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来自事务所的描述。Napoleon Perdis Chapel是位于墨尔本南亚拉区香奈儿大道上的一家新的化妆品旗舰店。实体零售区逐渐式微和线上购物的蓬勃兴起给零售项目形成了一个不确定的时期。委托人想要创造在实体店中体验新产品的一种新方式来支持品牌形象。委托人要求能呼唤一系列具有煽动性的体验感，给客户与众不同的感觉。

From the architect. Napoleon Perdis Chapel is a new flagship for cosmetics icon Napoleon Perdis located on Chapel Street, South Yarra in Melbourne. Declining high street retail precincts and expansion of online shopping create an uncertain time for retail projects. The client therefore desired a new approach to retail environments supporting their brand identity makeover. Provocatively, the client asked for a pansexual series of spaces to arouse and challenge customers.

© Christine Francis

项目成功跨过一系列门槛，创造出绚丽的体验感：

奢华的招待厅：双层挑高空间反映意大利流行Razionalismo设计，充满挑战感——焊接悬挂被毛茸茸的金发包裹着的巨蛋，参照玩具芭芭丽娜和科学怪人的设计灵感。

电影化妆品：回忆起好莱坞荧屏，植入化妆场景。强烈的探照灯和银色波浪墙唤起了澳洲的电影行业回忆。

The project manifests as a series of layered thresholds and kaleidascoping experiences:
Lush Entry Parlor: a double-height space recalling Italian Pop Razionalismo and featuring a seeming perilously-suspended welded egg dressed in dirty blonde hair wigs as reference to both Barbarella and Frankenstein.
Cinematic Cosmetics: Bygone-era Hollywood silver screen reinterpreted with custom makeup stations, striking searchlights and corrugated silver walls evoking the Aussie backyard shed.

© Christine Francis

野兽派巴士站：加入苏维埃时代现代主义混凝土恶作剧的展览单元。

希腊古典经典：卫城，柱廊和尖顶符合奥赛德神话的描述，被一系列展览单元和生活场景所吸引。

莫哈维学院：楼上的化妆学院与沙漠场景融合，模仿沙漠现代主义和仙人球的艺术。

Brutalist Bus Shelters: Inhabitable display units recalling Soviet-era modernist concrete follies.
Cosmic Greco Antiquity: The Acropolis, reinterpreted. Colonnade and apex meets Space Odyssey, abstracted into a series of display units and lifestyle experiences.
Mojave Academy: Upstairs cosmetics academy as staged mix of desert landscape, case-study desert modernism and peyote cacti.

© Christine Francis

项目意识到化妆品零售业也和生活方式消耗相悖产生复杂的定位，我们消耗的‘面具’和化妆时间。项目因此通过对好莱坞荧屏有组织的构建——名人效应和短暂效果的最终方法，设计出与客户和化妆员相关的个人经验。

室内加入的实践完全出于对梦想的满足，扩张对材料的认识和对外域戏剧化展示日常生活的一种大胆的模仿。

The project recognises that retail cosmetics and lifestyle consumption paradoxically explores complex ideas of identity, the ‘masks’ that we assume and moments of transformation. The project thus emerges out of personal references dear to both the client and practitioner, with an organisational framework of Hollywood silver screen glamour – the ultimate metaphor of celebrity culture and temporary character.
The interior advances a practice that is dedicated to wish fulfillment, material exploration and an unashamed reveal of exotic theatricality present in day-to-day life.

© Christine Francis

旗舰店的设备与装潢都很时髦，让我们跌入那个曾经属于美的时代中，用吧台，道具和灯光效果打造出一个疯狂的科学实验室。

Napoleon Perdis认为零售体验是一个乌托邦式的构想——‘在一个凡尔赛般的宫殿中获得快乐‘。项目大胆地给委托人提供乡间DIY店铺里的镜子。逼真的剧场感给人一种表演的感觉、亟需得到满足的自我意识以及少年的变装需求。

Hardware store chic with exposed fixings and workshop mechanics also remind us that the creation of beauty is as much mad scientist laboratory as it is stage prop, costume and lighting effect.
Napoleon Perdis believes in the retail experience as an utopian ideal – ‘a Versailles-like palace of pleasure for all in the court to enjoy’. This project shamelessly supplies the client with a high street Hall of Mirrors by way of suburban DIY stores. Immersive theatre and sensation privilege a sense of performance and the me-me-me that wish fulfillment and teenage makeovers demand.

© Christine Francis

Section/剖面图

旗舰店向顾客传递出豪华和重要的感觉，扩展了社交圈。在精品柜中的巴拉丽娜的巨蛋传递出穷游的信息。表现出超出预算的室内设计。

材料的尝试，设备的可持续或非传统的运输策略富有创新性和挑战性。与委托人、工作人员和空间上的感情交流确实是这次室内设计上的创新之举——一个欢乐、激情且不受约束的关系能激励零售店室内设计并创造出欢快的氛围。

The shop as event and viral sensation extends the project into the hands of visitors and wider social networks. Hashtagging the Barbarella egg across multiple platforms means that a low-cost fitout can travel the world, pushing the interior experience beyond the confines of leasing arrangements and a tight budget.
It is intriguing to consider the material experimentation, sustainable content or nontraditional delivery strategies of this project, but this interior truly innovates with a consideration of the emotional connection between client, practitioner and space – that is, how a provocative, hilarious and freewheeling relationship can interrogate and invigorate retail interior practice and create spatial JOY for all involved.

© Christine Francis

升级再造、重新激活和巨大的盒型硬件的DIY策略被优先采用，一直与特定的诱人的零售商店细节一样奢华和注重感官。正因如此，象征迷人的闪光灯和豪华幕布的银幕以屋顶板、金属条和现成的窗帘轨道通过DIY试验被隐晦地表现在建筑中。

定做的化妆台是定制的回收材料，而非全新的。不易察觉的低成本配置，向复古和经典的图像法化妆致敬。现有的照明设备被保留下来，创造舞台效应的消耗十分少。

Upcycling, refashioning and big box hardware DIY strategies are privileged and at all times celebrated with equal luxury and attention to sensation as typically specified glamour retail details. As such, silver screen references to glamorous shimmer and lush screening have been slyly constructed through DIY experimentation using roof sheet, metal chains, and off-the-shelf curtain tracks.
Prefabricated makeup stations have been re-used and customised rather built anew, and low-cost shop fittings pimped beyond recognition to create a cosmic homage to antiquity and classical iconography. Existing lighting has also been maintained throughout the space, with only minor low-energy additions for theatrical effect.

© Christine Francis

Napoleon Perdis Chapel在快速发展线上零售业的同时，同样回应商业街文化逐渐衰落的社会经济现象。相反不是创造令客人陶醉的环境，像城市倡导者Mimi Zeiger基于低迷的市场提出‘拼尽全力’的倡议一样——在这个例子中，把个体从独立的技巧中拉出，建立在公众舞台上共享零售业的体验。

Napoleon Perdis Chapel also responds to the socio-economics of declining high street culture, often at the expense of burgeoning online retail. The creation instead of immersive retail theatre that charms, delights and lovingly provokes the consumer requires what critic and urban instigator Mimi Zeiger calls ‘the skill of the hustler’ in the face of a downturn market – in this instance, seducing individuals away from their isolating technology with the beguiling promise of shared retail experience set upon a public stage.

First Floor Plan/一层平面图

Ground Floor Plan/底层平面图

事务所: Studiobird
地点:澳大利亚 维多利亚省 墨尔本
面积: 180.0 平米
年份: 2014
摄影师: Christine Francis
合作商: Matthew Bird, Charity Edwards, Harry Evans

Architects: Studiobird
Location: Melbourne VIC, Australia
Area: 180.0 sqm
Year: 2014
Photographs: Christine Francis
Collaborators: Matthew Bird, Charity Edwards, Harry Evans

出处：本文译自www.archdaily.com/，转载请注明出处。