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Basics Interior Design Retail Design 904f
Basics Interior Design Retail Design 904f
Lynne Mesher
interior design
01
retail
design
n
the art or process of
designing spaces to be
used for the sale of goods
to the public
BASICS
Lynne Mesher
Interior Design
retail
design
= AN AVA BOOK
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incorporate amendments in future editions.
= TOPSHOP
New York, US A
DESIGNER
= D ALZIEL AND POW
DATE
= 2009
Basics Interior Design Retail Design Table of contents
088 Student
case study
036/037
092 Retail and 118 Principles 142 The shop 168 Conclusion
sustainability of retail façade
170 Bibliography
organisation
096 Materials 152 Interior
171 Quote sources
126 Merchandising architecture
104 Lighting
172 Glossary
130 Service and 158 Fixtures
110 Climate
ancillary space and fittings 174 Acknowledgements
and sound
138 Student 166 Student 175 Picture credits
114 Student
case study case study
case study 177 Working with ethics
/ How to get the most out of this book /
Introduction
006/007
The aim of this book is to examine the Designing retail interiors is complex,
processes and strategies of designing beginning with the analysis of a brand
space for retail. and identity. The aim of the designer is
to entice, excite and enthral the consumer
Shopping is an activity that is part of by creating an experience to which they
our everyday lives. Whether we are can relate.
shopping to feed ourselves, clothe
This book thoroughly guides you through
ourselves or simply out of enjoyment,
each step of the retail design process,
the places we choose to shop say
providing strategies that can produce
something about our lifestyle, culture
a successful retail space and a design
and interests. We create a relationship
that is appropriate for the brand, product,
with the retail environment we feel
consumer and retailer. This will be seen
comfortable with and reject spaces
through images and drawings from
that do not match our image.
practice, as well as student project work.
= CLUB 21,
EMPORIO ARMANI
DESIGNER
= FOUR IV
DATE
= 2 0 06
SECTION HEADERS
Current section headings are clearly named in
the navigation bar. The numbers of topics
within the chapter are indicated by vertical
dividers. Past and future section headings are
displayed above the navigation bar.
\ Home \
= R EEBOK FLASH
STORE
The leisure and entertainment Sport
New York, USA sector has grown significantly in
In recent years, the sports industry Sports brand Nike has opened a series
DESIGNER the last ten years. Whether the
has taken on the idea of enforcing their of Nike Towns around the world, each
= FORMAVISION activity is based around a destination
global brand identity through store Town taking its interior influence from
DATE or a product purchase, the chances
image. Retail spaces within the sports the surrounding city. In 2002, Reebok
= 2002 are the interior space will encapsulate
sector are sparse in products and are also opened its world headquarters in
a brand. An outing to the cinema,
Recently, Reebok exhibition-like in the way that the Boston, USA. The Reebok brand is
re-invented itself in a museum or theatre will each give an
participator moves around the space encapsulated in its headquarters and is
new consumer offer. opportunity to buy into the experience
The Reebok Flash Store and interacts with displays. The graphic reinforced in every aspect of Reebok
through a shop, bar or café.
opened in New York for language is prominent throughout and design – from the apparel to the shop
a limited period in the The leisure sector includes sport – as an a theme demonstrating youth and floor – on every high street.
CV2 Contemporary Art
Gallery, selling retro and activity or apparel; technology – sound, physicality encapsulates the brand
limited edition footwear. audio and gaming; travel – modes of message.
Formavision, whose transport and travel agency; and finance –
trademark is to use art
as part of their interior the services of banks and building societies.
scheme, designed the Banks are now abandoning the high street
space. and going online.
\ Food \ / Home /
CAPTIONS
Detailed captions give
Commercial fashion
information on the Barbara Hulanicki invented the concept
of mainstream fashion stores when she
specifics of each project opened Biba in London, UK, in 1964.
Today, commercial fashion is
and the thinking behind dominated by chain stores with
numerous identical shops in major
PULL QUOTES
Thoughts from well-
known designers and
STUDENT CASE STUDIES retail experts provide
Examples of student work insight into the world
enable the reader to see how of retail design.
theory is put into practice.
\ Alternative venues \
PROJECT
= FENDER CHAIN STORE ! This project takes on the regeneration
CONCEPT of an existing Regency-style building
DESIGNER
and converts it into a concept store for
= FAHIROOL instrument manufacturer Fender. In order
ADZHAR MUHAMAD to understand an existing building and to
DATE
read its interior structure, research into
= 2009 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.
? Imagine that you have been
given an existing building in
which to implement a retail
= Material qualities enhance the
interior. acoustics of the space. Seating
takes its concept from the form
of sound waves.
1 What do you need to understand
about the building in order to
design a successful intervention?
Branding
Branding and
and Identity
identity What is branding?
DATE
= 2007
A B
Branding and identity What is branding?
Evolution of branding
: WALLY OLINS
… to be really effective you have to
be able to sense the brand. You may
even be able to touch it and feel it.
So that it manifests the core idea.
016/017
= S PORTSGIRL STORE
Melbourne, Australia
DESIGNER
= HMKM
DATE
= 2008
Branding
A B
Branding and
and Identity
identity Developing a brand
Imagine a shell of a building that is The interior scheme often takes its
a blank canvas with neutral walls, lead from the graphic guidelines,
floors and ceilings. Think of a well- through understanding the aspirations
known brand and the associated of the end-user and through analysing
colour, pattern, logo, sound or scent. the competition. This information is
Understand the product and who might portrayed through visual research
buy it. Analyse the lifestyle of someone or ‘mood boards’ (images and
who would use this brand: What car photographs retrieved from books
do they drive? Where do they live? or journals that explain clearly the
How much money do they earn? thought process and ideas of the
And most importantly, what would design team) but will be interior
they expect from a retail experience? orientated rather than graphically
All of these questions form the basis based. The key features of the visual
from which to develop a concept that research are then extracted into
will underpin the interior scheme. ‘stories’ that lead to explicit ideas
The term used for turning a brand about what the interior design scheme
into a three-dimensional spatial could be and how the graphic identity
experience is ‘brandscaping’. would impact on the space. From this
process, an interior concept is born.
: OT TO RIEWOLDT
Brandscaping transforms
the brand itself into a location.
Brandscaping
This is a term used to describe the mapping of a brand in a three-dimensional space.
\ What is branding? \ / Selling the brand /
Branding
Branding and
and Identity
identity Selling the brand
The concept store is a place where The job of the flagship store is to
new retailing ideas are tested or promote the brand in large, key retail
promoted for the first time in a specific sites around the world. The interior is
location. The site is usually a key often an extension of that found in a
retail space with a high footfall and retailer’s chain store, but produced to
sales activity. The aim is to see if the a higher specification and with unique
new store concept achieves a good features that act as a brand statement.
response from the public who would The flagship store influences the brand
usually buy into the brand and if a choice made by the consumer through
new breed of consumer can also creating an exhibition-like experience
be attracted. The success or failure that is more like a tourist attraction than
of a new concept is judged quite a place to shop. The idea is that the
crudely in sales figures. If sales go consumer will visit a flagship store,
up, then the concept is a success. may or may not purchase goods, but
There are cases, however, where by visiting, they buy into the brand and
the concept store in a major location may shop in the retailer’s other stores
is successful, but a roll-out into closer to home. The flagship store is
smaller sites may not work. This is a clever marketing tool and aims to
because in poorer areas, the subconsciously stimulate the consumer
implementation of a polished new into choosing a particular brand.
scheme may indicate a more expensive
level of product that may appear
unobtainable, therefore resulting
in a downward turn in sales. For
this reason, retailers are careful in
understanding the market of a
particular place in relationship to
the brand, and can input the new
concept at a more acceptable level.
026/027
DATE
= 2008
Endorsements, collaborations
and sponsorships
DATE
= 2007
PROJECT = Computer-generated
= MOBILE PHONE STORE visualisations of the
completed space.
DESIGNER
= MAGDALENA KUMALA
DATE
= 20 0 6
= Plans of
the space.
Branding
Retail sectors
and Identity
Branding
Retail sectors
and Identity
Food
Markets
Historically, the marketplace has played In many countries, the market is still
a major role in the emergence of cities, the hub of the city. It is a place for
from the covered markets of Central engagement, creating a buzz with its
Asia and China, the Arab souk, the richness in activity, sounds, colours,
Roman forum to the street markets and smells and experience. The market is
marketplaces of European cities. transient, ever changing, and is part
Markets are traditionally the places of the urban landscape.
where food and other essential items
Market stalls are constructed from
were brought into the city from the
simple frames to allow for flexibility,
surrounding farmland or from the sea
disassembly and storage. Each stall
to be sold to the masses. The trade
is like a little shop with the awning
routes for the transportation of such
overhead creating an interior space
produce have been instrumental in
and sheltering goods from the
creating communities in the form of
elements. They are functional and
villages and towns along the way.
allow for the display of goods at table
height, with containers of food piled
high, and hanging for textiles. Here
it is the produce that sells itself rather
than the design of the display.
/ Fashion /
Market halls
Supermarkets
The need for markets was eradicated The supermarket experience is now
in most of the Western world due a familiar environment that provides
to the rise of the supermarket in the essential needs. The relationship
mid-1920s. Large conglomerates between supermarkets and markets is
now ship food of all types around the evident in the reason for their existence
world to fulfil the needs of the masses. and the translation of product display,
This food tends to be cheap, easily but in many ways, they are opposites.
accessible, and readily available and Supermarkets do not recreate the
does not depend on the seasons sense of community in cities and social
to grow. This convenience helps to engagement that a market does and
sustain our modern lifestyles: long could not be described as the hub of
working hours and the move of a city. What the supermarket does do,
women away from the home and however, is enable the maintenance
into the workplace. of the current pace of living with its
convenience, in an environment that
Supermarkets are now a destination
is contemporary and fulfilling of
for all types of retail coming together
aspirations.
under one roof. The supermarket
environment is felt by many to be
somewhat clinical; it is logical and
organised in a way that is easy to
navigate. Signage and packaging are
generic and bold. Aisles are wide and
continuous. Produce is stacked high
and plentiful, giving the impression
of a warehouse. Fruit and vegetables
are grouped together and displayed
as in markets, using their colour as
a selling point.
DATE
= 1997
DATE
= 1998
The boutique
? REPRESENTATION
Representation of space is central to all aspects of
interior design. Sketches, hand drawings,
technical drawings and computer generated plans
and models are all used by designers to
communicate ideas to the client. The AVA title,
Basics Interior Architecture: Drawing Out the
Interior, looks at this in greater detail.
\ Food \ / Home /
Commercial fashion
Chain stores
These are retail outlets sharing the same brand and management across locations.
048/049
= TOPSHOP
New York, USA
DESIGNER
= D ALZIEL AND POW
DATE
= 20 0 9
: BARBARA HULANICKI
Branding
Retail sectors
and Identity
Home
= DROOG
New York, USA ? ELEMENTS AND OBJECTS
Objects can be used in the retail space to great
DESIGNER
effect. These objects can be small or large, new
= S TUDIO MAKKINK AND BEY
or found and can add great character to a space.
DATE Designers are currently using such techniques to
= 2 0 09 further establish a brand within a retail space.
The use of objects in interior space is looked at in
The design for this store breaks greater detail in the AVA title, Basics Interior
the norm of retail design. The brief Architecture: Elements/Objects.
was to create an interior installation
made up of elements that can
be purchased. Jurgen Bey’s
‘House of Blue’ takes this one
step further. Products are
displayed 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.
\ Home \
= R EEBOK FLASH
STORE
The leisure and entertainment
New York, USA sector has grown significantly in
DESIGNER the last ten years. Whether the
= FORMAVISION activity is based around a destination
DATE or a product purchase, the chances
= 20 0 2 are the interior space will encapsulate
a brand. An outing to the cinema,
Recently, Reebok
re-invented itself in a museum or theatre will each give an
new consumer offer. opportunity to buy into the experience
The Reebok Flash Store through a shop, bar or café.
opened in New York for
a limited period in the The leisure sector includes sport – as an
CV2 Contemporary Art
Gallery, selling retro and activity or apparel; technology – sound,
limited edition footwear. audio and gaming; travel – modes of
Formavision, whose transport and travel agency; and finance –
trademark is to use art
as part of their interior the services of banks and building societies.
scheme, designed the Banks are now abandoning the high street
space. and going online.
054/055
Sport
In recent years, the sports industry Sports brand Nike has opened a series
has taken on the idea of enforcing their of Nike Towns around the world, each
global brand identity through store Town taking its interior influence from
image. Retail spaces within the sports the surrounding city. In 2002, Reebok
sector are sparse in products and are also opened its world headquarters in
exhibition-like in the way that the Boston, USA. The Reebok brand is
participator moves around the space encapsulated in its headquarters and is
and interacts with displays. The graphic reinforced in every aspect of Reebok
language is prominent throughout and design – from the apparel to the shop
a theme demonstrating youth and floor – on every high street.
physicality encapsulates the brand
message.
= APPLE STORE
New York, USA
DESIGNER
= BOHLIN CYWINSKI JACKSON
DATE
= 20 0 6
Technology
MP3 player, setting a precedent for other The new plaza in front of the General
manufacturers. In the same year, Apple Motors building on Fifth Avenue at
opened its first retail store in San Francisco 59th Street is a triumph of urban
and Washington DC. The Apple Store now design... Suddenly, as if out of
exists globally and reinforces the Apple nowhere, New York has a new public
brand. The stores are revolutionary in the space that will prove to be a source
technology sector and focus on being of civic pride and aesthetic delight.
user-friendly and an environment where
products can be tried and tested. The
stores have a children’s section, a ‘genius’
bar, a theatre and a solutions centre as
part of the store concept.
Travel Finance
The motor industry is undergoing major The finance sector has seen two main
changes in the way it trades. The car shifts on the high street. The first is
showroom and forecourt as we know the collaboration of high street banks
it is said to be disappearing. Today, with other offers. In the UK, for
car manufacturers are jumping on the example, Santander and Costa Coffee
branding bandwagon and are creating now share retail space, offering the
retail experiences for the consumer. customer a lifestyle experience;
Flagship stores are emerging with secondly, the rise in Internet banking
exhibition spaces, cafés and and online purchases. This has directly
restaurants as part of the offer. Buying affected the banking system, making
a car these days is about buying banks more accessible to the public
into a lifestyle, rather than buying a and bringing about the closure
commodity that will get you from A to B. of many high-street premises. The
The future of car retailing is said to be remaining banks and building societies
in showcasing cars to specific market have changed their appearance to
audiences rather than having physical become more appealing to the general
showrooms. This idea leads to the public and less formal and traditional
purchase being made online. The effect in their presentation. They now rely
of this radical shift will see the car more heavily on self-service.
showroom disappear from the high
street. Car sales will become friendlier
towards the public and less corporate
in their selling techniques.
PROJECT
= MARKET PLACE
DESIGNER
= J EKATERINA ZLOTNIKOVA
STEPHANIE HARRIS
ANGELIKI IOANNOU
DATE
= 20 0 9
Branding
Retail sites
and Identity
Branding
Retail sites
andDepartment
Identity stores
Concessions
The selling space in a department store Each concession requires its own
is split into concessions. This basically cash counter, display elements such as
means that each space is let out to gondolas, tables and wall fixtures, and
a different retailer. This creates the must consider the adjoining junction to
opportunity for fashion labels to sell neighbouring retailers and walkways.
alongside each other in one Graphics and signage are an important
establishment, making the department component to setting each concession
store a one-stop place to shop. The apart, and advertising the strength of
retailer’s design team implements the brand; these also aid customer
concessions and the space is designed navigation. Retailers are often grouped
in line with the retailer’s brand and other together depending on product type
stores so that an identity is clear and and relationship to each other; therefore
constant. the reputation of the brand or brands
may attract the desired client base to
the department store.
= C ONCESSION PLAN
The space demonstrated in this visual is
limited and used as effectively as possible,
displaying a lot of merchandising in the
given area.
\ Department stores \ / Shopping centres /
Branding
Retail sites
andHigh
Identity
street
: RASSHIED DIN
The approach was simple, the product
was inexpensive and obtainable, and
the formula was widely reproduced.
The result was outlets that were
instantly recognisable and far more
accessible to most people than
exclusive department stores.
068/069
Chain stores
In the Western world, high streets as The design of chain stores is in line
we know them today are often criticised with current design trends and takes
for having the same characteristics inspiration from premium fashion
from location to location. Many believe stores, as discussed in Chapter 2.
this is because chain stores are rapidly It does, however, tend to use a less
wiping out the existence of independent expensive palette of materials and
retailers. The retail landscape is often finishes. The interior schemes tend
repeated from city to city, engulfing the to last around six years before being
unique cultural and social qualities of completely replaced, but are often
each place. updated through the use of colour
and graphics in between. Chain stores
The chain store was formulated as an tend to work on three different cost
alternative retail type to the department levels in terms of the interior fit-out:
store and offered mass-produced high-spend, medium-spend and
goods at low prices, thus appealing to low-spend, depending on where the
the working classes. Woolworths was store is being implemented. Retail
one of the first recorded chain stores designers consider these three options
with its first store opening in New York when putting together a package
in 1879. After 120 years of trading, of drawings for the interior space, and
Woolworths finally closed its doors in offer alternative arrangements and
2009, unable to compete with online specifications to suit all three budgets.
retailing. Due to globalisation and the In all cases, there would be a selection
ease of importing/exporting and of fixtures and finishes that would
efficient travel, chain stores today remain for all schemes, which are often
are implemented worldwide. main features such as the cash
desk/servery area, for instance.
\ Department stores \ / Shopping centres /
Roll-out
A 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.
070/071
= HMV
Concept store
DESIGNER
= D ALZIEL AND POW
DATE
= 2 00 9
Arcades
Branding
Retail sites
andShopping
Identity centres
? RHYTHM
The structural system of a building can help create an order
or rhythm. A procession of repeated elements can help to set
up this rhythm or an unusual object might be used to contrast
with it. Rhythm is discussed in greater detail in the AVA title,
Basics Interior Architecture: Form + Structure.
\ High street \ / Out-of-town shopping /
= Z LOTE TARASY
Warsaw, Poland
DESIGNER
= THE JERDE
PARTNERSHIP INC.
DATE
= 20 0 7
Retail units
Branding
Retail sites
andOut-of-town
Identity shopping
: N.K. SCOT T
The phenomenon of the out-of-town
shopping centre, the out-of-town
business park, leisure centre,
university or any other human
activity is singular to our age. The
reason is simple and a consequence
of the invention of the internal
combustion engine.
078/079
The retail outlet or village is designed For some retailers, the out-of-town
around the idea of a shopping mall, location is the ideal solution for their
and can be open to the elements or product type. Large items such as
under a covered mall. The village will furniture and DIY paraphernalia, cars,
include a food court and the usual white goods, outdoor and gardening
public conveniences alongside large equipment all benefit from having easy
retail units. The units are warehouse-like access in terms of deliveries and
and often constructed from brick and storage. The warehouse-like spaces
steel with full-height glazed shopfronts. work well for displaying large items and
Retailers use these spaces for selling creating lifestyle spaces such as room
off excess stock at discounted prices. sets, that help the customer buy into
The interior fit-out of such units is often the product. The units also work well
done on a low budget with little attempt as showrooms for cars due to the open
to hide the industrial nature of the plan nature of the space and large
space. Elements of the retailer’s frontages for manoeuvring stock.
branded interior will appear in terms
of graphics, fixtures and finishes.
\ Shopping centres \ / The concourse /
DATE
= 2003
? SUSTAINABILITY
In the fast-paced world of retail, designers
must pay particular attention to their use
of materials and resources. Reusing and
recycling as well as alternative methods of
heating and cooling spaces are just some
of the ways in which interior designers can
help to reduce the damage they are doing
to the environment. Sustainability and
environmental issues are discussed in greater
detail in the AVA title, Basics Interior
Architecture: Context + Environment.
Hypermarkets
Branding
Retail sites
andThe
Identity
concourse
= BIZA FLAGSHIP
DUTY FREE STORE
Manchester airport, UK
DESIGNER
= HMKM
DATE
= 2008
: R. DIN
Airports have… the advantage of
knowing who its customers are and
when they will be passing through
its doors; it is also in the almost
unique position of knowing its
customers’ sex, age and nationality
from air-ticket sales, passport
information and flight destinations.
084/085
\ The concourse \ / Student case study /
Branding
Retail sites
andAlternative
Identity venues
On any day out to a theme or leisure The Internet has been the catalyst for
park, to see an exhibition or visit an art the phenomenon that is virtual shopping.
gallery, there will inevitably be a shop Consumers have access to virtual shops
at the end of the journey that will allow 24 hours a day and can buy almost anything
you to buy into the experience or take globally, from the safety and comfort of their
home a souvenir. These shops are home. Not only is shopping available from
dedicated to selling very specific a computer, but also from a television or
products and enhance the brand of the mobile phone. No physical space is required,
event. They are individually designed goods can be stored off site or can be made
to suit the product type and market to order.
audience; in the case of exhibitions
All major retailers have online shopping
the shop content may be temporary
sites that allow the consumer to place orders
and frequently changed to match the
and expect deliveries within days. Cheap
exhibition, needing flexibility in its
overheads also mean a mass of independent
fixtures and display.
retailers trade online. The website design
Large, well-known museums and art is crucial to virtual shopping. It should be
galleries are beginning to take their user friendly and must illuminate the brand
brand out of the building and on to the clearly. Search engines play an important
high street, selling their merchandise role in how many ‘hits’ the website has and
to a wider audience as a concession in all major retailers want their site to be at the
centralised department stores in major top of the search list. The delivery service
cities. Art galleries are competing with also plays a big role in the success of
major bookshops to be the best bringing customers back, as convenience
destination shop for art books. This is the key to Internet shopping.
trend sees the leisure and entertainment
The emergence of virtual shopping raises
industry take a leap towards retailing
the question as to whether retailers need
that has never been seen before.
physical shops at all. The answer lies
in understanding the human psyche and
the difference between shopping for
necessity and shopping for fun.
Convenience shopping is a chore; fun
shopping engages in social interaction
and the event of a day out. Also, physical
? SITE shopping engages our senses in a way
The site on which a retail space is situated
that virtual shopping cannot, through trying
can have an important effect on the space
itself and the way in which the space is used. on clothes, feeling the quality of fabric,
These effects are discussed in more detail in or smelling the printed pages of a book.
the AVA title, Basics Interior Architecture:
Context + Environment.
\ Alternative venues \
PROJECT
= FENDER CHAIN STORE ! This project takes on the regeneration
CONCEPT of an existing Regency-style building
DESIGNER
and converts it into a concept store for
= FAHIROOL instrument manufacturer Fender. In order
ADZHAR MUHAMAD to understand an existing building and to
DATE
read its interior structure, research into
= 20 0 9 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.
Branding
The retailand
environment
Identity Retail and sustainability
Interior shell
DATE
= 2 0 08 Energy consumption
Cradle-to-cradle
This is a term used to describe the constant cyclical use of materials; the material is ‘born’,
used, ripped out and reused.
\ Retail and sustainability \ / Lighting /
Branding
The retailand
environment
Identity Materials
Timber
Steel
Timber is a versatile material that
Stainless steel, aluminium and
comes in a range of shades depending
powder-coated mild steel are
on the timber selected. It can be used
commonly used in the retail
as an interior wall cladding, for fixture
environment. Steel can be used
and furniture construction or as a floor
structurally, in a shopfront as a
finish. It has warmth and is full of
glazing frame, as part of the fixture
imperfections, which can add character
and furniture design, as system
to a space. Softwoods, mainly pine,
upright posts between wall bays,
are most commonly used for timber-
as a decorative cladding to walls or
framed fixture carcasses, with an outer
as part of the signage construction.
skin applied for finishing. Hard woods
such as oak, ash, beech, walnut,
cherry and maple are more commonly
used for flooring. The use of MDF
and chipboard is mainstream in many
retail environments.
\ Retail and sustainability \ / Lighting /
Glass Laminate
Glass is incredibly diverse and Laminates are constructed by layering
structurally strong. The retail and fusing kraft or printed papers
customer’s first experience of the and resins, with a decorative layer
interior and product is through the on top, coated in melamine. They
glazed shopfront window. This glass are hardwearing and often used as
is laminated (layered bonded glass) surfaces for counters, wall and door
for strength and safety. Glass is used finishes as well as floor finishes
for shelving, cabinet displays and mimicking timber. Laminates can
sometimes screens. Glass can be be decorative and can be used in
coloured using a gel, textured or innovative ways to create feature walls
frosted. Glass can be recycled. and displays. They are easy to clean
and are durable.
098/099
Vinyl flooring comes in sheet form or Different types of textiles are used
tiles in a variety of colours and finishes. widely in retail design, from upholstery
It is used in sheet form mainly in the and fitting room curtains to carpets.
back of house area of the store and Sometimes, the retail designer will
ancillary areas, as it is relatively cheap work with an upholsterer to custom-
and hardwearing. Vinyl tiles are clad pieces of furniture. Leather
available in a range of finishes and and specialist upholstery fabric are
can imitate timber or stone. most commonly used. Carpets
are sometimes specified for retail
Rubber, like vinyl, comes in sheet
environments and can be produced
and tile formats but can be expensive.
to a specific design or pattern. They
It comes in a range of exciting colours
come in a variety of finishes, either
and, when sealed, can be water
in man-made or natural fibres.
resistant.
Carpets tend to wear out quickly
with heavy traffic and need replacing
on a regular basis.
\ Retail and sustainability \ / Lighting /
Ceramic tiles are hardwearing and Walls and ceilings are clad in a specific
a cost-effective choice. They come material, painted or wallpapered.
in a variety of finishes and often A cladding can easily be from a
mimic the look of real stone. reclaimed material. Some paints are
They can be used on the floor, kinder to the environment in terms of
walls or as a mosaic pattern, and their production and emissions and
are waterproof. The finish can be wallpapers can be made from recycled
matt or gloss. paper and patterned or textured in a
range of ways. Wallpaper is once again
fashionable and is now widely used
both commercially and residentially.
/ Lighting /
DATE
= 2005
: NAOMI KLEIN
Brands are the main source of identity.
The brand fills a vacuum and forms a
kind of armour, taking over the part
once played by political, philosophical
or religious ideas.
\ Materials \ / Climate and sound /
Branding
The retailand
environment
Identity Lighting
= SONY ERICSSON
FLAGSHIP STORE
DESIGNER
= C HECKLAND KINDLEYSIDES
DATE
= 20 0 6
In their concept for the first Sony
Ericsson store, Checkland
Kindleysides created a design scheme
using simple architectural lines,
curvaceous, organic forms to enable
the products to be displayed with
clarity and elegance. Contrasting with
this, they also created a colour-
changing fascia that echoed the brand
palette and changed in sequence with
the lighting in store.
104/105
Artificial lighting has improved The retail designer works closely with
significantly since the light bulb was a lighting designer to create the desired
designed and most people are now effect for the branded interior. A
conscious of the impact that it has reflected ceiling plan is drawn to
on energy consumption (lighting indicate the positioning of light fittings
currently accounts for 40 per cent of in relation to the displays, products
energy consumption of non-residential and services. This drawing is really
buildings). New lamp technology important in terms of setting out the
has given lighting energy-saving interior space and will contain a key
efficiency, with LEDs, new CDM-T that identifies all of the light fittings as
lamps and fluorescent fittings now symbols plotted on to the drawing.
in widespread use. Fixtures and fittings are often shown in
a dotted line or in a grey or fine line so
that the fitting can be lined up correctly
with what is happening below. Ceiling
features and rafts will also be indicated.
: DAN HEAP
Attention to detail is always at
the heart of our lighting design
philosophy. By designing the lighting
‘into’ the building, we ensure it
functions and integrates perfectly.
\ Materials \ / Climate and sound /
DATE
= 2008
Retail interiors are lit in a very specific The shop window plays with the
way so that the product is illuminated contrast of daylight and artificial light.
to the best advantage and so that the As the time or season changes, daylight
journey around the store is highlighted fades and gives way to the artificial
with different layers of brightness and illumination. As the customer
focus. There are usually three different approaches the store, the window
layers of light. First is accent lighting, display is strongly lit to focus the eye
which highlights the product and is the and draw the customer in. Once inside
brightest element in the store. Second the store, the accent lighting is focused
is task lighting, which is present in the on the product using a variety of fittings
service areas such as the cash desks, and techniques. Downlighters in the
fitting rooms or consultation spaces ceiling wash walls and mid-floor
and is not as bright as the accent fixtures, and lighting glows internally
lighting. Third is ambient lighting, from LEDs in cabinets, creating
which guides the customer around lightboxes behind signage.
the walkways and does not impact on
the lighting of the product or services.
Lux
The unit by which the brightness of light is measured.
106/107
Ambient lighting
Light fittings
Branding
The retailand
environment
Identity Climate and sound
DATE
= 20 0 6
Acoustics
Acoustics
This describes the scientific study of sound. In terms of the interior, sound can be controlled
through the use of materials. Hard materials will bounce sound around a space, creating
echoes, while soft materials will absorb sound, creating a quieter space.
\ Climate and sound \
PROJECT
= TEA HOUSE
DESIGNER
= C AROLINE HART
DATE
= 20 0 8
Branding
Methods of
and
organising
Identity space
Branding
Methods of
and
organising
Identity space Principles of retail organisation
Entrance
: RODNEY FITCH
All the devices of the facade are
preludes to the entrance itself … there
should be some sense of transition from
the public world outside to the special
world of the retailer inside.
/ Merchandising /
Circulation
One of the first tasks the retail designer The principles of circulation are quite
faces when the site has been decided simple and are governed by the ways in
is to work out the circulation around the which people move around the space.
space, taking into consideration the There are many ways that this can
design guidelines and principles of the happen but each is based around a
scheme alongside the structural nature handful of solutions. Circulation can
of the interior. Circulation diagrams work horizontally, allowing the customer
are produced as ways of thinking and access through the shopfront, with
describing different schemes to the products displayed either side of the
client. The diagrams are produced by walkway and with an exit at the back; or
looking at the plans and sections of the vertically, with merchandise displayed
interior and drawing arrows and routes over more than one floor. This scheme
over the technical drawings. The is more complicated in the sense that
circulation plan is often drawn in unison stairs, lifts and escalators need to be
with an adjacency plan (often on the negotiated, and methods for enticing
same drawing), which shows how the people on to the upper floors must be
areas of the space will be divided into considered. Circulation in a zig-zag or
product, places to sell, space to browse figure-of-eight fashion across the store
and ancillary areas. These drawings allows for points of interest to be
form the starting point for planning the included and creates a longer journey
interior layout. and a variety of ways to travel around
the space. The circular pattern takes
The circulation performs two main tasks
customers from the front to the back
in the retail scheme. The first is to allow
and then to the front again.
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.
Circulation
A controlled route that users take around a building.
120/121
Pace
Pace
The speed at which someone moves around a space. Retail designers often
consider a range of paces when designing an interior scheme.
/ Merchandising /
Sales
= SONY ERICSSON
FLAGSHIP STORE
DESIGNER
= C HECKLAND KINDLEYSIDES
DATE
= 2006
Branding
Methods of
and
organising
Identity space Merchandising
DATE
= 20 0 9
Product display
Taking up a large part of the retail Using the interior walls is one of the
designer’s remit is the design of fixture main ways to display products. Go into
displays. Some fixtures can be bought most retail spaces and the walls will be
in a kit form and either used directly in lined from floor to ceiling with goods.
this state, or adjusted with finishes to The only instance where this may not
suit the interior design; other fixtures are be seen is in the premium retail sector
custom made. Custom-made pieces as smaller amounts of product are
work particularly well if the scheme is displayed to give a feeling of exclusivity.
to be rolled out; the cost of making the The principle of the design of the
fixtures becomes cheaper with larger wall fixture is simple. They tend to be
production quantities. For one-off (and should have the ability to be)
stores, an off-the-shelf system may constructed from panels so that they
be a better solution. These elements, can hold an array of hooks and hangers
although not at the forefront of the that can be adjusted to suit any
consumer’s experience, are the vehicles situation. The retail designer will make
that drive the interior scheme and make the wall fixtures unique to the scheme
the space function and sell products. through its material finish. The wall
Products can be displayed in a variety allows for a high level of stock over a
of interesting ways, but can be broken large surface, which frees up the central
down into two different types: wall spaces for circulation and feature
display and mid-floor fixtures. displays. Between the standard bays
are opportunities to make feature
statements through specialist display
and graphics.
: WILLIAM GREEN
Display areas are at the heart
of a retail store. Display is the
mechanism that presents the
merchandise to the shopper in its
most favourable light and that
permits the shopper to evaluate
and select products for purchase.
128/129
SUNGLASSES
BELTS PLANNERS
RTW
MIRROR MIRROR KEYS MIRROR KEYS
SUNGLASSES RTW KEYS
ACCESSORIES
RCP RCP RCP RCP
SUNGLASSES PLANNERS
BELTS
RTW KEYS
MIRROR MIRROR MIRROR KEYS
SUNGLASSES RTW KEYS
ACCESSORIES
PLAN PLAN PLAN PLAN
= MULBERRY
Various locations
DESIGNER
= FOUR IV
DATE
= 20 0 8
This is a sheet of technical
drawings showing the
variations of wall ‘wardrobe’
displays for Mulberry stores.
\ Principles of retail organisation \ / Student case study /
Branding
Methods of
and
organising
Identity space Service and ancillary space
In fashion stores, fitting rooms are … you need to catch your breath,
essential for customers to ‘try before need a meeting point, somewhere to
they buy’. There have been some trends sit down, to take a break... and clean
in fitting room design over the years toilets where you can redo your
that are worth mentioning. High street makeup, a left-luggage facility to
fashion stores once favoured one big leave your packages while you carry
open space for all with mirrors all on shopping, refreshment areas, a
around. Some stores also had a small car park, a deliveries area ...
amount of very tight cubicles with badly
fitted curtains alongside the open
space, making the trying on of clothes
Another aspect of fitting room design
an uncomfortable experience for many.
that is notoriously important is lighting.
Most now have separate spacious
The positioning of the light fitting in
cubicles for changing with mirrors on
relation to the mirror and the colour
all sides, a fixed seat, hooks for your
of the light shining on to bare skin
own clothes and bags and a solid
can be unflattering and would not aid
lockable door for added discretion.
a sale. As technology has progressed,
The entrance into the fitting room can fitting room lighting has taken a
be a key area to enhance the shopping different approach with many cubicles
experience. In larger stores, this space containing a switch so that the
contains seating and sometimes even customer can adjust the lighting levels
entertainment for those who have to and colour to suit.
wait. In smaller stores that do not have
Every clothing store must have a fitting
the space to do this, the most basic
room equipped for customers with
entrance will have a rail for unwanted
disabilities. The room must be large
items and sometimes a sales assistant
enough to take a wheelchair; it must
to help and log the clothes that are
have grab rails and a strategically
being tried on (fitting rooms are one
placed mirror as well as a seat. In very
of the main places where shoplifting
small stores, it is acceptable to have
occurs).
just one changing cubicle, but it must
comply with disability rights and laws
and building regulations.
132/133
= PORSCHE SHOWROOM
Leusden, Netherlands
DESIGNER
= QUA
DATE
= 2004
Point of sale
= A TYPICAL
BACK-OF-
HOUSE PLAN
This drawing
shows a typical
back-of-house
plan.
136/137
PROJECT
= C HÉM DOL SOFIA
DESIGNER
= KATIE DRAKE-BURROWS
DATE
= 20 0 5
! This project sees the division of space The retail area is laid out using the
into a series of ‘haute couture’ parlour principles of organising retail space.
and event areas that have been designed The walls are used effectively to display
to inform the consumer of latest fashions. racks of shoes and clothing in neat
The space consists of three activities: arrangements, telling the story of each
exhibition, retail, bar and restaurant. collection, with feature areas in between.
Elegant free-standing wardrobes and
The existing building that was to house
tree-like fixtures bring the product into
this fashion experience has seen many
the centre of each space, leaving wide
structural changes through its life,
circulation space around each object
with different retailers taking ownership
and creating effectively lit features. Cash
of the space and dividing it up. The main
areas are strategically placed in each
challenge of this project was to investigate
section and fitting rooms are tucked into
the building’s structure and to manipulate
the corners. There is also space to sit
it to suit the new circulation, which
and linger, challenging the customer to
became paramount to the store design.
engage in the shopping experience and
The central space was opened up
adding quality to the customer service.
to create a main atrium and circulation
space through all floors, which is
reminiscent of department store layouts
(see Chapter 3). This allowed for an easy
transition between each area both
vertically and horizontally.
? Imagine you are producing a 1 What journey do you want the customer
layout for a retail scheme. to take around the space?
= Image showing
the exhibition
space in the
basement.
Branding
Design detail
and Identity
Branding
Design detail
and Identity
The shop façade
: MARCEL WANDERS
… product designers have a tendency
to work more on details – to be
innovative on the small parts and
make things function.
142/143
There are many considerations that Although the design of the shopfront
need to be made when designing a varies from site to site, within the rules
shopfront. The shop facade must of the location guidelines, there are
first take on the essence of the common principles and techniques that
brand. This is done through graphic are applied. The two main style choices
communication: fascia signage, a come under the headings of traditional
projecting sign, window details and and contemporary; there are obvious
lifestyle graphics as part of the window design differences under each heading.
displays; the materials from which a The principles of entrance, its size and
new shopfront is constructed, or how the impact of its positioning on the
an existing shopfront can be adapted interior are also important areas of
to meet the design requirements; the consideration, as is the choice of
merchandise in the window and the signage displays.
brand message that is conveyed by
the window display; and the position
of the entrance door and how this will
be managed.
= A TRADITIONAL
SHOPFRONT
This line drawing reflects
the typical qualities of a
traditional shopfront,
taking its proportions
from the existing
building’s elevation.
144/145
= FULLCIRCLE
London, UK
DATE
= 20 0 8
= VILLANDRY SHOPFRONT
DESIGNER
= D ALZIEL AND POW
DATE
= 200 7
: SHONQUIS MONERO
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.
146/147
The entrance doors need to be easily The designer faces different design
accessible to all, so must therefore be opportunities and solutions depending
at least 1000mm in width. A hinged on whether the store is in an internal
door must open inwards so not to setting such as a shopping centre,
obstruct the street or path in front and arcade or retail outlet or if it is directly
must give good security to the store at on the street. The design of the internal
night. An alternative to the hinged door shopfront in a mall, for example, does
is sliding doors that have a cleaner not have to consider weather conditions
look and do not impact on the interior and so can be of a more open design.
in any way. In some situations, a roller The entrance into the unit may have a
shutter performs the function of a door. shutter for security without a solid door
behind and may be very wide – some
The position of the entrance door is
are the width of the entire frontage.
key to the success of the entrance as
Also, the internal shopfront, depending
a whole. A central doorway allows for
on the guidelines of the shopping
symmetry and is therefore visually
centre, will probably have an area in
comfortable. Also, this enables the
front of the unit called a ‘pop-out zone’,
store to be laid out in a symmetrical
which is usually about 500–1000mm
fashion so that the focus from the
deep. This means that part of the
entrance is on the central space, and
shopfront design can literally pop out
in some cases, the back wall of the
into the mall. This technique is used to
store, providing an opportunity to
create visual differences between
draw the customer in with a feature.
shop units and is used when shopping
Positioning the door to one side offsets
centres want to encourage
the interior. This may be necessary if
differentiation in shopfront design.
there is a particular reason for needing
one large window display instead of The external shopfront has to be
two smaller ones, or if a cash desk is completely secure and weatherproof
positioned at the front of the store and will have solid lockable access,
directly behind the window. It is often probably with a roller shutter, either just
the case that the shopfront is inherited in front of the door or the whole
from a previous owner and therefore the frontage. The shopfront will
current retailer has to adapt the scheme also have to sit comfortably with its
to suit the existing entrance position. neighbours and possibly the whole
Replacing a shopfront can be costly row, in order to comply with fascia panel
and is often an area where costs can rules and guidelines. This restricts
be cut if the current structure can be opportunities to play with the design.
upgraded through decoration.
/ Interior architecture /
= THORNTONS
London, UK
DESIGNER
= C AULDER MOORE
DATE
= 20 0 8
The shop window begins with a pane Most window displays are designed
of glass that creates a division between around a shallow plinth that raises the
the exterior and the interior. In most new merchandise to an appropriate height
shopfronts, the glazing covers as large in relation to the glazing, and allows for
an area as possible, so much so that the mannequins, price statements and
division barely exists. Shop window additional blocks to be added for
design is an art and a profession in its smaller products. The retailer’s
own right, with new concepts reaching merchandising team usually source
windows on a cyclical basis. mannequins, but occasionally the retail
designer will advise them.
The purpose of the display is to create
a memorable vision and to portray the Some retailers use the window as the
brand values in one punchy statement. main vehicle from which to sell stock.
The display must be consistent with The traditional jeweller’s window is a
the interior and product range in the good example of this. The window
materials used, the way the display is display extends into the shop, taking
lit and the graphic communication. up a large proportion of the retail space,
The window suggests the lifestyle leaving the interior for sales and service
that can be achieved from owning the alone. The display element for jewellery
products and entices the customer is very detailed as it has the job of
inside. The size of the window display holding a variety of pads containing
and the way the merchandise is set stock filling the whole window.
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.
Facade
The 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.
Design detail The shop façade
Shopfront signage
Branding
Design detail
and Identity
Interior architecture
= ALL SAINTS
Glasgow, UK
DATE
= 2 0 03
= VERTU STORE
London, UK
DESIGNER
= SHED DESIGN
DATE
= 2007
Walls Floors
Walls are one of the most important Floors come in a variety of materials
elements in the retail environment. and finishes, but the key to a retail floor
Not only do they support the building is durability. The expected lifespan of
structurally, but they can be used to a floor finish can be anything from one
display vast amounts of products, year to 20 years depending on the
create feature displays and have colour, retailer’s needs. The quality of the floor
texture and pattern applied to them in finish often suggests something about
different finishes. Many retail designers the quality of the merchandise. A cheap
use the wall to carry the design concept floor such as vinyl or carpet will wear
through the scheme. Walls can act as out quickly and is often a quick fix,
dividers between product offers or whilst an expensive floor such as
areas, as a piece of sculpture in its own granite or marble will have longevity
right, or to add focus to a space. and a sense of luxury.
Shadow gap
A contemporary detail used to create a junction between walls, ceilings and floors; or
between a fixture and the floor, so that the objects displayed on it appear to be floating.
156/157
= CASIO
London, UK
DATE
= 2 0 05
Branding
Design detail
and Identity
Fixtures and fittings
= MARNI STORE
London, UK
DESIGNER
= FUTURE SYSTEMS
DATE
= 19 9 9
The fixtures and fittings are the In any retail fit-out, a contractor that
details that make up the functional is a specialist shopfitter will be
elements of the store’s interior. employed to carry out all of the work
The design of such fixtures sees on site. Also, in the case of a roll-out,
the retail designer taking on a role the shopfitter will make the fixtures for
very similar to that of a furniture every site to the drawings provided
designer, who in most cases is by the designer in the design manual.
designing furniture or display Using one contractor to make all of the
fixtures for mass-production. Each fixtures usually cuts costs, as they are
fixture is designed down to the then able to create tools to mass-
last detail, specifying all materials produce all of the internal fixtures.
through to fastenings. In some
The main elements of shop display
cases, off-the-shelf fixtures can be
can be examined through three
used or adapted to suit, and this
elements: wall fixtures, mid-floor
may be an advantageous approach
fixtures, and fastenings that complete
for small retailers, but for roll-out
the functional aspect of the space.
and premium retail, the bespoke
piece can be cost-effective in
terms of quantity or to convey an
air of exclusivity with the use of
high-quality materials.
: SARA MANUELLI
British-crafted structures focus
on the essence and techniques
employed by Mulberry… bespoke
leather mannequins, chandeliers
and other ephemera aim to
challenge the traditional division
between shopfitting and art.
\ Interior architecture \ / Student case study /
= MULBERRY
Concept store
DESIGNER
= FOUR IV
DATE
= 2008
Wall fixtures
The design of the wall fixture is created When setting out the wall layout, each
around the standard size of a panel panel will have what is called a system
(1200mm wide x 2400mm high) so it upright post in between them. These
does not have to be jointed, making posts have a series of slots that run
the fixture more cost-effective and less down them and can hold shelf brackets
time consuming to produce. These and clothes rails. It is usual that the wall
can be custom made by the shopfitters display will consist of a panel, a shelf at
contracted to fit each site or bought high level for product display and
as a kit. The most basic of panels is the possibly a graphic, and then either a rail
slat wall, which is cheap and effective for hanging, more shelves evenly
to use. This is a panel that has a series spaced, or hooks. It is also possible to
of evenly spaced tracks set within it connect cabinets to wall displays.
from which to hang a standard set of These might be used for storage and
hooks, shelves, brackets and rails. can commonly be seen in mobile phone
These can be bought in different stores at the base of each bay; they
finishes. There are other variations on could also be a glass cabinet for locking
the slat wall; some contain holes that away valuable merchandise.
take hooks, whilst others are planes
Some wall fixtures are more like pieces
with just a neutral finish.
of grand furniture than a kit of parts. A
A custom-made wall fixture can men’s clothing department displaying
consist of a number of specialist design shirts and suits may be reminiscent of
features that are unique to the store’s the design of a Gentleman’s club, for
scheme, but will always use the instance; and some appear to be built-
standard system of upright posts, in, part of the architecture of the interior.
hooks, brackets and rails. In this case the designer is using the
building to inform part of the design
process, to mix in the architectural
detail with the standard scheme, and
it is seen more often in one-off stores
or small roll-outs.
\ Interior architecture \ / Student case study /
Mid-floor fixtures
There are many variations of mid-floor The gondola is an apparatus that works
fixtures that are used for a selection very hard. The design of a gondola can
of merchandising purposes. The most vary in terms of finishes, but almost
common displays are tables at different all are constructed in the same way.
heights and sizes, gondolas and It is most commonly used for clothing,
freestanding cabinets that hold both but can also be adapted to hold
storage and display. These will sit shelves. It is usually designed and
alongside specialist feature displays, constructed using the same materials
for example, a rack for postcards or and fittings as the wall panels. This
a rotating display for CDs. allows flexibility for the merchandise
on display. The gondola is usually
As well as an interesting display
designed to be at eye-level height and
feature, one of the important aspects
will consist of a central panel, which
of the mid-floor fixture is to create
sits on a rectangular frame with castors
merchandising at different levels so
underneath. The panel could be solid
that the customer is drawn into the
or translucent, or simply be a frame,
store to view the displays beyond.
with system upright posts either side.
The table, often very simply A shelf sits close to the top of the unit
constructed, lends itself to low-level for merchandise purposes and in most
display for smaller items and cases there will be a graphic panel
accessories. Sometimes other above the shelf. The clothing rails or
merchandising vehicles sit on the shelves are supported on brackets from
tables to prop up merchandise the system upright posts. On both ends
effectively. These are usually clear of the gondola are opportunities for
acrylic stands that are bought from further display. This would usually be
specialist suppliers. Tables are used to tell a story about what is on the
sometimes stacked on top of each gondola – an outfit, for instance.
other to create more height.
From store to store, the cabinet is
probably the item which changes most
significantly in its size, shape and ability
to hold stock as it is very dependent
on the product. Mobile phone shops
and other technological gadgets
may be displayed on long, specially
designed cabinets with storage
underneath; jewellery stores favour
timber cabinets with a glass case on
top; menswear shops tend to favour
cabinets with slots or pigeon holes
for ties and shirts, for example.
162/163
= MID-FLOOR FIXTURES
This is a mid-floor fixture
designed for stacking jeans.
Its simple stainless steel
construction with timber
shelves iis spacious enough
to hold a high level of
product. The graphic panel
on top clearly indicates
what’s for sale.
Fixture
The term used to describe specially designed pieces of furniture
that hold product and display merchandise.
164/165
= VILLANDRY
London, UK
DESIGNER
= D ALZIEL AND POW
DATE
= 2007
DESIGNER
= FIONA DAMIANO
DATE
= 20 0 9
Branding
Conclusion
and Identity
DATE
= 2008
168/169
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Fogg, M. Boutique: A 60s Cultural Other Retail Spaces: The Architecture
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Culture and the Department Store,
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Thorne, R. Covent Garden Market: 129
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\ Quote sources \ / Acknowledgements /
Glossary
Acoustics Concessions
The word acoustic describes the scientific Concessions are spaces occupied within a
study of sound. In terms of the interior, sound department store by key retailers or labels.
can be controlled through the use of materials. Concessions are grouped together on each
Hard materials will bounce sound around a floor depending on the product.
space, creating echoes, whilst soft materials
will absorb sound, providing a quieter space.
Concourse
The volume of space before or between
Arcade platforms at train stations and airports.
An enclosed public shopping area with
impressive glass and steel roof structures and
ornate decorative facades, that often creates Consumerism
a passageway between high streets. The purchase of material posessions.
Fashion house
Boutique A premium fashion label, which has a collection
A small independent fashion retailer, often of designers or one key designer working under
with a distinct fashion style. its name.
Gondola Product
A type of fixture that holds hanging garments in An object or artefact.
a mid-floor position and is usually head height.
Retail unit
Hypermarket A custom-built space for retail purposes.
A hypermarket is a larger version of a
supermarket, and will often house a generous
variety of products that go beyond grocery Roll-out
shopping. This is a term used to describe the reproduction
of an interior scheme into a number of different
locations. Although the scheme may need to
Lifestyle store alter to reflect the nature of the site, the
A lifestyle store encapsulates a range of principles behind the design idea remain the
products under one venue or brand name, same.
thus giving the consumer the opportunity to
buy into a whole lifestyle experience from
one retailer. Shadow gap
A contemporary detail used to create a junction
between a wall and a ceiling or floor; or between
Lux a fixture and the floor that makes the objects
The way in which the brightness of light is displayed on it appear to be floating.
measured.
Sustainability
Mega centre Using the Earth’s natural resources through
A large out of town retail experience that usually energy consumption, building and making
combines retail with leisure facilities. materials in a way that does not impact on the
environment.
Mood boards
A mood board consists of images taken from System upright posts
books and photographs arranged on a board Thin, steel posts with a series of slots running
to describe the feel of the interior space, and up the front face that are used between wall
the nature of the user. panels to hold rails and shelf brackets.
Pop-up store
A pop-up store is a temporary retail
environment, that is set up to promote the
brand in unusual places, often with an
exclusive range of products that are not
available in-store or sometimes purely as an
interactive advertisement without product.
\ Glossary \ / Picture credits /
Acknowledgements
Picture credits
Cover image Frank Oudeman 2010 © 084/085 Images provided by HMKM, London
003 Image provided by Dalziel and Pow. 088/089 Images provided by Fahirool Adzhar
006 Photograph © James Winspear, Muhmad
courtesy of Four IV 094 Photographs by David Grandorge
013 Images provided by Dalziel and Pow 097 Images courtesy of Shutterstock
014 Photograph provided by Andrew Mesher 098 Images courtesy of Shutterstock
016/017 Images provided by HMKM, London 099 Images courtesy of Shutterstock
021 Images provided by Brinkworth 100 Images courtesy of Shutterstock
022/023 Images reproduced 101 Images courtesy of Shutterstock
courtesy of Shed Design Ltd. 102/103 Photography courtesy of
025 Image provided by Caulder Moore Checkland Kindleysides
027 Photography courtesy of 104 Photography courtesy of
Checkland Kindleysides Checkland Kindleysides
028 Imagery courtesy of 106 Image reproduced courtesy of
Checkland Kindleysides Shed Design Ltd.
029 Photograph © Richard Davies, 107 Image provided by Brinkworth
courtesy of John Pawson 108 Photograph © Rama Knight,
030/031 Photography courtesy of courtesy of Four IV
Checkland Kindleysides 109 Photograph courtesy of Caulder Moore
032/033 Images provided by 110 Drawing by Lynne Mesher
Magdalena Kumala 112 Photograph courtesy of Caulder Moore
037 Images courtesy of Shutterstock 114/115 Images provided by Caroline Hart
039 Image courtesy of Getty 118 Drawing by QuA Associates
041 Image provided by Dalziel and Pow 122/123 Luc Boegly and Saguez and Partners
043 Photograph © Paul Raftery, 124/125 Imagery courtesy of
courtesy of View Pictures Ltd Checkland Kindleysides
044 Photographs © Yoshiko Seino (Paris), 127 Image provided by HMKM, London
and Masa Yuki Hayashi (Tokyo), 129 Drawing by Four IV
provided by Amanda Levete Architects 131 Image provided by Brinkworth
046 Drawing by 6a Architects 133 Drawing by QuA Associates
047 Photograph by David Grandorge 134 Drawing by Lynne Mesher
048/049 Images provided by Dalziel and Pow 135 Image provided by Brinkworth
051 John Maltby / RIBA Library Photographs 136 Drawing by Lynne Mesher
Collection 139 Images provided by Katie Drake-Burrows
052/053 Images provided by Droog 144 Drawing by Lynne Mesher
054/055 Image provided by Formavision 145 Photograph provided by Brinkworth
056 Photo by Ed Uthman 146 Image provided by Dalziel and Pow
058 Images provided by QuA Associates 148 Photograph courtesy of Caulder Moore
060/061 Images provided by 151 Photography courtesy of
Jekaterina Zlotnikova, Stephanie Harris Checkland Kindleysides
and Angeliki Ioannou 153 Images provided by Brinkworth
065 Photograph © James Winspear, 155 Images reproduced courtesy of
courtesy of Four IV Shed Design Ltd.
066 Photograph by Richard Davies 157 Images provided by Brinkworth
067 Drawing by Lynne Mesher 158 Photograph provided by Amanda Levete
070/071 Images provided by Dalziel and Pow Architects
073 Photograph by Lynne Mesher 160 Drawings by Four IV
076 Photographer: Marcin Czajkowski 163 Drawings by Lynne Mesher
Courtesy: The Jerde Partnership, Inc. 165 Image provided by Dalziel and Pow
078 Image courtesy of echochamber.com 167 Image provided by Fiona Damiano
080 Images provided by QuA Associates 168 Photography courtesy of
Checkland Kindleysides
BASICS Lynne Elvins
Naomi Goulder
Interior Design
Working with ethics
Publisher’s note
The subject of ethics is not new, yet The framework positions ethical
its consideration within the applied consideration into four areas and
visual arts is perhaps not as prevalent poses questions about the practical
as it might be. Our aim here is to help a implications that might occur.
new generation of students, educators Marking your response to each of
and practitioners find a methodology these questions on the scale shown
for structuring their thoughts and will allow your reactions to be
reflections in this vital area. further explored by comparison.
AVA Publishing hopes that these The case study sets out a real project
Working with ethics pages provide and then poses some ethical questions
a platform for consideration and for further consideration. This is a focus
a flexible method for incorporating point for a debate rather than a critical
ethical concerns in the work of analysis so there are no predetermined
educators, students and professionals. right or wrong answers.
Our approach consists of four parts:
A selection of further reading
The introduction is intended to be for you to consider areas of particular
an accessible snapshot of the ethical interest in more detail.
landscape, both in terms of historical
development and current dominant
themes.
Introduction
01 02 03 04 05 06 07 08 09 10 01 02 03 04 05 06 07 08 09 10
180/181
What are the impacts of your What is the purpose of your work?
materials?
Between you, your colleagues and an
In relatively recent times, we are agreed brief, what will your creation
learning that many natural materials achieve? What purpose will it have in
are in short supply. At the same time, society and will it make a positive
we are increasingly aware that some contribution? Should your work result
man-made materials can have harmful, in more than commercial success or
long-term effects on people or the industry awards? Might your creation
planet. How much do you know about help save lives, educate, protect or
the materials that you use? Do you inspire? Form and function are two
know where they come from, how far established aspects of judging a
they travel and under what conditions creation, but there is little consensus
they are obtained? When your creation on the obligations of visual artists and
is no longer needed, will it be easy communicators toward society, or the
and safe to recycle? Will it disappear role they might have in solving social
without a trace? Are these considera- or environmental problems. If you
tions your responsibility or are they want recognition for being the creator,
out of your hands? how responsible are you for what
you create and where might that
Using the scale, mark how ethical
responsibility end?
your material choices are.
Using the scale, mark how ethical the
purpose of your work is.
01 02 03 04 05 06 07 08 09 10 01 02 03 04 05 06 07 08 09 10
Working with ethics Case study
AIGA
Design Business and Ethics
2007, AIGA
Ellison, David
Ethics and Aesthetics in European Modernist Literature:
From the Sublime to the Uncanny
2001, Cambridge University Press
Papanek, Victor
Design for the Real World:
Making to Measure
1972, Thames & Hudson
£19.95