Our “diagonal” is the place where the floor and ceiling visually disappear; it narrows and stretches the space, making it feel almost infinite.

Consequently, contrast was crucial for us, and it was important to execute it seamlessly at the perception level so that no inaccuracies would compromise the intended effect. The goal was to achieve a cohesive result: pure white and solid black. Our task extended beyond concealing technical details, where colleagues from Spectrum greatly assisted us. We also had to integrate mirrors into the overall system (they enhance the sense of infinity), and escalators, which also require technical lighting.

Our challenge didn’t end there – we had to put everything together and make sure there are no color discrepancies. The same RAL color, when applied to different surfaces, can appear with slight variations – sometimes greenish, sometimes brownish. Therefore, we meticulously reviewed everything, created numerous mock-ups, worked with paints and samples, aimed to unify the color temperature, and strived for the resulting shade to be as neutral as possible. We did this for both the black and white spaces, but working with black is known to be more challenging because every speck of dirt and dust is visible.

Speaking of cleaning, our interiors are designed to withstand constant cleaning combined a high flow of visitors. In our public areas – and I’m not referring here to the museum exhibition, which operates under different rules – everything is touchable, and visitors can run their hands over surfaces without causing damage. We have significant experience working with high-traffic spaces, whether in shopping centers or airports, so we understand the principles of their construction.

Lighting the black space also proved to be a significant challenge: we illuminate only at key navigation points – similar to a theater, you need to highlight the essential and dim the rest; otherwise, the space won’t remain black. It’s crucial not to overilluminate.