The task of present project has been the development of a specific design proposal for an architectural setting; a Millennium Triclinium, staging the promotion and experience of the chinaware by Norwegian company Figgjo. As a means to develop this specific design proposal present project was initiatory divided into two major parts; a theoretical part and a design part. With the theoretical part I sought, on the basis of a study on the role of architecture relative to meal experiences, to formulate a theoretical design strategy towards the specific development of a design proposal in the design part. The design part as such in continuation of the theoretical part presents the development of an architectural setting, seeking to implement the knowledge and statements conducted throughout the theory into a specific proposal on how to stage the future promotion of Figgjo chinaware. With the theoretical part I investigated the role of architecture in the meal experience through an outline on historical settings approaching the meal experience by use of architecture and design, thus examining both grand old European banquets dating back to the high rise of the Roman Period and forth to present times public restaurants. Those considerations were further elaborated with a theoretical study on meal aspects and as part of this, consumer and sensory science. Following this a more architectural theoretical study elaborated on the aspects of phenomenology and semiotics as means to understand how the perception of spatial settings – the room, furniture, and tableware impacts on the experience of the meal eaten. This theoretical study led me to the conclusion that architecture, with the notion of phenomena and the ability of framing or staging our being in the world, plays a crucial role in our perception of food. Architecture should therefore be carefully considered when dealing with food-related experiences. Furthermore the theoretical study and especially the specific case study on the two “epochal dinners” Villa Hadrian and Madeleines Madteater led to an understanding of architecture as sensuous staging of meal experiences, through careful orchestrations in scales of both landscape, building, room, furniture, tableware, and food. Hence, emphasising the final design strategy and its seven design aspects; movement, touch, scent, sound, sight, taste, and surprise when approaching the development of a design proposal. With the design part the five aspects of the theoretical design strategy was implemented in a concrete proposal for a Millennium Triclinium; an architectural setting seeking to combine the use of the showroom facility with an eventful eating environment to create attention around the promotion of the newest products of Figgjo chinaware. Furthermore the architectural setting sought to initiate creative cross disciplinary collaborations between chefs, diners, and designers in the phases of designing and developing new Figgjo tableware by use of the performative and explorative architectural settings around the act of showing china, as well as preparing/eating food. This concept resulted in a specific proposal for a small-scale interior architectural setting, taking the shape of a deployable furniture structure configured into an expressive form embracing the promotion and experience of the china. Further luring new experiences and potentially inviting for new use and different perspectives on china and Figgjo tableware. The proposal takes its point of departure in the geometrical shape of a sphere, creating a room within the overall room; allowing the setting to travel around different context environments, always addressing all sides with its round shape. Though, still like the forest hiding parts of its content, thus luring, tempting, and inviting for further exploration. On the outside the setting is strongly characterised by the fragmented, hard surfaces, like the rocks or mountains of Norway, and the surface pattern occurring with the unfolding of the structure adding a sensuous play of light and shadow to the presentation of the china. On the inside the structure unfolds an interior landscape, having a thick felt carpet growing from the floor into furniture, seating, niches, tables, walls and ceiling; presenting the china in an almost sculptural and abstract manner, as well as inviting for touch and bodily movement in the experience of the architecture, tableware, and food.