Viva La Vika | Jewelry Store

The new Viva La Vika corner continues the brand’s visual identity with a bold play on scale and a “wow” effect. Centered around a giant floral vase, the space uses reflective elements, chrome, and custom-made details to create a surreal, self-contained universe. Designed as an open corner, it balances the brand’s signature aesthetic with the surrounding retail environment, turning the space into a sculptural, lively floral installation.

31.7 sq.m | 2025

Architects: Egor Bogomolov, Sonya Plyusnina
Visualizations: Tatyana Kurochkina, Oleg Kaigorodov, Alyona Minaeva
Photographer: Dmitry Suvorov

The new Viva La Vika corner continues the brand’s visual identity, developing it through a recognizable play with scale and a “wow” effect. This project further explores the brand’s celestial-cosmic theme: while the first corner in “Metropolis” was inspired by a spaceship, the second corner drew from the northern lights, and now the focus is on a floral vase as the centerpiece.

axonometry

The project is centered around a giant vase, which serves not only as an architectural focal point but also as a metaphor for the brand. The floral motif references the store’s name, while reflective elements enhance the sense of unity and surrealism.

We worked within the constraints of a corner format, where there are no traditional walls or enclosed volumes. This is the first open Viva La Vika corner, which presented a unique challenge: maintaining the brand’s visual code while integrating it into the larger retail environment.

plan ↓

Instead of conventional solutions, a strategy of bold dominance was chosen: reflective metallic flowers, chrome, a pink pedestal, and a mirrored cabinet with rounded edges — all forming a self-contained, recognizable universe amidst the bustle of the shopping space.

The structure was designed as an assembled object, taking into account logistics and installation constraints.

Work was carried out at night, and all elements — from lighting to décor — were custom-made.

Special attention was given to materials: the metal was made more “alive” — three-dimensional and sculptural, unlike the flat finishes of previous projects.