*this is the second project by the Plan B barbershop network.
Tucked into a 37-square-metre ground-floor space of a 1912 Art Nouveau building in Kharkiv by architect Serhii Tymoshenko (1881-1950) , Plan B Barbershop reimagines what a small interior can hold — not through expansion, but through layers of time.
Rather than recreating a historical setting, the project unfolds as a cabinet of architectural curiosities — a living composition of objects, textures, and fragments gathered across decades. The space feels less like a designed interior and more like a carefully edited environment, where each element carries its own memory.
The original brick walls remain exposed, grounding the space in its early twentieth-century origins. Above, a salvaged aluminium ceiling from the 1960s introduces a contrasting rhythm — reflective, industrial, and unexpectedly light. This dialogue between eras defines the atmosphere: tactile yet refined, raw yet composed.
Lighting is deliberately expressive. Vintage mining lamps, once used in industrial settings, now cast a warm, focused glow, turning everyday rituals into something almost cinematic.
At the center of the interior are objects that are both rare and functional. An early-twentieth-century barber cabinet produced in France by BGA stands alongside Koken barber chairs from the 1960s. These pieces are not preserved behind glass — they are used, touched, and worn in, becoming part of the daily life of the space.
Even the architectural interventions follow this logic. The restroom partition, assembled from the preserved facade of a historic Lviv pharmacy, feels less like a construction detail and more like a fragment relocated in time.
What emerges is not a nostalgic interior, but a new spatial narrative built through reuse. The project approaches sustainability not as a technical requirement, but as a cultural practice — extending the life of materials, objects, and stories.
Plan B Barbershop ultimately operates as a living archive. It is a place where architecture, craft, and routine overlap — where the act of getting a haircut becomes part of a larger, quietly unfolding story.
The project demonstrates innovation through a curatorial approach to architectural reuse.
Rather than replicating historical styles, the design assembles authentic artefacts and architectural fragments from different periods into a new spatial narrative.
Architectural elements such as the salvaged aluminium ceiling and the preserved pharmacy facade from Lviv are recontextualised within the interior and transformed into functional spatial components.
The project also challenges the typical separation between museum objects and everyday use. Rare barbering artefacts – including an early-twentieth-century BGA cabinet from France and Koken barber chairs from the 1960s – remain fully operational rather than being displayed as static exhibits.
This approach transforms the interior into a living cabinet of architectural curiosities where architecture, craft and barbering culture coexist within a compact contemporary workspace.
The project demonstrates a sustainable approach through the reuse and preservation of historical materials and artefacts.
Instead of introducing newly manufactured elements, the design integrates salvaged architectural components and vintage objects, extending their lifespan and reducing material consumption.
The reuse of the aluminium ceiling and the pharmacy facade preserved from Lviv minimised construction waste while retaining fragments of cultural heritage.
Designer: Nat Telichenko.
Team: Konstantin Bolshak, Oleg Nesterenko, Dmitry Chernomordenko, Igor Yakuta.
Photo credit: Vitaly Kaliman.
Photo credit with a model: Levytska Yana.