our London Design Festival 2022 guide on Dezeen Events Guide for information about the many other exhibitions, installations and talks taking place throughout the week.

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    Neri&Hu creates “nomadic” office interiors for Shanghai media company

    Chinese architecture studio Neri&Hu has designed a flexible office space in Shanghai for the changing needs of media company Red+Plus Studio’s employees.

    The Shanghai-based studio stripped back the 529-square-metre space, located on the second floor of a factory building within a former industrial campus, by removing numerous layers of previous renovations.
    The concrete structure is exposed in the office’s central spaceThe concrete structure of the building was left exposed throughout with a number of columns breaking up a large multi-use space at the centre of the office.
    Large steps within this space can be used as seating for presentations with a hidden projector placed in the roof.
    The existing skylights were used to light the desksTwo stainless-steel structures enclose meeting rooms alongside this main space, while private offices are arranged alongside it.

    A room with stainless-steel desks, which is lit by six pre-existing skylights in the sloping roof, stretches along one edge of the room.
    “With the strength of the building’s original character revealed, any additions to the space were carefully applied in layers that allow what is behind to coexist, inhabiting the liminal space between past and present,” explained the studio.
    A hidden projector can be lowered to create a screening roomThe studio used “nomad” as the design concept, based on the client’s request for flexible working spaces.
    Spaces were designed so that they can serve multiple functions, with several sliding doors created to provide flexibility and allow the company to alter the workspace dependent on future needs.

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    “Much like the itinerant populations that move between cities to offer specialized services, the people working for and with this agency needed their spaces to transform according to various scenarios,” said the studio.
    Stainless steel and frosted glass were widely used throughout the space to contrast the concrete structure and reflect the changing usage. Galvanized steel and mesh were selected as they will change colour over time.
    Various office rooms are placed at the edge of the main spaceNeri&Hu’s other recent projects include a courtyard house in Singapore and a guesthouse wrapped in metal mesh in Shenzhen.
    The photography is by Zhu Runzi.
    Project credits:
    Partners-in-charge: Lyndon Neri, Rossana HuAssociate: Siyu ChenDesign team: Jerry Guo, Kenneth Qiao, Jinghan Li, Ath Supornchai, Kany Liu, Greg WuFF&E design and procurement: Design RepublicContractor: Shanghai Idea Mechanics Interior Designers Contractors

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    Play Architecture tops restaurant in India with undulating tiled roof

    A wavy, tiled roof formed by intersecting catenary vaults shelters this lakeside restaurant, designed by Bangalore-based Play Architecture for the Deva Dhare Resort in Karnataka, India.

    Perched above a narrow stream on recycled steel stilts the structure, which has been shortlisted in the hospitality building category of Dezeen awards 2022, provides both internal and external dining areas for the 10-acre resort.
    The Deva Dhare Restaurant is topped with a vaulted tiled roofNestled in the forests of Sakleshpur with expansive views of the Western Ghats mountain range, Play Architecture sought to create a form that would “weave and integrate seamlessly” into the landscape, making use of local materials and labour.
    “The dining space is located on an extremely ecologically sensitive zone, where one needs to touch the ground gently,” explained the studio.
    “The design approach is bottom-up, where the construction process and choice of materials address the local climate, ground conditions, flora and available local labour.”

    The restaurant sits over a small stream in a Sakleshpur forestTo create a column-free interior, a dramatic, unreinforced catenary vaulted roof spanning 16 metres was created, using five layers of 15-millimetre clay tiles typical to the area.
    This roof sits atop a granite and steel deck slab, supported by the structure of thin, green-painted steel columns beneath and accessed via two stone staircases at either side.

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    “The form shows how the forces flow through the structure, and the resistance of the form allows large spans to be built with small thicknesses, saving on materials and labour,” said the studio.
    “More over, the focus of this research was to stay away from sophisticated software solutions and find geometric, logical means and hands-on methods, empowering unskilled labour to apply the idea on a day-to-day basis.”
    Four glass-covered openings under the wavy roof offer views of the surroundingsFour arched openings at either side of the restaurant are filled with full-height glazing framed with black steel, providing views out in every direction.
    To the east and west, glass doors provide access out onto two terraces for overlooking the lake and stream, and to the north a short corridor leads to a standalone bathroom block.
    The curved roof is formed of intersecting catenary vaultsThe granite slabs of the platform have been left exposed throughout, creating a continuity between the interior and exterior, and some have been replaced with glass to provide views of the stream below.
    “The project is a simple, straightforward demonstration of the strength of an idea…with a sincere effort to express the material and construction tectonics truthfully,” said the practice.
    Other projects shortlisted in the hospitality building category of Dezeen awards 2022 include a copper-clad shelter for a teahouse in China by Neri&Hu Design and Research Office, and a boutique hotel in Mexico by Alberto Kalach topped by barrel vault roofs.
    The photography is by Bharath Ramamrutham.

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    Vermilion Zhou Design Group opts for rich hues in revamp of Haidilao hotpot restaurant

    Shades of blue and green feature throughout this hotpot restaurant in Shenzhen, which has been updated by Chinese studio Vermilion Zhou Design Group.

    Haidilao, which was established in 1994, is the biggest hotpot restaurant chain in China, with overseas branches in cities such as London, New York and Sydney.
    When its Shenzhen location was in need of a revamp, Vermilion Zhou Design Group was brought in to lead on the design.
    Sky-blue seating lies at the centre of the restaurantFrom the outset, the Shanghai-based studio knew it wanted to avoid the red and black colour scheme that has previously been used in Haidilao restaurants.
    The space has instead been decked out in shades of blue and green that are meant to nod to the chain’s use of natural, fresh ingredients.

    At the periphery of the floor plan are jade-green dining cabinsAt the heart of the restaurant is a bank of sky-blue dining chairs accompanied by tables with flecked, terrazzo-style countertops.
    Bands of shiny brass panelling have been suspended from the ceiling overhead, inset with LED ticker boards that project interactive messages to diners.
    A large LED screen has also been integrated into Haidilao’s facade; it displays moving silhouettes of different people, hinting at the buzzing activity of the restaurant’s interior.
    Tables have terrazzo-style countertopsAround the periphery of the main dining room is a sequence of high-backed, jade-green booths that form intimate “cabins” where small groups can enjoy their meals.
    There are also a number of cosy nooks designed to accommodate solo diners.
    Jade-coloured fixtures and furnishings also appear in the private dining roomTowards the rear of Haidilao there is a drinks counter and a private dining room that can be hired out for special occasions. Tall pivoting doors help close the space off from the rest of the floor plan.
    In keeping with the rest of the restaurant, it features jade-coloured walls and brass-edged furnishings.
    In the bathrooms, terrazzo washbasins meet scalloped wallsVermilion Zhou Design Group has created a small manicure bar within the restaurant’s entryway – not only is it meant to lure in more passersby, but it also gives prospective diners a fun way to kill time while waiting for a table.
    The bar has been rendered blush-pink, boldly deviating from the restaurant’s colour scheme, and has a scallop feature wall.
    Scalloped surfaces go on to appear in the customer bathrooms, which have been finished with oblong mirrors and terrazzo-like washbasins.
    A pink nail manicure bar has been created in Haidilao’s entrywayThere are a number of visually striking hotpot restaurants across China.
    Examples include Jin Sheng Long in Qinhuangdao, where diners sit among thick stucco partitions, and Xinhua Nufang in Chengdu, which perches on the edge of a lotus pond.
    The photography is by Vincent Wu.
    Project credits:
    Creative director: Kuang Ming (Ray) ChouConcept design: Ting Ho, Ming ShiInterior design: Garvin Hong, Xudong Wang, Yuqin Chou, Dandan Guo, Jing Wu, Zihao Yao, Yuxuan Li, Changsong LiLighting design: Vera Chu, Chia Huang LiaoFF&E design: Ping Xue, Ruiping HeVideo: Ming Shi

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    Johnston Marklee installs villas inside industrial LA building for Holly Hunt Showroom

    Architecture studio Johnston Marklee has installed a pair of villas inside an industrial building in Hollywood to create display spaces for design brand Holly Hunt.

    The LA-based studio collaborated with Holly Hunt’s executive creative director Jo Annah Kornak to create the showroom on North Highland Avenue.
    A vaulted villa is one of two volumes installed inside Holly Hunt’s LA showroomLed by Johnston Marklee partner Sharon Johnston, the project involved the overhaul of a two-storey, 1940s building into a flagship location for the brand to showcase its furniture and home products.
    Holly Hunt’s design aesthetic and the city’s “characteristic industrial grit” were combined through the use of rich finishes and raw surfaces.
    Furniture from the brand’s Vladimir Kagan and Holly Hunt Studio collections are displayed in the north villaTwo villas were created inside the showroom to present the designs in residential-scale spaces, surrounded by a “promenade” that shows off the building’s tall ceilings and exposed concrete beams.

    “The raw concrete shell frames an interior street,” said Johnston.
    “A double-height promenade space around the villas, together with the villa interiors, creates an atmosphere and experiential narrative for the display of elegant domestic furniture for house and garden.”
    The second villa includes interior vignettes on the lower levelThe villa to the north features a vaulted ceiling and wall niches and is used to display the brand’s Vladimir Kagan and Holly Hunt Studio collections.
    At the other end of the building, a two-level structure is arranged around a large circular atrium at the centre.
    A circular atrium is located at the centre of the second villaThe lower floor comprises a series of interior vignettes, while rooms upstairs house a library of textiles, leather, trim and rugs, along with wallcoverings from a variety of affiliate brands.
    “The visitors’ journey through the spaces reflects a spatial dialogue between exterior and interior, linked through richly finished in-between spaces,” Johnston said.
    A taller space named the promenade surrounds the building’s interiorLight-grey oak flooring runs through both villas, while terrazzo, concrete walls and hand-troweled plaster are all executed in a matte finish in the promenade.
    Bronze details also feature throughout the showroom, including the entry vestibules, stairwell and lighting gallery.

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    Although most of the interior is decorated in neutral tones, a 24-foot (7.3-metre), mustard-coloured sofa follows a curved corner of the building.
    “We approached the interior architecture in the same way that we would design a new product, being very thoughtful with our use of scale, proportion and materials,” said Kornak.
    The concrete of the 1940s industrial building is left exposed”We were very intentional about incorporating elements that celebrate LA’s signature urban aesthetic, like the original exposed concrete walls, beams, and other details throughout the space,” she added.
    Holly Hunt was set up in 1983 by its eponymous founder in Chicago.
    The brand previously operated two spaces within LA’s Pacific Design Center, but has scaled down to just the sixth-floor showroom now that the North Highland Avenue flagship has opened.
    Matte finishes and bronze details are used throughout the showroomJohnston and partner Mark Lee established their studio in 1998, and have since completed many private residential projects in Southern California – including the Vault House and Knoll’s West Hollywood showroom – as well as around the world.
    Lee is also chair of the Department of Architecture at Harvard Graduate School of Design.
    The photography is by The Ingalls.

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    Hariri Pontarini rethinks cold medical interiors at Barlo MS Centre

    Canadian architecture studio Hariri Pontarini has completed a clinic in Toronto for multiple sclerosis patients that features warm wood tones and spaces designed to feel like “first-class airplane lounges”.

    The Barlo MS Centre is Canada’s largest clinic dedicated to those with MS, a complex autoimmune disease that affects the central nervous system.
    The BARLO MS Centre was designed with atypical colours, materials, textures and lightingNamed after its two biggest donors, the Barford and Love families, the centre occupies the top two floors of a new 17-storey tower at St Michael’s Hospital in Downtown Toronto.
    The 30,000-square-foot (2,790-square-metre) facility was designed by local studio Hariri Pontarini Architects, which aimed to rethink sterile-looking healthcare spaces and focus on patient wellbeing through the use of atypical colours, materials, textures and lighting.
    The clinic’s two storeys are connected by a staircase that rises through an atrium”Canadians are particularly prone to MS for reasons that are unclear,” said the studio.

    “This hospital’s mission is nothing less than to transform MS care and become the world’s leading MS centre through research and clinical treatment.”
    Circular consultation rooms are partially clad in walnutTaking cues from the hospitality industry, the team aimed to create a “comfortable and welcoming environment” by filling the spaces with daylight and offering views of the skyline.
    The two floors are connected by a double-height atrium, topped with an oculus that allows more natural light in from above.
    The wavy panels conceal the rooms from the main circulation corridorA staircase rises up through the atrium, curving towards the top with a glass balustrade to follow the shape of the opening.
    Downstairs, the atrium connects to a lounge at the corner of the building and a reception area anchored by a curved white counter.
    Infusion pods are given privacy by pale wood screensA wide corridor leads past a series of cylindrical consultation rooms that are partially glazed, but screened where they face the circulation area by wavy walnut panels.
    On the other side of the floor plan, smaller and more open consultation booths named infusion pods are still offered privacy with curved pale wood screens.
    Different varieties of wood give the interiors a warm tone”The infusion pods where patients may sit for up to eight hours are modelled to resemble a first-class airplane lounge and provide complete control over their environment,” the Hariri Pontarini team said.
    Various light-toned woods are used for wall panels and balustrades, as well as thin slats that extend across the ceilings.
    The atrium connects to a lounge and waiting areaAll spaces were designed with durability and accessibility in mind, considering that some MS patients have vision and cognitive loss, fatigue and impaired coordination.
    Bronze-coloured handrails were installed along the majority of walls and partitions, while anti-slip porcelain tiles cover the floors to aid patient mobility.

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    The centre also includes a gym, a mock apartment adapted for MS patients, and rooms for meetings, research and administration.
    Together, it provides patients with a space to see a dedicated healthcare team in one location and clinicians the state-of-the-art resources to offer the best possible treatment.
    An oculus above the atrium brings daylight into the centre of the buildingHariri Pontarini Architects was founded by Siamak Hariri and David Pontarini in 1994.
    One of the studio’s most recognisable buildings is the Bahá’í temple in Chile, featuring torqued wings made of steel and glass, while its work closer to home includes the glass-wrapped Tom Patterson Theatre in Stratford, Ontario.
    Handrails are provided throughout the clinic to aid patient mobilityThe Bar MS Centre is one of five projects shortlisted in the Leisure and Wellness Interior category of the Dezeen Awards 2022, along with a Shenzhen cinema and a spa in the Maldives.
    See the full Interiors shortlist and vote now for your favourites.
    The photography is by A-Frame.

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