The external part of the shop had the aim of drawing attention through curiosity, for what we designed a gate.The gate not only protects the shop while closed, but it is conformed by more than 700 hundred rhombuseswith independent movement, turning it into a versatile facade, that reflects the meticulous hand work the jewelry implicates by the meticulous work the blacksmith's team did.It breaks up to let people in, as well as the rhombuses move to let the sight and light in from outside.It was important to create a personal and unique scent in the place, once inside the person should be able to forget the street and have the opportunity to get a glimpse of different cultures by the textiles exhibited with origins in Peru, Guatemala and Chiapas.In the internal part the shop was designed against the regular pattern that jewelry industry follows, by creating a dark environment, simulating a cave, where what shines is the jewelry itself. Being the amber an energy associated material, it was important to let the persons touch the pieces, once again, against the basic rules, the jewelry isn't behind a glass or a key, but outside, reachable to everyone interested, changing completely the shopping experience.Different experimentation went on with light, materials and textures; one of them was the use of dark sand both on the floor as well as inside the displays, where it turned into a light screen, through the movement it let, or didn't, the light out in order to enhance the amber.Due to the brand's origin we had basic components to use, such as corn, wood or petrified roots, that were given a different role within a modern space.Space design by Juan Pablo R. Valadez and Karen Oetling.Jewelry of Co'tantik. Sculptures of Miguel Ángel Martín del Campo. Paintings of Roberto Romero. Textiles from Chiapas, Guatemala and Peru.Photography by Karen Oetling