RETAIL DESIGN PORTFOLIO

RETAIL DESIGN
PORTFOLIO
Student:-
Pawan Kumar Sharma
MSc Interior Designer
Commercial Space Designer
Dezyne E’cole College

Introduction
People love to look, window-shop, and buy. Shopping as an experience should provide
fun, which in turn provides profits. A successful store or shop is one that is designed to
merchandise in addition to looking good. A store can be divides into two principal
parts : the exterior, which gives identification, encompasses the storefront, show
windows, and displays, and the interior, where the promise of the storefront display is
delivered. Briefly states, the storefront initiates the sale, and the interior consummates
it.
The storefront and the design of the façade must be attractive in order to catch the
shopper’s attention and to draw the customer in front the street or from the mall in
shopping center. Graphic identification, whit bold color, lighting, lettering, and logos,
and attractive display of merchandise are the initial steps.

Principles of
Retail shop design
In order to design satisfactory shop, the first requirement is an understanding of those
portion of current merchandising theories which affect the design problem. Briefly.
“Merchandising Psychology” consists of, first, arousing interest; second, satisfying it.
With staple goods the first phase is almost automatic. When non-staples, accessories or
specialties other than “demand” goods are to be sold. Method of arousing interest may
become more complex.
The second phase– the actual sale-involves factors of convenience which are desirable in
order to make buying easy, to satisfy customers completely, and to achieve economy of
space and time for the store management. Both phases affect the design of retail shops,
and are closely interrelated.
The Principles are as Follows:-
1. Attracting Customers. 2. Inducing Interest.
3. Organizing Store Spaces. 4. Interior Display.
5. Conveniences.

Attracting Customers:-
This can be accomplished by means of advertising, price, show-window displays, or new or
remodeled quarters, which occupies much of a merchant’s efforts. Of these, storefronts
and display windows are important to the store designer.

Inducing Interest:-
Show windows, in addition to attracting passersby, should induce them to enter the store.
Show windows may be opened up to display the shop’s interior; or closed in, to give privacy
to customers within. Door locations require study in relation to pedestrian traffic flow,
grades of sidewalk and store floors, and interior layout of the shop. In colder climates drafts
and outdoor temperature changes can be controlled at the door.

Organizing Store Spaces:-
Organizing store space, and consequently the merchandise to be sold, into departments,
enables customers to find objects easily, and permits storekeepers to keep close check on
profits or losses from various types of goods. Store lighting and “dressing” are simplified.
Even small shops benefit from a measure of departmentalization: in large shops, the
practice becomes essential as methods of training salespeople, of handling, controlling, and
wrapping stock become more complex.

Interior Displays:-
Interior displays require particular attention in specialty shops. Types range from displays
of staple goods which assist customers in selection, to display of accessories which the sale
of staples may suggest to the customer problems of arrangement with regard to
merchandise, departments, and routes of customer’s approach are involved.

Conveniences:-
Convenience intended primarily for the customer’s benefits, while not strictly
allied to the problems of attracting trade or selling goods, are necessary to some
types of shops. A florist, for instance, provides a card- writing desk or counter in
his shop.
In regard to finishes and equipment, the idea may be extended to include: floor
surfacing for comfort; acoustic treatment of ceiling and possibly walls; illumination
of pleasant, sometimes special, quality; and air conditioning. All these have been
found profitable investments in various cases. Their necessity or desirability
depends to an extent on the type of shop, its location, or the climate of the
locality.

Interiors retail
The successful retail shop is an efficient selling machine or sale factory. In additions to
servicing the customers, the employees have to be considered so they can service to the
customer.
Merchandise and space must be organized to help the customer in marketing a selection and
to help the sales person in selling. Easy circulation and exposing the customer to the
maximum amount of merchandise are part of good design. Avoid monotony in circulation
and display of merchandise.
The location and design of the cashier and wrapping unit are important and provide for
several persons to be serviced. Often this acts as a control center.
Flexibility so that fixtures and departments can be moved or modified in part of present-day
merchandising. Fixtures should be minimized and merchandise emphasized. Design and use
fixtures so that full attention is thrown on the Merchandise. Survey must be made for each
particular type of store, its operation, and personnel to determine actual sizes and
requirements.
Departmentalization:-
Benefits to be derived from segregation of merchandise by types have been touched upon
previously. All these are factors in decreasing the average time per sale, an important figure
in large-store accounting and in small stores with rush periods.

Demand or
Staple goods
Convenience
items
Impulse or
luxury goods
1. Impulse or luxury goods are high profit articles, usually high in price.
2. Convenience items are stocked for the passerby who happens in but who may return
for other purchases if properly impressed. Often these are not in them self strictly
profitable merchandise.
3. Demand goods are also staples, like convenience, but are articles which the customers
starts out which a definite idea of purchasing.

Layouts
Six basic types of plans in Retail Design :-
1. Straight Plan.
2. Pathway Plan.
3. Diagonal Plan
4. Curved Plan.
5. Varied Plan.
6. Geometric Plan.

Straight Plan
• Straight plan is a conventional
plan that used walls and
projection to create smaller
spaces.
• It is an economical plan to
execute and can be adopted
for any types of stores, from
gifts shops to apparel outlets,
drug store, grocery stores to
department stores.
• Varity in the straight plan
should be introduce by raising
the floor level of the shop. This
type of plan pulls customers to
the back of the store.
• This plan is good for book
stores.

Pathway Plan
• Pathway plan pulls patrons
through the store to the end
(rear) without interruption of
floor fixtures. The path can
take any shape and create a
pattern.
• This type of plan is suited for
large store over 5000 sq. feet
and on 1 level. The pathway
plan is very good organizer
and pulls the shopper from the
front to the end of the store.
• This plan is good for clothing
store because it does not give
cluttered feeling this plan
focuses the shoppers attention
on the merchandise.

Diagonal Plan
• For self service store a
diagonal plan is better the
cashier is in the center
location with side lines to
all areas of the space.
• Soft goods or hard goods
stores including drug and
food store can take
advantage of the diagonal
plan.
• This plan is having a
dynamic quality because it
is not base on straight lines
it invites movement and
circulation.

Curved Plan
• This plan is good for
Boutiques and Salons or
other high quality
stores. The curved plan
creates an inviting
special environment for
the customer or also
costs more to construct
then angular and square
plan.
• Curved theme can be
emphasized with walls
ceiling and corners to
complete the look
specify circular floor
fixtures.

Varied Plan
• For products that required
backup merchandise to be
immediately near to
selling. The varied plan is
highly functional it is a
variation of straight line
plan with a certain area
allowed for cartoon
storage near the
parameter of the wall.
• The plan has a bellow
effects this types of store
is good for jewellry,
hardware and tobacco
shop.

Geometric Plan
• The designer creates
forms with shapes
derived from showcases
and racks. This plan is
the most exotic of the
six basic plan and the
designer can use wall
angles to re-state the
shapes dominating the
sales floor.
• This is the very good
plan for apparel, shoe,
gift shop.

Dimensions
The essential function of retail spaces is to display and sell
merchandise. The design of these spaces involves the
manipulation and coordination of architectural, interior
design, and merchandising elements as necessary to meet
the programmatic needs of the client. It is critical that the
space in which the customer and store personnel function
is of the highest quality. Ensuring this quality requires a
knowledge of the planning and design of the various
interior components that constitute the building block of
retail spaces.

This figure shows the clearances involved for a 42-in, or 106.7- cm, high counter to service a
seated user. By filling the recess with an additional display, however, the counter can also be used
exclusively as a typical sales counter. It should be noted, however, that although sometimes used
for special display situations, such a counter height is not recommended. Both the customer and
the sales clerk of smaller body size would find coping with such a height uncomfortable
anthropometrically, particularly when one considers that the counter would be higher than the
elbow height of slightly over 5 percent of the population. From a merchandising view point, were
customer convenience is of paramount importance, it would be unwise to exceed 39 to 40 inn, of
99 to 101.6 cm as a counter height. In addition, the smaller sales clerk forced to tend such a
counter for extended periods of time could be subjected to servers backaches and pains.
In Cm
A 26 - 30 66.0 - 76.2
B 18 - 24 45.7 - 61.0
C 42 106.7
D 28 71.1
E 84 - 112 213.4 - 284.5
F 18 45.7
G 18 - 24 45.7 - 61.0
H 30 – 48 76.2 - 121.9
I 18 – 22 45.7 - 55.9
J 35 - 38 88.9 - 96.5
K 72 182.9

This figure shows the clearances for a typical sales counter.
In Cm
E 84 - 112 213.4 - 284.5
F 18 45.7
G 18 - 24 45.7 - 61.0
H 30 – 48 76.2 - 121.9
I 18 – 22 45.7 - 55.9
J 35 - 38 88.9 - 96.5
K 72 182.9

This figure shows the clearances required for a medium height display counter. The suggested seat
height of 21 to 22 in, or 53.3 to 55.8 cm, requires a footrest for the seated customer. The counter
height shown will allow the display to be viewed by both the seated. The customer activity zone
allows adequate space for the chair. Knee height, buttock knee length, popliteal height, and eye
height sitting are all significant human dimensions to consider in the design of counters to be used
by a seated customer.
In Cm
A 36 91.4
B 26 -30 66.0 – 76.2
C 18 – 24 45.7 – 61.0
D 30 min. 76.2 min.
E 10 25.4
F 21 – 22 53.3 – 55.9
G 5 12.7
H 23 – 25 58.4 – 63.5
I 4 – 6 10.2 – 15.2
J 34 – 36 86.4 – 91.4
K 30 76.2
L 16 - 17 40.6 – 43.2

This figure shows a low 30 in, or 76.2 cm, display counter also for use by a seated customer. The
anthropometric considerations are the same. Although the counter height is responsive to the
anthropometric requirements of the seated customer, it is less than ideal for the standing clerk. For
the standing user’s optimum comfort, the counter height should be about 2 or 3 in, or 5 to 7.6 cm,
below height. This will allow a person to handle objects comfortably on the counter surface or use
the counter as support for his or her arms. The 30 in height is too low to permit such use.
In Cm
B 26 -30 66.0 – 76.2
C 18 – 24 45.7 – 61.0
E 10 25.4
K 30 76.2
L 16 - 17 40.6 – 43.2

This figure shows Shelving is probably used more than any other single interior component for
the storage and display of merchandise. Not only must the merchandise be within reach
anthropometrically, but it must be fairly visible as well. The heights established must there fore
be responsive to vertical grip reach dimensions as well as to eye height. In establishing height
limits, the body size data of the smaller, departments may cater exclusively to members of one
sex or the other, two seats of data are presented. One is based on the body size of the smaller
female and the other on the body size of the smaller male. The suggested height reflect a
compromise between reach requirements and visibility requirements.
In Cm
A 48 max. 121.9 max.
B 30 – 36 76.2 – 91.4
C 51 min. 129.5 min.
D 66 167.6
E 72 182.9

In Cm
A 48 max. 121.9 max.
B 30 – 36 76.2 – 91.4
C 51 min. 129.5 min.
D 66 167.6
E 72 182.9
F 84 – 96 213.4 – 243.8
G 20 – 26 50.8 – 66.0
H 28 – 30 71.1 – 76.2
I 18 – 24 45.7 – 61.0
J 18 min. 45.7 min.
K 72 max. 182.9 max.
L 4 10.2
M 42 106.7
N 26 min. 66.0 min.
This figure shows the clearances involved in hanging type merchandise cases. Hod heights
should be related not only to human reach limitations, but in certain cases to the size of the
merchandise displayed. There is usually no conflict in respect to garments.

PRINCIPLES OF
RETAIL
ORGANIZATION

Once the brand has been established and the market for
its products is fully understood, an analysis of the
retailer’s current building stock or an investigation into
finding a suitable site begins. The brand guidelines for the
interior demonstrate a typical size of store for the
implementation of the scheme.
The overall principles of the interior layout can be broken
down into four areas: the entrance, main circulation,
pace and finally sales in the form of displays, fixtures and
payments areas.

Entrance
• Exterior, Façade, Logo
• Interaction
• Threshold, Transition
• Mystery, Posters
• Shop windows
• Display
• Transparency
The design of the entrance to a store is
very important. It needs to entice the
customer in and give a glimpse of the
products beyond the threshold in
general thought, it will be either a new
element fitted as part of the overall
scheme or an existing element
preserved in its original form or updated
to meet building and planning
regulations. Window displays are
regularly updated to show the latest
products in store. Often, the customer
will also be able to see past the window
display transparency and interaction.
Sometimes the view is blocked by
displays, giving a feeling of mystery and
bringing the customer’s focus to the
display.

• Entry area- Starting
Point
• Open, Spacious area
• Time to Pause, Feel,
Sense, Experience
• Leisure, Display,
Seating, Main Flow
• Access for all Users with
Disabilities
Once beyond the threshold, the
entrance space is the starting
point of the interior journey. It is
an area of the store that is often
left open and spacious, giving the
customer time to pause and take
in the store environment and
make way for people entering and
exiting the store comfortably.
Sometimes with seating areas on
the sides out of the main flow of
traffic.

Visual identity
• Visual Identity – LOGO
• Colours
• Branding Experience
• Up-to-date Products
• Display, Tasting, Sensing,
Discussing
• Display
Signage is an important
element of the entrance used
to navigate customers to a
correct department or to
clearly signpost shop
amenities. Lifestyle graphics
are also featured in the
windows and entrance for
brand enhancement.
The entrance is a key main
area for featuring new in store
merchandise. This could be in
the form of a feature display,
or a promotional event
including food tasting, free
samples, make overs or sprays
of perfume, for example.

Circulation
• Human Circulation
and Pathways
• Circulation Diagrams
• Routes, Arrow, way of
Communication and
Interest
• Space Division: areas
between Products
and Merchandise
One of the first tasks the retail designer faces
when the site has been decided is to work out
the circulation around the space, taking into
consideration the design guidelines and
principles of the scheme alongside the
structural nature of the interior. Circulation
diagrams are produced as ways of thinking and
describing different schemes to the client. The
diagram are produced by looking at the plan
and section of the interior and drawing arrows
and routes over the technical drawing. The
circulation plan is often drawn in unison with
an adjacency plan (often on the same
drawing), which shows how the area of the
space will be divide into product, places to
sell, space to browse and ancillary areas.
These drawings forms the staring point for
planning the interior layout.

The circulation performs two main tasks in the retail
scheme. The first is to allow for the flow of people in
the form of walkways. These must be wide enough for
at least two people to pass each other comfortably,
whether walking or in a wheelchair, or pushing a pram.
The second is to take the customer to the merchandise
and allow them ample space to browse without
bumping into other people or displays.

The principle of circulation are quite simple and
are governed by the way in which people move
around the space. There are many ways that this
can happened but each is based around a handful
of solutions. Circulation can work horizontally,
allowing the customer access through the shop
front, with products displayed either side of the
walkway and with an exit at the back; or vertically,
with merchandise displayed over more than one
floor. This scheme is more complicated in the sense
that stairs, lifts and escalators need to be
negotiated, and methods for enticing people on to
the upper floors must be considered. Circulation in
a zig-zag or figure-of-eight fashion across the store
allows for points of interest to be included and
creates a longer journey and a variety of way to
travel around the space. The circular pattern takes
customers from the front to the back and then to
the front again.
• Horizontally
• Vertically
• Spine – Lead
• Circular
• Loop
• Zig-Zag
• Free Flow

• Selling the
products or
services
• Display of
products,
presentation and
distribution
• Essential part of
store
organization
Sales
The most important thing about any
retail interior is its ability to sell
products and sustain the business.
The entrance, circulation and pace
are all important design issue for
the retail designer to contend with,
but it is the displayed that is the
biggest challenge. It is important to
mention that although it is the most
essential area for development
within the scheme, it would not
function without the other areas we
have already considered.

• Fixture and
furniture: low, high,
mid floor
• Displays: custom-
made hooks and
hangers
• Using interior walls:
fixed, hang
• Free standing: low
cabinets, shelves,
drawers, displays
Product Display
Taking up a large part of the retail designer’s remit
is the designer of fixture displays. Some fixtures
can be bought in a kit from and either used directly
in this state, or adjusted with finishes to suit the
interior design; other fixtures are custom made.
Custom made pieces work particularly well if the
scheme is to be rolled out; the cost of making the
fixtures become cheaper with larger production
qualities. For one off stores, an off the shelf system
may be a better solution. These elements,
although mot at the forefront of the consumer’s
experience, are the vehicles that drive the interior
scheme and make the space and make the space
function and sell products. Products can be
displayed in a variety of interesting ways, but can
be broken down into two different types: wall
display and mid floor fixtures.

PUMA StoreDisplay area are the heart of a retail
store. Display is the mechanism that
presents the merchandise to the
shopper in its best favorable light and
that allows the shopper to evaluate
and select product for purchase.

• Storage area for
products and
stock
• Supporting rooms
for furniture,
fixtures and
fittings repair and
storage
• Fitting areas
• “Back of the
house” rooms for
employees
These spaces consist of fitting rooms and staff/
customer consultation areas. These are support
areas, and although used for selling, they do not
necessarily contain displayed stock. The design of
these spaces is just as important as that of the
main displays. Because they are used by the
public they are carefully considered in order that
they work alongside the branded interior in terms
of the convey a positive image of the customer
service.
The ancillary space refers to the area that is put
aside to house the functional elements of the
store, aside from selling. This area supports the
running and managing of the store on a daily
basis and provides essential areas for storage and
facilities for staff and is often referred to as ’back
of house’. Public toilets are often provided in
large retail stores and come under the heading of
‘ancillary’.

• “Try and
experience before
buy”
• Dividers, Curtains,
Doors, Mirrors,
Lighting and
position of
luminaires, hooks,
shelves, fixtures,
screens, seat, shop
assistant etc.
• Space to catch the
breath
Fitting Rooms
In fashion stores, fitting rooms are essential for
customers to ‘try before they buy’. There have
been some trends in fitting room design over the
years that are worth mentioning. High street
fashion stores once favored one big open space
for all with mirrors all around. Some stores also
had a small amount of very tight cubicles with
badly fitted curtains alongside the open space,
making the trying on of clothes an uncomfortable
experience for many. Most now have separate
spacious cubicles for changing with mirrors on all
sides, a fixed seat, hooks for your own clothes and
bags and a solid lockable door for added
discretion.
The entrance into the fitting room can be a key
area to enhance the shopping experience. In large
stores, this space contains seating and sometimes
even entertainment for those who have to wait. In
smaller stores that do not have the space to do
this.

Point of Sale
The point of sale marks the end of the journey
around the store and is the point at which a
customer will pay for goods. The location of the
point of sale is very important. In larger stores,
there will be access to till points in several
locations, often relating to a department, one in
menswear and on in women's wear, the till
points are usually located in front of the exit
doors. This allows for heavy traffic flow in a
runway fashion and indicates the end of the
overall process. In smaller stores, the till point or
cash desk can be located in a number of places:
at the back of the store, with a feature wall
behind it so that it can be seen from the shop
front; halfway into the store along a side wall,
dividing the product display; or at the front of
the store, close to the entrance and marking the
end of the shopping experience.
Cash Desk Position
These drawing depict the
various positions of the cash
desk and how they sit alongside
the merchandise and work with
the circulation. The design of
the cash desk coincides with
the overall design scheme. It is
often well lit and easy to seen
from all around the store.

In most cases, the shop front/ shop window is a draw
to buyers to make them feel comfortable when
approaching the store and venturing over the
threshold.
For others, it is an opportunity to window shop and
aspire to buy into the lifestyle on view.
In some instances, the shop front and entrance are
designed to deter the public from entering, with
security on the door.

The shop façade must first take on the essence of the
brand.
Done through graphic communication: fascia signage, a
projecting sign, window detail and lifestyle graphics as
part of the window displays; the materials from which a
new shop front is constructed, or how an existing shop
front can be adapted to meet the design requirements;
the merchandise in the window and the brand message/
slogan that is conveyed by the window display; and
position of the entrance door and how this will be
managed.

IN THE CITY NEIGHBOURHOOD
The approach to shop front design will vary depending on
the site location (building regulation) and the impact of
the design of the neighboring shop facades.
IN SHOPPING CENTER
In the case of shopping centers, neighboring retail outlets
and arcades will have to be considered.
Contract between the retailer and landlord to outline
what can and can’t be done to the unit or building.

The Traditional shop front
The design of the traditional shop front has a
sense of symmetry and is set out in proportion
to the existing building’s elevation. In most
cases, unless the brand’s design states it, it is
unusual to put a new traditional shop front into
a site unless required to do so for planning
reasons or to suit the design scheme of an
arcade or shopping center as a replacement of
an existing order shop front. If this is the case,
then restrictions may also be in place regarding
the application of signage and the colour in
which the shop front can be painted. In some
instances, a standard front, text size and colour
may be specified as well as the type of signage.
Signage may have to be painted onto the fascia
rather than applied on a fascia box, and a
standard projecting sign to match all others in
the center may be part of the conditions.
The Contemporary shop front
The design of the contemporary shop
front focuses on allowing light and visual
access right into the store from the
street. The look is clean, with glazing
reaching from floor to fascia panel, or
sometimes with the fascia situated
inside the glass, sat in a brushed
stainless steel frame. Sometimes the
glazing is frameless around the internal
elements. The signage is influenced by
the brand, using contemporary text.
Illuminated sign boxes are the normal
application in contrast to a traditional
painted sign.

FASCIA
The sign above the window of a shop, where the shop’s name is written.
SHOP WINDOW
The front side of a store facing the street; usually contains display windows.
Displaying items for sale or otherwise design to attract customers to the store.
Usually, the term refers to large windows in the front façade of the shop. Display
windows at boutiques usually have dressed- up mannequins in them.

A TRADITIONAL SHOP FRONT
This line drawing reflects the
typical qualities of a traditional
shop front, taking its proportions
from the existing building’s
elevation.
Traditional

Façade of Building
Symmetry
Modest Graphics
Standard fonts & Colours
Mannequins
Traditional

Frameless
Transparency
Graphic Language
Live Colours
Story Telling & Scenography
Contemporary

Contemporary
Fullcircle
Briefed to create a
stunning flagship store
for the opening of west
field London, Brink
worth produced a store
that is a literal
interpretation of the
name, Fullcircle. A shop
within a shop, with
specific sections cut
away, creating two
perfect optical illusions
within the space.
FULLCIRCLE

Contemporary
Maison Boutique Bengaluru

Contemporary
Maison
Boutique
Bengaluru

IRIS store by 4D, Bangalore – India

Borruso employed a frameless glass
structure that allows for an unrestricted
view of the store interior and a doors
fashioned from gleaming stainless steel.
Residing on the same axis as the bridge,
the store’s unique design functions like a
lighthouse that guides the tide of
shoppers.
The large, mirror like door with 12
conical holes represents the geometric
theme that forms the basis for the design
vocabulary of the store.
MISS SIXTY

The interior motif is a repetition of
circle squares, and other simple
shapes, a style popularize in the
1960s by Panton. These shapes,
combined with the curvy patterns of
the floor and ceiling, presents a
complex yet organic style to store
space. The floor s divided by two
types of materials and two colours –
Red, and White.
MISS SIXTY

Entrance Doors
The entrance doors need to be easily
accessible to all, so must therefore be at
least 1000mm in width. A hinged door
must open inwards so not to obstruct the
street or path in front and must give
good security to the store at night. An
alternative to the hinged door is sliding
doors that have a clear look and do not
impact on the interior in any way. In
some situations, a roller shutter
performs the function of a door.
1000 mm
Operation
Hinged, Sliding
Revolving, Swing
Material, Frame

Position
The position of the entrance door is key
to the success of the entrance as a
whole. A central doorway allows for
symmetry and is therefore visually
comfortable. Also, this enables the store
to be laid out in a symmetrical fashion so
that the focus from the entrance is on
the central space, and in some cases, the
back wall of the store, providing an
opportunity to draw the customer in
with a feature. Positioning the door to
one side offsets the interior. This may be
necessary if there is a particular reason
for needing one large window display
instead of two smaller ones, or if a cash
desk is positioned at the front of the
store directly behind the window.
(a) Symmetry
of shop
Focus of
communication or
products display
Visual comfort

Internal/ External Shop Front
The designer faces different design
opportunities and solutions depending
on the whether the store is in an internal
setting such as a shopping centre, arcade
or retail outlet or if is directly in the
street. The design of the internal shop
front in a mall, for example, dose not
have to consider weather conditions and
so can be of a more open design. The
entrance into the unit may have a
shutter for security without a solid door
behind and may be very wide some are
the width of the entire shop front,
depending on the guidelines of the
shopping centre, will probably have an
area in front of the unit called a ‘pop up
zone’, which is usually about 500 to
1000mm.
Location of
Shop
Traditional with
back wall
Internal Setting
Contemporary
open, free flow
Pop up zone 500-
1000mm

The Shop Window
The shop window begins with a pane of glass that creates a division between the exterior and the interior.
In most new shop fronts, the glazing covers as large an area as possible, so much so that the division
barely exists. Shop window design is an art and a profession in its own right, with new concepts reaching
windows on a cyclical basis.
The purpose of the display is to create a memorable vision and to portray the brand value in one punchy
statement. The display must be consistent with the interior and product range in the materials used, the
way the display is lit and the graphic communication. The window suggests the lifestyle that can be
achieved from owning the products and entices the customer inside. The size of the window display and
the way the merchandise is set out must be coherent to the products displayed. For instance, large items
need a spacious window so that the shopper can stand back to look, whilst smaller item need to be
displayed at eye level so that the shopper can walk up close and view them without bending or stretching.
Most window displays are designed around a shallow plinth that raises the merchandise to an appropriate
height in relation to the glazing, and allow for mannequins, price statements and additional blocks to be
added for smaller products. The retailer’s merchandising team usually source mannequins, but
occasionally the retail designer will advise them.
Some retailers use the window as the main vehicle from which to sell stock. The traditional jeweller’s
window is a good example of this. The window display extends onto the shop, taking up a large proportion
of the retail space, leaving the interior for sales and service alone. The display element for jewellery is very
detailed as it has the job of holding variety of pads containing stock filling the whole window.

Dri Dri Local Italian
Gelato
A lovely pop up ice
cream stall at the Front
Room of St Martins
Lane Hotel in London.
The temporary Italian
gelato shop is designed
by architects ELIPS
DESIGN and serves
gelato from the UK
company Dri Dri from a
timber cart on wheels.
DRI DRI

The Front Room of St Martins Lane’s Hotel is a dynamic
retail space. It has housed various creative collaboration
with partners including the convenience store, wallpaper,
Angela hill, the design museum and Nowness. This time it
will be converted by ELIPS DESIGN into a idyllic Italian
beach, complete with traditional, chair and tables. The
customer will be transported to the Mediterranean in the
heart of London’s busting center enjoying their gelato DRI
DRI. The beach cabins are though in the way to divide the
space and create a back of the house fir storage. The sun
umbrella are well stickers to create more perspective in a
bi dimensional space.

Shop Front Signage
The design of shop front signage is often
governed by the location of the site and any
conditions applied by landlords, centre
management or planning. There are a variety of
options available for each situation. The retail
designer will work with a signage manufacture to
come up with suitable solution. The main signage
types are fascia sign, projecting sign and window
decals.
The design of the fascia sign may
appear varied on the high street, but
they commonly fall under one of three
types of signage: the traditional
painted sign as already discussed; an
illuminated box sign that is constructed
most commonly in a ‘biscuit - tin’
formation, constructed from aluminium
with the logo or lettering fret cut out of
the face and replaced with frosted
acrylic (the box contains fluorescent
light fittings that are easily accessible
by removing the top of the ‘biscuit tin’)
and, finally, a logo or letters that have
been fret cut out of a sheet of
aluminium or steel (possibly spray
painted or brushed) that are then
pegged off the fascia panel and often
illuminated from an external source.
1. Painted
2. Illuminated Box
3. Fret cut in metal
1. Fascia Sign
2. Projecting Sign
3. Window Decals

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