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Retail design Project by Neha Vyas (B.Sc Interior Design)


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Retail design Project by Neha Vyas (B.Sc Interior Design)

  2. 2. 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 color, lighting, lettering, and logos, and attractive display of merchandise are the initial steps. RETAIL SHOP
  3. 3. PRINCIPLES OF RETAIL SHOP DESIGN In order to design satisfactory shops, the first requirement is an understanding of those portions of current merchandising theories which affect the design problem. Briefly, “merchandising psychology” consists of, first, arousing interest; second satisfying it. With staple goods the first phase is almost automatic. When 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 phases affect the design of retail shops, and are closely interrelated.
  4. 4. ATTRACTING CUSTOMERS 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. INDUCING ENTERANCE Show windows, in addition to attracting passerby, 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.
  5. 5. ORGANIZING STORE SPACES Organizing store spaces, and consequently the merchandise to be sold, into departments, enables customers to fund 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 handing controlling, and wrapping stock become more complex. INTERIOR DISPLAYS Interior displays require particular attention in specialty shops. Types range form displays of staples may suggest to the customer. Problems of arrangement with regard to merchandise, and routes of customers approach are involved.
  6. 6. CONVENIENCES Conveniences intended primarily for the customers benefit, while not strictly allied to the problems of attracting trade or selling goods, are necessary to some types of shops. A florist, for instance, provides a card-writing desk or counter in his shop. In other shop types, particularly those whose prices are above the average, such extra provisions are often highly desirable. Conveniences of this kind include: telephone booths, drinking fountains, lavatories or powder rooms, desks for writing cards of checks, stools or chairs at counters in special sales rooms, and vanity table or triplicate mirrors for certain types of apparel fitting rooms.
  7. 7. 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 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.
  8. 8. SELLING AREAS 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. 1.Demand or staple goods Demand goods are also staples, like conveniences, but are articles which the customer start out which a definite idea of purchasing. 2.Convenience items Convenience items are stocked for the passerby who happens in but who may written for other purchases if properly impressed. Often these are not in themselves strictly profitable merchandise. 3.Impulse or luxury goods Impulse or luxury goods are high profit articles, usually high in price.
  10. 10. STRAIGHT PLAN Straight plan is a conventional plan that uses walls & projections to create smaller spaces. It is an economical plan to use and can be adapted for any type of store from gift shops to appealer outfits, drug store, grocery store to department stores variety in the straight plan should be introduced by raising the floor level of the shop. This type of plan pulls customers to the back of the store. This plan is also good for book stores.
  11. 11. PATHWAY PLAN Pathway plan pulls patron through the store to the end (rear) without interruption of floor fixtures. The path can take any shape & create a pattern. This type of plan is suited for larger stores over five thousand square feet and on one level(floor). The pathway plan is a very good organizer & pulls the shopper from the front to the end of the store. This plan is good for clothing store because it does not give cluttered feeling. This plan focuses the shoppers attention on the merchandise.
  12. 12. DIAGONAL PLAN For self service store a diagonal plan is better. The cashier is in the central location with site lines to all areas of the space. Soft goods or hard good store including drug & 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 & circulation.
  13. 13. CURVED PLAN This plan is good for boutiques and salons or other high quality store. The curved plan creates & inviting special environment for a customer. It also cost more to construct than angular plan. Curved theme can be emphasized with walls, ceiling and corners to complete the look. Specify circular floor fixtures.
  14. 14. VARIED PLAN For products that required back up merchandise to be immediately near 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 jewelry, hard ware & tobacco shop.
  15. 15. GEOMETRIC PLAN The designer creates forms with shapes derive form show cases, racks. This plan is the most exotic of the 6th basic plan & designer can use wall angles to restate the shape dominating the sells floor. This is a very good plan for apparel show & gift shop.
  16. 16. DIMENTIONS 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.
  17. 17. This figure shows the clearances involved for a 42-in, or 106.7- cm, high counter to service a seated user. By filling the recess with an additional display, however, the counter can also be used exclusively as a typical sales counter. It should be noted, however, that although sometimes used for special display situations, such a counter height is not recommended. Both the customer and the sales clerk of smaller body size would find coping with such a height uncomfortable anthropometrically, particularly when one considers that the counter would be higher than the elbow height of slightly over 5 percent of the population. From a merchandising view point, were customer convenience is of paramount importance, it would be unwise to exceed 39 to 40 inn, of 99 to 101.6 cm as a counter height. In addition, the smaller sales clerk forced to tend such a counter for extended periods of time could be subjected to servers backaches and pains. In Cm A 26 - 30 66.0 - 76.2 B 18 - 24 45.7 - 61.0 C 42 106.7 D 28 71.1 E 84 - 112 213.4 - 284.5 F 18 45.7 G 18 - 24 45.7 - 61.0 H 30 – 48 76.2 - 121.9 I 18 – 22 45.7 - 55.9 J 35 - 38 88.9 - 96.5 K 72 182.9
  18. 18. • 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
  19. 19. • 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. In Cm A 36 91.4 B 26 -30 66.0 – 76.2 C 18 – 24 45.7 – 61.0 D 30 min. 76.2 min. E 10 25.4 F 21 – 22 53.3 – 55.9 G 5 12.7 H 23 – 25 58.4 – 63.5 I 4 – 6 10.2 – 15.2 J 34 – 36 86.4 – 91.4 K 30 76.2 L 16 - 17 40.6 – 43.2
  20. 20. • 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.
  21. 21. • Figure 5 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.
  22. 22. 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 5
  23. 23. • 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.
  25. 25. “ Once the brand has been established and the market for its products is fully understood. An analysis of the retailer’s current building stock or an investigation into finding a suitable site begins. The brand guidelines for the interior demonstrate a typical size of store for the implementation of the scheme. The overall principles of the interior layout can be broken down into four areas: the entrance, main circulation, pace and finally sales in the form of displays, fixtures and payment areas.” LAYOUT
  26. 26. ENTRANCE  Exterior: façade, logo  Threshold, transition  Shop window  Transparency  Interaction  Mystery, posters  Display 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 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 brining the customer’s focus to the display.
  27. 27. Entry area – starting point Open, spacious area Time to pause, feel, sense, experience Leisure, display, seating mail flow 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 exiting 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.
  28. 28. 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 and designed to deter the public from entering, with security on the door. SHOP FRONT/SHOP WINDOW
  30. 30. The shop façade must first take on the essence of the brand. Done through graphic communication fascia signage, a projecting sign, window details and lifestyle graphics as part of the window displays; the materials from which a new 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 design requirements; the merchandise in the window display; and the position of the entrance door and how this will be managed.
  31. 31. LOUIS PHILIPPE-Store at New Delhi, INDIA
  32. 32. LOUIS PHILIPPE-Store at New Delhi, INDIA
  33. 33. The Louis Philippe store design and interiors are based on inspiration from Heritage European Architecture and living spaces. Each element of the store have different kind of furniture and fixture, which ideally feels like some one who has the taste for art and architecture has collected over a period of time. There are tables (Nesting tables with Vintage worn out look, which looks like it is restored) used for rider section. Small lounge area with Library unit. This corner space of the store was well utilized . This is just before entering trial room. This will help consumers to spend time here reading coffee table books and few catalogues on brand LOUIS PHILIPPE-Store at New Delhi, INDIA
  34. 34. LOUIS PHILPPE-Store at New Delhi, INDIA
  35. 35. IN CITY NEIGHBOURHOOD The approach to shop front design will very depending on the site location (building regulations) and the impact of the design of the neighboring shop facades. IN SHOPPING CENTER In the case of shopping centers, neighboring retail outlets and arcades will have to be considered. Contract between the retailer and landlord to outline what can and can't be done to the unit or building.
  36. 36. 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, 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 centre may be part of the conditions. The contemporary shop front The design of the contemporary shop front focuses on allowing light and visual access right into the store from the street. The look is clean, with glazing reaching from floor to fascia panel, or sometimes with the fascia situated inside the glass, sat in a brushed stainless steel frame. Sometimes the glazing is frameless around the internal elements. The signage is influenced by the brand, using contemporary fonts and ways of representing text. Illuminated sign boxes are the normal application in contrast to a traditional painted sign.
  37. 37. FASCIA SHOP WINDOW The sign above the window of a shop, where the shop’s name is written. 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.
  38. 38. TRADITIONAL A TRADITIONAL SHOPFRONT This line drawing reflects the typical qualities of a traditional shop front, taking its proportions from the existing building ‘s elevation.
  39. 39. TRADITIONAL Façade of building Symmetry Modest graphics Standards fonts & colours mannequins
  43. 43. SPICES INDIA
  44. 44. SPICES INDIA
  45. 45. SPICES INDIA
  46. 46. ARROW Store at Mumbai, INDIA  Occupying two floors of 3000sft in a modern structure, the store interior has the vibe of a plush gentleman’s den and features a subtle blend of contemporary style and mid-century elements. Contemporary furniture, wall panels and framed photographs heighten the sense of a kind of homely hospitality. With the powerful integration of visual identity, quality, fashion and merchandising, the exclusive ARROW store has been opened in a very prime location of Linking Road, Mumbai. Occupying two floors of 3000sft in a modern structure, the store interior has the vibe of a plush gentleman’s den and features a subtle blend of contemporary style and mid- century elements. Contemporary furniture, wall panels and framed photographs heighten the sense of a kind of homely hospitality.
  47. 47. ROUSE-Brand Store By Restore Solutions, INDIA
  48. 48.  Designed by Restore Solutions, the store brings alive the brand’s passion for shoes, their obsession with quality and the craftsmanship of an era bygone. RUOSH is a brand apart in the sea of footwear retailers, they work with fine and rare leather, their products are handcrafted, a brand obsessed with quality and worked with designer in Italy to create masterpieces. RUOSH, which means “Passion” in Sanskrit, is a brand that lived by its name. Restore Solutions was given the challenge of creating a store that will resonate with the brand’s rich roots and heritage and to create a new experience for footwear shopper across the country. The store design was inspired by the values of reality, quality and respect. The materials used to bring alive the store have a lasting quality about them. Wood is a material that has a timeless quality about it. It is one of the few materials that actually breathes, ages gracefully with time and exudes certain warmth that is unmatched. ROUSE-Brand Store By Restore Solutions, INDIA
  49. 49. ROUSE-Brand Store By Restore Solutions, INDIA
  50. 50. CONTEMPORARY GUESS Flagship Store, NEW YORK
  51. 51. CONTEMPORARY KAZO Fasion Store at Bangalore, INDIA
  52. 52.  CLIENT & BRAND BRIEF KAZO – A high fashion premium Western Women’s apparel brand from Delhi/NCR looking at expanding their export business into Retail. The company has been in exporting of western women’s wear for many International Brands, ventured out into retail business in the year 2005-06. The Brand mainly looks at High Fashion affordable-premium women’s wear in western category catering to the new age Independent, working Indian woman.  The Brand also has accessories, foot wear etc. as a part of their portfolio apart from Western Apparel and wanted to create the right store ambience for their merchandise. Client brief is to design the retail space to merchandise its products and offerings to its target customers through the quality, attitude oriented store taking inspiration from west street scape. The changing demographics and shopper behaviour of women in India with more than 55% of Urban Indian women working, the requirement for fashion oriented apparel suiting their needs also plays an important part of the retail land scape.  STORE INTERIOR DESIGN Over all store interiors has been derived from the black and grey tones/hues. Shiny black glass portals have been created to categories the product and styles. Within this block further partition has been made into rough cement plastered texture as a background to the product and shiny black glass panels for the product back drop. SS Mirror polished fixtures carry the products in hanging and starting mode. KAZO Fashion Store at Bangalore, INDIA
  53. 53. BELL by Burdfifilek, TORONTO Rejuvenating the retail environment of one of Canada’s largest telecommunications service providers, designers created a store that reflects the approachable, clean line of the company brand. An oversized backlit Bell logo along the length of the store provides an instant visual connection to the brand. The entire space is warm with a color palette of blue, white, gray and black. Behind the cash desk, a collage of floating white cubes and smiling faces adds to the warmth. Crisp, white Corian display surfaces allow for typically black and silver products to pop. Fixtures are flexible to change with the new products, and touch-screen monitors with product information beside products encourages an interactive environment. CONTEMPORARY
  54. 54. BELL by Burdfifilek, TORONTO CONTEMPORARY
  55. 55. Window display at Guess Flagship Store, NEW YORK
  57. 57. ARROW-New York Store, NOIDA
  58. 58. KAPOK Flagship Store at TOKYO, JAPAN
  59. 59. MISS SIXTY
  60. 60. THE ALBERT REICHMUTH, Wine Store
  61. 61. SHOP FRONT SIGNAGE The design of shop front signage is often governed by the location of the site and any conditions applied by landlords, centre management or planning. There are a variety of options available for each situation.. The retail designer will work with a signage manufacturer to come up with suitable manufacturer to come up with suitable solutions. The main signage types are fascia sign, projection sign and window decals. The design of the fascia sign may appear varied on the high street, but they commonly fall under one of three types of signage; the traditional panted 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 and, finally, a logo or letters that have been fret cut out of a sheet of aluminium or steel that are then pegged off the fascia panel and often illuminated from an external source. 1. Fascia sign 2. Projecting sign 3. Window decals  Painted  Illuminated box  Fret-cut metal
  63. 63. FASCIA SIGN
  65. 65. PAINTED LOGO
  66. 66. FRET CUT LOGO
  68. 68. Visual identity – LOGO Colors Branding experience Up-to-date products Display, testing, sensing, discussing VISIUAL IDENTITY 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 testing, free samples, make-overs or sprays of perfume, for example.
  69. 69. 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 drawings form the starting point for planning the interior layout.
  70. 70. The circulation performs two main tasks in the retail scheme. The first is to allow for the flow of people in the form of walkways. These must be wide enough for at least two people to pass each other comfortably, whether walking or in a wheelchair, or pushing a pram. The second is to take the customer to the merchandise and allow them ample space to browse without bumping into other people or displays. CIRCULATION
  71. 71. 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 complicated in the sense that stairs, lifts and escalators need to be negotiated, and methods for enticing people on to the upper floors must be considered. Circulation in 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. CIRCULATION
  75. 75. Fixture and furniture: low, high, mid floor Displays: customade hooks and hangers Using interior walls: fixed, hang Free standing: low cabinets, shelves, drawers, displays 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 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, nut can be broken down into two different types: wall display and mid-floor fixtures. PRODUCT DISPLAY
  76. 76. PUMA STORE
  77. 77. PUMA store osaka by plajer & franz studio wins EuroShop retail design award 2014
  78. 78. PUMA store osaka
  79. 79. MUDVILE SHOP at Madrid, SPAIN
  80. 80. FERRARI Store By Massimo Losa Ghini, Milan
  81. 81. AREAS IN A STORE 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, 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’.
  82. 82. “try and experience before buy” Dividers, curtains, doors, mirrors, lighting and position of luminaires, hooks, shelves, fixtures, screens, seat, shop assistant … Space to catch the breath In fashion stores, fitting rooms are essential for customers to ‘try before they buy’. There have been some trends in fitting room design over the years that are worth mentioning. High street fashion stores once favored one big open space for all with mirrors all around. Some stores also had a small amount of very tight cubicles with badly fitted curtains alongside the open space, making the trying on of clothes an uncomfortable experience for many. Most now have separate spacious cubicles for changing with mirrors on all sides, a fixed seat, hooks for your own clothes and bags and a solid lockable door for added discretion. The entrance into the fitting room can be a key area to enhance the shopping experience. In larger stores, this space contains seating and sometimes even entertainment for those who have to wait. FITTING ROOMS
  83. 83. 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, 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. POINT OF SALE