Retail design principles

Submitted To:
Dezyne E’cole College, Ajmer
www.dezyneecole.com
Submitted By:
Akash Gidwani
Bachelors of Science – Interior Designing

Introduction
• People love to look, window –shop, and buy.
Shopping as an experience should provide fun, which
in turn provides profits. A successful store or shop is
one that is designed to merchandise in addition to
looking good. A store can be divided into two
principal parts : The Exterior, which gives
identification, encompasses the storefront, show
windows, and displays, and the Interior, where the
promise of the storefront display is delivered. Briefly
stated, the storefront initiates the sale , and the
interior consummates it.
• The storefront and the design of the façade must be
attractive in order to catch the shoppers’ attention
and to draw the customers in from the street or from
the mall in shopping centers. Graphic identification,
with bold colors, lighting, lettering, and logos, and
attractive display of merchandise are the initial steps.

• In order to design satisfactory shops, the first requirement is an understanding of those portions of
current merchandising theories which affect the design problem. Briefly, “MERCHANDISING
PSYCHOLOGY” consists of, first, arousing interest ; second, satisfying it.
• With staple goods the first phase is almost automatic. When nonstaples, accessories, or specialists
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 phases affect the design of retail shops, and are closely interrelated.
• Following are the principles of retail design :-
Principles of Retail Design

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

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

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

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

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

• In regard to finishes and equipment, the idea may be extended to include : floor surfacing for comfort ;
acoustic treatment of ceilings and possibly walls ; illumination of pleasant, sometimes special, quality ; and
air-conditioning. All these have been found profitable investments in various cases. Their necessity or
desirability depends to an extent on the type of shop, its location, or the climate of the locality.
Conclusion of All Principles

• The successful retail shop is an efficient selling machine or sales factory. In addition to servicing the
customers, the employees have to give better services to the customer.
• Merchandise and space must be organized to help the customer in making a selection and to help the sales
person in selling. Easy circulation and exposing the customer to the maximum amount of merchandise are
part of good design. Avoid monotony in circulation and display of merchandise.
• The location and design of the cashier and wrapping unit are important and provide for several persons to
be serviced. Often this acts as a control center.
• Flexibility so that fixtures and departments can be moved or modified in part of present-day merchandising.
Fixtures should be minimized and merchandise emphasized. Design and use fixtures so that full attention is
thrown on the merchandise.
Interiors of Retail Store

• 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.
Departmentalization of Retail Store

Demand or Staple goods Convenience items Impulse or Luxury goods
LEGEND :
Departmentalization of Retail Store

• Impulse or luxury goods are high profit articles, usually high in price.
• Convenience items are stock for the passerby who happens in but who may return for other purchases if
properly impressed. Often these are not in themselves strictly profitable merchandise.
• Demand goods are also staples, like conveniences, but are articles which the customer start out with a
definite idea of purchasing.
Impulse, Luxury and Demand Goods

Six Basic Plan Types of Retail Design :-
• Straight Plan
• Pathway Plan
• Diagonal Plan
• Curved Plan
• Varied Plan
• Geometric Plan
Layouts

• Straight plan is a conventional plan that uses walls and
projections to create smaller spaces. It is an economical
plan to execute or use and can be adapted for any kind
/ type of store.
• From gift shops to apparel outlets, drug store, grocery
store to departmental store. This plan is good for book
stores also. Variety in the straight plan should be
introduced by raising the floor level of the shop. This
type of plan pulls the customer to the back of the
store.
Straight Plan

• Pathway plan pulls through the store to the end (rear)
without interruption of floor fixtures. The path can
take any shape and create a pattern.
• This type plan is suited for larger shops over 5,000
sq.ft. and on one level. The pathway plan is a very
good organizer and pulls the shopper from the front
to the end of the store.
• This plan is good for clothing store because it doesn’t
give cluttered feeling. This plan focusses the shoppers’
attention on the merchandise.
Pathway Plan

• For self-service store a diagonal plan is better. The
cashier is in the central location with sight lines to all
areas of the space.
• Soft goods or Hard goods stores including drug and
food store can take advantage of the diagonal plan.
• This plan is having a dynamic quality, because it is not
based on straight lies it invites movement and
circulation.
Diagonal Plan

• This plan is good for boutiques and salons or other
high quality stores. The curved plan creates an inviting
special environment for the customer. It also costs
more to construct, than angular and square plan.
• Curved themes can be emphasized with walls, ceiling
and corners. To complete the look specify circular
fixtures.
Curved Plan

• For products that require backup merchandise to be
immediately near to selling. The varied plan is highly
functional it is a variation of straight line plan with a
certain area allowed for carton storage near the
perimeter of the wall. The plan has a bellow effect,
this type of store is good for jewellery, hardware and
tobacco shops.
Varied Plan

• This plan is good for boutiques and salons or other
high quality stores. The curved plan creates an inviting
special environment for the customer. It also costs
more to construct, than angular and square plan.
• Curved themes can be emphasized with walls, ceiling
and corners. To complete the look specify circular
fixtures.
Geometric Plan

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

• It 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 cab also be used
exclusively as a typical sales counter, it should be noted,
however, that although sometimes used for special display
situations, such a counter height is not recommended. Both the
customer and the sales clerk of smaller body size would find
coping with such a height uncomfortable anthropometrically,
particularly when one considers that the counter would be
higher than the elbow height of slightly over 5 percent of the
population. From a merchandising view-point, where customer
convenience is of paramount importance, it would be unwise
to exceed 39 to 40 in, or 99 to 101.6 cm, as a counter height. In
addition, the smaller sales clerk forced to tend such a counter
for extended periods of time could be subjected to severe
backaches and pains. Getting on and off a high stool for
elderly and disabled people or those of smaller body size can
be not only difficult, but hazardous.
Figure 1
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

Figure 3
• It shows the clearances required for 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 customer and the standing sales clerks. The
customer activity zone allows adequate knee length, popliteal
height, and eye height sitting are all significant human
dimensions to consider in the design of counters to be used by
a seated customer.
In. Cm
A 36 91.4
B 26 - 30 66.0 - 76.2
C 18 - 24 45.7 - 61.0
D 30min. 76.2min.
E 10 25.4
F 21 - 22 53.3 - 55.9
G 5 12.7
H 23 - 25 58.4 - 63.5
I 4 - 6 10.2 - 15.2
J 34 - 36 86.4 - 91.4
K 30 76.2
L 16 - 17 40.6 - 43.2

Figure 4
• It 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 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 7.6cm, below elbow height. This will allow a person to
handle objects comfortably on the counter surface or use the counter as support for his or her arms. The
30-in. height is too low to permit such use.
In. Cm
A 36 91.4
B 26 - 30 66.0 - 76.2
C 18 - 24 45.7 - 61.0
D 30min. 76.2min.
E 10 25.4
F 21 - 22 53.3 - 55.9
G 5 12.7
H 23 - 25 58.4 - 63.5
I 4 - 6 10.2 - 15.2
J 34 - 36 86.4 - 91.4
K 30 76.2
L 16 - 17 40.6 - 43.2

Figure 5
• Shelving is probably used more than any other single interior component for the storage and/or display of
merchandise. Not only must the merchandise be within reach anthropometrically, but it must be fairly visible as
well. The heights established must therefore be responsive to vertical grip reach dimensions as well as to eye
height. In establishing height limits, the body size data of the smaller person should be used. Since in retail
spaces, departments may cater exclusively to members of one sox or the other two sets of data are presented.
One is based on the body size of smaller female and the other on the body size of the smaller male. The
suggested heights reflect a compromise between reach requirements and visibility requirements.
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
• It 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 sizes of the merchandise displayed. There
is usually no conflict in respect to garments.
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.

Principles of Retail Organization

• Once the brand has been established and the market for its product is fully understood, an analysis of the
retailer’s current building stock or an investigation into finding a suitable site begins. The brand guidelines for
the interior demonstrate a typical size of store for the implementation of the scheme.
• The overall principles of the interior layout can be broken down into four areas: the entrance, main
circulation, pace and finally sales in the form of displays, fixtures and 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 a glimpse of the products beyond the
threshold.
In general though, it will be either a new element –
fitted as part of the overall scheme – or an existing
element preserved in its original form or updated
to meet building and planning regulations. window
displays are regularly updated to show the latest
products in store. Often, the customer will also be
able to see past the window 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 left open and
spacious, giving the customer time to pause and
take in the store environment and to make way for
people entering and existing the store comfortably.
In larger 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.

Window Display at space by OASIS, 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 sign, window details and lifestyle graphics
as part of the window displays; the materials from which the 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.

U.S. POLO ASSN. Store, Bangalore, India

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

 The Contemporary Shop Front
The design of the contemporary shop front
focusses on allowing light and visual access right
into the store from the street. The look is clean,
with glazing reaching from floor to fascia panel,
or sometimes with the fascia situated inside the
glass, sat in a brushed stainless steel frame.
Sometimes the glazing is frameless around the
internal elements. The signage is influenced by
the brand, using contemporary fonts and ways of
representing text. Illuminated sign boxes are the
normal application in contrast to a traditional
painted sign.
 The Traditional Shop Front
The design of the traditional shop front has a
sense of symmetry and is set out in proportion to
the existing building’s elevation. In most cases,
unless the brand’s design states it, it is unusual to
put a ‘new’ traditional shop front into a site unless
required to do so for planning reasons or to suit
the design scheme of an arcade or shopping centre
as a replacement of an existing older shop front. If
this is the case, than 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
centre may be part of the conditions.

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

 A TRADITIONAL SHOPFRONT
This line drawing reflects he typical qualities of a
traditional shop front, taking its proportions from the
existing building’s elevation.
=

Façade of building
Symmetry
Modest graphics
Standards fonts & colours
Mannequins
ENAMOR
Traditional

Traditional
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.
DEERBERG

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, Brinkworth
produced a store that is a
literal interpretation of the
name, Fullcircle. A shop
within a shop, with
specific sections cut
away, creating two
perfect optical illusions
within the space.

Contemporary
Puma Store (By Plazer & Franz Studio), London
• Design: By Plajer & Franz Studio.
• Project Manager: Ms. Patricia Senft / Ms. Anne-Katherine Hahn.
• Local Architect: P:six, Moulsoe Business Centre, Cranfield oad, Moulsoe, UK.
• Shop Fitting: New store Europe Polska sp. Z.O.O.
• Light: XAL Xenon Architectural Lighting gmbh, Rieder Strae 1, 85229 market indersdorf.
• Re-designed Puma store back on London’s Carnaby street! After a complete makeover by Plajer & Franz
Studio and under the direction of Ales Kernjak (head of global store concepts, Puma Retail ag) the Puma
store on London’s Carnaby street re-opened on March 20th. In line with Puma’s 2.0 Retail Concept, the store
design unifies joy, innovation, simplicity and a local relevance, while being constructed according to Puma’s
sustainable guidelines.

Contemporary
• Numerous joyful elements and cutting-edge technology are scattered around the 302 sqm shopping
space including life-size Puma cat sculptures greeting visitors at the entrance, ‘Puma Unsmart Phones’
ringing when approached, Puma’s ‘Peep-show’ displaying image movies when opened, or Puma’s
moveable joy-pad wall – an assemblage of 32 synchronized digital touch screens featuring simple
games for the customers to play and compete with friends.
• IPads placed in the store allow shoppers to purchase products from the European online store, which
offers a wider merchandise assortment, complete size runs and alternative colors of items stocked in
the store.
• The factor ‘fun’ is further reflected in various regional elements, which give the store its local relevance.
This begins with the facade covered in 3d images of the traditional London red cell booth and
continues inside the store, where the ‘Pumarized’ cell booth reappears serving as display system and
dumbwaiter cladding. Another London classic – the worldwide known metro sign – makes an
appearance in the changing rooms. Here white metro tiles have been used turning the changing rooms
into a ’Puma’ metro station.

Contemporary
• At the same time, the store design puts great emphasis on making it simple and clear. Focus points
such as oversize logo signs or the striking red brand wall together with wooden ceiling beams serve as
directory and navigate shoppers through the store. Hereby, footwear, still being Puma’s core
competence, has been given the most prominent status and presents itself on a footwear catwalk
leading from the store entrance to the focus wall as well as on two footwear tribunes. The store
atmosphere is further enhanced by overhead screens featuring hypnotic, slow moving visuals of
scenarios from fluffy clouds to underwater scenes.
• Despite numerous entertaining elements, the store design conforms to Puma’s sustainable guidelines.
The general use of building materials in store has been reduced to the minimum, leaving the ceiling
open and the brick walls untreated. Any materials used such as wood for the ceiling beams, the
furniture or floor finishes are FSC certified. Above that, an efficient lighting system, using mainly HIT-
lights, has been applied to save energy consumption of the store and thus further reducing its
ecological footprint.

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

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

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

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

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

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

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

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

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

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

• Human circulation
and pathways:
• Circulation
diagrams
• Routes, arrows, way
of communication
and interest
• Space division: areas
between products
and merchandising
• Circulation
One of the first tasks the retail designer faces when the site has
been decided is to work out the circulation around the space,
taking into consideration the design guidelines and principles of
the scheme alongside the structural nature of the interior.
Circulation diagrams are produced as ways of thinking and
describing different schemes to the client. The 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 browse
and ancillary areas. These drawing form the starting point for
planning the interior layout.

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

• Horizontally
• Vertically
• Spine – lead
• Circular
• Loop
• Zig-Zag
• Free flow
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. Circulation can work
horizontally, allowing the customer access through the shop
front, with products displayed either side of the walkway and
with an exit at the back, or vertically, with merchandise
displayed over more than one floor. This scheme is more
complicated in the sense that stairs, lifts and escalators need
to be negotiated, and methods for enticing people on the
upper floors must be considered. Circulation in a zig-zag or
figure-of-eight fashion across the store allows for points of
interest to be included and creates a longer journey and a
variety of ways to travel around the space. The circular
pattern takes customers from the front to the back and then
to the front again.

Circular Loop Fixtures (Race Track)

• Selling the
products or
services
• Display of
products,
presentation and
distribution
• Essential part of
store organization
• Sales
The most important thing about any retail
interior is its ability to sell products and sustain
the business. The entrance, circulation and pace
are all important design 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.

• Fixture and furniture:
low, high, mid floor
• Display: custom-made
hooks and hanger
• Using interior walls:
fixed, hang,
• Free standing: low
cabinets, shelves,
drawers, displays.
• Product Display
Taking up a large part of the retail designer’s remit is the
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 design; other fixtures and 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.

• 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 products for
purchase.
Al Hilal Flagship Store – Saudi Arabia

Al Hilal Flagship Store – Saudi Arabia

Royal Enfield Store by Lotus, New Delhi

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

• “try and experience
before but”
• Dividers, curtains, door,
mirrors, lighting and
position of luminaires,
hooks, shelved, fixtures,
screens, seat, shop
assistant …
• Space to catch the
breath,
• Fitting rooms
In fashion stores, fitting room are essential for customers to try
before they but. There have been some trends in fitting room
design over the years that are worth mentioning. High street
fashion stores once favored one big open space for all with
mirrors all around. Some stores also had a small amount of very
tight cubicles with badly fitted curtains alongside the open space,
making the trying on of clothes an uncomfortable experience
for many. Most now have separate spacious cubicles for
changing with mirrors on all sides, a fixed seat, hooks for your
own clothes and bags and a solid lockable door for added
desecration.
The entrance into the fitting room can be a key area to enhance
the shopping experience. In later 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.

Marie France shop by Clifton leung design
workshop, Nanjing – china
Sitting Zone in Retail Stores

• Point of Sales
The point of sale marks the end of the journey around the
store and is the point at which a customer will pay for goods.
The location of the point of sale is very important. In larger
stores, there will be access to till points in several locations,
often relating to a department, one in menswear and one in
women wear, for example, In supermarkets, the till points are
usually located in front of the exit doors. The allows for heavy
traffic flow in a runway fashion and indicated 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.
Also,
• Cash 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.

Bibliography
• Time Saver Standards
• www.google.com
• www.pinterest.com
• www.retaildesignblog.com
• www.bing.com
• www.Wikipedia.com

Retail design principles

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