РУEN
Decorative paint samples on a burgundy wall in the Lanors showroom.

Name of the project

LANORS Fuse — Uniting the Visible and the Hidden

Main character

LANORS — a manufacturer of high-grade smooth interior paints, decorative finishes, and curated, small-batch wallpaper collections.

Setting

Moscow, Interior Design Centre “ExpoStroy” on Nakhimovsky Prospekt. Exposition No. 247 (a permanent display hall for materials and solutions).

LANORS Fuse

Objective

A new hall from scratch under an open brief: the footprint and product categories were given; everything else is authorial design. The goal is a memorable display that reads instantly from the aisles and draws visitors in.

Conceptual scenario

The route moves from façade to content: the eye catches the outer contour; inside, light axes and focal points take over. Signage is discreet—architecture, lighting rhythm, and repeated joints do the work.

  1. Wallpaper catalogues and a sample display in the Lanors showroom.
  2. Close-up of a Lanors wallpaper sample display.
  3. Finish sample panels and colour swatches in the Lanors showroom.
  4. Decorative paint samples on a burgundy wall in the Lanors showroom.
  5. Entrance to the Lanors showroom with an illuminated sign and product display.
  6. View through the entrance arch towards the green counter and displays in the Lanors showroom.
  7. Consultation area with two chairs and a Mons sample wall in the Lanors showroom.
  8. Mons display with rows of colour samples and a blue cabinet in the Lanors showroom.
  9. Green counter with chairs and a Mons display inside the Lanors showroom.

Client’s role in the project

A client with a strong product line and fast communication. Key decisions were approved promptly; we led the project end-to-end—from concept and documentation to light tuning and handover.

Architecture of the idea

The Fuse principle treats “packaging” and “product” as equals. The outer contour acts as packaging, setting expectations; the interior confirms them through quality and a clear logic of display.

The perimeter forms a single “body”; inside, distinct zones by category: smooth paints, decorative finishes, and select wallpaper lines. Fixture materials and optics merge the whole into one coherent image.

On site

All structures were prefabricated off site by partner contractors (about two months): podium, walls, ceiling beams, mounting joints, and display carriers.

Installation at ExpoStroy took around two weeks: geometry assembly, painting and finishes, lighting installation and calibration with the authors. Doing the bulk off site sharply reduced downtime for the rented floor.

Details and meanings

  • Body and chime. Rounded corners read as the can’s chime, setting a soft cylindrical plasticity.
  • Frieze joint. The upper frieze alludes to the lid-seating joint: the edge turns into a rim, forming a characteristic seam-lock (double-seam) motif.
  • Tamper seal with logotype. Above the entrances, a seal-like plaque with the LANORS logotype echoes the element removed at first opening.
  • Opening as sightline. Portals are set on key view axes: the gaze doesn’t “shoot through” but lands on designated focal centres. Interior zoning.
  • Categories are clearly separated; signage is measured—architecture and light carry the load instead of excessive labels.
  • Materials and light. Fixtures are neutral and tactile; lighting reveals textures and planes of colour.
  1. Illuminated Lanors sign above the arched showroom entrance.
  2. Composition of multicoloured Lanors decorative finish samples.
  3. Abstract panel of green, blue and terracotta shapes in the Lanors showroom.
  4. Front view of the entrance arch, green counter and workstations in the Lanors showroom.
  5. Lanors entrance arch and green counters with decorative finish samples.
  6. Symmetrical Lanors showroom facade with a green counter at the centre.

Final result

Amid many neighbouring displays, the LANORS space stands out with a crisp silhouette and clear logic. The façade captures attention instantly; inside, lucid scenarios let the product speak for itself.

A coherent, disciplined solution that underscores the brand’s aesthetics and strengthens recognition.

Other case studies

The name Zariza

Engraving of historic Tsaritsyn by Adam Olearius, 1636

In 1663, a book by Adam Olearius, a German scholar and secretary to the Holstein embassy to Russia and Persia, included a plate with six engraved views of Russian cities.

Tetus, Samara, Soratof, Zariza, Tzornogar, Kusmamedianski. Olearius passed Tsaritsyn on 6 September 1636.

Partners and clients sometimes jokingly associate our name with royalty. We do not mind, although for us it is rooted above all in the history of a place.

The city’s name is associated with the Tsaritsa River. One explanation traces it to the Turkic “sary-su”, meaning “yellow river”; another links it to “yellow sand”.

The fortress in the engraving stands at a meeting of currents: goods and embassies travelled along the river, and routes crossed here. This image resonates with us. Design and implementation also form a system of many factors, whose parts need to work together.

The studio’s name is tied to the history of Tsaritsyn, a city at the confluence of the Volga and Tsaritsa rivers. Our first office opened here, near the Architecture University. The studio began work on 21 December 2012, the day a 5,125-year cycle of the Maya calendar came to a close.

“Art” was added later, when we registered the domain. The name retains our connection to our place of origin, while the studio’s work has long reached beyond its geography.

Brand Identity

Brand identity is a combination of visual, verbal, and emotional characteristics that make your brand recognizable and unique. It is a holistic system of meanings, images, and values that reflects the essence of the company and shapes how it is perceived by the audience.