interior architecture basics- retail design

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Ethical practice is well known, taughtand discussed in the domains ofmedicine, law, science and sociologybut was, until recently, rarely discussed in the terms of the AppliedVisual Arts. Yet design is becoming an increasingly integral part of our everyday lives and its influence on our society ever-more prevalent.

AVA Publishing believes that our world needs integrity; that theramifications of our actions upon others should be for the greatesthappiness and benefit of the greatestnumber. We do not set ourselves out as arbiters of what is ‘good’ or‘bad’, but aim to promote discussion in an organised fashion for anindividual’s understanding of their own ethical inclination.

By incorporating a ‘working with ethics’ section and cover stamp on all our titles, AVA Publishing aims to help a new generation of students,educators and practitioners find a methodology for structuring theirthoughts and reflections in this vital area.

Lynne Mesher studied product andfurniture design at The University ofWales, and after graduating in 1996,went on to practise as a retail designer.She worked for some of the mostprominent design consultancies in theUK, creating interiors for well-knownbrands worldwide. Further to working in practice and gaining a postgraduateteaching qualification, she is nowcourse leader for interior design at the University of Portsmouth School of Architecture, where she specialises in studio teaching, CAD andprofessional practice.

Featured topicsbrandingtypes of retail spaceretail sitesthe retail environmententrancematerialslightingclimate and sound circulationpaceproduct displaypoint of saleback of housethe shop facadefixtures and fittingsgraphics

Featured contributors6a ArchitectsBohlin Cywinski JacksonBrinkworthCaulder MooreCheckland KindleysidesDalziel and PowDroogFormavisionFour IVFuture SystemsHMKMJerde Partnership Inc.John PawsonQuASaguez & PartnersShed DesignStudio Makkink and Bey

ava publishing sa [email protected]

BASICS

01Interior Design

retail design

BASICS

01

Lynne Mesherinterior design

nthe art or process of designing spaces to be used for the sale of goods to the publicreta

il desig

n

Publisher’s note

The Basics Interior Design seriesfrom AVA Publishing’s Academia list comprises a collection of titlesexamining the application of interiordesign principles to different typesof space. Packed with examplesfrom students and professionalsand fully illustrated with cleardiagrams and inspiring imagery,they offer an essential introductionto the subject.

The first in this series, RetailDesign takes the reader on ajourney through the retail space,beginning with the notion of brandand identity as a starting point forthe design concept. The relationshipbetween the interior and its context,site and setting is examined andwith this under standing, the journey progresses to an in-depthinvestigation of layout, circulation and pace. Methods for pushing the boundaries of spatial design and experience are demonstratedand the effects of the buildingindustry on the environment arediscussed throughout.

This book offers an insightfulapproach to interior design,examined through retail, whichbuilds on the notion of anexperiential interpretation of space geared towards a particularset of users.

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BASICSInterior Design Lynne Mesher

retail design

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= AN AVA BOOK

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= TOPSHOPNew York, USA

DESIGNER= DALZIEL AND POW

DATE= 2009





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Basics Interior Design Retail Design Table of contents

006 Introduction

008 How to get the most out of this book

01 Branding and identity

012 What is branding?

018 Developing a brand

024 Selling the brand

032 Student case study

02 Retail sectors

036 Food

042 Fashion

050 Home

054 Leisure andentertainment


03 Retail sites

064 Departmentstores

068 High street

074 Shopping centres

078 Out-of-townshopping

082 The concourse

086 Alternativevenues




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04 The retailenvironment

092 Retail andsustainability

096 Materials

104 Lighting

110 Climate and sound


05 Methods oforganisingspace

118 Principles of retailorganisation

126 Merchandising

130 Service andancillary space


06 Design detail

142 The shop façade

152 Interiorarchitecture

158 Fixtures and fittings


168 Conclusion

170 Bibliography

171 Quote sources

172 Glossary

174 Acknowledgements

175 Picture credits

177 Working with ethics





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Introduction

/ How to get the most out of this book /





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The aim of this book is to examine theprocesses and strategies of designingspace for retail.

Shopping is an activity that is part of our everyday lives. Whether we are shopping to feed ourselves, clotheourselves or simply out of enjoyment, the places we choose to shop saysomething about our lifestyle, culture and interests. We create a relationshipwith the retail environment we feel comfortable with and reject spaces that do not match our image.

The design of shops is an ever-changingcycle, following fashion trends andconsumer aspirations. Retail spaces are at the forefront of contemporaryinterior design because they are updated regularly to stay competitiveand appealing. Some of the mostinnovative and interactive interiors can be seen in the retail sector.

Designing retail interiors is complex,beginning with the analysis of a brand and identity. The aim of the designer is to entice, excite and enthral the consumerby creating an experience to which they can relate.

This book thoroughly guides you througheach step of the retail design process,providing strategies that can produce a successful retail space and a design that is appropriate for the brand, product,consumer and retailer. This will be seenthrough images and drawings frompractice, as well as student project work.

= CLUB 21,EMPORIO ARMANI

DESIGNER= FOUR IV

DATE= 2006

Designing space for retail is a complex and ever-changingprocess. It is hoped that thisbook will take the reader on a journey through the retailspace, exploring the strategiesand relationships to be found at each step of the way.



?


Retail sectors Leisure and entertainment

The leisure and entertainment

sector has grown significantly in

the last ten years. Whether the

activity is based around a destination

or a product purchase, the chances

are the interior space will encapsulate

a brand. An outing to the cinema,

museum or theatre will each give an

opportunity to buy into the experience

through a shop, bar or café.

The leisure sector includes sport – as an

activity or apparel; technology – sound,

audio and gaming; travel – modes of

transport and travel agency; and finance –

the services of banks and building societies.

Banks are now abandoning the high street

and going online.

Sport

In recent years, the sports industry

has taken on the idea of enforcing their

global brand identity through store

image. Retail spaces within the sports

sector are sparse in products and are

exhibition-like in the way that the

participator moves around the space

and interacts with displays. The graphic

language is prominent throughout and

a theme demonstrating youth and

physicality encapsulates the brand

message.

Sports brand Nike has opened a series

of Nike Towns around the world, each

Town taking its interior influence from

the surrounding city. In 2002, Reebok

also opened its world headquarters in

Boston, USA. The Reebok brand is

encapsulated in its headquarters and is

reinforced in every aspect of Reebok

design – from the apparel to the shop

floor – on every high street.

= REEBOK FLASH

STORE

New York, USA

DESIGNER

= FORMAVISION

DATE

= 2002

Recently, Reebok

re-invented itself in a

new consumer offer.

The Reebok Flash Store

opened in New York for

a limited period in the

CV2 Contemporary Art

Gallery, selling retro and

limited edition footwear.

Formavision, whose

trademark is to use art

as part of their interior

scheme, designed the

space.

054/055

\ Home \

FORM AND FUNCTION Interior designers and architects differ widely intheir views of how far the function of a spaceshould affect its design. Form and function arediscussed in greater detail in the AVA title, BasicsInterior Architecture: Form + Structure.

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How to get the most out of this book

This book introduces different aspects ofretail design, via dedicated chapters foreach topic. Using a variety of examplesfrom both students and professionals, the processes and strategies involved indesigning space for retail are examined,analysed and debated.

\ Introduction \

SECTION HEADERSCurrent section headings are clearly named inthe navigation bar. The numbers of topicswithin the chapter are indicated by verticaldividers. Past and future section headings aredisplayed above the navigation bar.

SECTION INTRODUCTIONSEach section is introduced by a few brief paragraphs.

THINKING POINTSKey design concepts and some of the debatesurrounding them.



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Retail sectors Fashion

Chain storesThese are retail outlets sharing the same brand and management across locations.

\ Food \ / Home /


DESIGNER

= DALZIEL AND POW

DATE

= 2009

Topshop is one of the UK’s leading commercial fashionretailers. The launch of their New York flagship store in2009 marked the transition to global brand. Replicatingmany of the design features found in UK stores, Dalzieland Pow have created a bold and confident statementand have successfully carried the brand across to theUS market.

Commercial fashion

Barbara Hulanicki invented the concept

of mainstream fashion stores when she

opened Biba in London, UK, in 1964.

Today, commercial fashion is

dominated by chain stores with

numerous identical shops in major

towns and cities. The offer is available

from every high street and is affordable

to the masses. These shops often

take reference from premium fashion

brands in terms of both clothing

collections and interiors. They are

frequently changed to evolve with

consumer expectations and because

of the high level of activity, the interior

finish becomes easily tired and dated.

The interiors are varied, using materials,

lighting and graphics to create an

illusion. Retail designers work with

marketing experts to focus the store’s

identity and relationship to the brand.

In a heavily saturated market, being

competitive in style and price is the

key to success.

: BARBARA HULANICKI

I didn’t want to make clothes for keptwomen … I wanted to make clothes for people in the street … I always tried to get prices down, down, down to the bare minimum.

048/049

Retail sites Student case study

PROJECT

= FENDER CHAIN STORECONCEPT

DESIGNER

= FAHIROOLADZHAR MUHAMAD

DATE

= 2009

= Guitars and other instruments are

displayed to their best effect on the

ground floor so that customers can

come straight into the retail space

from the street.

This project takes on the regeneration

of an existing Regency-style building

and converts it into a concept store for

instrument manufacturer Fender. In order

to understand an existing building and to

read its interior structure, research into

the building’s style and histories must take

place. Secondly, the geometries and

structure of the building and the ways in

which the building is affected by its

context must be analysed. Once this

information is collected and condensed,

the interior can be designed effectively.

The resulting interior focuses on material

qualities to enhance the acoustics of the

space, and the vertical circulation focuses

on a central stair that weaves organically

through the building.

\ Alternative venues \

= The vertical circulation focuses

on the central staircase.

= Material qualities enhance the

acoustics of the space. Seating

takes its concept from the form

of sound waves.

? Imagine that you have been

given an existing building in

which to implement a retail

interior.

1 What do you need to understand

about the building in order to

design a successful intervention?

2 What types of analysis would

you need to undertake at the

beginning of the design process?

3 How could you enhance an

existing building through the

interior scheme?

4 What specialists would you

work with to collect the

building’s data?

5 What areas of the building

might be affected by planning

and building regulations?

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CAPTIONSDetailed captions giveinformation on thespecifics of each projectand the thinking behindthe design decisionstaken.

RUNNINGGLOSSARYKey terms are explainedclearly and preciselywithin their context.

PULL QUOTESThoughts from well-known designers andretail experts provideinsight into the world of retail design.

STUDENT CASE STUDIESExamples of student workenable the reader to see howtheory is put into practice.

QUESTIONS AND EXERCISESQuestions in summary allow thereader to consider how they mightapproach a design project.





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Branding and identity

/ Retail sectors /

Branding is an approach used to marketproducts and services under a particular name.We can all identify with brands that are familiarto us and part of our everyday life. But how does a brand translate from two dimensionsinto the volume of an interior space? Theanswer is somewhat complex and forms thebasis of the design process; understanding a brand is one of the most important aspects of the retail designer’s role. In most interiordesign, understanding a building is the startingpoint and subject of investigation. In retail,however, the brand is the starting point and the building or site often comes later.

THIS CHAPTER explores the notion of branding and examines how branding principles can beinterpreted into an interior scheme. Differentmechanisms for defining a brand are set out and examples of retail types are showcased toexplain ways of appealing to consumer marketsand trends through the interior.





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Branding and Identity


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Branding and identity What is branding?

/ Developing a brand /

The concept of branding is intrinsically linked withadvertising, marketing and playing on the subconsciousaspirations of the consumer. A brand can be a product, a person or a logo – anything that can be bought and sold, as an idea or artefact, can be branded.

Branding is a global culture fuelled by consumerism and the need for people to categorise their lifestyles, likes and dislikes throughbuying into particular products. It is evident that brands possess values that distinguish them from their competitors. It is interesting to consider why we buy a brandedproduct over a supermarket namedequivalent at half the price. What makes us believe that the contents of the tin are of a better quality?

Some brands have crossed boundaries in becoming the nameassociated with the product. Forinstance, an MP3 player is mostcommonly called an iPod, at a bar we ask for coke (Coca Cola) rather than Pepsi. The power of the brand is evident in our everyday lives and our language is cluttered withbrand references.

No brand can appeal to everyone.Through marketing and advertising, the image of the brand is identified and sold to the public. The brand can be defined by analysing its corevalues through understanding theproduct, communicating it to the right consumer audience andunderstanding that audience, and finally matching the product to thephysical environment.

In retail terms, the store is built aroundthe concept of the brand and theproducts sold within it. The interioremulates the aspirations of the brandvalues and qualities to enhance therelationship between the space and the message. Everything about thebrand must be consistent – from the associated colour and graphic style to the product range, whetherdiverse or focused, and the interior. This consistency makes the message stronger and re-affirms the brand’s worth.





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= PRIMARK FLAGSHIP STORELondon, UK


DATE= 2007

Primark has seen a continuing success in the UK and is true to its brand values: fast fashion and lean operations. The flagship store in London makes a bold interior statement, creating a strong presence. This scheme is the basis from which future stores will be rolled out, both in the UK and throughout Europe. Dalziel and Pow’s involvement in every aspect of the Primark brand, from corporateidentity and sub-brand strategies,through to the store environment and its graphic treatments, has ensured a strong, consistent identityacross its stores.



A B


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Evolution of branding

The earliest examples of branding can betraced back as far as the 1880s when logosbegan to appear on food packages such as Campbell’s soup, Coca Cola and Lyle’sGolden Syrup. The use of branding beganas a catch-phrase or image attached to aproduct. It wasn’t until the late 1940s thatorganisations began to adjust the laws ofadvertising to describe their business andfunction, rather than products, and the term‘brand identity’ became mainstream incorporate language.

The concept of branding really took off inthe 1980s, following the recession and the downturn in profits and productivity ofsome of the world’s largest manufacturers.For the first time, production could bemoved overseas, to places such as Chinaand India, for a fraction of the cost, due to a reform in the law governing labour and trade. Prior to this, masterminding the manufacturing process was the corebusiness strategy; this slowly began to bereplaced by developing the brand essence.

In the 1990s, big-brand names favouredcutting the prices of their products tospending money on advertising due to the market downturn, with detrimentalconsequences. Many did not survive theaftermath of the recession and Wall Streetpredicted the ‘death of the brand’. Thosewho stayed true to their brand values andmarketing strategy did survive and are stillmajor players in the retail sector today.


= TIMESSQUARENew York, USA

Competingbrands vie forattention in New York’sTimes Square.





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Principles of branding

Every brand image is formed bydefining the main principles behind its meaning. As well as considering the product and its environment, it isimportant to maintain a vision of how to establish a brand and how it standsalongside its competitors. As alreadydiscussed, those brands that stay true to their brand values are able tosurvive and conquer in a ferociouslycompetitive world. For example, is thebrand a market leader or follower? Does the brand aspire to stand alone or does it welcome the influx of otherbrands? Does the brand have a wide or narrow focus in terms of productdiversity? Is the brand global or local?Does the brand have longevity or is itfrequently changed? These principlesbegin to question and inform theorganisation’s mission statement andare at the core of the brand’s strategy.

The principles of a brand can beexamined under the followingheadings:

Essence The essence identifieswhat is at the heart of the businessand the nature of the work. Theseare the most important features ofthe organisation.

Values The term ‘brand values’ can be explored through what the organisation’s morals andstandards are and how theymanifest themselves in the brand.

Image The brand image is one of the most important aspects of brand development and isparamount in showing the essenceand values of the organisation to the world through visual means.

Big ideas The big ideasdemonstrate what the brandsets out to achieve.

Cash generator Behind everybrand is the ambition to makemoney. It is fundamental to knowhow this will happen.

Strange attractor The success of many brands is in the unknownand the additional offers that can be made under a brand. It isimportant to question what elsepeople use/need the brand for.

Culture Who is themarket/consumer/user and whatdoes it feel like to be part of thisculture?

: PHIL KNIGHT, NIKE

Nike is ‘a sports company’;its mission is not to sellshoes but to ‘enhancepeople’s lives through sportsand fitness’ and to keep ‘the magic of sports alive’.





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: WALLY OLINS

… to be really effective you have tobe able to sense the brand. You mayeven be able to touch it and feel it.So that it manifests the core idea.





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= SPORTSGIRL STOREMelbourne, Australia

DESIGNER= HMKM

DATE= 2008

Sportsgirl is a well-known Australian brand.This store in Melbourne encapsulates the ethos of the brand through its funkydisplays, graphics and interactive featuresand is an exciting reinvention for thisfashion high-street retailer. A diamond-mirrored fascia leads through to an ‘urbanchic’ warehouse-style space with exposedbrick and matt grey flooring and a blankcanvas area, designed to showcase new trends and designs. More elaborateareas such as the shoe and accessorydepartment, which features a floor-to-ceiling chest of drawers, and the ‘ButterflyGarden’ fitting rooms, combine to create an energetic and colourful space, reflectiveof the youthful Sportsgirl brand.



Branding and Identity A B



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Branding and identity Developing a brand

\ What is branding? \ / Selling the brand /

In order to develop or reinvent a brand, the organisation involved will go through a series of processes to gain anunderstanding of the brand’snature or, in the case ofreinvention, to consider what is not working.

Organisations often employ brandconsultants to manage this process,as they may not have the expertise in-house. There are various stagesinvolved. The first stage is to conductresearch and analysis to investigate the nature of the organisation and itscharacteristics. This is done throughauditing the organisation’s existingposition in terms of retail space,products or facilities, for example. Also at this point, the organisationmay look to examine its maincompetitors in order to define theirplace in the market. The informationgenerated during this initial stage thengoes on to inform the development of the brand and to create a core ideafrom which everything about theorganisation can be derived.

The next stage sees the involvement of graphic designers as theycontextualise the meanings behind the core ideas, questioning how thebrand looks and feels. This would bedemonstrated through graphic moodand lifestyle boards as a starting point.Once the feel and look is establishedand agreed between designer andclient, a style can be established that will work for both the graphicand interior design. This is a goodexample of how graphic designers and interior designers work together.Sometimes this process includes thedevelopment of a new name or logo, or working with a style that alreadyexists. During the graphic designprocess, all kinds of decisions are made as to how the brand will appear in advertising. Once the designs havebeen agreed, the brand guidelines are established in a manual that is put together by the graphic designer. The guidelines are an importantdocument that is given to allcontractors involved in advertising and signage so that consistency is kept throughout the implementationstage. The guidelines include logoinformation, colour references, typeface and imagery, as well asexamples of how to set out differenttypes of signage, stationery and othercommunication tools. This manual also informs the graphic quality andfinishes for the interior spaces.





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Branding the interior

Imagine a shell of a building that is a blank canvas with neutral walls, floors and ceilings. Think of a well-known brand and the associated colour, pattern, logo, sound or scent.Understand the product and who mightbuy it. Analyse the lifestyle of someonewho would use this brand: What car do they drive? Where do they live? How much money do they earn? And most importantly, what would they expect from a retail experience? All of these questions form the basisfrom which to develop a concept thatwill underpin the interior scheme. The term used for turning a brand into a three-dimensional spatialexperience is ‘brandscaping’.

Developing an interior concept

The interior scheme often takes its lead from the graphic guidelines,through understanding the aspirationsof the end-user and through analysing the competition. This information isportrayed through visual research or ‘mood boards’ (images andphotographs retrieved from books or journals that explain clearly thethought process and ideas of thedesign team) but will be interiororientated rather than graphicallybased. The key features of the visualresearch are then extracted into‘stories’ that lead to explicit ideas about what the interior design schemecould be and how the graphic identitywould impact on the space. From thisprocess, an interior concept is born.

: OT TO RIEWOLDT

Brandscaping transformsthe brand itself into a location.

BrandscapingThis is a term used to describe the mapping of a brand in a three-dimensional space.





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‘Rolling out’ a scheme

Once a design concept has been agreed between client and designer, a programme begins to ‘roll out’ the new interior into the client’s existing or new sites. The term ‘roll out’ simplymeans to reproduce the same interioracross different sites. In order for this to happen, the manual prepared by the design team must contain all of theelements of the design, describing ways to adapt the scheme for differenttypes of site. A variety of layouts andelevational configurations are drawn up, as well as detailed drawings for every fixture and fitting, a finishesschedule and lighting information.

Sometimes the designer’s role endsthere and the information is handed over to the client, who in turn employs a contractor to oversee and implement the design in each store. On otheroccasions, the designer will work withthe client and contractors to prepareseparate drawing packages for each site, using the manual as a guide for consistency. This would entail dealing with local authority planningdepartments and making site visits. This would usually be at the start of a project, midway through the programme, and to ‘snag’ the site, fixing final details, before handover at the end of the build. The designerwould also liase with the con tractorregarding any queries that may arise. The designer may also become involvedwith the visual merchandising of thestore, although most large retailers have their own in-house team specifically tasked with dressing every store the same.

Concept interpretation

The concept is then interpreted into a ‘mock’ interior space throughvisual storyboards that may containadjacency and circulation plans,animated sketch visuals and samples of material finish. It is common fordifferent schemes to emerge at thistime, all of which will be presented to the client. The client and designerthen work together to come to aconclusive design idea: this may result clearly from just one of thepresented concepts or may result from a combination of all the potentialconcepts. Once the concept has been decided, the designer then works on the detail of the design. This process builds with each clientmeeting until a conclusion is reachedand a set of drawings can be produced in the form of a manual.





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= FULLCIRCLE FLAGSHIP STORELondon, UK

DATE= 2008

The design for this flagship store is a literal interpretation of the Fullcircle brand. A ‘floating’ white, architectural box, set within the envelope of theoriginal landlord’s space, has been cutaway to reveal a dramatic optical illusionthat, when viewed from the shopentrance, describes a 12-metre-wide full circle at the rear of the store. The images shown here demonstratethe development of the design scheme,from sketch to final execution.




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Building the interior

The design of a branded interior is often split into clear areas ofdevelopment in each site. The analysis of this reveals some surprising results. Approximately 70 per cent of the client’s budget would be spent on the architecture of the building, meaning repair orstructural alteration work, electrics and services as well as flooring, ceilings and lighting. These elementsare critical to the interior structure but would not necessarily be apparent to the customer. They must, however, have the potential to last up to 20 years, so are aworthwhile outlay for the client.

Secondly, the fixtures and fittings to display the merchandise and make the store function would costapproximately 20 per cent of the client’s budget and would have alifespan of around six years. Although they are important in terms of function and fit within the design of the overall scheme, the customerwould not necessarily notice them.

The final 10 per cent of the budget pays for the branded elements of the scheme, through graphiccommunication, finish (colour, pattern or texture for instance), logosdisplayed where possible, music or scent. This is the critical element that finally dresses the space andportrays the lifestyle of the brand. These elements may be changed every season, week or day if fashionand trend demands it and they mimicthe key message of the moment. The retail store is under constantreinvention.

: RASSHIED DIN

The retail designer’s task is to combine elements ofpsychology, technology andergonomics with the retailer’sknowledge of the market.

= VERTU STORELondon, UK

DESIGNER= SHED DESIGN

DATE= 2007

Shed were asked to redesignVertu’s channels, fromin-store concessions and point of sale. In the design for theconcession in Selfridges, London, corporate black units, glazed screens and marble flooring all add to the luxurious,opulent feel of the brand. These images show theconstruction of a new façade and the completed shopfront once the work has been done.




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Branding and identity Selling the brand

= GINA CONCEPT STOREDubai, UAE

DESIGNER= CAULDER MOORE

DATE= 2009

After establishing the Gina brand in two prominent positions in London,Caulder Moore were asked to transferthe concept to appeal to a potentialMiddle East market in Dubai. Using the unique Gina motif, a distinctivecolour palette, bespoke items and luxury finishes, the resulting design for the interior incorporated the premiumvalues of the footwear brand. The ultra-glamorous, iconic and highlyopulent look – created using black gloss, stainless steel, suede, velvet, full-length mirrors and Swarovskichandeliers – reflects the quality of the luxury merchandise.

\ Developing a brand \ / Student case study /

Although brand stores can be seen throughout the world in different formats, there areparticular mechanisms in place for promoting a new concept or to consolidate a brandexperience on the global market.

This usually happens in major retailpositions, to allow access to the largerproportion of the world’s consumers.The design is then reinterpreted downinto the smaller stores outside of themajor cities. These mechanisms can be categorised as concept stores,flagship stores and lifestyle stores. As the retail market becomes more and more saturated, retailers areconstantly trying to find new ways to appeal to different markets. Onlineselling has become mainstream formost. More interestingly, the approachof guerrilla marketing has taken retailingby storm, bringing an element ofsurprise and the unexpected to the consumer.

: CAULDER MOORE

On the right-hand side of the areaan arch in the shape of the iconicGINA shoe motif set into a black,glitter-clad wall, inlaid withchampagne suede and holdingblack velvet display pads, leadsthrough to the couture area.





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Concept stores

The concept store is a place where new retailing ideas are tested orpromoted for the first time in a specificlocation. The site is usually a key retail space with a high footfall andsales activity. The aim is to see if thenew store concept achieves a goodresponse from the public who wouldusually buy into the brand and if a new breed of consumer can also be attracted. The success or failure of a new concept is judged quitecrudely in sales figures. If sales go up, then the concept is a success. There are cases, however, where the concept store in a major location is successful, but a roll-out into smaller sites may not work. This isbecause in poorer areas, theimplementation of a polished newscheme may indicate a more expensivelevel of product that may appearunobtainable, therefore resulting in a down ward turn in sales. For this reason, retailers are careful inunderstanding the market of a particular place in relationship to the brand, and can input the newconcept at a more acceptable level.

Flagship stores

The job of the flagship store is topromote the brand in large, key retailsites around the world. The interior isoften an extension of that found in aretailer’s chain store, but produced to a higher specification and with uniquefeatures that act as a brand statement.The flagship store influences the brandchoice made by the consumer throughcreating an exhibition-like experiencethat is more like a tourist attraction thana place to shop. The idea is that theconsumer will visit a flagship store, may or may not purchase goods, but by visiting, they buy into the brand andmay shop in the retailer’s other storescloser to home. The flagship store is a clever marketing tool and aims tosubconsciously stimulate the consumerinto choosing a particular brand.






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= LEVI’S FLAGSHIP STOREBerlin, Germany

DESIGNER= CHECKLAND KINDLEYSIDES

DATE= 2008

Checkland Kindleysides’ brief was to create theultimate retail brand experience for Levi’s inGermany. An existing three-storey building withits striking arched windows provides glimpses of the brand within. Using each area to convey a distinct message, the designers worked tocreate a store that expresses the differentpersonalities of the brand. On the ground floor,products are displayed alongside works fromlocal artists; a beautiful curved staircase lendsitself as a backdrop and displays a timeline,allowing customers to immerse themselves inthe pioneering spirit of Levi’s; and on the secondfloor, a series of rooms allows customers toexplore a ‘denim vault’, displaying the rarestproduct, with staff acting as curators. Theintention was to create a space where therelationship between Levi’s and local artists,musicians and film-makers could be nurturedand exhibited, generating a youthful mix ofglobal and local creativity.

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= LEVI’S POP-UP STOREVarious locations


DATE= 2008

This portable retailing concept for Levi’sallows the brand to bring the product to the consumer, wherever they may be. The entire concept of merchandising,graphics, product and even changing room folds away to be stored within aseries of flight cases, reminiscent of those that a band would take on tour;allowing the brand to be both agile andspontaneous, generating an element ofexclusivity and surprise.

Pop-up stores and events

One phenomenon currently grippingretail culture is the pop-up store orinstallation, which is a derivative ofguerrilla marketing. The idea is that a store will appear in a location for aminimum amount of time. It may bein the form of a temporary structureor a space that is not usuallyassociated with retail. The venueand event is not advertised, aimingthe concept at the cool, those in theknow. The pop-up store concept isassociated with cutting edge andbeing with the ‘in’ crowd: ‘if you don’t know about it, you don’tneed to know’ type of psychology. This concept is realised to lift the status of the brand and will provide the consumer with a different type ofproduct that can only be found inthis exclusive temporary location.




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Lifestyle stores

The concept of the lifestyle store was derived from the idea that chain stores could provide a diverse product range under one brand. This was seen as beingaspirational for the consumer, as they could then buy into a wholelifestyle experience. The lifestyle store can incorporate all of the retail sectors by offering fashion,homeware and entertainmentdepartments. The lifestyle storesometimes sees the merger of diverse retailing, such as a bank with a coffee house, or a sports store with a technology area.

= M&S LIFESTOREGateshead, UK

DESIGNER= JOHN PAWSON

DATE= 2004

The M&S Lifestore incorporates adiverse product range under oneroof, making it a ‘lifestyle’ store.Characteristic of John Pawson, this particular design explores how architecture may be shapedaround rituals of use rather thanconventions of form. It draws on the essential Pawson vocabularyof wide floorboards, quiet whitewalls, floating benches, the shadowgap, floor-to-ceiling glazing withminimal frames, the optimaltreatment of light and a restrictedpalette of natural materials.

Photographer: Richard Davies





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Endorsements, collaborations and sponsorships

It is usual for brands to be seensponsoring major events, such assports competitions, in the form of advertisement hoardings. Morerecently, brands collaborate with artists of different types as a way ofpromoting the brand in particularcircles, therefore enhancing itsattraction. In recent years, we haveseen a rise in celebrities endorsingproducts with their name, which in turn is their brand, to raise the status of a product type and to give theconsumer the opportunity to, in somesmall way, become them. The sale of perfume is a good example of this.

Whether the brand is a celebrityendorsement, collaboration betweenthe arts and brand or sponsorship of an event, the outcome impacts on the interior space for its duration. The space in some cases becomes a one-off event in itself or a temporaryinterior installation becomes thecentre point of the store or gallery.This communicates an air ofexclusivity to consumers who arequick enough and in the know,enabling them to buy into the brandfor a limited period or to experiencethe brand as an installation ratherthan a place to shop.





= SONY PLAYSTATION® EVENTVarious locations


DATE= 2007

To celebrate PlayStation’s six-monthseason of arts collaborations with theBaltic, English National Opera and British Film Institute, an iconic interactiveinstallation was designed and moved to different venues. The mirroredsculptural form was developed toenhance its surroundings and reflect the rich visual content of each venue.

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Branding and identity Student case study

= Computer-generatedvisualisations of the completed space.

PROJECT= MOBILE PHONE STORE

DESIGNER= MAGDALENA KUMALA

DATE= 2006

= Plans of the space.

Students were asked to design a retailspace for the display, selling and storage of a luxury brand of mobile phone,incorporating a strong brand identity thatcan be easily recognised and acceptedthroughout the world. This resulting designconsiders the variety of product ranges and the number of phones to be displayed. The site used for the project is based on a typical retail unit in a shopping mall ofapproximately 40 square metres and aceiling height of three metres with adequatestorage for 70 phones. The sales processallows staff to engage with customers once they have shown interest in a specificproduct, with space where the staff andcustomer can sit down to discuss thephones comfortably. The design concept is based on opulence, seduction andexclusivity and uses luxurious materials and lighting to suggest the quality of the product and to mimic the identity of the brand.

\ Selling the brand \

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= Sections of the space.

? Now imagine that you have beenasked to design a retail space forthe display, storage and selling ofa luxury brand of mobile phone.

1 List other mobile phone brands.What makes yours original?

2 Could these qualities be echoedin the design of the space? How?

3 List the requirements of a spaceof this nature. Can the qualities of the brand be reflected in theseelements?

4 What elements can be carriedacross other branches?

5 The mobile phone industry is fast-paced and competitive. How could your design be easilyupdated?

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\ Branding and identity \ / Retail sites /

Retail sectors

Retail spaces can be defined and identifiedthrough different retail sectors. Thesesectors can be broadly described as food –the evolution of the market into supermarketand speciality food stores; fashion – clothing,shoes, accessories and beauty products;home – DIY, furniture, fabrics and cookware;and leisure and entertainment – sport,technology, travel and finance. Each sectorhas been influenced through social andeconomic conditions, politics, history andthe development of design processes.

THIS CHAPTER aims to identify these influenceson the designed space of each sector andexplain the nature of the evolving retailexperience. This is demonstrated byexamining leading examples in retailing ineach sector.





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Retail sectors Food

Food retail is a huge industry,evident in every town and citythrough its cafés, restaurants,coffee shops and supermarkets.Today, large conglomerates andretail chains dominate food sales in the Western world, with many well-known brandspitching against each other and independent retailers for local trade.

The design language of these retailenvironments, often repeated fromtown to town, can at first appearmonotonous, yet for many of us theyare part of our everyday routine forsustenance. Delve deeper into theconcepts of such spaces and aninteresting process begins to emerge.These spaces have derived fromcultural influences and worldwidetraditions, and have been interpretedinto a systematic, functional storeenvironment. For instance, many coffeeshops and restaurants reflect Europeancafé culture, taking advantage of thewarm climate with open facades andexterior seating; similarly, supermarketproduct displays are reminiscent ofstreet markets and old market halls,with produce stacked high, and thecolours of food and packaging utilisedto attract sales. The layout of aisles too,pushing customers in a particulardirection, is set out in a similar way to the market, but in a much moreregimented manner.

/ Fashion /





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= FLOATING MARKET Bangkok, Thailand

The floating fruit and vegetablemarket in Bangkok is anexample of bringing food intothe city by whatever meansnecessary.

= DJEMMA EL FNAA SQUARE Marrakesh, Morocco

Many cities are centred on the market.Here, the scent of herbal medicines andincense fills the air, creating a uniqueambience associated with Morocco. The market merges into the manyalleyways leading off it, where tradingcontinues from the souks. In markets such as this, the produce sells itself.

Markets

Historically, the marketplace has playeda major role in the emergence of cities,from the covered markets of CentralAsia and China, the Arab souk, theRoman forum to the street markets andmarketplaces of European cities.Markets are traditionally the placeswhere food and other essential itemswere brought into the city from thesurrounding farmland or from the sea to be sold to the masses. The traderoutes for the transportation of suchproduce have been instrumental increating communities in the form ofvillages and towns along the way.

In many countries, the market is still the hub of the city. It is a place forengagement, creating a buzz with itsrichness in activity, sounds, colours,smells and experience. The market istransient, ever changing, and is part of the urban landscape.

Market stalls are constructed fromsimple frames to allow for flexibility,disassembly and storage. Each stall is like a little shop with the awningoverhead creating an interior space and sheltering goods from theelements. They are functional and allow for the display of goods at tableheight, with containers of food piledhigh, and hanging for textiles. Here it is the produce that sells itself ratherthan the design of the display.



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Retail sectors Food

Market halls

In the West, market halls were built as a way of housing market traders andsheltering them from the elements onthe streets. In the 1980s, many markethalls in the UK changed use or weredemolished, as supermarket shoppingbecame the norm. When the City ofLondon was originally built, the strategyhad been to meet the essential needs of all of the residents of the city and as aresult, London had a wealth of sizeablewholesale markets: Smithfield’s formeat and Billingsgate for fish (both ofwhich are still running today). BoroughMarket, Covent Garden Market andSpitalfields Market were used for sellingfruit and vegetables (only Boroughremains as a food market). The markethall has seen a re-emergence in recentyears and although it has lost its corevalue, it is now a tourist destination and a place for finding specialist high-quality ingredients, arts and crafts,textiles and fashion.

The layout of the market hall tends to be based on rows of permanent shopaccommodation overlooking a centralopen market space for pitching stands.

: R. THORNE

Markets were ‘intended to serve bodily needs as the church served spiritual ones’.

/ Fashion /

HISTORY AND NARRATIVE Established practices and historical usescan dramatically inform the design of aretail interior. An aura of the past canaffect user experience and can beregarded as a design tool of great worth.These issues are dealt with in greater detailin the AVA title, Basics InteriorArchitecture: Context + Environment.





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= COVENT GARDEN MARKETLondon, UK

Covent Garden’s Jubilee Hall in London,UK, consists of two open market squares,with three rows of shops, fronted bycolonnades on each side. Square lodgehouses, originally intended to be used aspubs or coffee houses, stand at each end.The hall also has two terraces overlookingthe market squares, which were to be used for exclusive retail spaces to attract a higher class of visitor. Covent Garden’sJubilee Market Hall was regenerated in the1970s and is now famous for its Arts andCrafts market: a major tourist attraction.Spitalfields Market has also recently beenregenerated (completed in 2005) and nowcontains a contemporary steel and glassinsertion, housing cafés, restaurants andupmarket shops.





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Retail sectors Food

/ Fashion /

The supermarket experience is now a familiar environment that providesessential needs. The relationshipbetween supermarkets and markets isevident in the reason for their existenceand the translation of product display,but in many ways, they are opposites.Supermarkets do not recreate thesense of community in cities and socialengagement that a market does andcould not be described as the hub of a city. What the supermarket does do,however, is enable the maintenance of the current pace of living with itsconvenience, in an environment that is contemporary and fulfilling ofaspirations.

Supermarkets

The need for markets was eradicated in most of the Western world due to the rise of the supermarket in themid-1920s. Large conglomerates now ship food of all types around theworld to fulfil the needs of the masses.This food tends to be cheap, easilyaccessible, and readily available anddoes not depend on the seasons to grow. This convenience helps tosustain our modern lifestyles: longworking hours and the move of women away from the home and into the workplace.

Supermarkets are now a destinationfor all types of retail coming togetherunder one roof. The supermarketenvironment is felt by many to besomewhat clinical; it is logical andorganised in a way that is easy tonavigate. Signage and packaging aregeneric and bold. Aisles are wide andcontinuous. Produce is stacked highand plentiful, giving the impression of a warehouse. Fruit and vegetablesare grouped together and displayed as in markets, using their colour as a selling point.

Consumerism The purchase of material possessions.





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Speciality food stores

The design of some speciality foodstores can be more easily directly linked to the experience of the marketthan supermarkets can. Displays are more purposeful in creating anauthentic market atmosphere and do not have the constraints of the largeconglomerate chain. Like some markethalls of today, these spaces bridge both the retail and leisure sectors; the products are an aspiration andcreate an impression of a lifestyle. Theycan combine a mix of contemporaryand traditional interiors with characterand charm.

= VILLANDRY STORELondon, UK


DATE= 2007

Villandry bridges the retail and leisure marketsthrough its gourmet food experience andFrench inspiration. The interior space isdivided into a food hall, deli, charcuterie and a high-quality takeaway. The concept buildson the charm and heritage of the brand,creating a robust and feasible identity that can easily be traced back to the routes of themarket space. The space is arranged so thatthe takeaway area is easily accessible fromthe street and the Food Hall is the centralspace with glimpses of the restaurant and bar beyond. The market feel is brought up to a sophisticated level through the interiordetailing and graphic language used within.




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\ Food \ / Home /


Fashion has an importantinfluence on the retail sector.First, the interior space isdesigned in line with currenttrends in colour, material andgraphics. Secondly, the sector is dominated by the hugeconsumer boom in the fashionindustry, which covers the salesof clothing, accessories and shoes as well as beauty products. Fashion is a market that is largely dominated bywomen and is very much aninteractive social experienceperceived by many as a day out.

Fashion has played an important rolethroughout history in portraying class,wealth and heritage. However, fashionretail really took off with the birth of thedepartment store concept in Britain. In Paris in 1850, this was developedinto a shopping experience for thesophisticated Bourgeois, with thelaunch of the Grand Magasin, Le BonMarché. The diverse product rangesand fashions represented theBourgeois culture’s commitment toappearance and material wealth,which is mirrored in the displaysaround the department store.

As the world of fashion is everchanging, fashion stores demandinteriors that will appeal to theappropriate market. Fashion retail can be broken down into three areas:premium fashion labels, whereinnovative, cutting-edge fashions and retail spaces lead the way for their counterparts; boutiques, wherethe interior space is unique and styledto suit the needs of the individual; and the mass-consumed commercialfashion empire, where fashions andinteriors are fast paced, exciting andsometimes controversial.




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= CALVIN KLEIN STORE Paris, France

DESIGNER= CLAUDIO SILVESTRIN

DATE= 1997

The design of this space provides asimple, minimalist interior, commonin many premium fashion stores.Using limestone floors, white wallsand satin glass screens, the spaceis given a ‘showcase’ feel and isunable to detract from the clotheson display.




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= COMME DES GARÇONSNew York, USA; Tokyo, Japan and Paris, France

DESIGNER= FUTURE SYSTEMS

DATE= 1998

In 1998, Future Systems were asked to create storesfor Comme des Garçons in New York, Tokyo andParis. Their brief – to create a ‘new kind of space withan atmosphere of experimentation’ – resulted inthree strong and unique designs. In New York, anunusual mix of old and new was used to create anatural and raw yet mechanical and machined finish.In Tokyo, a curious filter between outside and insidewas created using two glass cone-shaped facades.And in Paris, the historic façade is protected by asheer skin of pale pink glass. It is through theseunusual environments that the relationship betweenspace and clothing is established.

\ Food \ / Home /




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The fashion house

The fashion house is a term that is used to describe an exclusive fashionlabel, which has a designer or collectionof designers working under its name. The premium fashion interior hasbecome the most influential and creative of retail spaces and has fuelled a fertile fusion of fashion andarchitectural design. The large fashionhouses often implement their majorbrand stores in London, Paris, Milan and New York, as these are considered the most prestigious fashion capitals of the world.

There are numerous displays ofsuccessful collaborations betweenfashion designers, artists, designers and architects, resulting in exciting and innovative retail spaces. This form of collaboration started in the 1980s, with minimalist stores created by leadingarchitects coming to the forefront in retaildesign. These spaces were well craftedand detailed, often referred to as ‘whiteboxes’, in which clothing could bedisplayed like pieces of art. Today, wecan still see examples of such interiors,but there is also a different type of spacethat has emerged. With the influence ofcyberspace, the use of CAD modellingcomputer packages has transformed the design process in such a way thatorganic architectural forms are easier to manipulate and are being showcasedas insertions into retail spaces.

The relationship between the fashiondesigner and architect allows thefashion designer to gain a strong,unique identity that the architect is able to realise in a quick timeframe. It is interesting to note that althoughthese spaces exist, it is a trend that is not commonplace in architecturalcircles. In some cases, the architect will design a building for the fashionhouse, or work primarily on the interiorof an existing building. The fashionhouse, in most cases, has a largebudget and can therefore push theboundaries of contemporary design.

: REM KOOLHAAS

Shopping is a phenomenon that has ‘remained mysteriously invisible to the architectural eye … as one of the most critical and … importantcontributions to urban texture at this moment’.

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\ Food \ / Home /

The boutique

The rise of the boutique as a smallindependent retailer began in the late1950s, in the aftermath of the SecondWorld War, when the youth of that erawas ready to embrace freedom andself expression. Before this time, aboutique was a department found in a larger store that provided clothingranges somewhere between custom-made couture clothes and cheapmass-produced wholesale clothes.The first of these revolutionaryindependent shops to appear in the UK was called Bazaar andshowcased clothes by the designerMary Quant, on the Kings Road in London. It was designed andimplemented by Terence Conran. The shop was innovative in the waythat it manipulated space in a cool and contemporary way. It had a full-height glass facade that allowed the consumer to view the activities of the shop from outside. This wasradically different from most retailspaces of that time and becamesymbolic of the rise of youth culture,which took place in the 1960s.Although Bazaar was influential in this mini revolution, its clientele mainlyconsisted of the wealthy and elite.

The boutique as we know it todayhouses custom-made or one-offspeciality pieces – a far cry from themost prominent brand stores in thepremium market place. The interiorsare small, considered and individuallydesigned to suit the image of theclothing and accessories.

= OKI-NI BOUTIQUELondon, UK

DESIGNER= 6A ARCHITECTS

DATE= 2002

Oki-Ni sell exclusive custom-made clothesfrom design houses such as Evisu, Levi’sand Adidas. The interior scheme of itsLondon store is based on an oak ‘tray’ thatacts like a stage, with piles of felt layered to create platforms for product display. Oki-Ni has offered the fashion market afresh relationship between consumer andproduct. Limited edition clothes by globaland independent brands are availableexclusively online from Oki-Ni. 6a architectswon the commission to design the flagshipstore on Savile Row with an installation-based concept that emphasises the tactileand social opportunities of clothesshopping. Low piles of felt replace thetraditional arrangement of shelving, railsand furniture, and define Oki-Ni’s physicallandscape; the generous felt surfaces areboth display and furniture. This departurefrom the established conventions of retaildesign creates a place where resting andsocialising play a critical part in thediscovery of new products.



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REPRESENTATION

Representation of space is central to all aspects ofinterior design. Sketches, hand drawings,technical drawings and computer generated plansand models are all used by designers tocommunicate ideas to the client. The AVA title,Basics Interior Architecture: Drawing Out theInterior, looks at this in greater detail.





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Chain storesThese are retail outlets sharing the same brand and management across locations.

\ Food \ / Home /

Commercial fashion

Barbara Hulanicki invented the conceptof mainstream fashion stores when sheopened Biba in London, UK, in 1964.

Today, commercial fashion isdominated by chain stores withnumerous identical shops in majortowns and cities. The offer is availablefrom every high street and is affordableto the masses. These shops often take reference from premium fashionbrands in terms of both clothingcollections and interiors. They arefrequently changed to evolve withconsumer expectations and because of the high level of activity, the interiorfinish becomes easily tired and dated.The interiors are varied, using materials,lighting and graphics to create anillusion. Retail designers work withmarketing experts to focus the store’sidentity and relationship to the brand. In a heavily saturated market, beingcompetitive in style and price is the key to success.




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DATE= 2009

Topshop is one of the UK’s leading commercial fashionretailers. The launch of their New York flagship store in2009 marked the transition to global brand. Replicatingmany of the design features found in UK stores, Dalzieland Pow have created a bold and confident statementand have successfully carried the brand across to theUS market.

: BARBARA HULANICKI

I didn’t want to make clothes for keptwomen … I wanted to make clothes for people in the street … I always tried to get prices down, down, down to the bare minimum.

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Retail sectors Home

\ Fashion \ / Leisure and entertainment /

Consumer culture emerged inAmerica in the 1950s following the Second World War. The focus of advertising was on enticingwomen back into the home afterworking in factories, filling jobs vacated by servicemen fightingabroad. The home featuredpredominantly in the role of thesuburban housewife and kitchengadgets and appliances becamemust-have items.

The Festival of Britain, held in 1951, was a celebration of Britain’s past,present and future and saw the launchof the new ‘Contemporary Style’, which was derived from the Americandesign, but was embedded with Britishtraditions. The Council of IndustrialDesign (later to become the DesignCouncil), led by Sir Gordon Russell,pioneered the role that designers wereto play in society during these post-waryears. The Contemporary Style was successful in its campaign aimedat British women. Furniture could bebought from a small number of high-street retailers. It was designed to suitthe space within new government-owned houses and flats that were beingbuilt at that time. Interior decoration andhome DIY were becoming Britain’spost-war pre-occupation, and thereforethe need for paint, wallpaper, flooringand furniture had a positive impact onthe retailing industry.





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Homeware and mass consumerism

Britain first came in contact with theflat-pack concept in the early 1960swhen Terence Conran launched his ownfurniture collection, Habitat. Conran’saim was to introduce his commercialfurniture range to the domestic marketand was a reaction to the lack of good,affordable furniture shops in the UK atthat time. Influenced by the marketsand shops of France and Northern Italy,the store became very successful inbringing a diverse range of inexpensivelifestyle products to the high street.Some of the cookware products hadnever been seen on the British marketbefore. The pots, pans and othercookware items were stacked high ason the European market stalls, and this has now become recognisable as theHabitat retail concept.

In 1974, during the recession in theWest, Habitat launched its first Basicsrange – a collection of 100 homeproducts at very low prices. The rangewas a huge success and enabled thecompany to attract a new clientele aswell as ride out the recession. When theidea was re-launched in 1982, Habitatwas franchised in Japan. The Japaneseloved the Basics idea and asked forpermission to launch the concept undera different name. The concept storeMuji was born and is now a leadingretailer of ‘no-brand’ products that aresimply packaged and sold cheaply with the emphasis on recycling and ‘no-waste’.

= HABITAT IN THE 1960s

The interior of one ofthe first Habitat storesin the UK.

: TERENCE CONRAN

… a better style of life should be morewidely available. Habitat showed thatyou need to follow the same philosophyright through from drawing board, via manufacturing, to the retail shopfloor …. This is what Habitat achieved in the 1960s ….





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Retail sectors Home

\ Fashion \ / Leisure and entertainment /

IKEA and the birth of flat-pack

As interest increased in the design of the home, the need for mass-produced product ranges grew. The biggest innovation in furnituredesign of the late 1940s was flat-pack furniture by the Swedishdesigner, Gillis Lundgren. IKEA laterwent on to develop their store conceptaround this idea and opened the firststore in Sweden in 1958. The idea was to promote cheap, mass-produced furniture and homeware that was easily accessible. The flat-pack furniture is easy to store andassemble, thus affecting the sale price and the design of the showroom. The IKEA store as we know it consistsof a showroom, marketplace andwarehouse. The idea of the layout isthat the customer walks a particularlong route so that they view all of the products and room sets forinspiration, and note down thereference of the furniture they wish to buy. There are, however, short cuts through the space. Then, thecustomer has to walk through themarketplace, where products can be picked up, into the warehouse,where they select their furniture before paying for their items. Thisspatial structure was new to retailingand promoted mass-consumerismand accessibility.

Premium home stores

In contrast to the domestic furnitureretailers on the high street, anotherbreed of furniture and homewaremanufacturers targets the high-endmarket. This market sees thecelebrated famous furniture andproduct designer at the forefrontof the retail experience, with iconicpieces being sold, much like pieces of art, in both the domestic andcommercial sectors.



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= DROOGNew York, USA

DESIGNER= STUDIO MAKKINK AND BEY

DATE= 2009

The design for this store breaks the norm of retail design. The briefwas to create an interior installationmade up of elements that can be purchased. Jurgen Bey’s ‘House of Blue’ takes this onestep further. Products aredisplayed as if in a gallery; parts of the interior are also for sale. They can be bought as seen or can be custom-made or fitted to the customer’s requirements.

ELEMENTS AND OBJECTS Objects can be used in the retail space to greateffect. These objects can be small or large, newor found and can add great character to a space.Designers are currently using such techniques tofurther establish a brand within a retail space.The use of objects in interior space is looked at ingreater detail in the AVA title, Basics InteriorArchitecture: Elements/Objects.





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The leisure and entertainment sector has grown significantly in the last ten years. Whether the activity is based around a destination or a product purchase, the chances are the interior space will encapsulatea brand. An outing to the cinema,museum or theatre will each give anopportunity to buy into the experiencethrough a shop, bar or café.

The leisure sector includes sport – as anactivity or apparel; technology – sound,audio and gaming; travel – modes oftransport and travel agency; and finance –the services of banks and building societies.Banks are now abandoning the high streetand going online.

= REEBOK FLASHSTORENew York, USA

DESIGNER= FORMAVISION

DATE= 2002

Recently, Reebok re-invented itself in a new consumer offer. The Reebok Flash Storeopened in New York for a limited period in theCV2 Contemporary ArtGallery, selling retro andlimited edition footwear.Formavision, whosetrademark is to use art as part of their interiorscheme, designed thespace.

\ Home \



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Sport

In recent years, the sports industry has taken on the idea of enforcing theirglobal brand identity through storeimage. Retail spaces within the sportssector are sparse in products and areexhibition-like in the way that theparticipator moves around the spaceand interacts with displays. The graphiclanguage is prominent throughout anda theme demonstrating youth andphysicality encapsulates the brandmessage.

Sports brand Nike has opened a seriesof Nike Towns around the world, eachTown taking its interior influence fromthe surrounding city. In 2002, Reebokalso opened its world headquarters inBoston, USA. The Reebok brand isencapsulated in its headquarters and isreinforced in every aspect of Reebokdesign – from the apparel to the shopfloor – on every high street.

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FORM AND FUNCTION Interior designers and architects differ widely intheir views of how far the function of a spaceshould affect its design. Form and function arediscussed in greater detail in the AVA title, BasicsInterior Architecture: Form + Structure.





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\ Home \ / Student case study /

= APPLE STORENew York, USA

DESIGNER= BOHLIN CYWINSKI JACKSON

DATE= 2006

The Apple Store, New York, occupies anunderground retail concourse with entry through a 10-metre-tall glass cube at street level. Housing a transparent glass elevator and staircase, thecube entices customers down into the retail spacebelow. By day it acts as a natural skylight; by nightit lights up as a sign. Carefully tailored steel, stoneand wood fixtures and fittings all combine to createthe perfect backdrop to Apple’s state-of-the-arttechnology and an iconic piece of architecture onthe New York street.





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Technology

The use of technology in the home andworkplace has seen a phenomenal increaseas advancements have taken place andproducts have become the must-havegadgets of the moment. Products such asmobile phones, games consoles, MP3Players and home computers have takenthe high street by storm, creating a newbreed of shops geared towards thetechnologically minded and youth market.Many of these brands are global and needan interior space and graphic language thatwill appeal on all levels.

Apple Mac computers have long been the favoured tool of choice for designprofessionals. In 1998, the iMac wasreleased and became the fastest-sellingdesktop computer in history. In 2001, theiPod was launched and became the leading MP3 player, setting a precedent for othermanufacturers. In the same year, Appleopened its first retail store in San Franciscoand Washington DC. The Apple Store nowexists globally and reinforces the Applebrand. The stores are revolutionary in thetechnology sector and focus on being user-friendly and an environment whereproducts can be tried and tested. Thestores have a children’s section, a ‘genius’bar, a theatre and a solutions centre as part of the store concept.

The mobile phone is also now a mainstreamessential product. Mobile phone stores arecommonplace on the high street and oftenoffer a personal service with consultationareas, exhibition-like displays and brandmessages. The need for the consumer tokeep up with technology means that mobilephones are regularly replaced, keeping themarket strong and competitive.

: JAMES GARDNER

The new plaza in front of the GeneralMotors building on Fifth Avenue at59th Street is a triumph of urbandesign... Suddenly, as if out ofnowhere, New York has a new publicspace that will prove to be a sourceof civic pride and aesthetic delight.





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= PORSCHE SHOWROOMLeusden, Netherlands

DESIGNER= QUA

DATE= 2004

The new scheme for the Porscheshowroom in Leusden was intended to reflect the passion and emotion of the brand. It needed to include a loungearea, bar, atelier, shop, reception, anddelivery area, whilst retaining themaximum number of cars inside theshowroom. The design shows the richracing history of Porsche, the luxury ofthe cars, their technical and engineeringqualities, and is inclusive of non-ownersenthusiastic about the Porsche brand.By using long, low shapes, a colourpalette of blacks, metals and whites, the design emphasises the curves of the cars and the material and technicalsophistication of the Porsche brand.





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Travel

The motor industry is undergoing majorchanges in the way it trades. The carshowroom and forecourt as we know it is said to be disappearing. Today, car manufacturers are jumping on thebranding bandwagon and are creatingretail experiences for the consumer.Flagship stores are emerging withexhibition spaces, cafés andrestaurants as part of the offer. Buying a car these days is about buying into a lifestyle, rather than buying acommodity that will get you from A to B.The future of car retailing is said to be in showcasing cars to specific marketaudiences rather than having physicalshowrooms. This idea leads to thepurchase being made online. The effectof this radical shift will see the carshowroom disappear from the highstreet. Car sales will become friendliertowards the public and less corporate in their selling techniques.

Other aspects of travel retail concernthe holiday market. Although travelagencies can still be seen on the highstreet, many holiday purchases aremade online. Customers are able tosearch numerous databases andcustom-make their own holidays for a fraction of the price on the high street.Leading dot com companies such as <www.lastminute.com> havetransformed this retail sector to thebenefit of the consumer.

Finance

The finance sector has seen two mainshifts on the high street. The first is the collaboration of high street bankswith other offers. In the UK, forexample, Santander and Costa Coffee now share retail space, offering thecustomer a lifestyle experience;secondly, the rise in Internet bankingand online purchases. This has directlyaffected the banking system, makingbanks more accessible to the publicand bringing about the closure of many high-street premises. Theremaining banks and building societieshave changed their appearance tobecome more appealing to the generalpublic and less formal and traditional in their presentation. They now relymore heavily on self-service.

: CHATEL, F. AND HUNT, R.

Car retailing of the future must be total retail therapy, otherwise ‘The Dream’ cannot be sustained ….And what about the existing carshowroom? Expect that to be as rare as a bank on the high street in Britain by 2004.



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Retail sectors Student case study

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PROJECT= MARKET PLACE

DESIGNER= JEKATERINA ZLOTNIKOVA

STEPHANIE HARRIS ANGELIKI IOANNOU

DATE= 2009

Students were asked to design amarketplace that would bring togetherthe different cultures and histories ofthe surrounding area while being used as a vehicle to explore the idea ofsustainable communities throughlocally sourced produce. In this way, the project looked at creating bridgesbetween user groups so that socialinteraction could take place, and atregenerating an existing building for its original use, whilst exploring thetransient nature of space.

Students made careful consideration of light and colour, using the market andits products as a point of inspiration.They also carefully considered their use of materials, using only those thatrelated to the context of the area andthose that were locally sourced.

They explored the different strands ofthe marketplace, through urbananalysis, geometric and structuralanalysis of the building, light analysisand ergonomics. Students also insertedpattern, threshold, people movementand people mapping as streams ofthinking. They discovered ways ofthinking about the transient nature ofhuman occupancy and the temporarynature of human existence and how thiscan inform the design process.

The research, analysis and conceptdevelopment formed the basis of thedesign project, with the user at the core of the design strategy.

\ Leisure and entertainment \




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= The market stall is the placewhere customer interactiontakes place. By JekaterinaZlotnikova.

= This plan demonstratescirculation focused on pace –there is a slow meandering pacearound the market stalls and aquick pace that takes visitorsdown the side of the building. By Stephanie Harris.

= The garden is in the centre of thebuilding and open to the elements. Itprovides the opportunity to growproduce to sell in the market. ByAngeliki Ioannou.

? Now imagine you have beenasked to design a flexible market space.

1 How are these spaces usedacross the world? Where is yourdesign located and how will thisaffect certain factors?

2 Are you trying to encourage ordiscourage certain behaviours?How will you do this?

3 Do you think this space willappeal to particular groups ofpeople? How will you try to makethe space more accessible andappealing to other groups?

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Branding and Identity Retail sites

The choice of space available to a retailer is vast in terms of location and type. Since the1980s retail boom, developers have sought totake advantage of industrial wasteland and have regenerated disused spaces for retailpurposes either away from the city centre or as a connection to an already establishedshopping area; or as a regeneration programmeto bring character and life back into a barrenurban setting. A retailer has an impact on thesurrounding environment through their choice of site, and has a responsibility to adhere tolocal planning restraints, to consider the effecton local trade, and to evaluate noise, traffic and congestion issues that may arise from their positioning.

THIS CHAPTER broadly examines the variety ofsites available to retailers, from high street to shopping centre, and discusses a range of one-off scenarios. Each site maintains adifferent design approach that is influenced by both the context and the nature of the site.

\ Retail sectors \ / The retail environment /





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Retail sites Department stores

= HARVEY NICHOLS STOREIstanbul, Turkey

DESIGNER= FOUR IV

DATE= 2006

This three-floor, 86,000-square-foot store, complete with food market and a 100-cover restaurant, showcases the very best in Western contemporaryretailing, complemented by rich swatchesof local material and the traditional skills of Turkish craftsmen. The design details are an exercise in exuberance. The fasciaentrance is in polished black stone andgold embossing, the ground floor isvirtually crystalline, and the lingerie areafeatures a central chandelier of glasspolished butterflies and high-pile carpet.Gilt, a 100-cover restaurant, sits atop theHarvey Nichols store. Serving internationalfood in an environment featuring finetraditional handiwork, the restaurant itselfis set to become a destination in its ownright for Istanbul.

The popularity of shopping as a leisure activity took off in thenineteenth century with the rise of a British phenomenon: thedepartment store. For the firsttime, huge arrays of products were available under one roof.

Before the department store, shopswere highly specialised and expensive,with a low turnover and high overheadsfor non-food purchases. Draperyretailers began to see that the rationaleof indoor food markets could work for the textile industry, in supplyingproducts to a mass market. The layoutwas forever changing and growing asnew lines were added, making thestores into the rambling spaces we stillexperience today. Later, buildings werepurpose built and designed in a rangeof impressive architectural styles.

Today, the concept of the departmentstore is still successful. It houseslifestyle merchandise from fashion and accessories, to haberdashery,home and cookware, to speciality food.The interior of the department store is controlled by an in-house team ofdesigners whose job it is to dresswindow displays, design the layout ofthe store and its concessions,implement signage and other graphics,and maintain a cohesive schemethroughout the store.

/ High street /




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Retail sites Department stores

= SELFRIDGES STOREBirmingham, UK


DATE= 2003

Selfridges in Birmingham isfamously known for its organicexterior, influenced by a dressdesigned by Paco Rabanne. Theinterior is centred on a roof-litatrium space with escalatorssnaking up through the building.This department store is a goodexample of a contemporarybuilding for retail.

Entrance, circulation and interior layout

The department store is firstexperienced from the pavement. The impressive facades dominate the high street with their grand exteriors and full-height glazing.Window displays are evocative andregularly updated, showing this season’s latest fashion and must-have items.

The department store often has several entrances, making it more easily accessible. The journey into thedepartment store, in most cases,begins with a central entrance foyer and atrium with stairs or elevators rising to each floor. The atrium is oftenimpressive and spacious and acts as a meeting place or a starting point tothe navigation around the store. Thetraditional staircases were curved andornate, taking their influence fromParisian stores. Today, escalators areoften seen in their place, with lifts alsoaccessing each floor. Walkways arewide and clearly signposted. Each floorhas strategically placed payment areasand fitting rooms, which work aroundconcessions. The shopping experienceis concluded with space to eat, meetand refresh.

New contemporary department storebuildings are still based on traditionallayouts, focusing on the centralcirculation space and relying on theconcession scheme. The buildings are still monumental landmarks andplaces for social interaction.

/ High street /





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Concessions

The selling space in a department storeis split into concessions. This basicallymeans that each space is let out to a different retailer. This creates theopportunity for fashion labels to sellalongside each other in oneestablishment, making the departmentstore a one-stop place to shop. Theretailer’s design team implementsconcessions and the space is designedin line with the retailer’s brand and otherstores so that an identity is clear andconstant.

Each concession requires its own cash counter, display elements such asgondolas, tables and wall fixtures, andmust consider the adjoining junction toneighbouring retailers and walkways.Graphics and signage are an importantcomponent to setting each concessionapart, and advertising the strength ofthe brand; these also aid customernavigation. Retailers are often groupedtogether depending on product typeand relationship to each other; thereforethe reputation of the brand or brandsmay attract the desired client base tothe department store.

= CONCESSION PLAN

The space demonstrated in this visual islimited and used as effectively as possible,displaying a lot of merchandising in thegiven area.






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Retail sites High street

\ Department stores \ / Shopping centres /

: RASSHIED DIN

The approach was simple, the productwas inexpensive and obtainable, andthe formula was widely reproduced.The result was outlets that wereinstantly recognisable and far moreaccessible to most people thanexclusive department stores.

The high street is the busiestcentral area for commerce in any town or city. These streets are connected by alleyways,arcades and department storesand are often defined by theirarchitectural style.

Depending on the era in which a town or city was initially planned andconstructed, the high street can takedifferent forms. Older cities may havegrandeur and a mixture of architecturalstyles, and buildings might be listed,carrying many restraints on structuralchanges. Older cities tend to be moremeandering, having evolved over time.Newer cities and towns are much morestructured in their urban plan, with theretail areas clearly defined and cateredfor in adequate buildings that do notcarry many constraints. High-streetretailers tend to fall loosely into one ofthese categories: boutiques or localtraders, department stores or chainstores. The boutiques and local traders, in most cases, take the smaller retail units and can be found in the connecting alleys or arcades. The department store is housed in thelargest buildings, and the chain storestake up everything in between.





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The design of chain stores is in line with current design trends and takesinspiration from premium fashionstores, as discussed in Chapter 2. It does, however, tend to use a lessexpensive palette of materials andfinishes. The interior schemes tend to last around six years before beingcompletely replaced, but are oftenupdated through the use of colour and graphics in between. Chain storestend to work on three different costlevels in terms of the interior fit-out:high-spend, medium-spend and low-spend, depending on where thestore is being implemented. Retaildesigners consider these three optionswhen putting together a package of drawings for the interior space, andoffer alternative arrangements andspecifications to suit all three budgets.In all cases, there would be a selectionof fixtures and finishes that wouldremain for all schemes, which are oftenmain features such as the cashdesk/servery area, for instance.

Chain stores

In the Western world, high streets as we know them today are often criticisedfor having the same characteristics from location to location. Many believethis is because chain stores are rapidlywiping out the existence of independentretailers. The retail landscape is oftenrepeated from city to city, engulfing theunique cultural and social qualities ofeach place.

The chain store was formulated as analternative retail type to the departmentstore and offered mass-producedgoods at low prices, thus appealing tothe working classes. Woolworths wasone of the first recorded chain storeswith its first store opening in New Yorkin 1879. After 120 years of trading,Woolworths finally closed its doors in2009, unable to compete with onlineretailing. Due to globalisation and theease of importing/exporting andefficient travel, chain stores today are implemented worldwide.





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Roll-outA term used to describe the reproduction of an interior scheme into a number of different sites. Although the scheme may need to alter to reflect the nature of the site, the principles behind the design idea remain the same.





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= HMVConcept store


DATE= 2009

This chain store for HMV looks toimplement its ‘Next Generation Store’concept into a number of differentsites from high street, to shoppingcentre, to concourse. The conceptrepresents HMV’s blueprint for thefuture of its retail offer, where thephysical comes together with digitalto create a compelling experience. At the front of the store is a one-stopshop, which houses the latestreleases, charts promotional itemsand continuing the more accessibletheme, there is a social ‘hub’ withIMacs for customers to browse theinternet.




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= GALLERIA VITTORIO EMANUELE IIMilan, Italy

DESIGNER= GIUSEPPE MENGONI

DATE= COMPLETED IN 1877

This arcade is one of the finestexamples of a public, coveredpromenade. The building wasconstructed between the cathedraland the Scala in the shape of across, in the centre of Milan. Thephotograph shows the attention to detail and the consistency in the designed frontages throughout,as well as the atrium sheddingnatural light into the space.

: J.F. GIEST

If the nearby cathedral representsthe body of Christ, then the arcaderepresents a kind of pantheon ofbourgeois society… it is filled withthe noise that incessantly flowsthrough it.

Arcades

The arcade as a public place forshopping, socialising, entertainmentand political engagement, first emergedin Paris following the French Revolution,it was called the Palais Royal. Anarcade can generally be defined as apassageway between shopping streetsthat is covered, usually by a glass andsteel roof. The arcade comes in manydifferent layouts and contains rows ofshops on either side with storage spaceabove. The idea of the arcade can betraced back to the passageways of the Eastern bazaars and traditionallyprovides space to smaller retailers anddesigner/makers. The architecturalstyle of the arcade is incredibly ornate,with many fine examples still existingthroughout the Western world. One of the most prominent features of thearcade is the glass atrium, which bringsin natural light and connects the interiorwith the exterior. Each shop facade has the same architectural detail andretailers must keep to the design style interms of graphics and signage.






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Retail sites Shopping centres

\ High street \ / Out-of-town shopping /

In Britain, many shopping centres arebuilt in the centre of the city and are the pinnacle of the shopping area, with the high street leading from them. The architecture of the early shoppingcentres was often made up of concretestructures that were oppressive andunfriendly, and many have now beenreplaced by airy glass and steelstructures with impressive atriums andnatural light flooding through to the interior. The design and build of ashopping centre is a good example ofhow architects, landscape designersand interior designers work together.The architect is responsible for thebuilding scheme and working out the general circulation and division of space; the landscape designerspecialises in planting in the malls and outdoor spaces, whilst the interiordesigner, often specialising in retaildesign, brings the building to life withtheatre, lighting, finishes, seating andgraphics. The role of the interiordesigner also extends to the fit-out of the retail units.

Shopping centres or malls werepioneered in America during the 1950s. The malls were built on the outskirts of the cities and had plenty of parking spaceand service areas for suitableaccess. The shopping centre has been criticised over the yearsfor turning cities into ‘ghosttowns’; this is certainly evident in America.



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RHYTHM The structural system of a building can help create an orderor rhythm. A procession of repeated elements can help to setup this rhythm or an unusual object might be used to contrastwith it. Rhythm is discussed in greater detail in the AVA title,Basics Interior Architecture: Form + Structure.

The shopping centre generallycomprises a number of different-sizedshop units with ‘anchor’ stores at eitherend. The ‘anchor’ stores are typicallywell-known department stores that takeup a large area of the shopping centreand act as a magnet to draw customersthrough the mall. Sometimes the anchor is a cinema or bowling alley. This alladds to the experience of a day out. A main food court is often a centralfeature with a good selection of tradersand plenty of seating. Toilets, bankingfacilities and cafés appear at regularintervals. Shopping centres areaccessible for families and sometimeshave crèche facilities, as well as babychanging in the toilets and high chairs in the food halls and cafés.

Circulation and layout

The experience of shopping in a mallbegins in the car park, which is veryaccessible and sometimes in thebasement of the building or to the rear.Upon entering the building, signage and graphics play a major role in aidingnavigation. Maps and hanging bannersare clearly visible and define the brandof the centre. Some malls areconfigured in straight rows and othersare more meandering or have a circularnavigation. Many are set out over a few floors with escalators and liftsconnecting the spaces. The walkwaysare very wide and have planting andseating to break up the space. Theshopfronts face on to the walkways and sometimes pop out to make themmore visible.




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Retail sites Shopping centres

= ZLOTE TARASYWarsaw, Poland

DESIGNER= THE JERDE

PARTNERSHIP INC.

DATE= 2007

Shopping centres can bring newlife to urban areas. Zlote Tarasy, a multi-level, mixed-use projectlocated in central Warsaw, servesas a connection to the city, andcreates a model for further urbanredevelopment in the area. Thedesign takes its inspiration fromWarsaw’s historic urban parks,with an undulating glass roof,organised terraces and generousopen spaces.

\ High street \ / Out-of-town shopping /




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Retail units

Retail units in a shopping centre arefairly straightforward to fit out withouthaving to adjust the architecturalelements of the space. Unless thecentre is new, an old scheme may haveto be ripped out first, but this is usuallynon-structural. They are purpose builtand always provide a rear door fordeliveries and services, adequate spacefor storage adjacent to the deliverydoor, a discreetly positioned soil ventpipe connection for staff facilities,accessible electric hook-up and aposition on the roof of the building or outside wall for air conditioning. Thedesign of the unit has to be approved by the shopping centre managementteam and must adhere to the designguidelines of the centre, as well as usualbuilding regulations. The shopfrontdesign is the most contentious part of the design package, as it must workalongside the other traders withoutobscuring the view of its neighbours,and must sometimes include genericarchitectural details that are apparentthroughout the malls. There is often verylittle natural light into the retail units, the only source being from the coveredmall. Therefore, artificial lighting playsan important role in the whole retailscheme.






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Retail sites Out-of-town shopping

= A TYPICAL RETAIL OUTLET

A typical retail outlet, partiallycovered and with shopfronts andsignage protruding out on to the walkway.

\ Shopping centres \ / The concourse /

Out-of-town shopping extends far beyond the realms of theshopping centre. The landscape ofmany countries is scattered withlarge warehouse-type buildingsthat contain endless amounts ofmerchandise. The advantage ofout-of-town shopping is in enablingaccessibility. Towns and cities areoften limited in parking space andhave heavy traffic congestion.

The out-of-town experience has anabundance of parking and is oftensituated near major roads. Thedownside, however, is the effect thesebuildings have on the countryside andthe ever-decreasing areas of naturalbeauty. There are traders that naturally fit into out-of-town retail spaces, whichcan be broken down into the categoriesof retail outlet or villages, retail parks,megacentres and hypermarkets.

: N.K. SCOT T

The phenomenon of the out-of-townshopping centre, the out-of-townbusiness park, leisure centre,university or any other humanactivity is singular to our age. Thereason is simple and a consequenceof the invention of the internalcombustion engine.





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Retail outlets

The retail outlet or village is designedaround the idea of a shopping mall, and can be open to the elements orunder a covered mall. The village willinclude a food court and the usualpublic conveniences alongside largeretail units. The units are warehouse-likeand often constructed from brick andsteel with full-height glazed shopfronts.Retailers use these spaces for selling off excess stock at discounted prices.The interior fit-out of such units is oftendone on a low budget with little attemptto hide the industrial nature of thespace. Elements of the retailer’sbranded interior will appear in terms of graphics, fixtures and finishes.

Retail parks and showrooms

For some retailers, the out-of-townlocation is the ideal solution for theirproduct type. Large items such asfurniture and DIY paraphernalia, cars,white goods, outdoor and gardeningequipment all benefit from having easyaccess in terms of deliveries andstorage. The warehouse-like spaceswork well for displaying large items andcreating lifestyle spaces such as roomsets, that help the customer buy intothe product. The units also work well as showrooms for cars due to the openplan nature of the space and largefrontages for manoeuvring stock.

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Retail sites Out-of-town shopping

= PON CATERPILLAR SHOWROOMLeude, Netherlands

DESIGNER= QUA

DATE= 2003

This project saw the rebranding of CAT,establishing the values, and applying them to the architecture and interior of a complete new building. The buildingincludes a CAT shop as well as the onlyshowroom for Caterpillar bulldozers in the world.

\ Shopping centres \ / The concourse /



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SUSTAINABILITY In the fast-paced world of retail, designersmust pay particular attention to their use of materials and resources. Reusing andrecycling as well as alternative methods ofheating and cooling spaces are just some of the ways in which interior designers canhelp to reduce the damage they are doing to the environment. Sustainability andenvironmental issues are discussed in greaterdetail in the AVA title, Basics InteriorArchitecture: Context + Environment.

Megacentres

‘Megacentre’ is the term used todescribe an out-of-town retail shopping centre of huge proportions.The megacentre offers thousands ofparking spaces, several anchor storesand leisure facilities such as sportscomplexes, multi-cinemas and in some countries, water parks. Thecentres are open throughout the dayand into the night, seven days a week. The megacentre is a derivative of theshopping centre and all the same rules about its design and circulationpatterns apply.

Hypermarkets

The hypermarket is a concept createdby the major supermarket chains.Supermarkets are often positioned on the edge of a town or city withsmaller ‘express’ versions in the citycentre or at other points of high footfall.The hypermarket is a much largerversion of the supermarket and carriesa generous variety of products under one roof. The buildings are industrial-looking warehouses and containeverything from groceries to clothing, to white goods, homeware andgardening. The supermarket chains buy stock in bulk, which makes itcheaper, and they then pass some ofthis discount on to the customers.These spaces tend to be rambling and organised in the same way as thesupermarket, with aisles of productsstacked high and divided intocategories depending on the product.Some hypermarkets are spread over two or more floors. Wide, long,angled travelators are used to take the customer between floors withshopping trolleys.






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Retail sites The concourse

\ Out-of-town shopping \ / Alternative venues /

Retail exists wherever there areconsumers with time on theirhands and money to buy. As thetravel industry has developed, so has the opportunity to sell.

The concourse provides the retailer with an opportunity to supply aconcessionary sample of stock to the masses that are simply passingthrough, en route to somewhere else,sometimes 24 hours a day. Trainstations and airports particularly have volumes of space betweenplatforms and gates that are ideal forthe positioning of retail units. Theconcourse also aids the global success of a brand as retailers gain access toconsumers from all over the world.

Retail units within a concourse are simple structures. Some arefreestanding in the middle of theconcourse, with glass around all sidesacting as the shop window, whilstothers are divided along lengths of walls by stud partitions. Units areusually roller shuttered for securitywhen closed. The stock for each unit is often locked away elsewhere in aseparate storeroom for maximumsecurity, with some retailers removingtheir merchandise at night.





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Train stations

Train station retailing suits particularproduct types relating to travel or gifts.In smaller cities, local trade can do well as the train station is often thebeginning of a relationship between the consumer and the local area; thebeginning or end of a journey. It wouldbe familiar to see a leading chemist, aleading stationer, a leading fast-foodbrand and coffee shop available at most stations, however small, thereforeproviding essentials to the commuter or holiday-maker. In larger, moremodern stations the concourse hasbeen transformed into a full shoppingexperience. Sometimes, the stationmay lead into a shopping centre as part of the exit from the station.

Petrol and service stations

Service stations were introduced alongmajor motorways to provide a break for the fatigued driver. They have acaptive market and often raise theirprices, as they do not have any directcompetition. The choice and quality ofproducts and services available in theservice station is varied. Most servicestations provide a shop for snacks andessentials, but the main income is from the sale of food and beverages.Like the train station and airport, fast-food brands are readily availablealongside canteen-style dining.

Petrol stations have in more recentyears developed partnerships withother retailers such as fast-food orcoffee chains, combining the sale ofpetrol with forecourt retail potential.This was started as a reaction to largesupermarket chains selling cheaperpetrol and was a bid to win customersback to the forecourt.

Airports

Airports today have retail areas thatcould be described as shopping malls.Rows of units fill large areas of spacewith many leading brands available. The added bonus of airport shoppingused to be that goods were duty free,but since this was abolished, airportshave had to change their strategy ingiving the traveller a shoppingexperience that is both satisfying andmemorable. Airports were traditionallyplaces for buying perfume, cigarettesand alcohol at discount prices. Today,airports are the ultimate example ofdestination shopping. Whole terminalsare branded as a lifestyle shoppingexperience. To define the consumermarket within an airport, you need tounderstand the type of traveller passingthrough.

A terminal that deals with long-haulflights for instance will have to appeal to the culture and social aspirations ofdifferent user groups and can cleverlyadjust the products and pitch to suit.




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Retail sites The concourse

\ Out-of-town shopping \ / Alternative venues /

: R. DIN

Airports have… the advantage ofknowing who its customers are andwhen they will be passing throughits doors; it is also in the almostunique position of knowing itscustomers’ sex, age and nationalityfrom air-ticket sales, passportinformation and flight destinations.

= BIZA FLAGSHIP DUTY FREE STOREManchester airport, UK

DESIGNER= HMKM

DATE= 2008

HMKM were tasked with designing a customer-focused identity andenvironment for Biza, a retail offeringthat would ‘radically re-define the UK airport shopping experience’. Initially launched at Manchester airport,the scheme is to be rolled out acrossNewcastle and East Midlands airportstoo. With a clear awareness of customerneeds and airport environments, HMKM successfully created a uniqueand exciting new experience. Theirholistic approach included attention tocustomer flow, use of materials andcolour palette and a complementarystaff dress code. This was an importanttotal rebranding of the previous 'AlphaAirport Shopping' and transformed theway people shop within the duty-freeenvironment, creating a departmentstore feel.





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Retail sites Alternative venues

The retail venue, rather thanstanding alone, can be intertwinedwith an event or exhibition and is often a destination point tosignify the end of a journey around a gallery.

As well as the physical sites discussedin this chapter, retailing also happensfrom home. The home catalogue hasbeen around for many years, but withthe growth in Internet usage over the last decade, the majority of majorretailers also have an online offer.Alternative venues outline these retailventures and the gap they fill in the retail market.

\ The concourse \ / Student case study /



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Galleries and exhibitions

On any day out to a theme or leisurepark, to see an exhibition or visit an artgallery, there will inevitably be a shop at the end of the journey that will allow you to buy into the experience or takehome a souvenir. These shops arededicated to selling very specificproducts and enhance the brand of theevent. They are individually designed to suit the product type and marketaudience; in the case of exhibitions the shop content may be temporary and frequently changed to match theexhibition, needing flexibility in itsfixtures and display.

Large, well-known museums and artgalleries are beginning to take their brand out of the building and on to thehigh street, selling their merchandise to a wider audience as a concession incentralised department stores in majorcities. Art galleries are competing withmajor bookshops to be the bestdestination shop for art books. Thistrend sees the leisure and enter tainmentindustry take a leap towards retailing that has never been seen before.

Virtual shopping

The Internet has been the catalyst for the phenomenon that is virtual shopping.Consumers have access to virtual shops 24 hours a day and can buy almost anythingglobally, from the safety and comfort of theirhome. Not only is shopping available from a computer, but also from a television ormobile phone. No physical space is required,goods can be stored off site or can be madeto order.

All major retailers have online shopping sites that allow the consumer to place ordersand expect deliveries within days. Cheapoverheads also mean a mass of independentretailers trade online. The website design is crucial to virtual shopping. It should beuser friendly and must illuminate the brandclearly. Search engines play an important role in how many ‘hits’ the website has andall major retailers want their site to be at the top of the search list. The delivery servicealso plays a big role in the success ofbringing customers back, as convenience is the key to Internet shopping.

The emergence of virtual shopping raises the question as to whether retailers needphysical shops at all. The answer lies in understanding the human psyche and the difference between shopping fornecessity and shopping for fun. Convenience shopping is a chore; funshopping engages in social interaction and the event of a day out. Also, physicalshopping engages our senses in a way that virtual shopping cannot, through tryingon clothes, feeling the quality of fabric, or smelling the printed pages of a book.

SITE The site on which a retail space is situatedcan have an important effect on the spaceitself and the way in which the space is used.These effects are discussed in more detail inthe AVA title, Basics Interior Architecture:Context + Environment.



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Retail sites Student case study

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PROJECT= FENDER CHAIN STORE

CONCEPT

DESIGNER= FAHIROOL

ADZHAR MUHAMAD

DATE= 2009

This project takes on the regenerationof an existing Regency-style building and converts it into a concept store forinstrument manufacturer Fender. In orderto understand an existing building and toread its interior structure, research into the building’s style and histories must takeplace. Secondly, the geometries andstructure of the building and the ways inwhich the building is affected by itscontext must be analysed. Once thisinformation is collected and condensed,the interior can be designed effectively.

The resulting interior focuses on materialqualities to enhance the acoustics of thespace, and the vertical circulation focuseson a central stair that weaves organicallythrough the building.

\ Alternative venues \

= The vertical circulation focuseson the central staircase.

? Imagine that you have been given an existing building inwhich to implement a retailinterior.

1 What do you need to understandabout the building in order todesign a successful intervention?

2 What types of analysis would you need to undertake at thebeginning of the design process?

3 How could you enhance anexisting building through theinterior scheme?

4 What specialists would you work with to collect the building’s data?

5 What areas of the building might be affected by planningand building regulations?




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= Guitars and other instruments aredisplayed to their best effect on theground floor so that customers cancome straight into the retail spacefrom the street.

= Material qualities enhance theacoustics of the space. Seatingtakes its concept from the formof sound waves.

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The retail environment consists of the factorsthat play on the customer’s senses in terms ofsight, sound, smell and touch. This transpiresthrough materials and their textures, the use of artificial lighting, the interior climate and theacoustic qualities of the space. The designerhas a responsibility to be sensitive to the effects that design and building have on theenvironment and to minimise, where possible,waste and energy use. This, however, is notalways under the designer’s control, butconsidering these issues at the forefront of the design process can minimise risk to theenvironment further down the line.

THIS CHAPTER raises questions surrounding theecological effects that retail and constructionhave on the environment and the ways in whichthey might be addressed.

The retail environment

\ Retail sites \ / Methods of organising space /





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The retail environment Retail and sustainability

/ Materials /

The world of retail and itsconnection with consumption is often a controversial subject. Retail is about selling in largequantities, and in order to do this, manufacturing and mass-production is at the heart of the business. This uses vast amounts of materialsand the Earth’s resources in terms of energy, and createscarbon emissions that are harmful to the environment. Many manufacturers are beginning to address these issues, using materials that are organically grown andprocesses that are less harmful,but there is still a long way to gobefore these issues are resolved.

The built environment as a whole isassociated with waste. Retail interiorsare ripped out and replaced with everynew tenant, or changed every five toseven years for a new concept. Also,during the building process, materialsare wasted if not used and often end upin landfill rather than being recycled. Asdesigners, part of our role is to considerthe materials that are specified in termsof their ability to be reused or to last, orif recycled materials can be usedinstead. The designer and team ofcontractors can work together toeliminate waste and consider analternative use for materials that are left over or changed.

In terms of energy consumption,electrical and mechanical engineerslook carefully at the efficiency of their installations as part of the designprocess and produce documents that outline to the client the correct way to use the equipment. It is often the misuse of buildings and suchequipment that can lead to energywaste.

BREEAM (Building ResearchEstablishment EnvironmentalAssessment Method) is a voluntarymeasurement rating for green buildings. Now widespread acrossEurope and the rest of the world, it was initially established in the UK. Its equivalents in other regions includeLEED in the USA and Green Star inAustralia. In terms of retail, their remit is to carry out assessments on newbuildings; major refurbishments, tenant fit-outs; and management andoperations assessment on existingbuildings. They can look at the generaldisplay and sale of goods, food retailand customer service retail. Theassessment aims to identify a score that measures the building or fit-outagainst a set of criteria that will identifyany major concerns. Designers nowwork within the BREEAM guidelines,which in turn help them considerenvironmental issues.

An analysis of retail and itsresponsibility to the environment can be broken down into three areas of consideration: the building shell, the interior components and thebuilding’s energy consumption.



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Interior shell

When considering the interior shell of a building, the key to beingsustainable is to think through theinterior structure and the choice ofmaterials used. The first considerationshould be whether the structure needsto be altered at all; is it useable in itscurrent state? If not, care should betaken so that only minor alterationsneed to be made. Any structural work,building of walls (including those that are not supporting), the floor finish and ceiling finish is considered part of the interior architecture. Olderproperties in particular may have seenmany structural adjustments in theirlifetime so it is important to get theinterior shell right structurally so that it should not have to be changed for a very long time. The key to this is tomake the interior structure simple sothat fixtures and fittings can be adaptedaround it. By considering the lifespan of the interior shell, the implementeddesign can have longevity, reducing the amount of building work over time,hence protecting the environment.

The materials used on the floor can also be adopted in this way. A terrazzofloor, for instance, could last 20 years if laid properly, as it is both neutral inappearance and durable. Using timberfor the flooring also means thatreclaimed materials can be reused. This may mean a marked or dentedfloor but it will again be durable andneutral.

The ceiling plane is an importantelement of the interior scheme as it houses many of the necessaryelectrical and mechanical componentsthat make the space function (such as lighting and air conditioning). Thearchitecture of the ceiling plane againcan be considered as a fixed elementthat must be flexible enough in itsdesign to meet the changing interiorconcept. The trickiest part will be thepositioning of light fittings, as they may have to be moved to suit a new scheme.

In terms of sustainability, the more the existing interior can be kept intactthe better. Minimising building work is essential.

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: JUHANI PALLASMAA

We behold, touch, listen andmeasure the world with our entirebodily existence…. We are inconstant dialogue and interactionwith the environment, to the degreethat it is impossible to detach theimage of the Self from its spatial and situational existence.

REUSE In terms of sustainability, the reuse of oldbuildings is preferable to the creation of newones. But it can also serve as a useful link to our cultural heritage and collective memory.Building reuse and its effect on the environment isdiscussed in greater detail in the AVA title, BasicsInterior Architecture: Context + Environment.





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The retail environment Retail and sustainability

/ Materials /




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Interior components

The components that furnish theinterior – the fixtures and fittings thatwill drive the interior concept andlayout – are often replaced on a five- to seven-year basis. This is becausethey simply wear out and may notmeet the concept guidelines for a new interior scheme. Some can berefurbished and reused or adapted to suit a new scheme; others arethrown away and replaced. The key toreducing their environmental impact isthrough the materials. They could beconstructed from recycled material or objects, for instance, or reclad tosuit a new design scheme.

Energy consumption

The amount of energy it takes to run a retail unit or building is vast. Thebuilding is often climate controlled. The lighting consists of sometimeshundreds of fittings that are on for up to 12 hours a day, some 24 hours a day. Tills, music systems andcooking facilities all use largequantities of electricity and, in foodretail, gas supply.

: 6A ARCHITECTS

Perforated polished stainless steelcladding elicits an ambiguous quality at the meeting point of reflection,transparency and opacity. The objectreveals its contents through theperforations and mirrors thesurroundings in its surface, creating a constantly changing installation.

Cradle-to-cradleThis is a term used to describe the constant cyclical use of materials; the material is ‘born’,used, ripped out and reused.

= K-SPACE CONCEPT STORELondon, UK

DESIGNER= 6A ARCHITECTS

DATE= 2008

K-Swiss is a global sportswear brandrenowned for its footwear; it alsoactively supports and promotes culturalevents, especially live music andexhibitions. The brief was to produce K-Space – a retail space that locatednew and classic K-Swiss productsalongside other culturally related objects(such as CDs and books) representingsimilar brand values. The key function ofthe space was its ability to transform ata moment’s notice from a working retailspace into an open, unbranded spacefor music or art events. The installationfor both permanent and temporaryspaces adapts a library archive storagesystem. Five of these units arespecifically designed to combine display and storage and use slide-ontracks to reveal or conceal products.

Photographer: David Grandorge






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The retail environment Materials

\ Retail and sustainability \ / Lighting /

Hundreds of materials are availablefor use in the retail environment.Some are innovative whilst othersare commonly found in everyspace. In terms of sustainability,certain materials can be used tolower the build’s carbon footprint,although it is important to point out that this is still very much agrey area.

Interior designers work predominantlywith materials, guaging how they look, feel and enhance the interiorenvironment. The materials or sampleboard is first produced as part of theconcept design and is discussed with the client. For every design project the material specification isformulated as part of the designscheme. The specification provides adetailed document of every material,the supplier and cost, as well as itsecological status.

Some materials have structural qualitiesthat are used in the construction stageof the interior. Some materials lendthemselves to creating the interior look through the fixtures and finishes. A diverse range of flooring solutions is available. They need to be durable as the amount of traffic moving throughthe interior space is high. It is alsoadvantageous to think about thecleaning process and how materials will stand up to polishing machines and suchlike over time. In this chapter,the most common materials found in a retail environment are explored.





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Timber

Timber is a versatile material thatcomes in a range of shades dependingon the timber selected. It can be usedas an interior wall cladding, for fixtureand furniture construction or as a floorfinish. It has warmth and is full ofimperfections, which can add characterto a space. Softwoods, mainly pine, are most commonly used for timber-framed fixture carcasses, with an outerskin applied for finishing. Hard woodssuch as oak, ash, beech, walnut, cherry and maple are more commonlyused for flooring. The use of MDF and chipboard is mainstream in manyretail environments.

Steel

Stainless steel, aluminium andpowder-coated mild steel arecommonly used in the retailenvironment. Steel can be usedstructurally, in a shopfront as aglazing frame, as part of the fixtureand furniture design, as systemupright posts between wall bays, as a decorative cladding to walls oras part of the signage construction.





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Laminate

Laminates are constructed by layeringand fusing kraft or printed papers and resins, with a decorative layer on top, coated in melamine. They are hardwearing and often used as surfaces for counters, wall and doorfinishes as well as floor finishesmimicking timber. Laminates can be decorative and can be used ininnovative ways to create feature wallsand displays. They are easy to cleanand are durable.

Glass

Glass is incredibly diverse andstructurally strong. The retail customer’s first experience of theinterior and product is through theglazed shopfront window. This glass is laminated (layered bonded glass) for strength and safety. Glass is used for shelving, cabinet displays andsometimes screens. Glass can becoloured using a gel, textured orfrosted. Glass can be recycled.





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Vinyl and rubber

Vinyl flooring comes in sheet form ortiles in a variety of colours and finishes.It is used in sheet form mainly in theback of house area of the store andancillary areas, as it is relatively cheapand hardwearing. Vinyl tiles areavailable in a range of finishes and can imitate timber or stone.

Rubber, like vinyl, comes in sheet and tile formats but can be expensive. It comes in a range of exciting coloursand, when sealed, can be waterresistant.

Textiles

Different types of textiles are usedwidely in retail design, from upholsteryand fitting room curtains to carpets.Sometimes, the retail designer will work with an upholsterer to custom-clad pieces of furniture. Leather and specialist upholstery fabric aremost commonly used. Carpets are sometimes specified for retailenvironments and can be produced to a specific design or pattern. Theycome in a variety of finishes, either in man-made or natural fibres. Carpets tend to wear out quickly with heavy traffic and need replacing on a regular basis.





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Stone, slate and marble

These are traditional, natural materialsthat can be mixed with concrete to createa conglomerate, or used on their own for flooring, cladding or surface finish.They are hard wearing and havelongevity. Each piece will have its ownnatural flaws. It is important to mentionthat some stones such as limestone andsandstone can be very porous and staineasily. Vast amounts of water can beused when quarrying, cutting andpolishing the stone, which wastesvaluable resources.

Concrete, terrazzo, quartz

These hard-wearing materials are used predominantly for floor finishes,but sometimes as a wall cladding.Concrete can be polished to give itsheen, coloured with a pigment ormoulded to a form of texture, making it very versatile. Concrete, once refinedinto terrazzo, can be mixed withaggregates such as marble or granite to create a conglomerate, which meansthat different stones are mixed together.Some conglomerates have quartzadded for sparkle. Concrete can beground down and recycled but thisprocess creates harmful emissions.






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Ceramic

Ceramic tiles are hardwearing and a cost-effective choice. They comein a variety of finishes and oftenmimic the look of real stone. They can be used on the floor,walls or as a mosaic pattern, and are waterproof. The finish can bematt or gloss.

Paints and wallpapers

Walls and ceilings are clad in a specificmaterial, painted or wallpapered. A cladding can easily be from areclaimed material. Some paints arekinder to the environment in terms oftheir production and emissions andwallpapers can be made from recycledpaper and patterned or textured in arange of ways. Wallpaper is once againfashionable and is now widely used both commercially and residentially.





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= THE TIMBERLAND BOOTCOMPANY, TRADING SPACELondon, UK


DATE= 2005

Timberland seeks to engage in a positiveand sustainable way with the communitiesand places located near to the store. As such, the ‘spirit’ of the store evolves from its context and expresses thecompany’s desire to belong to its locality.For this first site, the design evolved frominventiveness, physically building as little as possible, developing inexpensive andeffective solutions through recycling. The building at 1 Fournier Street, London,was previously a banana warehouse and this provided one of the key displayconcepts for the space. Boots aredisplayed in clusters hung from theceilings, resembling bunches of bananas.Box rolling racks unearthed from thebasement have been given a new purposeas display tables and cardboard boxesstacked on specially designed rackinghave created a stockholding wall at therear of the store.

/ Lighting /





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: NAOMI KLEIN

Brands are the main source of identity.The brand fills a vacuum and forms akind of armour, taking over the partonce played by political, philosophicalor religious ideas.






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The retail environment Lighting

= SONY ERICSSONFLAGSHIP STORE


DATE= 2006

In their concept for the first SonyEricsson store, ChecklandKindleysides created a design schemeusing simple architectural lines,curvaceous, organic forms to enablethe products to be displayed withclarity and elegance. Contrasting withthis, they also created a colour-changing fascia that echoed the brandpalette and changed in sequence withthe lighting in store.

\ Materials \ / Climate and sound /





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The retail environment is litpredominantly artificially. Naturaldaylight is evident through thefacade but does not always reachinto the depth of the store. Also, natural daylight changesthroughout the day in terms of its direction and intensity and isaffected by the seasons. Artificiallighting is not subject to thesechanging conditions and can becontrolled in a way that naturallighting cannot. Lighting is used to entice the customer into thestore and pinpoints the productson display.

Artificial lighting has improvedsignificantly since the light bulb wasdesigned and most people are nowconscious of the impact that it has on energy consumption (lightingcurrently accounts for 40 per cent ofenergy consumption of non-residentialbuildings). New lamp technology has given lighting energy-savingefficiency, with LEDs, new CDM-Tlamps and fluorescent fittings now in widespread use.

The brightness of artificial lighting ismeasured in Lux. The brighter the lightsource, the less energy efficient itbecomes. Retail spaces are known forusing high levels of Lux, so in recentyears research has been conducted tofind out the range in which the humaneye perceives differences in light levels.In doing this, retailers have lowered theLux levels without affecting the overallbrightness of the interior. For example,the window display, which used to be1000 Lux, is the brightest element of the store. This has now changed to 750 Lux following these studies, thusdecreasing its environmental impact.

The retail designer works closely with a lighting designer to create the desiredeffect for the branded interior. Areflected ceiling plan is drawn toindicate the positioning of light fittingsin relation to the displays, products and services. This drawing is reallyimportant in terms of setting out theinterior space and will contain a key that identifies all of the light fittings assymbols plotted on to the drawing.Fixtures and fittings are often shown ina dotted line or in a grey or fine line sothat the fitting can be lined up correctlywith what is happening below. Ceilingfeatures and rafts will also be indicated.

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: DAN HEAP

Attention to detail is always at the heart of our lighting designphilosophy. By designing the lighting‘into’ the building, we ensure itfunctions and integrates perfectly.




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Principles of lighting

Retail interiors are lit in a very specificway so that the product is illuminated to the best advantage and so that thejourney around the store is highlightedwith different layers of brightness andfocus. There are usually three differentlayers of light. First is accent lighting,which highlights the product and is thebrightest element in the store. Secondis task lighting, which is present in theservice areas such as the cash desks,fitting rooms or consultation spacesand is not as bright as the accentlighting. Third is ambient lighting, which guides the customer around the walkways and does not impact onthe lighting of the product or services.

Accent lighting

The shop window plays with thecontrast of daylight and artificial light.As the time or season changes, daylightfades and gives way to the artificialillumination. As the customerapproaches the store, the windowdisplay is strongly lit to focus the eyeand draw the customer in. Once insidethe store, the accent lighting is focusedon the product using a variety of fittingsand techniques. Downlighters in theceiling wash walls and mid-floor fixtures, and lighting glows internallyfrom LEDs in cabinets, creatinglightboxes behind signage.


= WILLIAM & SONSFLAGSHIP STORELondon, UK


DATE= 2008

A central raft that runs through the length of the store enhances the ceiling. The detail shows thatfluorescent light fittings are hidden around theperimeter of the raft to give an even glow.

LuxThe unit by which the brightness of light is measured.




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Task and feature lighting

The task lighting illuminates cashdesks, fitting rooms, seated areas andconsultation spaces. The lighting levelis dropped slightly so that it does notinterfere with the accent lighting, but is bright enough for the customer andstaff to see what they are doing. Thetask lighting may be in the form of afeature light; a pendant or chandelier to highlight the activity below.

Ambient lighting

The ambient lighting’s task is tohighlight walkways and give a generalglow to the space that does notencroach on the accent or task lighting.The lighting over walkways may berecessed into the ceiling or a row ofequally spaced pendants. Often theambient lighting is incorporated into a ceiling feature, such as a lightingtrough, for instance.

= SELFRIDGESLondon, UK

DATE= 2006

This feature lighting runsaround the perimeter of the wall and acts as accentlighting, illuminating theproducts below.




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Light fittings

CDM (CERAMIC DICHARGE METAL

HALIDE): This light fitting is incrediblybright and is used in window displaysand to wash walls filled with products.

LED (LIGHT EMITTING DIODE):

Suitable for cabinet lighting andsometimes used as ambient floorlighting, this fitting has a very low heatemission and is energy efficient. Thefitting is made up of a series of smallbulbs that are very long lasting and can come in a variety of colours.

LOW-VOLTAGE DOWNLIGHTERS:

Low-voltage fittings are used inrecessed downlighters. They are usedeither independently or as secondarylighting for products and can alsobe used to wash the interior withambient light. These fittings should be set at about 750mm apart to give an even glow.

FLUORESCENT: These fittings are very versatile and come in a range of lengths between 300mm and1500mm long. They can also be circularand come small enough to fit insidecabinets. They can be positionedbehind ceiling rafts or wall pelmets,overlapping each other for an even glow of ambient light, or using in back-of-house areas as they are inexpensiveand efficient. They have an averagelifespan of 12,000 – 20,000 hours.

TRACK LIGHTING: This is often used when there is little or no ceiling voidavailable to recess a light fitting. They are not the most attractive form of lighting, but are efficient in certaincircumstances. They come in a range of contemporary styles.

= MAMAS & PAPASWestfield, UK

DESIGNER= FOUR IV

DATE= 2008

This feature chandelier hangs through the central circulation void of the store and creates an eye-catching feature.

= THE WHITE COMPANYBrent Cross, UK


DATE= 2006

This design incorporates a recessed ceiling trough with feature lighting.






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The retail environment Climate and sound

= A TYPICAL CEILING PLANINDICATING SERVICES

This drawing shows a typicalreflected ceiling plan for retail. The drawing containsinformation about light fittingsand how they are positioned in relation to the fixtures, andalso shows where the airconditioning units will sit within the ceiling and theirrelationship to each other, as they are evenly spaced.

\ Lighting \ / Student case study /





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The atmosphere of the interiorspace can be enhanced or let downby factors that may seem beyondour control, but they are essentiallyanother design consideration inthe whole interior scheme. As with all interior projects, designinga space for retail focuses on thecustomer or user and their comfortwithin the space. The temperaturein the store, as well as the soundsin the store, become part of theambience and therefore the overallexperience. Decisions are clearlymade when selecting materials regarding their acoustic qualitiesand how that will impact on the feelof the space. Climate control is anecessary part of the servicesrequired in retail space and seesthe merger of skills between theretail designer and a mechanicalengineer in resolving these issues.

Air quality

The temperature of an interior spacecan affect the overall shoppingexperience and also, of course, the working environment for staff. Retail designers work closely withmechanical engineers specialising inair-conditioning to meet the approvedheating and cooling regulations. Once the interior has been proposed,the drawings are passed to themechanical engineer who then designsthe climate control scheme.

The air-conditioning system will consist of ceiling- or wall-mounted air-conditioning units evenly spacedthroughout the store and a warm aircurtain over the door to relieve the cold draughts coming in from theentrance, which might be permanentlyopen. Each air-conditioning unit isconnected to a condenser (mostcommonly positioned outside), whichpulls fresh air through to the air-conditioning unit inside and back again.The connectors are hidden from view in the ceiling void. The mechanicalengineer will also include extractionfrom a kitchen area in the case of a caféor restaurant and provide ventilation for toilet facilities.

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The retail environment Climate and sound

= WHITE COMPANY STOREBrent Cross, UK


DATE= 2006

Using a tiled floor and gloss finishes on the walls in this store enhances the soundsof the space and will create echoes offootsteps and conversations, enhancingthe acoustic qualities of the space.

\ Lighting \ / Student case study /





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Acoustics

Retail spaces, in most cases, do nothave to deal with eliminating high levelsof noise from inside the space or fromthe outside leaking in, and can use the simplest forms of acoustic controlto enhance the environment. Theshopfront acts as a barrier from theexterior to the interior against streetnoise. The construction of the interiorshell will create an acoustic barrierbetween retail units; in some instancesit may be necessary to use an acousticgrade material between the skin of thewall and stud partition. The main areafor concern is in the material finish.Hard materials such as stone, concreteor ceramic floors can be noisyunderfoot and would create echoes in a lively store. Some of this noise can add to the ambience of the space.In contrast, soft floor finishes such ascarpet deaden sound and may need to be considered for more quiet, privateareas such as consultation space or in abook store. Materials cladding the wallscan also be used as a barrier for sound;sound-reflecting materials can be usedto push sound in a particular direction.

: PETER ZUMTHOR

Listen! Interiors are like largeinstruments, collecting sound, amplifying it, transmitting it elsewhere.

AcousticsThis describes the scientific study of sound. In terms of the interior, sound can be controlledthrough the use of materials. Hard materials will bounce sound around a space, creatingechoes, while soft materials will absorb sound, creating a quieter space.



!



The retail environment Student case study

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PROJECT= TEA HOUSE

DESIGNER= CAROLINE HART

DATE= 2008

= Exterior drawing (above) andinterior drawing (below).

The intention of this project was to create a new concept for a Japanese Tea House on London’s wealthy KingsRoad. The resulting design encapsulatesthe values of the traditions of the teaceremony and looks to incorporate a retail space, a tea bar, a mini tasting areaon the ground floor and a classroom in the basement. The journey through thespace is important and is influenced byage-old rituals and rites of passage. The client was concerned with ethicaltrading and using sustainable materialswhere possible to create the overall interior scheme.

The final design concentrated on colour,materiality, light and pattern. The designcentred around three uniquely differentspaces, each with its own material andlight quality. Each of the spaces indicateda different function. The voids betweenthese different environments also played arole in the transition between spaces.Research was carried out to find locallysourced materials and to consider the‘cradle-to-cradle’ approach to recycling.

\ Climate and sound \

? Imagine you are working on a real project and are responsiblefor advising both your client andcontractors, as well as specifyingmaterials.

1 What systems would you put inplace to ensure the comfort ofboth staff and customers withinthe interior?

2 How would you approach thelighting scheme? How do youhighlight the product effectively?

3 What materials could you use tocreate a particular acousticquality?

4 How could you reduce the energyconsumption of a retail space?





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= Plans and sections.

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Branding and Identity Methods of organising space

The success of any retail interior does notdepend on brand, product or building alone. The interior layout plays an important role inmaking the transition for the customer fromoutside to inside seamless. The organisation of the space, from the entrance to the waypeople navigate and use the area is governed by the layout. This should not encroach on the users; it should not become a conscious part of the overall shopping experience butrather should enhance the quality of the space and the time spent within it.

THIS CHAPTER explores the principles oforganising retail space and gives an insight into the techniques used to create an effective, user-friendly layout.

\ The retail environment \ / Design detail /





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Methods of organising space Principles of retail organisation

= ORANGE FLAGSHIPSTORERotterdam, Netherlands

DESIGNER= QUA

DATE= 2005

The entrance to the Orangestore is spacious andinviting, allowing for easyaccess and a state oftransition from the outside to the inside.

/ Merchandising /

Once the brand has been establishedand the market for its products is fully understood, an analysis of theretailer’s current building stock or aninvestigation into finding a suitable sitebegins. The brand guidelines for theinterior demonstrate a typical size ofstore for the implementation of thescheme. Although these guidelines setout the rules of layout, they are intendedto be adjusted on a site-by-site basis to suit the building (considering itslocation as well as the interiorstructure) but the principles within the guide will remain.

The retail designer must also work within theguidelines of building regulations to makesure that the space is accessible to pushchairand wheelchair users and people with otherdisabilities. The trick is to make thesenecessary considerations appear seamlessand incorporated into the overall scheme aspart of the design rather than as an addition.

The overall principles of the interior layoutcan be broken down into four areas: theentrance, main circulation, pace and finallysales in the form of displays, fixtures andpayment areas.





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Entrance

The design of the entrance to a store isvery important. It needs to entice thecustomer in and give a glimpse of theproducts beyond the threshold. Thedesign of the shopfront is discussed inmore detail in Chapter 6. In generalthough, 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 meetbuilding and planning regulations.Window displays are regularly updatedto show the latest products in store.Often, the customer will also be able to see past the window diplays to thestore beyond, allowing transparencyand interaction. Sometimes the view isblocked by displays, giving a feeling ofmystery and bringing the customer’sfocus to the display.

Once beyond the threshold, theentrance space is the starting point of the interior journey. It is an area of the store that is often left open andspacious, giving the customer time topause and take in the store environmentand to make way for people enteringand exiting the store comfortably. In larger stores, it is a place to meetfriends before or after shopping,sometimes with seating areas on thesides out of the main flow of traffic.

Signage is an important element of theentrance, used to navigate customersto a correct department or to clearlysignpost shop amenities. Lifestylegraphics are also featured in thewindows and entrance for brandenhancement.

The entrance is a key main area forfeaturing new in-store merchandise.This could be in the form of a featuredisplay, or a promotional eventincluding food tasting, free samples,make-overs or sprays of perfume, for example.

The design of the entrance also has to consider access for all users. Theentrance must be wide enough forwheelchair and pushchair users andeasy for them to manoeuvre. In anexisting site, the entrance may bestepped and a ramp may need toencroach into the interior, thus taking a large amount of space from the overall scheme.

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: RODNEY FITCH

All the devices of the facade arepreludes to the entrance itself … thereshould be some sense of transition fromthe public world outside to the specialworld of the retailer inside.





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Circulation

One of the first tasks the retail designerfaces when the site has been decided is to work out the circulation around thespace, taking into consideration thedesign guidelines and principles of thescheme alongside the structural natureof the interior. Circulation diagrams are produced as ways of thinking anddescribing different schemes to theclient. The diagrams are produced bylooking at the plans and sections of theinterior and drawing arrows and routesover the technical drawings. Thecirculation plan is often drawn in unisonwith an adjacency plan (often on thesame drawing), which shows how theareas of the space will be divided intoproduct, places to sell, space to browseand ancillary areas. These drawingsform the starting point for planning theinterior layout.

The circulation performs two main tasksin the retail scheme. The first is to allowfor the flow of people in the form ofwalkways. These must be wide enoughfor at least two people to pass eachother comfortably, whether walking or in a wheelchair, or pushing a pram. Thesecond is to take the customer to themerchandise and allow them amplespace to browse without bumping intoother people or displays.

The principles of circulation are quitesimple and are governed by the ways inwhich people move around the space.There are many ways that this canhappen but each is based around ahandful of solutions. Circulation canwork horizontally, allowing the customeraccess through the shopfront, withproducts displayed either side of thewalkway and with an exit at the back; orvertically, with merchandise displayedover more than one floor. This schemeis more complicated in the sense thatstairs, lifts and escalators need to benegotiated, and methods for enticingpeople on to the upper floors must beconsidered. Circulation in a zig-zag orfigure-of-eight fashion across the storeallows for points of interest to beincluded and creates a longer journeyand a variety of ways to travel aroundthe space. The circular pattern takescustomers from the front to the backand then to the front again.

/ Merchandising /

CirculationA controlled route that users take around a building.





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Pace

Pace is an interesting aspect ofcirculation design that analyses howpeople use the space as well as movearound it. Pace is very much influencedby the nature of the user and theirlifestyle, which is one reason why it isimportant to understand the markettargeted by the brand and the area inwhich the store will be located. Thecoffee shop concept is a good examplefor describing how pace plays a part in the overall plan of the interior as itoften considers many paces within thescheme and is marketed at manydifferent types of user groups. The paces described are fast, medium andslow. The fast-paced user will want tobuy a take-away coffee and exit the shop immediately. This is why most large chain coffee shops have a servicecounter that works very much like aproduction line. The aim is to keep thecustomers moving as much as possibleto give the impression of quick service.Also, coffee shops have a high volume of customers, which suits this type ofservice. The medium-paced user will go through this service process, thenthey will sit in the shop to drink and eattheir purchase. They might stay for amaximum time of 20 minutes.

This seating area is usually located at the front of the shop, in the form of highstools at the windows or on chairsaround small tables. This allows the user to get back outside when finishedwithout having to move through thewhole shop. The slow-paced userpurchases food and drink and sits for a longer period, often oncomfortable chairs and sofas withaccess to newspapers. These users may stay for an hour or so to meetfriends or have their lunch break at acomfortable setting away from thefrenetic service area. Also, in somecoffee shops an area is put aside forbusiness meetings, offering a quietspace at the back of the shop with aboardroom-like table with up to eightseats around it.

In smaller retail stores, pace is not an issue, but larger stores such asdepartment stores consider the nature of the users and provide a number ofentrances and exits for a quick visit aswell as a more meandering experience.

PaceThe speed at which someone moves around a space. Retail designers often consider a range of paces when designing an interior scheme.




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/ Merchandising /





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= LAFAYETTE MAISONParis, France

DESIGNER= SAGUEZ & PARTNERS

DATE= 2004

Lafayette Maison houses the home storedepartment within one of the largestdepartment stores in the world, Lafayette. The store is laid out so that the products on each floor correspond with a room in ahouse. The basement is the kitchen, sellingcookware and utensils, the ground floor is the entrance hall where visitors arewelcomed in the large foyer, the first floor is the dining room containing dining furniture,the second floor is the living room, stockingessential lounge items and the third floorhouses the bedroom and bathroom ranges.

Signage played an important role in the overall design. The designersneeded to ensure that the layout waseasy to navigate, enabling the customerto wander around and discover otherareas of the store without getting lost.

The atrium is the central focus, withhorizontal movement around the periphery and open views through all windows. The tills and service desksalways remain in the same position andfurniture displays are arranged so as not to interrupt views through the building.





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Sales

The most important thing about anyretail interior is its ability to sell productsand sustain the business. The entrance,circulation and pace are all importantdesign issues for the retail designer tocontend with, but it is the products andthe way in which they are displayed thatis the biggest challenge. It is importantto mention that although it is the mostessential area for development withinthe scheme, it would not functionwithout the other areas we have alreadyconsidered.

/ Merchandising /





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= SONY ERICSSON FLAGSHIP STORE


DATE= 2006

This scheme shows the development of Sony Ericsson’s first dedicated store, which coincided with their fifthanniversary and the launch of theirbrand treatment. The aim of the storewas to reflect the new direction of the brand by creating an engagingenvironment and to encourage a much broader range of consumers. The look is cool and contemporary. The images show the development of the layout including adjacencyplanning of the products and theconsideration of circulation. Thegraphics clearly signpost the producttypes. Merchandise is displayed in away that does not interrupt thecirculation flow.






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Methods of organising space Merchandising

\ Principles of retail organisation \ / Service and ancillary space /

Understanding the product and thenecessary quantities needed ondisplay and in immediate storage is paramount to successfulmerchandising. Retailers’ stocktends to change on a regular basis, so flexibility is the key to a functionaldisplay fixture. The positioning ofmerchandise within the interior is very important. Retailersunderstand their key products andwhat draws their customers in. The retail designer must use thiswealth of knowledge and experienceto arrange the products throughoutthe store so that the customer isenticed from one to another on aparticular journey.

In the design manual, the retailer’smerchandising principles are set out as part of the branding and marketingagenda. The retailer may have veryspecific requirements depending on themerchandise and the range of otherrelated products. For instance, it may be important to always have four wall bays in a row without a break with shelvesabove. Most large retailers have an in-house merchandising team who spend their time working with the products in ageneric space (usually in the retailer’s main branch office) and deriving solutionsto displaying the items effectively. Manyproducts work in collections. Fashion and clothing is a good example of this,where the clothes and related accessoriesneed to be displayed together.





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= LULU GUINNESS BOUTIQUELondon, UK

DESIGNER= HMKM

DATE= 2009

In order to elevate the existing Sloane StreetLulu Guinness flagship store to a luxuryboutique, HMKM created a concept that would reflect the high quality of themerchandise on display. They achieved thisusing silver-leafed wall panels, Swarovskicrystal-encrusted wallpaper, plaster-mouldedmirrors and marble-topped display tables.HMKM’s resulting design demonstrates athorough knowledge and understanding of the merchandise being offered for sale.





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Methods of organising space Merchandising

Product display

Taking up a large part of the retaildesigner’s remit is the design of fixturedisplays. Some fixtures can be boughtin a kit form and either used directly inthis state, or adjusted with finishes tosuit the interior design; other fixtures arecustom made. Custom-made pieceswork particularly well if the scheme is to be rolled out; the cost of making thefixtures becomes cheaper with largerproduction quantities. For one-offstores, an off-the-shelf system may be a better solution. These elements,although not at the forefront of theconsumer’s experience, are the vehiclesthat drive the interior scheme and makethe space function and sell products.Products can be displayed in a varietyof interesting ways, but can be brokendown into two different types: walldisplay and mid-floor fixtures.

Using the interior walls is one of themain ways to display products. Go intomost retail spaces and the walls will belined from floor to ceiling with goods.The only instance where this may not be seen is in the premium retail sectoras smaller amounts of product aredisplayed to give a feeling of exclusivity.The principle of the design of the wall fixture is simple. They tend to be(and should have the ability to be)constructed from panels so that theycan hold an array of hooks and hangersthat can be adjusted to suit anysituation. The retail designer will makethe wall fixtures unique to the schemethrough its material finish. The wallallows for a high level of stock over alarge surface, which frees up the centralspaces for circulation and featuredisplays. Between the standard baysare opportunities to make featurestatements through specialist displayand graphics.

The mid-floor fixtures consist of aselection of different elements thatcreate interest and stagger thecustomer’s view so that glimpses ofstock behind can be seen. The fixturescould be in the form of tables, cabinetsor free-standing gondolas, or could bewrapped around a column, for instance.

\ Principles of retail organisation \ / Service and ancillary space /

: WILLIAM GREEN

Display areas are at the heartof a retail store. Display is themechanism that presents themerchandise to the shopper in itsmost favourable light and thatpermits the shopper to evaluate and select products for purchase.




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BELTS SUNGLASSES PLANNERSRTW

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= MULBERRYVarious locations

DESIGNER= FOUR IV

DATE= 2008

This is a sheet of technicaldrawings showing thevariations of wall ‘wardrobe’displays for Mulberry stores.

BELTS

RCP RCP RCP RCP

SUNGLASSES MIRRORRTW

RTWACCESSORIES

MIRROR

BELTS

PLAN PLAN PLAN PLAN

SUNGLASSES MIRROR

RTW

RTWACCESSORIES

MIRROR

MIRROR

MIRRORRTW

SUNGLASSES

SUNGLASSES

KEYS

KEYS

KEYS

KEYS

KEYS

KEYS

PLANNERS

PLANNERS






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Methods of organising space Service and ancillary space

\ Principles of retail organisation \ / Student case study /

As well as displaying products, the retail space must include areas for customer service. For most, this will happen at the point of sale when goods are beingpurchased. But there will also be dedicated space at whichcustomer/staff contact can mean a sale.

These spaces consist of fitting roomsand staff/customer consultation areas.These are support areas, and althoughused for selling, they do not necessarilycontain displayed stock. The design of these spaces is just as important asthat of the main displays. Because they are used by the public they arecarefully considered in order that theywork alongside the branded interior interms of finish and graphics, and so that they convey a positive image of the customer service.

The ancillary space refers to the areathat is put aside to house the functionalelements of the store, aside fromselling. This area supports the runningand managing of the store on a dailybasis and provides essential areas forstorage and facilities for staff and isoften referred to as ‘back of house’.Public toilets are often provided inlarger retail stores and come under the heading of ‘ancillary’.





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= SELFRIDGES FITTING ROOMSLondon, UK

DATE= 2006

The design of the fitting rooms in this image coincides with that of the store so that the shoppingexperience continues.





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Fitting rooms

In fashion stores, fitting rooms areessential for customers to ‘try beforethey buy’. There have been some trendsin fitting room design over the years that are worth mentioning. High streetfashion stores once favoured one bigopen space for all with mirrors allaround. Some stores also had a smallamount of very tight cubicles with badlyfitted curtains alongside the openspace, making the trying on of clothesan uncomfortable experience for many.Most now have separate spaciouscubicles for changing with mirrors on all sides, a fixed seat, hooks for yourown clothes and bags and a solidlockable door for added discretion.

The entrance into the fitting room canbe a key area to enhance the shoppingexperience. In larger stores, this spacecontains seating and sometimes evenentertainment for those who have towait. In smaller stores that do not havethe space to do this, the most basicentrance will have a rail for unwanteditems and sometimes a sales assistantto help and log the clothes that arebeing tried on (fitting rooms are one of the main places where shopliftingoccurs).

Another aspect of fitting room designthat is notoriously important is lighting.The positioning of the light fitting inrelation to the mirror and the colour of the light shining on to bare skin can be unflattering and would not aid a sale. As technology has progressed,fitting room lighting has taken a different approach with many cubiclescontaining a switch so that thecustomer can adjust the lighting levelsand colour to suit.

Every clothing store must have a fittingroom equipped for customers withdisabilities. The room must be largeenough to take a wheelchair; it musthave grab rails and a strategicallyplaced mirror as well as a seat. In verysmall stores, it is acceptable to havejust one changing cubicle, but it mustcomply with disability rights and lawsand building regulations.

: SAGUEZ & PARTNERS

… you need to catch your breath,need a meeting point, somewhere tosit down, to take a break... and cleantoilets where you can redo yourmakeup, a left-luggage facility toleave your packages while you carryon shopping, refreshment areas, acar park, a deliveries area ...





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= PORSCHE SHOWROOMLeusden, Netherlands

DESIGNER= QUA

DATE= 2004

This sketch of a consultation area for a car showroom shows a typical layout with three seats, one for the salesperson opposite the customers.

Consultation areas

For the majority of retailers, customerservice is key to consumer enjoyment.In the mobile phone, jewellery and now eyewear sectors, as well asshowrooms for cars, furniture and white goods, consultation areas orbooths are an integral part of the interiorscheme. These are spaces where acustomer can sit with a salespersonand discuss their purchase needs. The area often consists of a table ofsome sort with seats positioned so thattwo customers can sit opposite thesalesperson. Some consultation areasare private so that the customer feels at ease with an expensive purchase, or public, demonstrating to othercustomers that transactions take place.When designing consultation areas, the designer has to be aware of thecustomer’s needs: private or public,noisy or quiet, so that the correctfurniture and screening can be used.Also, the consultation desk will need tohouse equipment so that transactionscan take place.





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Point of sale

The point of sale marks the end of thejourney around the store and is thepoint at which a customer will pay forgoods. The location of the point of saleis very important. In larger stores, there will be access to till points inseveral locations, often relating to adepartment, one in menswear and one in womenswear, for example. In supermarkets, the till points areusually located in front of the exit doors. This allows for heavy traffic flow in arunway fashion and indicates the end of the overall process. In smaller stores,the till point or cash desk can belocated in a number of places: at theback of the store, with a feature wallbehind it so that it can be seen from the shopfront; halfway into the storealong a side wall, dividing the productdisplay; or at the front of the store, close to the entrance and marking theend of the shopping experience. Also,positioning the till point by the entranceof a small store where there may only be one or two members of staff workingis advantageous. The entrance/exit can be watched by the staff from the till to deter shoplifters. In some retailinstances, the point of sale may be aself-service coin/card machine. Thesedevices are increasingly being used insupermarkets, petrol stations and trainstations to provide a quicker service at peak times.

As well as being a place to pay forgoods, the point of sale also holds amerchandising opportunity with‘impulse’ buys such as chocolate,stamps or phone top-ups.

= CASH DESK POSITION

These drawings depict the variouspositions of the cash desk andhow they sit alongside themerchandise and work with thecirculation. The design of the cashdesk coincides with the overalldesign scheme. It is often well litand easy to see from all aroundthe store.






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= SELFRIDGES CASH DESKLondon, UK

DATE= 2006

This stylish cash desk sits in front of afeature wall and is internally lit, clearlydemonstrating its use with graphics.





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= A TYPICALBACK-OF-HOUSE PLAN

This drawingshows a typicalback-of-houseplan.

office

rear service door

des

k

disabled fitting rooms

disabled w.c. staff room

fire protected lobby

store room

fitting rooms





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Back of house

The ‘back-of-house’ area is the part of the store that the customer neversees. As its name suggests, it is almostalways positioned at the back of thestore. This is so that it is located off theservice area behind the shop unit foreasy access for deliveries and removingpackaging and other waste from site.There is often a door that leads directlyto the service area from the back of thestore so that deliveries aren’t takenthrough the main shop. This door canalso act as a secondary fire escapefrom the building and it is important to make sure that the hallway fromthe store to the rear exit is wide andwithout obstacles.

Within the back-of-house area there will be, at the least, a staff roomcontaining a basic kitchen withmicrowave, kettle and table and chairs,staff toilets (this could be one disabledcubicle for small stores, or a separatemale and female facility), a smallmanager’s office and a stockroom. The stockroom will be as large aspossible and racked up to the ceiling,usually using a standard storage kit,some of which come with mezzanineconstructions to take full advantage of the height of the space. The finish to the ‘back-of-house area’ is basic but durable, using cost-effectivematerials throughout.

Customer toilets

In department stores andsupermarkets, the provision ofcustomer toilet facilities is essential,especially if the store contains eating or refreshment facilities. Some treat these areas like back ofhouse with basic fittings and finishes,whilst others choose to continue thebranding into the toilets. The designand choice of cubicle partitions andsanitary ware, as well as floor and wall finishes, depend on their durabilityand easiness to clean as they are very well used and are sometimessubject to vandalism. If customer toilets are offered, then facilities for disabled customers must also be provided.



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Methods of organising space Student case study

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PROJECT= CHÉM DOL SOFIA

DESIGNER= KATIE DRAKE-BURROWS

DATE= 2005

This project sees the division of space into a series of ‘haute couture’ parlourand event areas that have been designedto inform the consumer of latest fashions.The space consists of three activities:exhibition, retail, bar and restaurant.

The existing building that was to housethis fashion experience has seen manystructural changes through its life, with different retailers taking ownership of the space and dividing it up. The mainchallenge of this project was to investigatethe building’s structure and to manipulate it to suit the new circulation, whichbecame paramount to the store design.The central space was opened up to create a main atrium and circulation space through all floors, which isreminiscent of department store layouts(see Chapter 3). This allowed for an easytransition between each area bothvertically and horizontally.

The retail area is laid out using theprinciples of organising retail space. The walls are used effectively to displayracks of shoes and clothing in neatarrangements, telling the story of eachcollection, with feature areas in between.Elegant free-standing wardrobes and tree-like fixtures bring the product into the centre of each space, leaving widecirculation space around each object and creating effectively lit features. Cashareas are strategically placed in eachsection and fitting rooms are tucked intothe corners. There is also space to sit and linger, challenging the customer toengage in the shopping experience andadding quality to the customer service.

\ Service and ancillary space \

? Imagine you are producing alayout for a retail scheme.

1 What journey do you want the customerto take around the space?

2 How will you position products in relationto each other?

3 What features would you use to draw the customer through the store?

4 What types of service space do you needand how does their positioning relate tothe product?





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= Image showing thefitting rooms.

= Image showing the entrancewith directional signage.

= Plan showing the circulationaround the main retail space.

= Image showing the exhibitionspace in thebasement.

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Branding and Identity Design detail

The final stage of designing for retail is in the detail. Every component in the overall scheme is developed alongside the brand.

THIS CHAPTER examines the considerationsthat need to be made: the architecture ofeach building or site; the role of the shopfrontand how its configuration and style impacts on the interior scheme; the interior structureand the elements of the design scheme thatwork within it in the form of walls, ceilings and floor finishes, and the fixtures, fittings and components.

\ Methods of organising space \





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Design detail The shop façade

/ Interior architecture /

The shopfront’s main task is to communicate to potentialcustomers the essence of theinterior and to display a glimpse of what can be found on the otherside of the glass. In most cases,the shopfront is a draw to buyers to make them feel comfortablewhen approaching the store andventuring over the threshold. For others, it is an opportunity towindow-shop and aspire to buyinto the lifestyle on view. In someinstances, the shopfront andentrance are designed to deter the public from entering, withsecurity on the door, having to ring a bell at the entrance orneeding an appointment to enter.This particular method is used in premium retail where exclusivityand wealth are expected.

: MARCEL WANDERS

… product designers have a tendencyto work more on details – to beinnovative on the small parts andmake things function.





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There are many considerations thatneed to be made when designing ashopfront. The shop facade must first take on the essence of the brand. This is done through graphiccommunication: fascia signage, aprojecting sign, window details andlifestyle graphics as part of the windowdisplays; the materials from which anew shopfront is constructed, or howan existing shopfront can be adapted to meet the design requirements; themerchandise in the window and thebrand message that is conveyed by the window display; and the position of the entrance door and how this willbe managed.

As part of the interior design manual for the retailer, a variety of shopfrontconfigurations are explored. Theapproach to shopfront design will vary depending on the site location and the impact of the design of theneighbouring shop facades, as well as planning and listed buildingrequirements. In the case of shoppingcentres, neighbouring retail outlets andarcades will have to be considered.Also, when a retailer rents a shop unit, a contract is drawn up between theretailer and landlord to outline what can and can’t be done to the unit orbuilding. If the shopfront is to beretained, this contract will state the conditions.

Although the design of the shopfrontvaries from site to site, within the rulesof the location guidelines, there arecommon principles and techniques thatare applied. The two main style choicescome under the headings of traditionaland contemporary; there are obviousdesign differences under each heading.The principles of entrance, its size andthe impact of its positioning on theinterior are also important areas ofconsideration, as is the choice ofsignage displays.

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The traditional shopfront

The design of the traditional shopfronthas a sense of symmetry and is set outin proportion to the existing building’selevation. In most cases, unless thebrand’s design states it, it is unusual toput a ‘new’ traditional shopfront into asite unless required to do so forplanning reasons or to suit the designscheme of an arcade or shoppingcentre as a replacement of an existingolder shopfront. If this is the case, then restrictions may also be in placeregarding the application of signageand the colour in which the shopfrontcan 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 bepainted onto the fascia rather thanapplied on a fascia box, and a standardprojecting sign to match all others in thecentre may be part of the conditions.

The contemporary shopfront

The design of the contemporaryshopfront focuses on allowing light and visual access right into the storefrom the street. The look is clean, withglazing reaching from floor to fasciapanel, or sometimes with the fasciasituated inside the glass, sat in abrushed stainless steel frame.Sometimes the glazing is framelessaround the internal elements. Thesignage is influenced by the brand,using contemporary fonts and ways of representing text. Illuminated signboxes are the normal application incontrast to a traditional painted sign.


= A TRADITIONALSHOPFRONT

This line drawing reflectsthe typical qualities of atraditional shopfront,taking its proportionsfrom the existingbuilding’s elevation.





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= FULLCIRCLELondon, UK

DATE= 2008

This shopfront has a large openingdirectly onto the shopping mall, makingthe transition from the walkway into thestore seamless.





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= VILLANDRY SHOPFRONT


DATE= 2007

This shopfront leads directly on to the street, is constrained by thebuilding’s existing architecture andhas canopies to shelter customersfrom the weather.


: SHONQUIS MONERO

A pane of glass… divides the shop from the pavement. On one side, the climate-controlled interior welcomes those whocan buy; on the other, the intemperatestreet is where those who cannot buy maylook without paying – in the time-honoured tradition of window-shopping.





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Entrance doors

The entrance doors need to be easilyaccessible to all, so must therefore beat least 1000mm in width. A hingeddoor must open inwards so not toobstruct the street or path in front andmust give good security to the store atnight. An alternative to the hinged dooris sliding doors that have a cleaner look and do not impact on the interior in any way. In some situations, a rollershutter performs the function of a door.

The position of the entrance door is key to the success of the entrance asa whole. A central doorway allows forsymmetry and is therefore visuallycomfortable. Also, this enables thestore to be laid out in a symmetricalfashion so that the focus from theentrance is on the central space, and in some cases, the back wall of thestore, providing an opportunity to draw the customer in with a feature.Positioning the door to one side offsetsthe interior. This may be necessary ifthere is a particular reason for needingone large window display instead of two smaller ones, or if a cash desk ispositioned at the front of the storedirectly behind the window. It is oftenthe case that the shopfront is inheritedfrom a previous owner and therefore thecurrent retailer has to adapt the schemeto suit the existing entrance position.Replacing a shopfront can be costlyand is often an area where costs can be cut if the current structure can beupgraded through decoration.

Internal/external shopfront

The designer faces different designopportunities and solutions dependingon whether the store is in an internalsetting such as a shopping centre,arcade or retail outlet or if it is directlyon the street. The design of the internalshopfront in a mall, for example, doesnot have to consider weather conditionsand so can be of a more open design.The entrance into the unit may have ashutter for security without a solid doorbehind and may be very wide – someare the width of the entire frontage.Also, the internal shopfront, dependingon the guidelines of the shoppingcentre, will probably have an area infront of the unit called a ‘pop-out zone’,which is usually about 500–1000mmdeep. This means that part of theshopfront design can literally pop outinto the mall. This technique is used tocreate visual differences between shop units and is used when shoppingcentres want to encouragedifferentiation in shopfront design.

The external shopfront has to becompletely secure and weatherproofand will have solid lockable access,probably with a roller shutter, either justin front of the door or the wholefrontage. The shopfront will also have to sit comfortably with itsneighbours and possibly the whole row, in order to comply with fascia panelrules and guidelines. This restrictsopportunities to play with the design.





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= THORNTONS London, UK


DATE= 2008

This shopfront allows thecustomer to view the makingprocess of the products within.The door is off-centre to allowfor space for a counter on theleft-hand side. The full-heightglazing has a coloured vinylapplied to what would be theunderside of the counter andwindow fixture, which enablesthe product displayed in thewindow to be raised to a morecomfortable viewing level.






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The shop window

The shop window begins with a pane of glass that creates a division betweenthe exterior and the interior. In most newshopfronts, the glazing covers as largean area as possible, so much so that thedivision barely exists. Shop windowdesign is an art and a profession in itsown right, with new concepts reachingwindows on a cyclical basis.

The purpose of the display is to create a memorable vision and to portray thebrand values in one punchy statement.The display must be consistent with the interior and product range in thematerials used, the way the display is lit and the graphic communication. The window suggests the lifestyle that can be achieved from owning theproducts and entices the customerinside. The size of the window displayand the way the merchandise is set out must be coherent to the productsdisplayed. For instance, larger itemsneed a spacious window so that theshopper can stand back to look, whilstsmaller items need to be displayed ateye level so that the shopper can walkup close and view them withoutbending or stretching.

Most window displays are designedaround a shallow plinth that raises themerchandise to an appropriate height in relation to the glazing, and allows formannequins, price statements andadditional blocks to be added forsmaller products. The retailer’smerchandising team usually sourcemannequins, but occasionally the retaildesigner will advise them.

Some retailers use the window as themain vehicle from which to sell stock.The traditional jeweller’s window is agood example of this. The windowdisplay extends into the shop, taking up a large proportion of the retail space,leaving the interior for sales and servicealone. The display element for jewelleryis very detailed as it has the job ofholding a variety of pads containingstock filling the whole window.

FacadeThe front elevation of a building. In retailing, the facade acts as an advertisement for the store within, displaying signage and large plate glass windows for display purposes.




= SIZE?Bristol, UK

DESIGNER= CHECKLAND

KINDLEYSIDES

DATE= 2009

This unique shopfront has ablack-and-white photographapplied to the facade. Inspiredby its location in The Horsefair,Bristol, the signage of thisshopfront thus takes directreference from the store’slocality.

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Shopfront signage

The design of shopfront signage is often governed by the location of thesite and any conditions applied bylandlords, centre management orplanning. There are a variety of optionsavailable for each situation. The retaildesigner will work with a signagemanufacturer to come up with suitablesolutions. The main signage types are fascia sign, projecting sign andwindow decals.

The design of the fascia sign mayappear varied on the high street, but they commonly fall under one ofthree types of signage: the traditionalpainted sign as already discussed; an illuminated box sign that isconstructed most commonly in a‘biscuit-tin’ formation, constructed from aluminium with the logo orlettering fret cut out of the face andreplaced with frosted acrylic (the boxcontains fluorescent light fittings thatare easily accessible by removing thetop of the ‘biscuit tin’) and, finally,a logo or letters that have been fret cut out of a sheet of aluminium or steel(possibly spray painted or brushed) that are then pegged off the fasciapanel and often illuminated from anexternal source.





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The projecting sign, in a similar fashion,can either be a traditional painted signor an illuminated box sign (constructedin the same way as the fascia sign)suspended from a steel frame boltedinto the shopfront. Some retailers,especially banks and jewellery stores,have clocks projecting from the fasciainstead of signage.

Window decals are necessarily appliedto meet building regulations. A decal is a graphic made from vinyl that isapplied directly to the glass at eye leveland is there to stop people from walkingthrough the glass. Most retailers stick to a simple decal that does not detractfrom the view into the shop and makesthe glass look as though it is frosted,whilst others create a graphic statementover the entire window. The vinyl is self-adhesive and can be easily removed.






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Design detail Interior architecture

\ The shop façade \ / Fixtures and fittings /

Part of the retail designer’s job is to survey the site beforeproducing the drawing package for the implementation of the retailscheme. This may be to checkdimensions from drawings thatmay have already been obtained, or it could be to carry out a fullsurvey so that an existing set ofdrawings can be produced.Depending on the complexities of the site, it may be preferable to employ an architect or surveyorto undertake this task.

As retail sites tend to change handsfrequently, there are often anomalieswithin the building’s structure wheremajor work may need to be done toreconfigure the interior to suit the new scheme. With this in mind, thedesign solutions are often left open to compromise. This is the challengefacing any interior designer workingwithin an existing building.

It is sometimes possible to retain the architectural details created ormaintained by others and working withthem is the most environmentallyfriendly solution. Sometimes, this will not work and, understandably, the site will be stripped out.

In retail, the term ‘architecture’ refers to the fabric of the building: ceilings,walls and floors. These are all elementsthat become part of the overall scheme,but in many cases remain a neutralbackdrop against which to display themain brand elements. Design trendscome and go, but over the past 20years we have seen changes in retaildesign so great that they have left astamp on the architecture of manybuildings. First came the ‘white box’; a design concept based on an artgallery, using a minimal interior to showclothes off to their full potential. Thencame the ‘black box’ as a reaction tothe ‘white box’. Then came theintroduction of colour, pattern andtexture, hand in hand with the evolutionof the organic form.

Retail design often plays tricks with the interior space, creating a stage forthe performance of the brand, or afaçade masking the true architecture of the space.

: G. BROOKER & S. STONE

… they are re-modelled, reused,rethought and yet a suggestion ofthe former meaning disturbs andinspires the subsequent design …




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= ALL SAINTSGlasgow, UK

DATE= 2003

The interior of this retail space stronglyreflects the identity of the All Saints brand.The design focuses on the rich heritagefeatures of the site, which was a formerpost office, whilst contrasting with thecustom-made lighting and furniture. Thebuilding has been stripped back to revealits fabric and structure and has been left,in places, in its raw state.





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Ceilings

The ceiling plays a huge role in the feel of the entire retail space. It is thearchitectural element that goes mostlyunnoticed, but it is incredibly functional.Within the ceiling are light fittings, air-conditioning ducts, fire alarms,sometimes sprinklers and musicspeakers. The general design principlesfor ceilings can be investigated throughthree different types: suspendedceilings, ceiling rafts and open ceilings.

The suspended ceiling is constructedfrom either a timber frame or issuspended from Dexion rods withplasterboard applied and skimmed tothe underside. The suspended ceilingleaves a void of 150 – 500mm betweenthe actual ceiling and the false ceiling,providing enough room for all of thefunctions to be hidden in between. This solution works very well in spacesthat have a good ceiling height to startwith (so that the ceiling does notbecome too low) and gives a cleanfinish to the overall space. Also, sinkingin or dropping areas within the ceiling to create opportunities to spill light,gives the feeling of a true architecturalfeature.

Ceiling rafts are similar to a suspendedceiling in their construction, but theyonly cover areas of the ceiling space.They are often positioned over specificinterior elements to create a designthrough the volume of the space, or tocoincide with functional items hiddenwithin the ceiling. Also, the materialfrom which the raft is constructed maybe quite adventurous and unique to the design scheme.

An open ceiling design is one withno suspended elements and the ceilingstructure is completely visible alongwith all of the air conditioning ducts,lighting and wiring etc. If the store has ahigh ceiling then this design can appearindustrial and may suit the requirementsof the interior scheme. One way to avertone’s gaze from the ceiling, is to paintthe ceiling and all of the fittings in black. This concept is taken fromtheatre design where blacked-outelements focus the viewer’s eye on the entertainment. In retail, this masksthe unsightly components andconcentrates shopper’s view on theproducts. This is an effective solutionthat is often used in stores that have alower budget – such as a retail outlet,which in most cases has a high ceiling.When the ceiling is low (this can befound mostly in existing older buildingsor in basements), then the ceiling canbecome problematic. A suspendedceiling cannot be used as there is notenough height, and the low ceilingmeans that nothing can be recessed or hidden away. Also, the customer’seye level is too close to the ceiling tomask any ceiling functions with darkpaint. In this instance, the best possiblesolution is to keep the ceiling as clear as possible, using the joint between theceiling and walls to hide cables. Tracklighting with wall-mounted fittings isalmost the only option for lighting.





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= VERTU STORELondon, UK


DATE= 2007

This wall feature cleverly holdsproduct, recessed and lit withina black strip. The feature isarchitecturally interesting andsuits the brand concept.

The ceiling feature sits abovethe central space and highlightsthe car displayed below. Theceiling ‘floats’ and a recessedlighting feature appears like a shaft of daylight, spilling into life.





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Walls

Walls are one of the most importantelements in the retail environment. Not only do they support the buildingstructurally, but they can be used todisplay vast amounts of products,create feature displays and have colour,texture and pattern applied to them indifferent finishes. Many retail designersuse the wall to carry the design conceptthrough the scheme. Walls can act asdividers between product offers orareas, as a piece of sculpture in its ownright, or to add focus to a space.

Floors

Floors come in a variety of materialsand finishes, but the key to a retail flooris durability. The expected lifespan of a floor finish can be anything from oneyear to 20 years depending on theretailer’s needs. The quality of the floorfinish often suggests something aboutthe quality of the merchandise. A cheapfloor such as vinyl or carpet will wearout quickly and is often a quick fix,whilst an expensive floor such asgranite or marble will have longevity and a sense of luxury.

There are many medium-cost flooringsolutions that are durable andinteresting in terms of pattern andcolour, and work with the overallbranded interior. Rubber, timber,ceramic or terrazzo are favourablesolutions.

The floor finish is used to definedifferent areas within the store.Walkways, display areas and point of sale may all have different finisheswithin the same scheme.


Shadow gapA contemporary detail used to create a junction between walls, ceilings and floors; orbetween a fixture and the floor, so that the objects displayed on it appear to be floating.




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= CASIOLondon, UK

DATE= 2005

This was the first Casio brand store implemented in theUK, bringing together all of the Casio sub-brands in aunique ‘Casiology’environment. The site, on London’sCarnaby Street, underwent a total transformation insideand outside, using graphics and imagery from thecurrent ‘Casiology’ advertising campaign. Solid blackimagery of leaves, flowers and butterflies wraps rightaround the walls and across the floor, creatingmovement and fluidity as customers enter the store.Passersby are drawn in by the layered imagery alsoused on the windows, and Casio-blue mirrored glassdisplay plinths with thick faceted glass tops displaymerchandise. Simple but effective lighting is hiddenwithin slots in the ceiling, creating a glow both day andnight, the total effect reinforcing the brand’stimelessness and quality in a fresh aspirational way.






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Design detail Fixtures and fittings

\ Interior architecture \ / Student case study /

= MARNI STORELondon, UK


DATE= 1999

Future Systems were invited tocreate a concept for all Marnistand-alone shops and unitswithin department stores inLondon, Milan, Paris, New York,Tokyo and Kuwait. The storeconcept was generated by thetextures, colour, compositionand beauty of the clothesthemselves, which werepresented on sculptural islands,sitting against the brightlycoloured backdrop of the shop.





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The fixtures and fittings are thedetails that make up the functionalelements of the store’s interior. The design of such fixtures sees the retail designer taking on a rolevery similar to that of a furnituredesigner, who in most cases isdesigning furniture or displayfixtures for mass-production. Eachfixture is designed down to the last detail, specifying all materialsthrough to fastenings. In somecases, off-the-shelf fixtures can beused or adapted to suit, and thismay be an advantageous approachfor small retailers, but for roll-outand premium retail, the bespokepiece can be cost-effective interms of quantity or to convey anair of exclusivity with the use ofhigh-quality materials.

In any retail fit-out, a contractor that is a specialist shopfitter will beemployed to carry out all of the work on site. Also, in the case of a roll-out, the shopfitter will make the fixtures forevery site to the drawings provided by the designer in the design manual.Using one contractor to make all of thefixtures usually cuts costs, as they arethen able to create tools to mass-produce all of the internal fixtures.

The main elements of shop display can be examined through threeelements: wall fixtures, mid-floorfixtures, and fastenings that completethe functional aspect of the space.

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: SARA MANUELLI

British-crafted structures focus on the essence and techniquesemployed by Mulberry… bespokeleather mannequins, chandeliersand other ephemera aim tochallenge the traditional divisionbetween shopfitting and art.





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= MULBERRY Concept store

DESIGNER= FOUR IV

DATE= 2008

These drawings show thedevelopment of an idea for wallfixtures for the Mulberry storeconcept. The walls are versatile and can take different formationsof display.






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Wall fixtures

The design of the wall fixture is createdaround the standard size of a panel(1200mm wide x 2400mm high) so itdoes not have to be jointed, making the fixture more cost-effective and lesstime consuming to produce. These can be custom made by the shopfitterscontracted to fit each site or bought as a kit. The most basic of panels is theslat wall, which is cheap and effective to use. This is a panel that has a seriesof evenly spaced tracks set within itfrom which to hang a standard set ofhooks, shelves, brackets and rails.These can be bought in differentfinishes. There are other variations onthe slat wall; some contain holes thattake hooks, whilst others are planeswith just a neutral finish.

A custom-made wall fixture can consist of a number of specialist designfeatures that are unique to the store’sscheme, but will always use thestandard system of upright posts,hooks, brackets and rails.

When setting out the wall layout, eachpanel will have what is called a systemupright post in between them. Theseposts have a series of slots that rundown them and can hold shelf bracketsand clothes rails. It is usual that the walldisplay will consist of a panel, a shelf athigh level for product display andpossibly a graphic, and then either a railfor hanging, more shelves evenlyspaced, or hooks. It is also possible toconnect cabinets to wall displays.These might be used for storage andcan commonly be seen in mobile phonestores at the base of each bay; theycould also be a glass cabinet for lockingaway valuable merchandise.

Some wall fixtures are more like piecesof grand furniture than a kit of parts. Amen’s clothing department displayingshirts and suits may be reminiscent ofthe design of a Gentleman’s club, forinstance; and some appear to be built-in, part of the architecture of the interior.In this case the designer is using thebuilding to inform part of the designprocess, to mix in the architecturaldetail with the standard scheme, and it is seen more often in one-off stores or small roll-outs.





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Mid-floor fixtures

There are many variations of mid-floorfixtures that are used for a selection of merchandising purposes. The mostcommon displays are tables at differentheights and sizes, gondolas andfreestanding cabinets that hold bothstorage and display. These will sitalongside specialist feature displays, for example, a rack for postcards or a rotating display for CDs.

As well as an interesting display feature, one of the important aspects of the mid-floor fixture is to createmerchandising at different levels so that the customer is drawn into thestore to view the displays beyond.

The table, often very simplyconstructed, lends itself to low-leveldisplay for smaller items andaccessories. Sometimes othermerchandising vehicles sit on the tables to prop up merchandiseeffectively. These are usually clearacrylic stands that are bought fromspecialist suppliers. Tables aresometimes stacked on top of eachother to create more height.

The gondola is an apparatus that worksvery hard. The design of a gondola canvary in terms of finishes, but almost all are constructed in the same way. It is most commonly used for clothing,but can also be adapted to holdshelves. It is usually designed andconstructed using the same materialsand fittings as the wall panels. Thisallows flexibility for the merchandise on display. The gondola is usuallydesigned to be at eye-level height andwill consist of a central panel, which sits on a rectangular frame with castorsunderneath. The panel could be solid or translucent, or simply be a frame,with system upright posts either side. A shelf sits close to the top of the unitfor merchandise purposes and in mostcases there will be a graphic panelabove the shelf. The clothing rails orshelves are supported on brackets fromthe system upright posts. On both endsof the gondola are opportunities forfurther display. This would usually beused to tell a story about what is on thegondola – an outfit, for instance.

From store to store, the cabinet isprobably the item which changes mostsignificantly in its size, shape and abilityto hold stock as it is very dependent on the product. Mobile phone shopsand other technological gadgets may be displayed on long, speciallydesigned cabinets with storageunderneath; jewellery stores favourtimber cabinets with a glass case ontop; menswear shops tend to favourcabinets with slots or pigeon holes for ties and shirts, for example.





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= MID-FLOOR FIXTURES

This is a mid-floor fixturedesigned for stacking jeans.Its simple stainless steelconstruction with timbershelves iis spacious enoughto hold a high level ofproduct. The graphic panelon top clearly indicateswhat’s for sale.

front elevation side elevation





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Cash desk

One of the most important elements of the interior scheme and one of thehardest to design, is the cash desk. Insome cases, the cash desk appears tobe no more than a functional piece offurniture, whilst in others the cash deskis the main feature of the space, withbranding and a statement wall behind.

The reason that the cash desk is sodifficult to design is because it has tocontain a lot of equipment. The startingpoint of designing the cash desk is in understanding exactly what thatequipment is, what its function is andthe size of each component. Also, theproducts will demand certain functionsfrom the cash desk. In a clothing storefor example, there needs to be spacefor discarding hangers and in asupermarket there will need to be a conveyor belt.

In its simplest form, the cash desk willneed to house a till, which sometimeshas a separate register and drawer, acredit card machine, a phone, a drawerfor receipt rolls etc., a bin and a spaceto bag or pack merchandise. The cashdesk is most commonly formed from anMDF and soft wood carcass; somehave a glass display, whilst others havea more solid panel in the front. The topis often staggered in height so that thereis a separate area for staff equipmentand a place at a comfortable height towrite cheques or use a chip and pin.Also, the desk must have an area that isat a low level for wheelchair users.

Rails, hooks and fastenings

All rails, hooks and fastenings can be bought off the shelf from specialiststockists. They are available in standardsizes and therefore govern the design of all fixtures. It is important for a retaildesigner to know these standard sizesbefore designing any form of fixture.


FixtureThe term used to describe specially designed pieces of furniture that hold product and display merchandise.




= VILLANDRY London, UK


DATE= 2007

This counter is an important point of sale.As well as selling and displaying product,it offers a place to sit. Graphics andfinishes tie in with the rest of the interior.

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!



Design detail Student case study

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PROJECT= RETAIL SPACE AT THE ISLE OF

WIGHT ZOO

DESIGNER= FIONA DAMIANO

DATE= 2009

The Isle of Wight Zoo, situated inSandown, UK, and constructed within the walls of an existing Victorian fort, is well known for its work, givingsanctuary to tigers, lions, leopards,jaguars, lemurs, monkeys, snakes,spiders and lizards. All of the animals are housed in a wide variety ofnaturalistic enclosures that encouragethem to display their natural behaviours.The zoo’s mission is ‘to promote thesurvival of endangered species throughfirst class educational facilities andrecreational experiences, exemplaryanimal management, conservation and research.’

As part of a regeneration programme, a group of students worked directly with the zoo with a view to implementing a new design scheme for the retail andentrance space. As part of the brief,students had to consider the zoo’s ethical stance on supporting animalwelfare as well as demonstratingsensitivity to material reuse.

\ Fixtures and fittings \

= The proposed designscheme for the zooentrance and retail space.

This concept by Fiona Damianocombined the precedents of ZahaHadid's amorphous shapes and VictorHorta’s curvilinear whiplash of the artnouveau period, to create a sensual andorganic design.The retail space could beaccessed by a ramp from the entrancebefore the journey around the zoobegins, or more commonly entered at the end of the visit, forcing the customerto walk through retail before exiting thewhole zoo experience, making apurchase more likely. Fixtures and fittings for product display werepositioned in a way specifically to workwith the circulation route, and designedintentionally for particular product types.Two separate counters were positioned in strategic places; one at the entrance for ticket sales and a larger one locatedclose to the exit in the retail space. The materials and existing cabinets were reused where possible and were clad and finished in white using themerchandise to add colour and texture.





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? Imagine you have designed the concept fora retail interior and are at the detailing andspecification stage of the project.

1 What do you want the customer’s firstimpression to be from the street?

2 How can the design of the ceiling and floorbecome part of the whole scheme and actas a device to sell the brand and enhancethe customer experience?

3 What types of wall feature displays couldyou use that sell the brand?

4 What types of fixtures do you need toenhance the display of products and makethem accessible to the customer?






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Conclusion

= LEVI’S FLAGSHIP STOREBerlin, Germany


DATE= 2008

/ Bibliography /





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This book was compiled as aninsightful introduction to designinginterior spaces for the retail sector, and to begin to simplify the processes by which thedesigner approaches this subjectarea. By unpicking this exciting,fast-moving, creative industry, I hope I have inspired you as newdesigners in your understanding of what interior design can be as a profession, and how you can seeyourself as part of it.

Seeing a design emerge from paper to reality is exciting. It is even morerewarding when people use the spaceand enjoy the experience in the way in which it was intended. Makingspaces happen is a complex art, butcan be achieved with creativity, flair and passion.

Next time you enter a store, pause andlook around you. Take in the journeythat has been painstakingly analysedthrough market research; what are now age-old principles of retail designand the telling of a story of a brand. Ask yourself, ‘What is the message?’,‘Why did I choose to enter this store?’,‘Why does it appeal to me?’ and watchthe story unravel. This book will helpyou to see through what was once inthe subconscious and engage with theinterior on a different level.

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Bibliography

Anderson, J. & Shiers, D. The Green Guide toSpecification: Breeam Specification WileyBlackwell; 4th Edition, 2009

Beylerian, G. & Dent, A. Material Connexion:The Global Resource for Innovative Materialsfor Artists, Architects and Designers Thames &Hudson, 2005

Brooker, G. & Stone, S. Rereadings: InteriorArchitecture and the Design Principles ofRemodelling Existing Buildings RIBAEnterprises, 2004

de Chatel, F. & Hunt, R. Retailisation: TheHere, There and Everywhere of Retail EuropaPublications, 2003

Conran, T. A Sort of Autobiography Q&A Harper Collins, 2001

Curtis, E. Fashion Retail Wiley-Academy, 2004

Dean, C. The Inspired Retail Space RockportPublishers, 2003

Din, R. New Retail Conran Octopus, 2000

Fitch, R. Fitch on Retail Design Phaidon PressLimited, 1990

Fogg, M. Boutique: A 60s Cultural Phenomenon Mitchell Beazley, 2003

Giest, J.F. Arcades: The History of a BuildingType, MIT Press, 1983

Green, W. The Retail Store Design andConstruction iUniverse.com, 1991

Klein, N. No Logo Flamingo, 2000

Lancaster, B. The Department Store: A Social History Leicester University Press, 1995

Major, M. & Spe, J. Made of Light, The Art of Light and Architecture Birkhäuser,2005

Manuelli, S. Design for Shopping: New Retail InteriorsLaurence King Publishing, 2006

Massey, A. Interior Design Since 1900 Thames and Hudson, 2008

McDonough, W. & Braungart, M.Cradle to Cradle: Remaking the Way We Make Things Rodale Press, 2003

Miller, M. B. The Bon Marché: BourgeoisCulture and the Department Store, 1869–1920 George Allen & Unwin, 1981

Moreno S. et al Forefront: The Culture of Shop Window Design Birkhäuser, 2005

Mun, D. Shops: A Manual of Planning andDesign The Architectural Press,1981

Olins, W. The Brand Handbook Thames & Hudson, 2008

Pallasmaa, J. The Eyes of the Skin:Architecture and the Sense John Wiley & Sons, 2008

Reis, A. & L. The 22 Immutable Laws of Branding Harper Collins, 1998

Riewoldt, Otto Brandscaping: Worlds of Experience in Retail DesignBirkhauser Publishers, 2002

Scott, K. Shopping Centre Design Von Nostrand Reinhold Co. Ltd, 1989

Steel, C. Hungry City: How Food Shapes Our Lives Chatto & Windus, 2008

Thorne, R. Covent Garden Market: Its History and Restoration The Architectural Press, 2008

Turner, A. W. The Biba Experience Roger Sears and Isobel Gilan, 2004

Vernet & de Wit Boutiques and Other Retail Spaces: The Architecture of Seduction Routledge, 2007

Yelavich, S. Contemporary World InteriorsPhaidon, 2007

Zumthor, P. Atmospheres Birkhäuser, 2006

Webology

BREEAM: The Building Research EstablishmentEnvironmental Assessment Method ForBuildings Around the World www.breeam.org

www.echochamber.com

www.interiordesignhandbook.com

http://materialslibrary.org.uk

www.thecoolhunter.co.uk

\ Conclusion \ / Quote sources /




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Quote sources

014 Knight, P. Nike, taken fromDe Chatel, F. and Hunt, R.Retailisation: The Here, There and Everywhere of Retail Europa Publications, 2003

016Olins, W. The Brand Handbook Thames & Hudson, 2008

019 Reitwoldt, O. Brandscaping: Worlds of Experience in Retail DesignBirkhäuser, 2002

022Din, R. New Retail Conran Octopus, 2000

024Caulder Moore Gina Dubai Press Release,2008

038 Thorne, R. Covent Garden Market: Its History and Restoration The Architectural Press, 2008

045Koolhaas, R. taken from De Chatel, F. and Hunt, R. Retailisation: The here, there and everywhere of retail Europa Publications, 2003

049Hulanicki, B taken from Fogg, M.Boutique: A 60’s cultural phenomenonMitchell Beazley, 2003

051Conran, T. A Sort of Autobiography Q&A, HarperCollins, 2001

057Gardner, J. in The New York Sun. Taken from www.bcj.com August 2009


072Giest, J.F. Arcades: A History of a BuildingType MIT Press, 1983

078 Scott, K Shopping Centre Design Von Nostrand Reinhold Co. Ltd, 1989


093Pallasmaa, J. The Eyes of the Skin:Architecture and the Sense John Wiley & Sons, 2008

0946a Architects K-Swiss Press Release, 2008

103 Klein, N. No Logo Flamingo, 2000

105 Heap, D. from www.danheap.com/about.html August 2009

113Zumthor, P. Atmospheres Birkhäuser, 2006

119 Fitch, R. Fitch on Retail DesignPhaidon Press Limited, 1990

129 Green, W. The Retail Store Design and Construction iUniverse.com, 1991

132Saguez & Partners Lafayette Maison PressRelease, 2004

026Saguez & Partners Lafayette Maison PressRelease, 2004

142Wanders, M. taken from Manuelli, S. Design for Shopping: New Retail InteriorsLaurence King Publishing, 2006

146Moreno S. et al Forefront: The Culture of Shop Window Design Birkhäuser, 2005

152 Brooker, G. & Stone, S. Rereadings: Interior Architecture and the Design Principles of Remodelling Existing Buildings RIBA Enterprises, 2004

159Manuelli, S. Design for Shopping: New Retail Interiors Laurence King Publishing,2006





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Glossary

Acoustics

The word acoustic describes the scientificstudy of sound. In terms of the interior, soundcan be controlled through the use of materials.Hard materials will bounce sound around aspace, creating echoes, whilst soft materials will absorb sound, providing a quieter space.

Arcade

An enclosed public shopping area withimpressive glass and steel roof structures andornate decorative facades, that often creates a passageway between high streets.

Atrium

A covered interior space with a glass domedroof, often found in arcades and in the centralcirculation space of a department store.

Branding

Branding is an approach to marketing productsand services under a particular name that hasan appeal to a focused group of people. A brand can be a product, a person or a logo.Anything that can be bought and sold as an idea or artefact can be branded.

Brandscaping

This is a term used to describe the mapping of a brand into a three-dimensional space.

Boutique

A small independent fashion retailer, often with a distinct fashion style.

Chain store

The chain store is a design scheme for a retailer that is repeated from city to city.

Circulation

A controlled route one takes around a building.

Concept store

A concept store is a retail space that is used to test and promote new retail schemes for thefirst time, in a specific location.

Concessions

Concessions are spaces occupied within adepartment store by key retailers or labels.Concessions are grouped together on eachfloor depending on the product.

Concourse

The volume of space before or betweenplatforms at train stations and airports.

Consumerism

The purchase of material posessions.

‘Cradle to cradle’

This is a term used to describe the constantcyclical reuse of materials: the material is born,used, ripped out and reused.

Department store

A large purpose built building for retail thathouses a range of products and labels in theform of concessions.

Facade

The façade is the front elevation of a building. In retailing, the façade acts as an advertisementfor the store within, displaying signage andlarge plate glass windows for display purposes.

Fashion house

A premium fashion label, which has a collectionof designers or one key designer working underits name.

Fixture

The term used to describe specially designedpieces of furniture that hold product and display merchandise.

Flagship store

The flagship store is a larger, extended versionof a chain store, where a retailer will promotethe brand in large prominently positioned sitesaround the world. It is usually fitted out to a highspecification and with unique features that actas a brand statement, and is often exhibition-like in its presentation.

\ Quote sources \ / Acknowledgements /





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Gondola

A type of fixture that holds hanging garments ina mid-floor position and is usually head height.

Hypermarket

A hypermarket is a larger version of asupermarket, and will often house a generousvariety of products that go beyond groceryshopping.

Lifestyle store

A lifestyle store encapsulates a range ofproducts under one venue or brand name, thus giving the consumer the opportunity to buy into a whole lifestyle experience from one retailer.

Lux

The way in which the brightness of light ismeasured.

Mega centre

A large out of town retail experience that usuallycombines retail with leisure facilities.

Mood boards

A mood board consists of images taken frombooks and photographs arranged on a board to describe the feel of the interior space, andthe nature of the user.

Pace

Pace describes the speed at which someonemoves around the store. Retail designers often consider a range of paces within aninterior scheme.

Pop-up store

A pop-up store is a temporary retailenvironment, that is set up to promote thebrand in unusual places, often with an exclusive range of products that are notavailable in-store or sometimes purely as aninteractive advertisement without product.

Product

An object or artefact.

Retail unit

A custom-built space for retail purposes.

Roll-out

This is a term used to describe the reproductionof an interior scheme into a number of differentlocations. Although the scheme may need toalter to reflect the nature of the site, theprinciples behind the design idea remain thesame.

Shadow gap

A contemporary detail used to create a junctionbetween a wall and a ceiling or floor; or betweena fixture and the floor that makes the objectsdisplayed on it appear to be floating.

Sustainability

Using the Earth’s natural resources throughenergy consumption, building and makingmaterials in a way that does not impact on theenvironment.

System upright posts

Thin, steel posts with a series of slots runningup the front face that are used between wallpanels to hold rails and shelf brackets.

Virtual shopping

A non-physical retail space accessible online.





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Acknowledgements

Creating this book was a challenging andrewarding experience and could not have beenachieved without the support and knowledgefrom AVA Publishers, material provided byleading retail design practices without which the visual content of this book would not have been possible, staff and students from the BA (hons) Interior Design course at the University of Portsmouth’s School ofArchitecture, family and friends.

Therefore, I would like to give special thanks to Leafy Robinson at AVA Publishing for givingme the opportunity to realise this potential and for supporting me throughout the writingprocess; Keith Ware from Dalziel & Pow, Simon Ash from Brinkworth and Ben Phillipsfrom Shed Design for providing invaluableinformation and sparing precious time to meetwith me; Lorraine Farrelly, Belinda Mitchell and Rachael Brown for your insights andconstructive conversations; Terry and June for babysitting when deadlines were tight; and Andrew and Leo for your constantencouragement.

\ Glossary \ / Picture credits /



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Picture credits

Cover image Frank Oudeman 2010 ©003 Image provided by Dalziel and Pow.006 Photograph © James Winspear, courtesy of Four IV013 Images provided by Dalziel and Pow014 Photograph provided by Andrew Mesher016/017 Images provided by HMKM, London021 Images provided by Brinkworth022/023 Images reproduced courtesy of Shed Design Ltd.025 Image provided by Caulder Moore027 Photography courtesy of Checkland Kindleysides028 Imagery courtesy of Checkland Kindleysides029 Photograph © Richard Davies, courtesy of John Pawson030/031 Photography courtesy of Checkland Kindleysides032/033 Images provided byMagdalena Kumala037 Images courtesy of Shutterstock039 Image courtesy of Getty041 Image provided by Dalziel and Pow043 Photograph © Paul Raftery, courtesy of View Pictures Ltd044 Photographs © Yoshiko Seino (Paris), and Masa Yuki Hayashi (Tokyo), provided by Amanda Levete Architects046 Drawing by 6a Architects047 Photograph by David Grandorge048/049 Images provided by Dalziel and Pow051 John Maltby / RIBA Library PhotographsCollection052/053 Images provided by Droog054/055 Image provided by Formavision056 Photo by Ed Uthman058 Images provided by QuA Associates060/061 Images provided by Jekaterina Zlotnikova, Stephanie Harris and Angeliki Ioannou065 Photograph © James Winspear, courtesy of Four IV066 Photograph by Richard Davies067 Drawing by Lynne Mesher070/071 Images provided by Dalziel and Pow073 Photograph by Lynne Mesher076 Photographer: Marcin CzajkowskiCourtesy: The Jerde Partnership, Inc.078 Image courtesy of echochamber.com080 Images provided by QuA Associates

084/085 Images provided by HMKM, London088/089 Images provided by Fahirool AdzharMuhmad094 Photographs by David Grandorge097 Images courtesy of Shutterstock098 Images courtesy of Shutterstock099 Images courtesy of Shutterstock100 Images courtesy of Shutterstock101 Images courtesy of Shutterstock102/103 Photography courtesy of Checkland Kindleysides104 Photography courtesy of Checkland Kindleysides106 Image reproduced courtesy of Shed Design Ltd.107 Image provided by Brinkworth108 Photograph © Rama Knight, courtesy of Four IV109 Photograph courtesy of Caulder Moore110 Drawing by Lynne Mesher112 Photograph courtesy of Caulder Moore114/115 Images provided by Caroline Hart118 Drawing by QuA Associates122/123 Luc Boegly and Saguez and Partners124/125 Imagery courtesy of Checkland Kindleysides127 Image provided by HMKM, London129 Drawing by Four IV131 Image provided by Brinkworth133 Drawing by QuA Associates134 Drawing by Lynne Mesher135 Image provided by Brinkworth136 Drawing by Lynne Mesher139 Images provided by Katie Drake-Burrows144 Drawing by Lynne Mesher145 Photograph provided by Brinkworth146 Image provided by Dalziel and Pow148 Photograph courtesy of Caulder Moore151 Photography courtesy of Checkland Kindleysides153 Images provided by Brinkworth155 Images reproduced courtesy of Shed Design Ltd.157 Images provided by Brinkworth158 Photograph provided by Amanda LeveteArchitects160 Drawings by Four IV163 Drawings by Lynne Mesher165 Image provided by Dalziel and Pow167 Image provided by Fiona Damiano168 Photography courtesy of Checkland Kindleysides





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Lynne Elvins Naomi Goulder

The subject of ethics is not new, yet its consideration within the appliedvisual arts is perhaps not as prevalentas it might be. Our aim here is to help anew generation of students, educatorsand practitioners find a methodology for structuring their thoughts andreflections in this vital area.

AVA Publishing hopes that theseWorking with ethics pages provide a platform for consideration and a flexible method for incorporatingethical concerns in the work ofeducators, students and professionals.Our approach consists of four parts:

The introduction is intended to be an accessible snapshot of the ethicallandscape, both in terms of historicaldevelopment and current dominantthemes.

The framework positions ethicalconsideration into four areas and poses questions about the practicalimplications that might occur. Marking your response to each of these questions on the scale shown will allow your reactions to be further explored by comparison.

The case study sets out a real projectand then poses some ethical questionsfor further consideration. This is a focuspoint for a debate rather than a criticalanalysis so there are no predeterminedright or wrong answers.

A selection of further reading for you to consider areas of particularinterest in more detail.

Publisher’s note

Interior DesignBASICS

Working with ethics

PMS 16351st Proof Title: BID : Retail DesignJob No: D0210-11/3173




Ethics is a complex subject thatinterlaces the idea of responsibilities to society with a wide range ofconsiderations relevant to thecharacter and happiness of theindividual. It concerns virtues of compassion,loyalty and strength, but also ofconfidence, imagination, humour andoptimism. As introduced in ancientGreek philosophy, the fundamentalethical question is: what should I do?How we might pursue a ‘good’ life not only raises moral concerns aboutthe effects of our actions on others, but also personal concerns about ourown integrity.

In modern times the most importantand controversial questions in ethics have been the moral ones. Withgrowing populations and improvementsin mobility and communications, it is not surprising that considerations abouthow to structure our lives together onthe planet should come to the forefront.For visual artists and communicators, it should be no surprise that theseconsiderations will enter into thecreative process.

Some ethical considerations are already enshrined in government lawsand regulations or in professional codesof conduct. For example, plagiarismand breaches of confidentiality can bepunishable offences. Legislation invarious nations makes it unlawful toexclude people with disabilities fromaccessing information or spaces. Thetrade of ivory as a material has beenbanned in many countries. In thesecases, a clear line has been drawnunder what is unacceptable.

Introduction

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But most ethical matters remain open to debate, among experts and lay-people alike, and in the end we haveto make our own choices on the basisof our own guiding principles or values.Is it more ethical to work for a charitythan for a commercial company? Is itunethical to create something thatothers find ugly or offensive?

Specific questions such as these maylead to other questions that are moreabstract. For example, is it only effectson humans (and what they care about)that are important, or might effects onthe natural world require attention too?

Is promoting ethical consequencesjustified even when it requires ethicalsacrifices along the way? Must there bea single unifying theory of ethics (suchas the Utilitarian thesis that the rightcourse of action is always the one thatleads to the greatest happiness of thegreatest number), or might there alwaysbe many different ethical values thatpull a person in various directions?

As we enter into ethical debate andengage with these dilemmas on apersonal and professional level, we maychange our views or change our view ofothers. The real test though is whether,as we reflect on these matters, wechange the way we act as well as theway we think. Socrates, the ‘father’ ofphilosophy, proposed that people willnaturally do ‘good’ if they know what isright. But this point might only lead us to yet another question: how do weknow what is right?

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YOU

What are your ethical beliefs?

Central to everything you do will be your attitude to people and issuesaround you. For some people, theirethics are an active part of thedecisions they make every day as a consumer, a voter or a workingprofessional. Others may think aboutethics very little and yet this does notautomatically make them unethical.Personal beliefs, lifestyle, politics,nationality, religion, gender, class oreducation can all influence your ethical viewpoint.

Using the scale, where would you place yourself? What do you take intoaccount to make your decision?Compare results with your friends or colleagues.

YOUR CLIENT

What are your terms?

Working relationships are central towhether ethics can be embedded intoa project, and your conduct on a day-to-day basis is a demonstration of yourprofessional ethics. The decision withthe biggest impact is whom you chooseto work with in the first place. Cigarettecompanies or arms traders are often-cited examples when talking aboutwhere a line might be drawn, but rarelyare real situations so extreme. At whatpoint might you turn down a project onethical grounds and how much does the reality of having to earn a livingaffect your ability to choose?

Using the scale, where would you place a project? How does thiscompare to your personal ethical level?

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A framework for ethics



YOUR SPECIFICATIONS

What are the impacts of yourmaterials?

In relatively recent times, we arelearning that many natural materials are in short supply. At the same time,we are increasingly aware that someman-made materials can have harmful,long-term effects on people or theplanet. How much do you know aboutthe materials that you use? Do youknow where they come from, how farthey travel and under what conditionsthey are obtained? When your creationis no longer needed, will it be easy and safe to recycle? Will it disappearwithout a trace? Are these considera -tions your responsibility or are they out of your hands?

Using the scale, mark how ethical your material choices are.

YOUR CREATION

What is the purpose of your work?

Between you, your colleagues and anagreed brief, what will your creationachieve? What purpose will it have insociety and will it make a positivecontribution? Should your work result in more than commercial success orindustry awards? Might your creationhelp save lives, educate, protect orinspire? Form and function are twoestablished aspects of judging acreation, but there is little consensus on the obligations of visual artists andcommunicators toward society, or therole they might have in solving social or environmental problems. If you want recognition for being the creator, how responsible are you for what you create and where might thatresponsibility end?

Using the scale, mark how ethical thepurpose of your work is.

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The Shakers

One aspect of interior design thatraises an ethical dilemma is that ofcreating interior spaces that maydirectly affect people’s health and well-being. For example, some studieshave found concentrations of VOCs(volatile organic compounds) up to tentimes higher indoors than outdoors.VOCs are emitted, amongst otherthings, by paints, lacquers, flooringmaterials and furnishings. The adverse health effects of overexposure to harmful VOCs can includeeye and throat irritation, headaches,fatigue, dizziness and nausea.Electrical fields generated by everydayequipment, such as computers, andexcess static electricity created by certain materials, could also be bad for human health. Prolongedexposure to electrical fields may cause increased risk of respiratorydiseases and infection, airbornebacteria and viruses. At what pointshould (or do) interior design projectstake into account these and otherhealth issues? Is it the responsibility of the interior designer to considerpotential risks based on inconclusiveevidence that is still being exploredand debated? Or is it the responsibilityof scientific researchers andgovernments working with themanufacturers of the materials underquestion?

The Shakers were a religious sect that went to America from England in1774 seeking freedom from religiouspersecution. They pursued completeindependence from ‘the outside world’, which led them to build theirown properties and design their own objects.

Shaker interiors were entirely free ofornament, contrasting starkly with themainstream excesses of the Victorianappetite for the fancy and elaborate.Beadings or mouldings were strippedaway. Walls were plain white andpainted floors were kept bare for easy cleaning. On entering a Shakerbuilding, one commentator wrote: ‘The first impression of all is cleanliness,with a suggestion of bareness which is not inconsistent, however, withcomfort, and which comes chiefly from the aspect of unpapered walls, the scrubbed floors hidden only by rugs and strips of carpeting, and theplain flat finish of the woodwork.’

Window frames, chimneys andstairways were all executed with clean lines in basic forms. The resultsreflected total simplicity, remarkablefunctionality and beautifullyproportioned craftsmanship. Shakers designed everything withcareful thought, working with the belief that to produce something wellwas in itself ‘an act of prayer’.

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Shakers lived communal lives, sofurniture was built and arranged forefficient use by large numbers ofpeople. Everything was functional,including chairs, benches, tables andhuge banks of storage cabinets withdrawers. Lines of wooden pegs arounda room were used to hang up chairs,baskets and hats. Furniture was madeout of pine or other inexpensive wood,and so was light in colour and weight.The interior of Shaker meeting housesincluded large, open floor space toallow for their religious dances. Theimportant factors within any buildingwere considered to be the quality oflight, an equal distribution of heat,general care for protection and comfort,and other factors that pertained tohealth and long life. Typical communalbedrooms might contain simple rope beds, washbasins and wood-burning stoves. Storage boxes, clocks,brooms and woven materials were also created, with some products made available to sell.

By the middle of the twentieth century,collectors, inspired by the modernistassertion that ‘form follows function’,were drawn to Shaker artefacts at thesame time as Shaker communities were themselves disappearing. Original Shaker furniture is costly andstill sought after today, due to its quality and historical significance.

If an interior design is inspired by religious belief, does it make the result more ethical?

How might decoration seem more unethical than plainness?

Would you work on providing a Shaker interior to a wealthyprivate client?

: WILLIAM MORRIS

Ornamental pattern work, to beraised above the contempt ofreasonable men, must possess three qualities: beauty, imaginationand order.



Working with ethics Further reading

AIGADesign Business and Ethics2007, AIGA

Eaton, Marcia MuelderAesthetics and the Good Life1989, Associated University Press

Ellison, DavidEthics and Aesthetics in European Modernist Literature: From the Sublime to the Uncanny2001, Cambridge University Press

Fenner, David E W (Ed)Ethics and the Arts: An Anthology 1995, Garland Reference Library of Social Science

Gini, Al and Marcoux, Alexei MCase Studies in Business Ethics2005, Prentice Hall

McDonough, William and Braungart, MichaelCradle to Cradle: Remaking the Way We Make Things2002, North Point Press

Papanek, VictorDesign for the Real World: Making to Measure1972, Thames & Hudson

United Nations Global Compact The Ten Principles www.unglobalcompact.org/About TheGC/TheTenPrinciples/index.html



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Ethical practice is well known, taughtand discussed in the domains ofmedicine, law, science and sociologybut was, until recently, rarely discussed in the terms of the AppliedVisual Arts. Yet design is becoming an increasingly integral part of our everyday lives and its influence on our society ever-more prevalent.

AVA Publishing believes that our world needs integrity; that theramifications of our actions upon others should be for the greatesthappiness and benefit of the greatestnumber. We do not set ourselves out as arbiters of what is ‘good’ or‘bad’, but aim to promote discussion in an organised fashion for anindividual’s understanding of their own ethical inclination.

By incorporating a ‘working with ethics’ section and cover stamp on all our titles, AVA Publishing aims to help a new generation of students,educators and practitioners find a methodology for structuring theirthoughts and reflections in this vital area.

Lynne Mesher studied product andfurniture design at The University ofWales, and after graduating in 1996,went on to practise as a retail designer.She worked for some of the mostprominent design consultancies in theUK, creating interiors for well-knownbrands worldwide. Further to working in practice and gaining a postgraduateteaching qualification, she is nowcourse leader for interior design at the University of Portsmouth School of Architecture, where she specialises in studio teaching, CAD andprofessional practice.

Featured topicsbrandingtypes of retail spaceretail sitesthe retail environmententrancematerialslightingclimate and sound circulationpaceproduct displaypoint of saleback of housethe shop facadefixtures and fittingsgraphics

Featured contributors6a ArchitectsBohlin Cywinski JacksonBrinkworthCaulder MooreCheckland KindleysidesDalziel and PowDroogFormavisionFour IVFuture SystemsHMKMJerde Partnership Inc.John PawsonQuASaguez & PartnersShed DesignStudio Makkink and Bey

ava publishing sa [email protected]

BASICS

01Interior Design

retail design

BASICS

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Lynne Mesherinterior design

nthe art or process of designing spaces to be used for the sale of goods to the publicreta

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Publisher’s note

The Basics Interior Design seriesfrom AVA Publishing’s Academia list comprises a collection of titlesexamining the application of interiordesign principles to different typesof space. Packed with examplesfrom students and professionalsand fully illustrated with cleardiagrams and inspiring imagery,they offer an essential introductionto the subject.

The first in this series, RetailDesign takes the reader on ajourney through the retail space,beginning with the notion of brandand identity as a starting point forthe design concept. The relationshipbetween the interior and its context,site and setting is examined andwith this under standing, the journey progresses to an in-depthinvestigation of layout, circulation and pace. Methods for pushing the boundaries of spatial design and experience are demonstratedand the effects of the buildingindustry on the environment arediscussed throughout.

This book offers an insightfulapproach to interior design,examined through retail, whichbuilds on the notion of anexperiential interpretation of space geared towards a particularset of users.



UK

£19.95



interior architecture basics- retail design

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