El Lissitzky Business Lounge

Undulating ribbons of pale honey-toned oak cascade across the ceiling in a mesmerizing display of parametric design virtuosity, their concentric elliptical patterns radiating outward like topographic contours or the growth rings of an ancient tree rendered monumental and inverted above a sophisticated hospitality environment. Hans Maréchal's El Lissitzky Business Lounge presents an interior spatial composition wherein the dominant ceiling installation commands immediate visual attention through its rhythmic lamellae structure, each slat maintaining precise parallel relationships while collectively describing complex three-dimensional curves that suggest both organic natural phenomena and the mathematical precision of computational design. The chromatic palette establishes a refined dialogue between warm natural wood tones ranging from light birch to deeper amber honey, cool deep teal crystalline formations that punctuate the middle ground like illuminated mineral deposits or frozen aquamarine waves, and neutral grounding elements including charcoal leather upholstery and cream terrazzo flooring. The spatial organization follows a curvilinear plan with the sinuous banquette seating echoing the ceiling's flowing geometries, creating visual continuity between horizontal and vertical planes while defining intimate seating alcoves within the larger open environment. Illumination emerges both from integrated linear fixtures concealed within ceiling channels that accentuate the undulating topography and from the luminous glow of the turquoise glass elements that appear to possess internal radiance, casting cool reflected light against the warm wood surfaces. The compositional structure balances asymmetrical arrangement of furniture groupings with the strongly centralized ceiling feature, while floor-to-ceiling glazing along the perimeter admits deep blue twilight tones that complement the interior's warm-cool temperature relationships. Square light oak tabletops on slender metallic pedestals provide geometric counterpoint to the surrounding curves, their orthogonal forms creating visual rest points within the flowing spatial continuum, while contemporary armchairs in matte charcoal leather offer both chromatic grounding and textural contrast against the smooth wood and crystalline surfaces.

The new terminal is designed in Russian constructivist style. The imposing ceiling in the lounge is a representation of the supremacist style of El Lissitzky which he called Proun, "the stage where someone changes from painting to architecture". By adopting the architectural columns in the ceiling design it was possible to divide the lounge into zones. The large mirror wall at the end of the lounge makes the movement become infinite. In reference to painting Victory over the sun.