El Lissitzky Business Lounge

This interior space presents a sophisticated hospitality environment featuring a dramatic sculptural ceiling as its primary architectural element. Scanning from overhead downward, the ceiling consists of hundreds of parallel wooden slats in pale honey and warm amber tones, arranged in flowing concentric elliptical patterns that create an undulating three-dimensional surface reminiscent of topographic contours or rippling water frozen in wood. The slats appear smooth and finely finished, suggesting the tactile quality of sanded oak veneer, cool and silky to imagined touch. Integrated lighting concealed within the ceiling channels creates warm glowing lines that accentuate each curve and hollow, like sunlight catching wave crests. Moving to the perimeter, floor-to-ceiling windows reveal a deep twilight blue exterior suggesting evening hours, with distant lights suggesting an aviation environment beyond. Along the window edge, a continuous curved banquette upholstered in rich charcoal leather follows the room's sweeping geometry, its surface appearing supple and yielding, like well-worn saddle leather. Between the banquette and windows, an unexpected element draws attention, clusters of translucent turquoise crystalline forms resembling rough-cut aquamarine gemstones or illuminated ice formations, their cool blue-green glow casting reflected light upward. The foreground contains multiple seating arrangements with square light oak tabletops approximately two feet across, mounted on slender silvery metallic pedestals, paired with contemporary swivel armchairs in matching charcoal leather. The floor beneath appears as smooth cream-colored terrazzo with subtle aggregate texture, cool and hard underfoot. The overall atmosphere suggests quiet sophistication, with warm wood tones creating embracing warmth overhead while cool glass and crystal elements provide refreshing visual contrast.

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.