Anandita portia retail design project

Retail
Design Portfolio
Student:AnanditaPortiaM.Sc.3rdSem.InteriorDesign
Commercial Space Designer
Dezyne E’Cole College, Ajmer

INTRODUCTION
People love to look , window –shop , and buy . Shopping as a experience
should provide fun, which in turn provide profile. A successful store or shop is
one that is designed to merchandise in addition to looking good . A store cab be
divided into two principles parts: the exterior , which gives identification ,
encompasses the storefront , show windows , and displays, an the interiors ,
where the promise of the storefront display is delivered . Briefly stated , the
storefront initiates the sale , and the interior consummates it.
The store and design of the façade must be attractive in order to catch the
shopper’s attention and to draw the customers in front the street of from the
mall in shopping centers . Graphics identification , with bold color, lighting ,
lettering and logos and attractive display of merchandise are the initial steps.

PRINCIPLES OF
RETAIL SHOP DESIGN

In order to design satisfactory hops, the requirements is an understanding
of those portions of current merchandising theories which affects the
designing problems . Briefly “MERCHANDISING PSYCHOLOGY” consists
of , first , arousing interest ; second , satisfying it.
With staple goods the first phase is almost automatic. When no staples ,
accessories , or specialties other than “DEMAND “ goods are to be sold ,
methods of arousing interest may become more complex .
The second phase- the actual sale- involves factors of convenience which
are desirable in order to make buying easy, to satisfy customers completely
, and to achieve economy of space and time for the store management .
Both phase affect the design of retail shops , and closely interrelated.

The Principles are as follows:
 ATTRACTING CUSTOMERS
This can be accomplished by means of advertising , price , show-window displays or
remodeled quarters, which occupies much of a merchant’s efforts . Of these , storefronts
and display windows are important to the store designer.

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

 ORGANIZING STORE SPACES
Organizing store spaces, and consequently the merchandise to be sold, into
departments, enables customers to find objects easily , and permits storekeeper’s to
keep close check on profile or losses from various types of goods. Store lighting and
“dressing” are simplified . Even small shops benefits from a measure of
departmentalization ;in large shops , the practice becomes essential as methods of
training salespeople, of handling , controlling and wrapping stock become more complex.

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

 CONVENIENCES
Conveniences intended primarily for the customers’ benefit while not strictly allied to the
problem of attracting trade or selling goods, are necessary to some types of shops. A
Florist , for instance , provides a card-writing desk or counter in his shop.

INTERIORS
The successful retail shop is an efficient selling machine or sales factory . In addition to
servicing the customers, the employees have to be considered so they can give better
service to the country.
Merchandise and space must be organized to help the customer in making a selection
and to help the sales person in selling. Easy circulation and exposing the customer to the
maximum amount of merchandise are part of good design. Avoid monotony in circulation
and display of merchandise. Where possible, do not hesitate to be bold or even shocking.
This stimulates the customer and his urge to buy.
The location and design of the cashier and wrapping unit are important and provide for
several persons to be serviced . Often this as a control center.
Flexibility so that fixtures and department can be moved or modified in part of present-
day merchandising .fixtures should be minimized and merchandise emphasized . Design
and use fixtures so that full attention is thrown on the merchandise.

DEPARTMENTALIZATION
Benefits to be derived from segregation of merchandise by types have been touched
upon previously . All these are factors in decreasing the average time per sale, an
important figure in large –store accounting and in small stores with rush periods
Demand or
Staple goods
Convenience
items
Impulse or
luxury goods

 STRAIGHT PLAN
 Straight plan is a conventional plan that
uses walls and projections to create
smaller spaces.
 It is an economical plan to execute(use)
and can be adapted for any kind or type
of store from, Gift shops to apparel outlets
,drug stores ,grocery stores to
department stores.
 Variety in the straight plan should be
introduced by raising the floor level of the
shop this type of plan pulls customer to
the back of the store.
 This plan is good for book store.

 PATHWAY PLAN
 Pathway plans patent through the
store to the end(rear) without
interruption of floor fixtures. The
path can take any shape and
create a pattern
 This type of plan is suited for larger
store over 5000sq ft. and on one
level the pathway is a very good
organiser and pulls the shopper
from the front to the end of the
store.
 This plan is good for clothing store
because it doesn’t give cluttered
feeling, this plan focuses the
shopper’s attention on the
merchandise

 DIAGONAL PLAN
 For self service store a diagonal
plan is better, the cashier is in
the central location, with sight
lines to all areas of the space.
 Soft goods or hard goods stores
including drug and food store
can take advantage of the
diagonal plan.
 This plan is having a dynamic
quality because it is not based
on straight line, it invites
movement and circulation.

 CURVE PLAN
 This plan is good for boutiques and
saloons or other high quality store.
 The curve plan creates an inviting
special environment for the
customer. It also costs more to
construct then angular or square
plan.
 Curve theme can be emphasised
with wall, ceiling, and corners to
complete the look specify circular
flow fixtures.

 VARIED PLAN
 For products that require the back
merchandise to be immediately
near to selling.
 The varied plan is highly
functional, it is a variation of
straight line plan with a certain
area allowed for carton storage
near the perimeter of the wall. The
plan has a bellow effect.
 This type of store is good for
jewellery, hardware and tobacco
shop.

 GEOMETRIC PLAN
 The designer creates forms with
shape derived from showcases
and racks. This plan is the most
exotic of the six basic plan and
designer can use wall angles to
restate the shapes dominating the
sales for.
 This is a very good plan apparel,
shoe, gift shops etc.
 Ceilings and floors can lowered in
this design to create zones and
departments.

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

 This figure shows the clearances involved for a 42-in, or 106.7- cm, high counter to service
a seated user. By filling the recess with an additional display, however, the counter can also
be used exclusively as a typical sales counter. It should be noted, however, that although
sometimes used for special display situations, such a counter height is not recommended.
Both the customer and the sales clerk of smaller body size would find coping with such a
height uncomfortable anthropometrically
In Cm
A 26 - 30 66.0 - 76.2
B 18 - 24 45.7 - 61.0
C 42 106.7
D 28 71.1
E 84 - 112 213.4 - 284.5
F 18 45.7
G 18 - 24 45.7 - 61.0
H 30 – 48 76.2 - 121.9
I 18 – 22 45.7 - 55.9
J 35 - 38 88.9 - 96.5
K 72 182.9

 Figure 2 illustrates the clearances for a typical sales counter.
In Cm
A 26 - 30 66.0 - 76.2
B 18 - 24 45.7 - 61.0
C 42 106.7
D 28 71.1
E 84 - 112 213.4 - 284.5
F 18 45.7
G 18 - 24 45.7 - 61.0
H 30 – 48 76.2 - 121.9
I 18 – 22 45.7 - 55.9
J 35 - 38 88.9 - 96.5
K 72 182.9

In Cm
A 26 - 30 66.0 - 76.2
B 18 - 24 45.7 - 61.0
C 42 106.7
D 28 71.1
E 84 - 112 213.4 - 284.5
F 18 45.7
G 18 - 24 45.7 - 61.0
H 30 – 48 76.2 - 121.9
I 18 – 22 45.7 - 55.9
J 35 - 38 88.9 - 96.5
K 72 182.9
 Figure 3 shows the clearances required for a medium height display counter. The
suggested seat height of 21 to 22 in, or 53.3 to 55.8 cm, requires a footrest for the seated
customer. The counter height shown will allow the display to be viewed by both the seated.
The customer activity zone allows adequate space for the chair. Knee height, buttock knee
length, popliteal height, and eye height sitting are all significant human dimensions to
consider in the design of counters to be used by a seated customer.

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

 Figure 4 shows Shelving is probably
used more than any other single
interior component for the storage
and display of merchandise. Not only
must the merchandise be within
reach anthropometrically, but it must
be fairly visible as well. The heights
established must there fore be
responsive to vertical grip reach
dimensions as well as to eye height.
In establishing height limits, the body
size data of the smaller, departments
may cater exclusively to members of
one sex or the other, two seats of
data are presented. One is based on
the body size of the smaller female
and the other on the body size of the
smaller male. The suggested height
reflect a compromise between reach
requirements and visibility
requirements.
In Cm
A 48 max. 121.9 max.
B 30 – 36 76.2 – 91.4
C 51 min. 129.5 min.
D 66 167.6
E 72 182.9
F 84 – 96 213.4 –
243.8
G 20 – 26 50.8 – 66.0
H 28 – 30 71.1 – 76.2
I 18 – 24 45.7 – 61.0
J 18 min. 45.7 min.
K 72 max. 182.9 max.
L 4 10.2
M 42 106.7
N 26 min. 66.0 min.

 Figure 6 illustrates the clearances involved in hanging type merchandise cases. Hod
heights should be related not only to human reach limitations, but in certain cases to
the size of the merchandise displayed. There is usually no conflict in respect to
garments.

PRINCIPLES OF
RETAIL ORGANIZATION

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

 Exterior: façade ,logo
 Threshold , transition
 Shop windows
 Transparency
 Interaction
 Mystery, posters
 Display
ENTRANCE
The design of the entrance to a store is
very important . It needs to entice the
customer in and give of the products
beyond the threshold.
In general through, it will be either a new
element-fitted as part of the overall
scheme-or an existing element
preserved in its original form or updated
to meet building and planning regularly
updated to show the latest products in
store. Often , the customer will also be
able to see past the window displays to
the store beyond , allowing transparency
and interaction . Sometimes the view is
blocked by displays , giving a feeling of
mystery and bringing the customer’s
focus to the display.


 Entry area-starting point
 Open , spacious area
 Time to pause , feel , sense , experience
 Leisure , display , seating, main flow
 Access for all users with disabilities
Once beyond the threshold , the entrance space is the starting point of the interior
journey . It is an area of the store that is often lest open and spacious , giving the
customer time to pause and take in the store environment and exiting the store
comfortably . In large stores, it is a place to meet friends before or after shopping .
Sometimes with seating areas on the sides out of the main flow of traffic.


 FAÇADE,ENTRANCE
SHOP WINDOWS

Window display at the SPACE by SFD , London

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

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

Prada Store , New York, Rem Koolhaas

Prada Store , Tokyo Herzog & De Meuron

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

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

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

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

TRADITIONAL
 Façade of building
 Symmetry
 Modest graphics
 Standards fronts &
colours
 Mannequins


CONTEMPORARY
 Frameless
 Transparency
 Graphic language
 Live colours
 Story telling & scenography


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

CONTEMPORARY

FILA
Design: Giorgio Borruso Design , Marina Del Rey, CA
Fixtures Buzzoni,Bosoaro , Rovigo. Italy
Fixtures Events cape Inc., Toronto, ON . Canada
This 4,000-sq.-ft. prototype represents the Italian Sports Brand with design elements
personifying movement. Garments racks lean forward, elliptical columns descend from
the dark recesses of a ceiling made fluid by undulating strips of fabric-bound aluminum
flowing across the space, and hundreds of shoes climb along a 50-ft – long canted wall
textured with delicate waves. The merchandise triumphs as the transparency of fixture
components place it squarely in the spotlight and reflective columns give it an instant
replay

ENTRANCE DOORS
The entrance doors need to be easily
accessible to all, so must therefore be at
least 1000mm in width. A hinged door must
open inwards so not to obstruct the street or
path in front and must give good security to
the store at night. An alternative to the
hinged doo is sliding doors that have a
cleaner look and do not impact on the interior
in ay way. In some situations, a roller shutter
performs the functions of a door.
 1000 mm
 Operation
 Hinged, sliding revolving,
swing
 Material, frame


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

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

THE SHOP WINDOW
The shop window begins with a pane of glass that creates a division between the
exterior and the interior. In most new shop fronts, the glazing covers as large as area
as possible, so much so that the division barely exists. Shop window design is an art
and a profession in its own right, with new concepts reaching window on a cyclical
basis.
The purpose of the display is to create a memorable vision and to portray the brand
values In one punchy statement. The display must be consistent with the interior and
product range in the materials used, the way the display is lit and the graphic
communication. The window suggests the lifestyle that can be achieved from owning
the products and entices the customer inside. The size of the window display and the
way the merchandise is set out must be coherent to the products displayed. For
instances, larger items need a specious window so that the shopper can stand back to
look, whilst smaller items need to be displayed at eye level so that the shopper can
walkup close and view them without bending or stretching. Most windows displays are
designed around a shallow plinth that raises the merchandise to an appropriate height
in relation to the glazing, and allows for mannequins, price statements and additional
blocks to be added for smaller products.


The retailer’s merchandising team usually source mannequins, but occasionally the
retailer’s merchandise to an appropriate height in relation to the glazing, and allows for
mannequins, price statements and additional blocks to be added for smaller products. The
retailer’s merchandising team usually source mannequins, but occasionally the retail
designer will advise them.
Some retailer’s use the window as the main vehicle from which to sell stock. The traditional
jeweler’s window is a good example of this. The window display extends into the shop,
taking up a large proportion of the retail space, leaving the interior for sales and services
alone. The display element for jewelry is very detailed as it has the job of holding a variety
of pads containing stock filling the whole window.

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

“The Front Room of St. Martins lanes hotel is dynamic retail
space. It has housed various creative collaboration with partner
including the convenience store, wallpaper , Angela Hill, The
design museum and newness. This time it will be converted by
ELIPS DESIGN into an idyllic Italian beach, complete with
traditional decking, coloured beach cabins, sun umbrellas, chairs
and table. The customers will be transported to the Mediterranean
in the heart of the London’s busting center enjoying their gelato
DRI DRI. The beach cabins are thought in the way to divide the
space and create a back of the house for storage. The sun
umbrella are wall stickers to create more perspective in a bi
dimensional space ”

SHOPFRONT SIGNAGE
The design of shopfront signage is often
governed by the location of the site and
any conditions applied by landlords,
Centre management or planning. There
are a variety of options available for each
situations. The retail designer will work
with a signage manufacturer to come up
with suitable solutions. The main signage
types are Fascia signage, projecting
signage and window decals.
 FASCIA SIGN
 PROJECTING SIGN
 WINDOW DECALS
The design of fascia sign may appear
varied on the high street, but they
commonly fall under one of the 3 types of
signage : the traditional painted sign as
already discussed ; an illuminated box
sign that is constructed most commonly in
a ‘biscuit-tin’ formation, constructed from
aluminum with the logo or lettering fret cut
out of the face and replaced with frosted
acrylic (the box contains fluorescent lights
fittings that are easily accessible by
removing the top of the ‘biscuit tin’) and,
finally, a logo or letters that have been fret
cut out of a sheet of aluminum or steel
(possibly spray painted or brushed) that
are then pegged off the fascia panel and
often illuminated an external source.
 PAINTED
 ILLUMINATED BOX
 FRET-CUT IN METAL


Signage is an important element of the
entrance, used to navigate customers
to a correct department or to clearly
signpost shop amenities. Lifestyle
graphics are also featured in the
windows and entrance for brand
enhancement.
The entrance is a keen main area for
figuring new in-store merchandise.
This could be in the form of a feature
displaying, or a promotional event
including food tasting, free samples,
make-overs or sprays of perfume, for
example.
 Visual identity-logo
 Colors
 Branding experience
 Up-to-date products
 Display, tasting,
Sensing, discussing


CIRCULATION
One of the first tasks the retail designer
faces when the sight has been decided is
to work out the circulation around the
space, taking into consideration the design
guidelines and principles of the scheme
along side the structural nature of the
interior. Circulation diagram’s are produced
as ways of thinking and describing different
schemes to the client. The diagrams are
produced by looking at the plans and
sections of the interior and drawing arrows
and routes over the technical drawings.
The circulation plan is often drawn in
unison with an adjacency plan (often on
the same drawing), which shows how the
areas of the space will be divided into
product, places to sell, space to brows and
ancillary areas. These drawings from the
starting point for planning the interior
layout.
 Human circulation
and pathways:
 Circulation diagrams
 Routes , arrows , way
of communication
and interest
 Space division: areas
between products
and merchandising


The circulation performs two main tasks in the retail
scheme. The first is to allow for the flow of people in the
form of walkways. These must be wide enough for at
least two people to pass each other comfortable, or
pushing a pram. The second is to the merchandise and
allow them ample space to browse without dumping into
other people or display's


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

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

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

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

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

FITTING ROOMS
In fashion stores , fitting rooms are essential
for customers to “try before they buy” . There
have been some trends in fitting room design
over the years that are worth mentioning . High
street fashion stores once for all with mirrors
all around . Some stores also had a small
amount of very tight cubicles with badly fitted
curtains alongside the open spaces, making
the trying on of clothes an uncomfortable
experience for many. Most now have separate
spacious cubicles for changing with mirrors on
all sides, a fixed seat , hook for your own
clothes and bags and a solid lockable door for
added discretion.
The entrance into the fitting room can be a key
area to entrance the shopping experience . In
large stores , this space contains seating and
sometimes even entertainment for those who
have to wait.in smaller stores that do not have
the space to do this, the most basic
 “Try and experience before
buy”
 Dividers , curtains, doors,
mirrors, lighting and
position of luminaries ,
hooks, screens, seat, shop
assistant.
 Space to catch the breath.


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

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

Anandita portia retail design project

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