Centrale styling station with a softly curved illuminated wall

Name of the project

Centrale — the Makeup Avenue space

Main character

A destination in Orenburg where a niche cosmetics and fragrance boutique meets a service studio for manicures, pedicures, haircuts, colour, brows, and hair care.

Setting

23 Severny Proyezd, Orenburg

Centrale: life in motion

Objective

Create a distinctive space that combines a niche cosmetics and fragrance boutique with a service studio. Develop a coherent concept that turns every visit into a memorable experience, where each stage — from choosing a service to seeing the result — belongs to one harmonious and logical route.

Design scenario

The project draws on the operating logic of a terminal. The client’s journey begins at the entrance and continues at a choice desk, where they decide on a service, product, and format for the visit. Platforms then lead towards the treatment rooms, while the cloakroom becomes a baggage zone. A dedicated portal marks the beginning of the journey through the boutique.

Milan’s Centrale station and its idea of “Life in Motion” provided the design reference. In the interior, this principle appears through a considered sequence of openings, rounded forms, intuitive navigation, and lightweight structures that preserve spatial clarity.

Back-of-house facilities, including the kitchen and staff rooms, are contained within a curved central volume. Its form unifies the service areas and creates a rhythmic sequence of entrances to the treatment rooms, giving the whole space coherence.

Architecture of the idea

The project is built around movement. A curved wall is the interior’s defining element: it organises the plan, conceals support spaces, and establishes the principal spatial gesture.

Half-columns and a rhythmic sequence of openings arrange the treatment rooms into a legible progression.

The palette is restrained yet expressive. Monochrome blue creates a sense of lightness and calm; polished steel in the furniture and navigation adds precision and lustre; textiles in the work areas and photo zone bring warmth and soften the architecture. Together, these materials balance a clearly structured route with comfort for every visitor.

On site

The composition had to accommodate a complex plan and existing structural elements. Service infrastructure occupies the central volume, while treatment rooms, work zones, and the visitor route are arranged around it.

The openings, navigation, furniture, and materials operate as one coordinated system, preserving the integrity of the space throughout the journey.

Objects and details

  • The curved wall performs two roles: concealing the service core and creating a strong sculptural accent.
  • Half-columns and rhythmic entrances connect the treatment rooms into one ordered sequence.
  • The ticket counter, platforms, and baggage navigation are integrated into the architecture rather than applied as signage.
  • The portal acts as a visual marker for the point of transition and the beginning of each guest’s individual route.
  • A palette of blue, polished steel, and textiles creates a balanced, refined, and restrained atmosphere.

Result

Centrale brings boutique retail and beauty services together within one coherent space governed by a clear logic of movement. Each guest follows a considered route: choosing a direction, moving through the sequence, and arriving at the desired result. The forms, navigation, lighting, and carefully selected materials all reinforce this concept, creating an interior that is both integrated and comfortable.

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.