Retail

Design Portfolio

Student:AnanditaPortiaM.Sc.3rdSem.InteriorDesign

Commercial Space Designer

Dezyne E’Cole College, Ajmer

INTRODUCTIONPeople love to look , window –shop , and buy . Shopping as a experience

should provide fun, which in turn provide profile. A successful store or shop is

one that is designed to merchandise in addition to looking good . A store cab be

divided into two principles parts: the exterior , which gives identification ,

encompasses the storefront , show windows , and displays, an the interiors ,

where the promise of the storefront display is delivered . Briefly stated , the

storefront initiates the sale , and the interior consummates it.

The store and design of the façade must be attractive in order to catch the

shopper’s attention and to draw the customers in front the street of from the

mall in shopping centers . Graphics identification , with bold color, lighting ,

lettering and logos and attractive display of merchandise are the initial steps.

PRINCIPLES OF

RETAIL SHOP DESIGN

In order to design satisfactory hops, the requirements is an understanding

of those portions of current merchandising theories which affects the

designing problems . Briefly “MERCHANDISING PSYCHOLOGY” consists

of , first , arousing interest ; second , satisfying it.

With staple goods the first phase is almost automatic. When no staples ,

accessories , or specialties other than “DEMAND “ goods are to be sold ,

methods of arousing interest may become more complex .

The second phase- the actual sale- involves factors of convenience which

are desirable in order to make buying easy, to satisfy customers completely

, and to achieve economy of space and time for the store management .

Both phase affect the design of retail shops , and closely interrelated.

The Principles are as follows:

ATTRACTING CUSTOMERS

This can be accomplished by means of advertising , price , show-window displays or

remodeled quarters, which occupies much of a merchant’s efforts . Of these , storefronts

and display windows are important to the store designer.

INDUCING ENTRANCE

Show windows , in addition to attracting passersby , should induce them to enter the

store . Show windows may be opened up to display the shop’s interior ;or closed in, to

customers within . Door locations require study in relation to pedestrian traffic flow,

grades of sidewalks and store floors , and interior layouts of the shop. In colder climates

drafts and outdoor temperature changes can be controlled at the door.

ORGANIZING STORE SPACES

Organizing store spaces, and consequently the merchandise to be sold, into

departments, enables customers to find objects easily , and permits storekeeper’s to

keep close check on profile or losses from various types of goods. Store lighting and

“dressing” are simplified . Even small shops benefits from a measure of

departmentalization ;in large shops , the practice becomes essential as methods of

training salespeople, of handling , controlling and wrapping stock become more complex.

INTERIOR DISPLAYS

Interior displays require particular attention in specialty shops. Types range from displays

of staples goods which assist customers in selection, to displays of accessories which the

sale of staples may suggest to the customer problems of arrangement with regard to

merchandise , departments , and routes of customer’ approach are involved.

CONVENIENCES

Conveniences intended primarily for the customers’ benefit while not strictly allied to the

problem of attracting trade or selling goods, are necessary to some types of shops. A

Florist , for instance , provides a card-writing desk or counter in his shop.

INTERIORS

The successful retail shop is an efficient selling machine or sales factory . In addition to

servicing the customers, the employees have to be considered so they can give better

service to the country.

Merchandise and space must be organized to help the customer in making a selection

and to help the sales person in selling. Easy circulation and exposing the customer to the

maximum amount of merchandise are part of good design. Avoid monotony in circulation

and display of merchandise. Where possible, do not hesitate to be bold or even shocking.

This stimulates the customer and his urge to buy.

The location and design of the cashier and wrapping unit are important and provide for

several persons to be serviced . Often this as a control center.

Flexibility so that fixtures and department can be moved or modified in part of present-

day merchandising .fixtures should be minimized and merchandise emphasized . Design

and use fixtures so that full attention is thrown on the merchandise.

DEPARTMENTALIZATION

Benefits to be derived from segregation of merchandise by types have been touched

upon previously . All these are factors in decreasing the average time per sale, an

important figure in large –store accounting and in small stores with rush periods

Demand or Staple goods

Convenience items

Impulse or luxury goods

LAYOUTS

AND DIMENSIONS

STRAIGHT PLAN

Straight plan is a conventional plan that

uses walls and projections to create

smaller spaces.

It is an economical plan to execute(use)

and can be adapted for any kind or type

of store from, Gift shops to apparel outlets

,drug stores ,grocery stores to

department stores.

Variety in the straight plan should be

introduced by raising the floor level of the

shop this type of plan pulls customer to

the back of the store.

This plan is good for book store.

PATHWAY PLAN

Pathway plans patent through the

store to the end(rear) without

interruption of floor fixtures. The

path can take any shape and

create a pattern

This type of plan is suited for larger

store over 5000sq ft. and on one

level the pathway is a very good

organiser and pulls the shopper

from the front to the end of the

store.

This plan is good for clothing store

because it doesn’t give cluttered

feeling, this plan focuses the

shopper’s attention on the

merchandise

DIAGONAL PLAN

For self service store a diagonal

plan is better, the cashier is in

the central location, with sight

lines to all areas of the space.

Soft goods or hard goods stores

including drug and food store

can take advantage of the

diagonal plan.

This plan is having a dynamic

quality because it is not based

on straight line, it invites

movement and circulation.

CURVE PLAN

This plan is good for boutiques and

saloons or other high quality store.

The curve plan creates an inviting

special environment for the

customer. It also costs more to

construct then angular or square

plan.

Curve theme can be emphasised

with wall, ceiling, and corners to

complete the look specify circular

flow fixtures.

VARIED PLAN

For products that require the back

merchandise to be immediately

near to selling.

The varied plan is highly

functional, it is a variation of

straight line plan with a certain

area allowed for carton storage

near the perimeter of the wall. The

plan has a bellow effect.

This type of store is good for

jewellery, hardware and tobacco

shop.

GEOMETRIC PLAN

The designer creates forms with

shape derived from showcases

and racks. This plan is the most

exotic of the six basic plan and

designer can use wall angles to

restate the shapes dominating the

sales for.

This is a very good plan apparel,

shoe, gift shops etc.

Ceilings and floors can lowered in

this design to create zones and

departments.

DIMENSIONS

The essential function of retail spaces is to display

and sell merchandise. The design of these spaces

involves the manipulation and coordination of

architectural, interior design, and merchandising

elements as necessary to meet the programmatic

needs of the client. It is critical that the space in

which the customer and store personnel function is

of the highest quality. Ensuring this quality requires

a knowledge of the planning and design of the

various interior components that constitute the

building block of retail spaces.

This figure shows the clearances involved for a 42-in, or 106.7- cm, high counter to service

a seated user. By filling the recess with an additional display, however, the counter can also

be used exclusively as a typical sales counter. It should be noted, however, that although

sometimes used for special display situations, such a counter height is not recommended.

Both the customer and the sales clerk of smaller body size would find coping with such a

height uncomfortable anthropometrically

In Cm

A 26 - 30 66.0 - 76.2

B 18 - 24 45.7 - 61.0

C 42 106.7

D 28 71.1

E 84 - 112 213.4 - 284.5

F 18 45.7

G 18 - 24 45.7 - 61.0

H 30 – 48 76.2 - 121.9

I 18 – 22 45.7 - 55.9

J 35 - 38 88.9 - 96.5

K 72 182.9

Figure 2 illustrates the clearances for a typical sales counter.

In Cm

A 26 - 30 66.0 - 76.2

B 18 - 24 45.7 - 61.0

C 42 106.7

D 28 71.1

E 84 - 112 213.4 - 284.5

F 18 45.7

G 18 - 24 45.7 - 61.0

H 30 – 48 76.2 - 121.9

I 18 – 22 45.7 - 55.9

J 35 - 38 88.9 - 96.5

K 72 182.9

In Cm

A 26 - 30 66.0 - 76.2

B 18 - 24 45.7 - 61.0

C 42 106.7

D 28 71.1

E 84 - 112 213.4 - 284.5

F 18 45.7

G 18 - 24 45.7 - 61.0

H 30 – 48 76.2 - 121.9

I 18 – 22 45.7 - 55.9

J 35 - 38 88.9 - 96.5

K 72 182.9

Figure 3 shows the clearances required for a medium height display counter. The

suggested seat height of 21 to 22 in, or 53.3 to 55.8 cm, requires a footrest for the seated

customer. The counter height shown will allow the display to be viewed by both the seated.

The customer activity zone allows adequate space for the chair. Knee height, buttock knee

length, popliteal height, and eye height sitting are all significant human dimensions to

consider in the design of counters to be used by a seated customer.

Figure 4 shows a low 30 in, or 76.2 cm, display counter also for use by a seated customer. Theanthropometric considerations are the same. Although the counter height is responsive to theanthropometric requirements of the seated customer, it is less than ideal for the standing clerk.For the standing user’s optimum comfort, the counter height should be about 2 or 3 in, or 5 to 7.6cm, below height. This will allow a person to handle objects comfortably on the counter surface oruse the counter as support for his or her arms. The 30 in height is too low to permit such use.

Figure 4 shows Shelving is probably

used more than any other single

interior component for the storage

and display of merchandise. Not only

must the merchandise be within

reach anthropometrically, but it must

be fairly visible as well. The heights

established must there fore be

responsive to vertical grip reach

dimensions as well as to eye height.

In establishing height limits, the body

size data of the smaller, departments

may cater exclusively to members of

one sex or the other, two seats of

data are presented. One is based on

the body size of the smaller female

and the other on the body size of the

smaller male. The suggested height

reflect a compromise between reach

requirements and visibility

requirements.

In Cm

A 48 max. 121.9 max.

B 30 – 36 76.2 – 91.4

C 51 min. 129.5 min.

D 66 167.6

E 72 182.9

F 84 – 96 213.4 –

243.8

G 20 – 26 50.8 – 66.0

H 28 – 30 71.1 – 76.2

I 18 – 24 45.7 – 61.0

J 18 min. 45.7 min.

K 72 max. 182.9 max.

L 4 10.2

M 42 106.7

N 26 min. 66.0 min.

Figure 6 illustrates the clearances involved in hanging type merchandise cases. Hod

heights should be related not only to human reach limitations, but in certain cases to

the size of the merchandise displayed. There is usually no conflict in respect to

garments.

PRINCIPLES OF

RETAIL ORGANIZATION

“Once the brand has been established and the market for its products

is fully understood, an analysis of the retailer’s current building stock or

an investigation into finding a suitable site begins. The brand guideline

for the interior demonstrate a typical size of store for the

implementation of the scheme.

The overall principles of the interior layout can be broken down into four

areas: the entrance, main circulation, pace and finally sales in the form

of displays, fixtures and payment areas.

”

ENTRANCE

Exterior: façade ,logo

Threshold , transition

Shop windows

Transparency

Interaction

Mystery, posters

Display

ENTRANCE

The design of the entrance to a store is

very important . It needs to entice the

customer in and give of the products

beyond the threshold.

In general through, it will be either a new

element-fitted as part of the overall

scheme-or an existing element

preserved in its original form or updated

to meet building and planning regularly

updated to show the latest products in

store. Often , the customer will also be

able to see past the window displays to

the store beyond , allowing transparency

and interaction . Sometimes the view is

blocked by displays , giving a feeling of

mystery and bringing the customer’s

focus to the display.

Entry area-starting point

Open , spacious area

Time to pause , feel , sense , experience

Leisure , display , seating, main flow

Access for all users with disabilities

Once beyond the threshold , the entrance space is the starting point of the interior

journey . It is an area of the store that is often lest open and spacious , giving the

customer time to pause and take in the store environment and exiting the store

comfortably . In large stores, it is a place to meet friends before or after shopping .

Sometimes with seating areas on the sides out of the main flow of traffic.

FAÇADE,ENTRANCE

SHOP WINDOWS

Window display at the SPACE by SFD , London

In most cases, the shop front/shop window is a draw to buyers

to make them feel comfortable when approaching the store and

venturing over the threshold.

For others, it is an opportunity to window-shop and aspire to buy

into the lifestyle on view.

In some instances, the shop front and entrance are designed to

deter the public from entering, with security on the door.

The shop façade must first take on the essence of the brand.

Done through graphic communication: fascia signage, a

projecting g sign, window details and lifestyle graphics as part of

the window displays: the materials from which a new shop front

is constructed, or how an existing shop front can be adapted to

meet the design requirements: the merchandise in the window

and the brand message/slogan that is conveyed by the window

display: and the position of the entrance door and how this will

be managed.

Prada Store , New York, Rem Koolhaas

Prada Store , New York, Rem Koolhaas

Prada Store , New York, Rem Koolhaas

Prada Store , Tokyo Herzog & De Meuron

IN CITY NEIGHBOURHOOD

The approach to shop front design will vary depending on the

site location (building regulations) and the impacts of the design

of the neighboring shop facades.

IN SHOPPING CENTER

In the case of shopping centers, neighboring retail outlets and

arcades will have to be considered.

Contract between the retailer and landlord to outline what and

can’t be done to the unit or building.

The traditional shop front

The design of the traditional shop front has a

sense of symmetry and is set out in

proportion to the existing building’s elevation.

In most cases, unless the brand’s design

state it, it is unusual to put a ‘new’ traditional

shop front into a site unless required to do so

for planning reasons or to suit the design

scheme of an arcade or shopping center as a

replacement of an existing older shop front. If

this is the case, then restrictions may also be

in place regarding the application of signage

and the colour in which the shop front can be

painted. In some instances , a standard font,

text size and colour may be specified as well

as the type of signage. Signage may have to

be painted onto the fascia rather than applied

on a fascia box, and a standard projecting

sign to match all others in the center maybe

part of the condition

The contemporary shop front

The design of the contemporary shop

front focuses on allowing light and visual

access right into the store from the street.

The look is clean, with glazing reaching

from floor to fascia panel, or sometimes

with the fascia situated inside the glass,

sat in a brushed stainless steel frame.

Sometimes the glazing is frameless

around the internal elements. The

signage is influenced by the brand, using

contemporary fonts and ways of

repressing text. Illuminated sign boxes

are the normal application in contrast to a

traditional painted sign.

FASCIA

The sign above the window of a shop, where the shop’s name is written

SHOP WINDOW

The front side of a store facing the street; usually contains display windows. Displaying

items for sale or otherwise designed to attract customers to the store. Usually, the term

refers to larger windows in the front façade of the shop . Display windows at boutique

usually have dressed-up mannequins in item.

TRADITIONAL

A TRADITIONAL SHOP FRONT

This line drawing reflects the typical qualities

of a traditional shop front , taking its

proportions from the existing building’s

elevation.

TRADITIONAL

Façade of building

Symmetry

Modest graphics

Standards fronts &

colours

Mannequins

TRADITIONAL

TRADITIONAL

TRADITIONAL

CONTEMPORARY

Frameless

Transparency

Graphic language

Live colours

Story telling & scenography

CONTEMPORARY

FULLCIRCLE

Briefed to create a stunning

flagship store for the opening of

Westfield London, Brink worth

produced a store that is a literal

interpretation of the name, Full

circle . A shop within a shop,

with specific sections cut away,

creating two perfect optical

illusions within the space.

CONTEMPORARY

CONTEMPORARY

CONTEMPORARY

FILA

Design: Giorgio Borruso Design , Marina Del Rey, CA

Fixtures Buzzoni,Bosoaro , Rovigo. Italy

Fixtures Events cape Inc., Toronto, ON . Canada

This 4,000-sq.-ft. prototype represents the Italian Sports Brand with design elements

personifying movement. Garments racks lean forward, elliptical columns descend from

the dark recesses of a ceiling made fluid by undulating strips of fabric-bound aluminum

flowing across the space, and hundreds of shoes climb along a 50-ft – long canted wall

textured with delicate waves. The merchandise triumphs as the transparency of fixture

components place it squarely in the spotlight and reflective columns give it an instant

replay

CONTEMPORARY

CONTEMPORARY

L.a.Eyeworks

CONTEMPORARY

Miss Sixty

CONTEMPORARY

Miss Sixty

ENTRANCE DOORS

The entrance doors need to be easily

accessible to all, so must therefore be at

least 1000mm in width. A hinged door must

open inwards so not to obstruct the street or

path in front and must give good security to

the store at night. An alternative to the

hinged doo is sliding doors that have a

cleaner look and do not impact on the interior

in ay way. In some situations, a roller shutter

performs the functions of a door.

1000 mm

Operation

Hinged, sliding revolving,

swing

Material, frame

Symmetry of shop

Visual comfort

Focus on communication

Or products display

POSITON

The position of the entrance door is key to the

success of the entrance as a whole. A central

doorway allows for symmetry and is therefore

visually comfortable. Also, this enables the store

to be laid out in a symmetrical fashion so

That the focus from the entrance is on the central

space, and in some cases, the back wall of the

store, providing an opportunity to Draw the

customers in with feature. Positioning the door to

one side offsets the interior. This

may be necessary if there is a particular reason

for needing one large window display instead of

two smaller ones, or if a cash desk is positioned

at the front of the store directly behind the

window.

INTERNAL/EXTERNAL

SHOPFRONT

The designer faces different design

opportunities and solutions depending on

whether the store is an internal setting such

as a shopping center, arcade or retail outlet or

if it is directly on the street. The design of the

internal shop front in a mall, for example,

does not have to consider weather conditions

and so can be of a more open design. The

entrance into the unit may have a shutter for

security without a solid door behind and may

be very wide-some are the width of the entire

frontage. Also, the internal shop front,

depending on the guideline of the shopping

center, will probably have an area in front of

the unit called a ‘pop-out zone’, which is

usually about 500-1000mm

Location of shop

Internal setting

Traditional with back

wall

Contemporary-open,

free flow

Pop-out zone 500-

1000mm

THE SHOP WINDOW

The shop window begins with a pane of glass that creates a division between the

exterior and the interior. In most new shop fronts, the glazing covers as large as area

as possible, so much so that the division barely exists. Shop window design is an art

and a profession in its own right, with new concepts reaching window on a cyclical

basis.

The purpose of the display is to create a memorable vision and to portray the brand

values In one punchy statement. The display must be consistent with the interior and

product range in the materials used, the way the display is lit and the graphic

communication. The window suggests the lifestyle that can be achieved from owning

the products and entices the customer inside. The size of the window display and the

way the merchandise is set out must be coherent to the products displayed. For

instances, larger items need a specious window so that the shopper can stand back to

look, whilst smaller items need to be displayed at eye level so that the shopper can

walkup close and view them without bending or stretching. Most windows displays are

designed around a shallow plinth that raises the merchandise to an appropriate height

in relation to the glazing, and allows for mannequins, price statements and additional

blocks to be added for smaller products.

The retailer’s merchandising team usually source mannequins, but occasionally the

retailer’s merchandise to an appropriate height in relation to the glazing, and allows for

mannequins, price statements and additional blocks to be added for smaller products. The

retailer’s merchandising team usually source mannequins, but occasionally the retail

designer will advise them.

Some retailer’s use the window as the main vehicle from which to sell stock. The traditional

jeweler’s window is a good example of this. The window display extends into the shop,

taking up a large proportion of the retail space, leaving the interior for sales and services

alone. The display element for jewelry is very detailed as it has the job of holding a variety

of pads containing stock filling the whole window.

DRI DRI

Dri Dri Local Italian

Gelato

A lovely pop-up ice

cream stall at the

front room of St

Martins Lane Hotel

in London. The

temporary Italian

gelato shop is

designed by

architects Elips

Design and serves

gelato from the UK

company Dri Dri

from a timber cart on

wheels.

“The Front Room of St. Martins lanes hotel is dynamic retail

space. It has housed various creative collaboration with partner

including the convenience store, wallpaper , Angela Hill, The

design museum and newness. This time it will be converted by

ELIPS DESIGN into an idyllic Italian beach, complete with

traditional decking, coloured beach cabins, sun umbrellas, chairs

and table. The customers will be transported to the Mediterranean

in the heart of the London’s busting center enjoying their gelato

DRI DRI. The beach cabins are thought in the way to divide the

space and create a back of the house for storage. The sun

umbrella are wall stickers to create more perspective in a bi

dimensional space ”

DRI DRI

SHOPFRONT SIGNAGE

The design of shopfront signage is often

governed by the location of the site and

any conditions applied by landlords,

Centre management or planning. There

are a variety of options available for each

situations. The retail designer will work

with a signage manufacturer to come up

with suitable solutions. The main signage

types are Fascia signage, projecting

signage and window decals.

FASCIA SIGN

PROJECTING SIGN

WINDOW DECALS

The design of fascia sign may appear

varied on the high street, but they

commonly fall under one of the 3 types of

signage : the traditional painted sign as

already discussed ; an illuminated box

sign that is constructed most commonly in

a ‘biscuit-tin’ formation, constructed from

aluminum with the logo or lettering fret cut

out of the face and replaced with frosted

acrylic (the box contains fluorescent lights

fittings that are easily accessible by

removing the top of the ‘biscuit tin’) and,

finally, a logo or letters that have been fret

cut out of a sheet of aluminum or steel

(possibly spray painted or brushed) that

are then pegged off the fascia panel and

often illuminated an external source.

PAINTED

ILLUMINATED BOX

FRET-CUT IN METAL

WINDOW DECALS

FASCIA SIGN

ILLUMINATION BOX

PAINTED LOGO

FRET CUT LOGO

FASCIA ILLUMINATION LOGO

DETACHED FRET CUT LOGO

VISUAL IDENTITY

Signage is an important element of the

entrance, used to navigate customers

to a correct department or to clearly

signpost shop amenities. Lifestyle

graphics are also featured in the

windows and entrance for brand

enhancement.

The entrance is a keen main area for

figuring new in-store merchandise.

This could be in the form of a feature

displaying, or a promotional event

including food tasting, free samples,

make-overs or sprays of perfume, for

example.

Visual identity-logo

Colors

Branding experience

Up-to-date products

Display, tasting,

Sensing, discussing

CIRCULATION

CIRCULATION

One of the first tasks the retail designer

faces when the sight has been decided is

to work out the circulation around the

space, taking into consideration the design

guidelines and principles of the scheme

along side the structural nature of the

interior. Circulation diagram’s are produced

as ways of thinking and describing different

schemes to the client. The diagrams are

produced by looking at the plans and

sections of the interior and drawing arrows

and routes over the technical drawings.

The circulation plan is often drawn in

unison with an adjacency plan (often on

the same drawing), which shows how the

areas of the space will be divided into

product, places to sell, space to brows and

ancillary areas. These drawings from the

starting point for planning the interior

layout.

Human circulation

and pathways:

Circulation diagrams

Routes , arrows , way

of communication

and interest

Space division: areas

between products

and merchandising

The circulation performs two main tasks in the retail

scheme. The first is to allow for the flow of people in the

form of walkways. These must be wide enough for at

least two people to pass each other comfortable, or

pushing a pram. The second is to the merchandise and

allow them ample space to browse without dumping into

other people or display's

The principles of circulation are quite simple

and are governed by the ways in which people

move around the space. There are many ways

that this can happen but each is based around

a handful of solutions. Circulations can work

horizontally, allowing the customer access

through the shop front, with products displayed

either side of the walk way and with an exit at

the back ; or vertically, with merchandise

displayed over more than one floor. This

scheme is more complicated in the sense that

stairs, lifts an escalators need to be negotiated,

and methods for enticing people on the upper

floors must be considered. Circulation in a zig-

zag or figured-of-eight fashion across the store

allows for points of interest to be included and

creates a longer journey and a variety of ways

to travel around the space. The circular pattern

takes customer from the front to the back and

then to the front again.

Horizontally

Vertically

Spine-lead

Circular

Loop

Zig-zag

Free flow

GRID LAYOUT BETWEEN RACKS

FREE FLOW BETWEEN FIXTURES

CIRCULAR LOOP (RACE TRACK)

FREE FLOW AROUND FIXTURES

DISPLAY OF PRODUCTS

SALES

The most important thing about

any retail interior is its ability to

sell products and sustain the

business . The entrance ,

circulation and pace are all

important design issues for the

retail designer to contend with,

but it is the products and the way

in which they are displayed that is

the biggest challenge . it is

important to mention that

although it is the most essential

area for development within the

scheme, it would not function

without the other areas we have

already considered.

Selling the

products or

services

Display of

products,

presentation and

distribution

Essential part of

store organization

PRODUCT DISPLAY

Taking up a large part of the retail designer’s

remit is the design of fixture displays. Some

fixtures can be bought in a kit form and either

used directly in this state, or adjusted with

finishes to suit the interior designer; other

fixtures are custom made. Custom-made

pieces work particularly well if the scheme is

to be rolled out; the cost of making the

fixtures becomes cheaper with larger

production quantities. For one-off stores, an

off-the-shelf system may be a better solution.

These elements although not at the forefront

of the consumer’s experience, are the

vehicles that drive the interior scheme and

make the space function and sell products.

Products can be displayed in a variety of

interesting ways, but can be broken down

into two different types: wall display and mid-

floor fixtures.

Fixtures and furniture: low,

high, mid-floor

Display: custom-made hooks

and hangers

Using interior walls: fixed,

hang,

Free standing: low cabinets,

shelves, drawers, displays

Display areas are the heart of a

retail store. Display is the

mechanism that presents the

merchandise to the shopper in

its best favorable light and that

allows the shopper to evaluate

and select product for

purchase.

ADDIDAS STORE

AREAS IN A STORE

These spaces consist of fitting rooms and

staff/customer consultation areas. These are

support areas, and although used for selling ,

they do not necessarily contain displays

stock. The design of these spaces is just as

important as that of the main displays .

Because they are used by the public they are

carefully considered in order that they work

alongside the branded interior I terms of

finish and graphics , and so that they convey

a positive image of the customer service.

The ancillary space refers to the areas that I

spot aside to housed the functional elements

of the store , aside from selling. This area

supports the running and managing of the

store on a daily basis and provides essential

areas for storage and facilities for stall and is

often referred to as “back of house” public

toilets are often provided in larger retail

stores and come under the heading of

“ancillary”

Storage area for products

and stock

Supporting rooms for

furniture, fixtures and

fittings repair and storage

Fitting areas

“Back of the house” rooms

for employees

FITTING ROOMS

In fashion stores , fitting rooms are essential

for customers to “try before they buy” . There

have been some trends in fitting room design

over the years that are worth mentioning . High

street fashion stores once for all with mirrors

all around . Some stores also had a small

amount of very tight cubicles with badly fitted

curtains alongside the open spaces, making

the trying on of clothes an uncomfortable

experience for many. Most now have separate

spacious cubicles for changing with mirrors on

all sides, a fixed seat , hook for your own

clothes and bags and a solid lockable door for

added discretion.

The entrance into the fitting room can be a key

area to entrance the shopping experience . In

large stores , this space contains seating and

sometimes even entertainment for those who

have to wait.in smaller stores that do not have

the space to do this, the most basic

“Try and experience before

buy”

Dividers , curtains, doors,

mirrors, lighting and

position of luminaries ,

hooks, screens, seat, shop

assistant.

Space to catch the breath.

Marie France shop by Clifton Leung Design Workshop , Nanjing -China

ZARA DRESSING ROOMS

POINT OF SALES

POINT OF SALE

The point of sale marks the end of the

journey around the store and is the point at

which a customer will pay for goods . The

location of the point of sale is very important .

In larger stores, there will be access to till

points in several locations , often relating to a

department . One in men's wear and one in

women's wear , for example.in supermarkets

, the till points are usually located in front of

the exit doors . This allows for heavy traffic

flow in a runway fashion and indicates the

end of the overall process. In smaller stores,

the till point or cash desk can be located in a

number of places: at the back of the store ,

with a feature wall behind it so that it can be

seen from the shop front ; halfway into the

store along a side wall ,dividing the product

display; or at the front of the store, close to

the entrance and marking the end of the

shopping experience.

CASE DESK POSITIONThese drawings depict the various

positions of the cash desk and how

they sit alongside the merchandise

and work with the circulation . The

design of the cash desk coincides

with the overall design scheme . It

is often well lit and easy to see

from all around the store.

CASHER DESK

THANK YOU……