Sarvesh singh bhati retail project

BY :- Sarvesh Singh Bhati
M.Sc in Interiors 4th semester
Dezyne E’cole College
www.dezyneecole.com
RETAIL
DESIGN
PORTFOLIO

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 divided into two principal
parts : the exterior, which gives identification, encompasses the store
front, show windows, and displays, and the interior, where the promise
of the storefront display is delivered. Briefly stated, 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 shoppers attention and to draw the customers in from the
street or from the mall in shopping centers. Graphic identification, with
bold color, lighting, lettering, and the logos, and attractive display of
merchandise are the initial steps.
Introduction

PRINCIPLES OF RETAIL SHOP DESIGN

In order to design satisfactory shops, the first requirement is an
understanding of those portions 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, nonstaples,
accessories, or specialties other than “demand” goods are to be sold,
methods of arousing interest may become more complex.
The second phase---the actual sale-involves factors of convenience
which are desirable in order to make buying easy, to satisfy customers
completed, and to achieve economy of space and time for the store
management.
Both phase affect the design of retail shops, and are closely inrrelated.
Following principles are :-
• Attracting Customers
• Inducing Entrance
• Organizing Store Spaces
• Interior Displays
• Conveniences
• Interiors

Attractive 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 Entrance
Show windows, in addition to attracting passersby, should induce them to
enter the store. Show windows may be opened up to display the shop
interior’s ; or closed in, to give privacy to customer within. Door locations
require study in relation to pedestrian traffic flow, grades of sidewalks and
store floors, and interior layout of the shop.

Organizing Store Spaces
Organizing store spaces, and consequently the merchandise to be sold,
into departments, enables customer to find object easily, and permits
storekeepers to keep close on profits and losses of various types of
goods. Store lighting and “dressing” are simplified. Even small shops
benefits from a measure of departmentalization ; in large shops, the
practice becomes essential as methods of training salespeoples, of
handling, controlling, and wrapping stock become more complex.

Interior Displays
Interior display requires particular attention in specialty shops. Types range
from displays of staple goods which assist customers in selection, to
displays of accessories which the sale of staples may suggest to the
customers Problems of arrangement with regard to merchandise,
departments, and routes of customers approach are involves.

Conveniences
Conveniences intended primarily for the customers benefit, 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 ceilings 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 of Retail Shops
The successful retail shop is an selling machine of sales factory. In
addition to servicing the customers, the employees have to be
considered so they can give better service to the customer.
Merchandise and space must be organized to help the customer in
making a selection and to help the sales person in selling. Easy circulation
and exposing the customer to the maximum amount of merchandise
are part of good design.
Avoid monotony in circulation and display of merchandise.
The location and design of the cashier and wrapping unit are important
and provide for several person 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 fixture so that full attention
thrown on the merchandise.

Departmentalization
Departmentalization benefits to be derived segregation of merchandise
by types have been touch upon previously. All these are the factors in
decreasing the average time per sale, an important figure in large-store
accounting and in small stores with rush periods.

Layouts
Six basic types of plan of retail :-
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 uses walls &
projections to create smaller
spaces.
 It is an economical plan to
execute and can be adapted
for any kind of store from gift
shop to apparel outlets, drug
store, grocery store to
department stores, book store
etc.
 Variety in the straight plan
should be introduced by
raising the floor level of the
shop this type of plans pulls
customers to the back of the
store.

Pathway Plan
 Pathway plan pulls through the
store to the end (rear) without
interruption of floor fixtures. The
path can take any shape and
create a pattern.
 This type plan is suited for larger
shops over 5,000 sq. Ft. And on
one level. The pathway plan is a
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 doesn’t give
cluttered feeling. This plan
focusses the shoppers’ attention
on the merchandise.

Diagonal Plan
 For self-service store a diagonal
plan is better. The cashier is in
the central location with sight
lines to all areas of the space.
 Soft goods or hard goods stores
including drug and food store
can take advantage of the
diagonal plan.
 This plan is having a dynamic
quality, because it is not based
on straight lies 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. It also costs
more to construct, than angular
and square plan.
 Curved themes can be
emphasized with walls, ceiling
and corners. To complete the
look specify circular fixtures.

Varied Plan
 For products that require
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
carton storage near the
perimeter of the wall. The plan
has a bellow effect, this type of
store is good for jewellery,
hardware and tobacco shops.

Geometrical 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. It also costs
more to construct, than angular
and square plan.
 Curved themes can be
emphasized with walls, ceiling
and corners. To complete the
look specify circular fixtures.

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 blocks of retail spaces.

Dimensions
Figures 1 shows the clearances involved for a 42
inches 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,
where customer convenience is of paramount
importance, it would be unwise to exceed 39 to
40 inch or 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 severe backaches and pains.
Getting on and off a high stool for elderly and
disabled people or those of smaller body size can
be not only difficult, but hazardous.
Inches Centimeters
A 26.0-30.0 66.0-76.2
B 18.0-24.0 45.7-61.0
C 42.0 106.7
D 28.0 71.1
E 84.0-112.0 213.4-284.5
F 18.0 45.7
G 18.0-24.0 45.7-61.0
H 30.0-48.0 76.2-121.9
I 18.0-22.0 45.7-55.9
J 35.0-38.0 88.9-96.5
K 72.0 182.9

Dimensions
Figure 2 illustrates the cleanses for a typical; sales counter.

Dimensions
Inches Centimeters
A 36.0 91.4
B 26.0-30.0 66.0-76.2
C 18.0-24.0 45.7-61.0
D 30.0 min. 46.2 min.
E 10.0 25.4
F 21.0-22.0 53.3-55.9
G 5.0 12.7
H 23.0-25.0 58.4-63.5
I 4.0-6.0 10.2-15.2
J 34.0-36.0 66.4-91.4
K 30.0 76.2
L 16.0-17.0 40.6-43.2
Figure 3 shows the clearances required for
a medium height display counter. The
suggested seat height of 21 to 22 inch 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 customer and the
standing sales clerk. The customer activity
zone allows adequate space for the
chair. Knee height, buttock knee-length,
popliteal height, and eye height sitting
are at significant human dimensions to
consider in the design of counters to be
used by a seated customer.

Dimensions
Figure 4 shows a low 30 inches 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 inches or 5 to 7.6
cm, below elbow 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 inches
height is too low to permit such use.

Dimensions
Inches Centimeters
A 48.0 max. 121.9 max
B 30.0-36.0 76.2-91.4
C 51.0 min. 129.5 min
D 66.0 167.6
E 72.0 182.9
F 84.0-96.0 213.4-243.8
G 20.0-26.0 50.8-66.0
H 28.0-30.0 71.1-76.2
I 18.0-24.0 45.7-61.0
J 18.0 min. 45.7 min.
K 72.0 max. 182.9 max.
L 4.0 10.2
M 42.0 106.7
N 26.0 min. 66.0 min.
Figure 5 shelving is probably used more
than any other single interior component
for the storage and/or display of
merchandise. Not only must the
merchandise be within reach
anthropometrically, but it must be fairly
visible as well. The heights established
must therefore be responsive to vertical
grip reach dimensions as well as to eye
height. In establishing height limits, the
body size data of the smaller person
should be used. Since in retail spaces,
departments may cater exclusively to
members of one sex or the other two sets
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 heights reflect a
compromise between reach
requirements and visibility requirements.

Dimensions
Figure 6 illustrated the clearances involved in hanging type
merchandise cases. Head heights should be related not only to
human reach limitations, but in certain cases to the sizes 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.

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 though, it will be either a new
element fitted as part of the overall
scheme or an existing element preserved
and 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 displays to the store beyond,
allowing transparency and interaction.
Sometimes the view is blocked by displays,
giving feeling of mystery and bringing the
customer’s focus to the display.
 Exterior: façade, logo
 Threshold, transition
 Shop windows
 Transparency
 Interaction
 Mystery, posters
 Display
Entrance

Once beyond the threshold,
the entrance space is the
starting point of the interior
journey. It is often left open and
spacious, giving the customer
time to pause and take in the
store environment and to make
way for people entering and
exiting the store comfortably. In
larger stores, it is a place to
meet friends before after
shopping, sometimes with
seating areas on the sides out
of the main flow of traffic.
 Entry area – starting point
 Open, spacious area
 Time to pause, feel, sense,
experience
 Leisure, displays, seating
main flow
 Access for all users with
disabilities
Entrance

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.
 Visual identity – LOGO
 Colors
 Branding experience
 Up-to-date products
 Display, testing, sensing,
discussing
Visual identity

One of the first task the retail designer
faces when the site has been decided to
work out the circulation around the
space, taking into consideration the
design guidelines and the principles of the
scheme along side 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 plans and selection of the interior and
drawing arrows and routes over the
technical drawings. The circulation plan is
often drawn in unison with an adjacency
plan (often on the same drawing), which
shows how the areas of the space will be
divided into product, places to sell,
spaces to browse and ancillary areas.
These drawings form the starting point for
planning the interior layout.
 Human circulation
and pathways
 Circulation diagrams
 Routes, arrows, way of
communication and
interest
 Space division : areas
between products
and merchandising
Circulation

The circulation performs two main task in the retail scheme.
The first is to allow the flow of the people in the form of
walkways. These must be width 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.
Circulation

The principles of circulation are quite simple and
are the governed by the ways in which people
move around the space. There are many ways
that this can happen but each in based around a
handful of solution. Circulation can work
horizontally, allowing the customer access
through the shop front, with product 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 materials
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 ways 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
Circulation

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

Taking up the large part of retail designer’s
remit is the design of fixture displays. Some
fixtures can be bought in a kit form and
either use directly in the state, or adjusted
with the 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
the larger production quantities. For one-off
stores, an off-the-shelf system may be a
better solution. These elements, although
not at the forefront of the consumer’s
experience, are the vehicles that drive the
interior scheme and make the space
function and sell products. Products can be
displayed in variety of interesting ways, but
can be broken down into two different
types: wall display and the mid-floor fixtures.
 Fixtures and furniture:
low, high, mid floor
 Displays: custom-
made hooks and
hangers
 Using interior walls:
fixed, hang
 Free standing: low
cabinets, shelves,
drawers, displays
Display of products

Display areas are the
heart of a retail store.
Display is the
mechanism that
present the
merchandise to the
shopper in its best
favorable light and
that allows the shopper
to evaluate and select
product for purchase
Adidas Store

These spaces consist of fitting room and
staff/customers consultation areas. These
are support areas, and although use 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 carefully
considered in order that they work alongside
the branded interior in terms of finishes and
graphics, and so that they convey a positive
image of customer service.
The ancillary space refers to the area that is
put aside the house the functional elements
of a store, aside from selling. This area
supports to running and managing of the
store in daily basis and provide essential
areas for storage and facilities for staff and is
often referred to as ‘back of house’. Public
toilets are often provided in larger retail store
and come under the heading of ‘ancillary’.
 Storage area for
product and stock
 Supporting rooms for
furniture, fixtures and
fittings repair and
storage
 Fitting areas
 “back of the house”
Rooms for employees
Areas in a store

In fashion stores, fitting rooms are essential for
customer to ‘try before they buy’. There have
been some trends to fitting room design over
the years that are worth mentioning. High
street fashion stores once favoured one big
open space for all with mirrors all around.
Some stores also have a small amount of very
tight cubicles with badly fitted curtain along
side the open space, making the trying on of
clothes an uncomfortable experience of
many. Most now have separate spacious
cubicles with changing the 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
area to enhance the shopping experience. In
larger stores, this space contains seating and
sometimes even entertainment for those who
have to wait.
 “try and experience
before buy”
 Dividers, curtains,
doors, mirrors, lighting
and position of
luminaires, hooks,
shelves, fixtures,
screen seats, shop
assistant….
 Space to catch the
breath
Fitting rooms

M.S.D.S Studio Canadian Design

The point of sale marks the end of the
journey around the store and is the point at
which the customer pay for goods. The
location of the point of sale is very
important. In larger stores, there will be
access to till point in several locations, one in
men's wear one in women's wear, for
example, In supermarkets, the till point are
usually located in front of the exit doors. This
allows for heavy traffic flow in runway
fashion and indicates the end of the overall
process. In smaller stores, the till or cash
desks 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
shopping experience.
 CASH DESK POSITION
Point of sales
These drawings depict the various
position of the cash desks and
how they sit along side the
merchandise and work with the
circulation. The design of the
cash desk coincides with the
overall design scheme. It is
often well lit and easy to see
from all around the store.

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 details and lifestyle graphics as part of
the window displays; the materials from which a new shopfront is
constructed, or how an existing shopfront can be adapted to
meet the design requirements; the merchandise in the window
and the brand massage/slogan that is conveyed by the
window display; and the position of the entrance door and how
this will be managed.

Forest Essentials Ayurveda store,
khan market, Delhi, INDIA

Neel Sutra Fashion Store,
Gurgaon, INDIA

IN CITY NEIGHBOURHOOD
The approach to shopfront design will vary depending on the
site location (building regulations) 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 to be considered.
Contact between the retailer and landlord to outline what can
and can’t be done to the unit or building.

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

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

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

Traditional
Façade of building
Symmetry
Modest graphics
Standards fonts & colours
mannequins

Traditional
Baxter Finley
Barber shop,
Los Angles

Traditional
Baxter Finley Barber shop, Los Angles

 A pane of
glass… divides
the shop from
the pavement.
On one side, the
climate –
controlled interior
welcomes those
who can buy; on
the other, the
intemperate
street is where
those who
cannot buy may
look without
paying – in the
time – honoured
tradition of
window-
shopping.
Traditional
Baxter Finley Barber shop, Los Angles

Traditional
Ralph Lauren Store in Moscow

Traditional
Plethora Fragrances Store in Dubai, UAE

Contemporary
Frameless
Transparency
Graphic language
Live colours
Story telling & scenography

FULLCIRCLE
Fullcircle
Briefed to create a
stunning flagship store for
the opening of Westfield
London, Brinkworth
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.

KAZO Fashion Store,
Bangalore, INDIA

Borruso employed a
frameless glass structure
that allows for an
unrestricted view of the
store interior and a door
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 circles squares, and other
simple shapes, a style
popularized 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 is 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 cleaner 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 therefor 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
Visual comfort
Focus of
communication
or products
display

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

 The shop window
The shop window begins with a pane of glass that creates a division between the exterior and
the interior. In most new shop fronts, the glazing covers as large 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 values in
one punchy statement. The display must be consistent with the interior and product range in the
materials used, the way the display is lit and the graphic communication. The window suggests
the lifestyle that can be achieved from owning the products and entices the customer inside.
The size of the window display and the way the merchandise is set out must be coherent to the
products displayed. For instance, larger items need a spacious window so that the shopper can
stand back to look, whilst smaller items need to be displayed at eye level so that the shopper
can 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 allows for mannequins, price statements and
additional blocks to be added for smaller products. The retailer’s merchandising team usually
source mannequins, but occasionally the retail designer will advise them.
Some 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 into the shop, taking up
a large proportion of the retail space, leaving the interior for sale and service alone. The display
element for jewellery is very detailed as it has the job of holding a 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.

 The Front Room of St Martins Lane’s hotel is a dynamic retail
space. It has housed various creative collaborations with
partners including The Convenience Store, Wallpaper,
Angela Hill, The Design Museum and Nowness. This time it will
be converted by ELIPS DESIGN into an idyllic Italian beach,
complete with traditional decking, coloured beach cabins,
sun umbrellas, chairs and tables. The customers will
transported to the Mediterranean in the heart of London’s
bustling centre enjoying there gelato DRI DRI. The beach
cabins are thought in the way to divide the space and
create a back of the house for storage. The sun umbrella are
wall stickers to create more perspective in a bi-dimensional
space.

Shop front signage
The design of shop front signage is
often governed by the location of the
site and any condition applied by the
landlords, centre management or
planning. There are variety of options
available for each situation. The retail
designer will work with a signage
manufacturer to come up with
suitable solutions. 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. Fascia sign
2. Projecting sign
3. Window decals
1. Painted
2. Illuminated box
3. Fret – cut in metal

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