Meenakari遗产博物馆和旗舰店/莲花工作室

Meenakari遗产博物馆和旗舰店/莲花工作室
Museum of Meenakari Heritage & Flagship Store / Studio Lotus

可持续设计与历史文脉的融合：该项目最大的亮点在于其对可持续设计的实践，体现在对现有混凝土外壳的利用，极大地减少了隐含碳排放。这体现了设计团队对环境责任的深刻理解。同时，项目巧妙地将拉贾斯坦邦的文化遗产，包括拉杰普塔纳、莫卧儿和装饰艺术的元素融入建筑设计中，创造出一种独特的、超越特定风格的复合体。这种设计手法不仅与当地的文脉紧密结合，也反映了珠宝品牌Sunita Shekhawat的品牌精神，即在传统中创新，在经典中融入现代元素。

空间体验与功能布局的创新：该项目在空间体验方面展现出高度的创新性。它并非仅仅是一个珠宝店，而是一个融合了博物馆、零售和体验中心的多功能空间。尤其是Meenakari博物馆的设置，将珠宝品牌提升到文化传承者的地位，为顾客提供了更深层次的文化体验。楼层之间的功能布局也十分巧妙，从一楼的博物馆到地下一层的零售空间，再到上层的办公区域，以及顶层的餐厅，空间流线流畅自然，满足了不同人群的需求。私人定制的零售空间以及精美的壁画，更是为顾客创造了尊贵而神秘的购物体验。

工艺与细节的卓越呈现：该项目的精髓在于对工艺和细节的极致追求。外立面采用手工雕刻的焦特布尔红砂岩，呼应了品牌创始人的故乡。室内空间，尤其是私人定制的零售空间，采用了“阿拉什”石灰灰泥，并饰以微型绘画艺术家的壁画，这些壁画描绘了该地区的建筑和动植物，展现了工匠的精湛技艺。整体空间设计风格简洁，色彩统一，突出了珠宝本身的美感。这些精细的工艺和细节的呈现，与珠宝品牌所倡导的理念完美契合，也体现了建筑设计与品牌形象的深度融合。

莲花工作室为奢侈珠宝品牌Sunita Shekhawat的新品牌体验中心提出了一个独特的零售设计原型Meenakari或珐琅艺术是一种古老的技术，以其在金属表面上充满活力和复杂的设计而闻名。虽然珐琅作品起源于波斯，但它在印度蓬勃发展，特别是在拉贾斯坦邦，它代代相传，深深植根于该地区的艺术遗产中。这件16世纪的艺术品是印度著名珠宝设计师苏尼塔·谢卡瓦特作品的基础。她的同名品牌以永恒而现代的珠宝为古老的传统注入了新的活力。莲花工作室为该品牌旗舰店和斋浦尔的Meenakari博物馆所做的设计向这种方法致敬；在快速发展的大都市景观中，向该地区充满活力的文化遗产致敬。
Studio Lotus proposes a unique archetype for retail design with the new brand experience center for luxury jewelry label Sunita Shekhawat. The art of Meenakari or enamel work is an age-old technique renowned for its vibrant and intricate designs on metal surfaces. While enamel work originated in Persia, it has flourished in India, particularly in Rajasthan where it is passed down through the generations and deeply embedded in the region's artistic legacy. This 16^th-century art serves as the foundation for the work of well-known Indian jewelry designer, Sunita Shekhawat. Her eponymous brand lends a fresh spin to the age-old tradition with timeless yet contemporary jewelry. Studio Lotus' design for the brand's flagship store and Museum of Meenakari in Jaipur pays homage to this approach; a nod to the region's vibrant cultural heritage amidst a fast-evolving cosmopolitan landscape.

Exploded Axonometric

莲花工作室登船时，现场已经搭建了一个现有的混凝土外壳。工作室被全权委托拆除该建筑，并将该场地视为一块空白画布。由于它最近才被浇注在混凝土中，建筑师决定使用现有的外壳，以符合他们将隐含的碳足迹降至最低的设计理念。从程序上讲，一楼有一个博物馆画廊，商店位于下面一层，办公室位于上面一层。二楼旨在引入志同道合的奢侈品牌，而顶楼则可欣赏到附近Rajmahal Palace的全景，被设计用作餐厅。
An existing concrete shell had already been erected on site when Studio Lotus was brought on board. The studio was given carte blanche to pull the structure down and treat the site as a blank canvas. Since it had only recently been cast in concrete, the architects decided to work with the existing shell, in line with their design philosophy of minimizing the embodied carbon footprint.Programmatically, the ground floor houses a museum gallery, with the store located one floor below and the offices a floor above. The second floor is intended for bringing in like-minded luxury brands, and the top floor, with its panoramic views of the nearby Rajmahal Palace, is designed for use as a restaurant.

该建筑的身份是由该地区的多种历史影响形成的——拉杰普塔纳、莫卧儿和装饰艺术——创造了一种不同于任何特定风格的独特组合。这个新词汇反映了Sunita Shekhawat自己的珠宝设计方法，这种方法植根于传统，无缝地融入了欧洲和其他当代迭代。
The identity of the building is shaped by multiple historical influences of the region—Rajputana, Mughal, and Art Deco—to create a unique composite distinct from any particular style. This new vocabulary mirrors Sunita Shekhawat's own design approach to her jewelry, which, while rooted in tradition, crosses over seamlessly into European and other contemporary iterations.

这个形状奇特的脚印是通过斜切阳台从外部连接起来的，随后设计了一种形式，将不同时期的图案和细节错综复杂地叠加在一起，编织成一个有凝聚力的图像。从外部看，地面和一楼通过立面上的双层入口拱门连接在一起。立面覆盖着手工雕刻的焦特布尔红砂岩，让人想起苏尼塔·谢卡瓦特在焦特布尔的根。虽然表达方式非常独特，但它与斋浦尔城市肌理的粉红色色调完美融合。
The oddly shaped footprint was externally articulated by bevelling the balconies and subsequently devising a form that intricately layers patterns and details that draw from different periods, woven together into one cohesive image. Externally, the ground and first floors are articulated to read as one through a double-height entrance arch in elevation. Clad in hand-carved Jodhpur red sandstone, the facade harks to Sunita' Shekhawat's roots in Jodhpur. While quite distinct in expression, it fits seamlessly into the pink palette synonymous with Jaipur's urban fabric.

在内部，客户的三层楼通过一个蜿蜒穿过空间中心的引人注目的雕塑楼梯统一在一起。最初的简报概述了占据一楼的零售空间、容纳办公室和卡里加斯工作室的地下室，以及将要出租的其余楼层。工作室向客户建议，通过引入一个追溯Meenakari工艺起源和历史的博物馆画廊，将地面作为Sunita Shekhawat品牌拥有一个关于珐琅艺术的故事空间的机会，这是一种回馈城市艺术和文化遗产的合适方式。这一独特的添加不仅是体验的支点，而且将品牌从珠宝标签提升为工艺的守护者。博物馆体验由Sidhartha Das设计，内容由印度珠宝传统最重要的专家Usha Balakrishnan策划。
On the inside, the client's three floors are unified through a striking sculptural staircase that winds through the center of the space. The original brief outlined the retail space occupying the ground floor, the basement to house offices and karigars' workshops, and the remaining floors to be let out. The studio suggested to the client, the idea of using the ground level as an opportunity for the Sunita Shekhawat brand to own a storytelling space on the art of enameling—a fitting way of giving back to the arts and cultural heritage of the city—through the introduction of a museum-gallery that traces the provenance and history of Meenakari craftsmanship. This distinct addition not only serves as the fulcrum of the experience but also elevates the brand from a jewelry label to a custodian of the craft. The museum experience has been designed by Sidhartha Das, with the content curated by Usha Balakrishnan—a foremost expert on Indian jewelry traditions.

一楼是一个由石灰、石头和水磨石打造的明亮、采光充足的空间，是客户办公室和设计工作室的所在地。凭借其宽阔的地板和高高的天花板，较低的底层非常适合企业和产品的独家定制性质——自然光的缺乏有利于珠宝展示所需的受控照明。第一个体验是图书馆兼休息室空间，进一步将客人带入四个私人吊舱之一，专为一对一的客户互动而设计。该楼层还设有珠宝精加工单元、储藏室、karigars车间以及用于客户和销售的辅助空间。零售空间流通的规划允许通过一条环绕其外周的服务走廊为所有这些吊舱提供谨慎的私人服务，确保客人拥有高度个性化的体验，并带有神秘感。
The first floor—a bright, daylit space crafted out of lime plaster, stone, and terrazzo—houses the client'soffice and design studio.With its wide floorplate and tall ceilings, the lower ground floor lends itself well to the exclusive, by-appointment-only, bespoke nature of the business, and of the product too—the lack of natural light being conducive to the controlled lighting necessary for jewelry display. The first experience is that of a library- cum-lounge space that further leads guests into one of four private pods, designed for one-on-one client interactions. The floor further accommodates a jewelry finishing unit, strongrooms, workshops for karigars, and ancillary spaces for accounts and sales. The planning of the retail space circulation allows for discreet, private servicing of all these pods through a service corridor that wraps itself around their external periphery, ensuring that guests have a highly personalized experience, with a sense of mystery to it.

Illustration

这些豆荚覆盖着一层灰白色的“阿拉什”石灰灰泥，半拱形的天花板上装饰着专门从事微型绘画的艺术家的壁画。这些壁画由12名工匠在现场创作了几个月，描绘了该地区建筑和动植物的小插曲。其结果——手工制作的奢华珠宝般的表达，赞美了该品牌的精神——证明了工匠们的技能，他们以一种陌生的规模和媒介诠释了这些技艺；建筑师、客户和CraftCanvas的Nisha Vikram之间的协同合作。其余的表面都是单色的，这样就不会在视线水平上分心于展出的错综复杂的珠宝。
The pods are clad in an off-white 'araish' lime stucco, their semi-vaulted ceilings embellished with frescoes by artists specializing in miniature painting. Developed over several months in situ by 12 artisans, the frescoes depict vignettes of the region's architecture and flora and fauna. The outcome—a jewel-like expression of hand-crafted luxury that celebrates the brand's ethos—is a testament to the skills of the artisans, who've interpreted them on an unfamiliar scale and medium; a synergistic collaboration between the architects, the client, and Nisha Vikram of CraftCanvas. The remaining surfaces are monochromatic, so as to have no distractions at eye level from the intricately-crafted jewelry on display.

Sunita Shekhawat旗舰店旨在营造一个购买珠宝不是主要目标的环境；相反，它成为了变革性体验的自然结论。Meenakari博物馆（同类博物馆中的第一个）背后的潜在情感成为客户向这座给予她如此多的城市致敬的方式，同时也在奢侈品零售设计中建立了一种新颖的范式。
The Sunita Shekhawat Flagship Store is designed to foster an environment where the act of purchasing jewelry is not the primary goal; instead, it becomes the natural conclusion of a transformative experience. The underlying emotion behind the Meenakari museum—the first of its kind—becomes the client's way of paying homage to the city that has given her so much, while also establishing a novel paradigm in luxury retail design.