Retail Design Portfolio

Project Report On
Retail Design
At
Dezyne E’cole College
Ajmer
Towards The Partial Fulfillment
Of
2nd Year Commercial Design
Diploma
NSQF Level 6 Of NSDC
By:
Bhagyashri Simpson
Dezyne E’Cole College
106/10, Civil Lines, Ajmer
Tel.: 0145 – 2624679
www.dezyneecole.com
2017 – 2018

This project report of Ms. Bhagyashri Simpson, student of 2nd
Year Commercial Design Diploma, NSQF Level 6 of NSDC, has
been checked and graded as _______________ .
Thank You.
_______________
Principle
(Seal and Sign)
GRADE SHEET

ACKNOWLEDGEMENT
I, Bhagyashri Simpson, student of Interior Design Department
at Dezyne E’cole College, am extremely grateful to each
and every individual who has contributed in successful
completion of my project.
I express my gratitude towards Dezyne E’cole College for
their guidance and constant support regarding the
completion of the project.

SYNOPSIS
Retail design is a commercial discipline that combines several
different areas of expertise together in the design and
construction of retail space. the primary purpose of retail
space is to stock and sell product to consumers, the spaces
must be designed in a way that promotes an enjoyable and
hassle-free shopping experience for the consumer.
Initially, I studied about what Retail Design refers to and tried
to understand why it is required in the field of Interior
Designing. I also learned about Retail Sectors and Retail
Stores and their types. Then I understood the basics of Visual
Merchandising, and its significance through learning about
various elements and principles used, after which I covered
the topics of exterior presentation and interior presentation of
retail stores, wherein I studied about window display, retail
plans, etc.
Putting all the basics into practice I created this project,
wherein I designed a window display for thorough
understanding of the subject.

content
RETA IL DESIGN P ORTFOLIO
01 INTRODUCTION TO COMMERCIAL DESIGN
03 INTRODUCTION TO RETAIL DESIGN
05 TYPES OF RETAIL STORES
57 CASE STUDY
10 TYPES OF RETAIL SECTORS
19 VISUAL MERCHANDISING
21 EXTERIOR PRESENTATION
53 COLOUR
49 PRINCIPLES OF DESIGN
28 INTERIOR PRESENTATION

1
INTRODUCTION
TO
COMMERCIAL
DESIGN

INTRODUCTION TO COMMERCIAL DESIGN
Commercial interior design refers to interior design in commercial
spaces which include offices, retail stores, restaurants, lobbies and
other public spaces. Commercial interior design begins during the
planning process, as designers work with an architect to establish
elements that determine the appearance of the finished space.
Designers then work with the completed space to add furniture and
decor to meet the original design goals.
Many reasons exist for a business or public agency to pay for
commercial interior design. In the case of retail shops, a well-designed
space may be more attractive to customers, getting more people to
enter the store and persuading them to spend more time there. In other
cases, a commercial interior design project may have goals such as
establishing a theme that projects a particular corporate image.
Ranging from sketches to the final paint color themes for walls, it is the
work of the interior designers to ensure that a limited space proves to
be the most optimum choice available and providing aesthetical aura
to its atmosphere
02

2
INTRODUCTION
TO
RETAIL DESIGN

INTRODUCTION TO RETAIL DESIGN
Retail design is a creative and commercial discipline that combines
several different areas of expertise together in the design and
construction of retail space. Retail design is primarily a specialized
practice of architecture and interior design, however it also
incorporates elements of interior decoration, industrial design, graphic
design, ergonomics, and advertising.
Retail design is a very specialized discipline due to the heavy demands
placed on retail space. The primary purpose of retail space is to stock
and sell product to consumers, and thus, the spaces must be designed
in a way that promotes an enjoyable and hassle-free shopping
experience for the consumer. The space must be specially-tailored to
the kind of product being sold in that space.
Retail spaces, especially when they form part of a retail chain, must
also be designed to draw people into the space to shop. The storefront
must act as a billboard for the store, often employing large display
windows that allow shoppers to see into the space and the product
inside. In the case of a retail chain, the individual spaces must be
unified in their design.
04

TYPES OF RETAIL STORES
There are four main types of retail stores:
 Flagship Stores
 Concept Stores
 Pop-up Stores
 Lifestyle Stores
FLAGSHIP STORES
The job of a flagship store is to promote the
brand in large key retail sites around the
world. The interior if often an extension of
that found in a retailer chain store but
produced with a higher specification and
with an unique feature that acts as a brand
statement. The flagship store influences the
brand choice made by the consumer
through creating an exhibition-like
experience that is more like a tourist
attraction than a place to shop.
06
The idea is that the consumer will visit a flagship store, may or may not
purchase goods but by visiting they buy into the brand and may shop in
the retailer shop closer to home. The flagship store is a clever marketing
tool and aims to subconsciously stimulate the consumer into choosing a
particular brand.
Levi’s Flagship (London)

CONCEPT STORE
The concept store is a place where new retailing ideas are tested or
prompted for the first time in a specific location. The site is usually a key
retail space with high footfall in sales activity. The aim is to see if the
store concept achieves a good response from the public who would
usually buys into a brand and if the breed of customers could be
attracted. The success or failure to a new concept store is judged quite
crudely in sales figure. If sales go up, the concept is a success. There are
cases where the concept store in a major location is a major success.
But a roll out in smaller cities may not. This is because in poorer areas,
the implementation of polished new scheme may indicate a more
expensive level of product may appear unobtainable, resulting in a
downward turn in sales. For this reason, the designers need to be
careful in understanding the market of a particular brand or product in
a particular place to input a concept at an acceptable rate.
07
L’Eclaireur Paris

POP-UP STORE
One phenomenon currently gripping the retail culture is the pop-up
store or installation, which is a derivative of guerrilla marketing. The idea
is that a store will appear in a location for a minimum amount of time. It
may be in the form of a temporary structure or a space that is not
usually associated with retail. The venue and the event is not
advertised, aiming the concept for those who know about it. The pop-
up store concept is associated with the cutting edge and being with
the in crowd: if you don‘t know about it type of psychology. The
concept is revised to lift the status of the brand and it will provide the
customer with a different kind of product that can only be found in an
exclusive temporary location.
08
The Poundshop (London)

LIFESTYLE STORE
The concept of a lifestyle store was derived from the idea that a chain
store could provide a diverse product range under one brand. This was
seen as being aspirational for the consumer as they could then buy into
a whole lifestyle experience. The life store can incorporate all of the
retail sector by offering the fashion, home ware, and entertainment
departments. The lifestyle store sometimes sees the merger of diverse
retailing such as a bank with a coffee shop or a sports store with a
technology area.
09
7-Eleven (Japan)

TYPES OF RETAIL SECTORS
Retail spaces can be defined and identified through different retail
sectors. These sectors can be broadly described as –
 Food: Evolution of market into supermarkets and speciality food
stores
 Fashion: Clothing, shoes, accessories, and beauty products
 Home: DIY, furniture, fabrics, cookware
 Leisure and Entertainment: Sports, technology, travel and finance.
Each sector has been influenced through social and economic
condition, politics, history, and the development process.
Retail Sector
Food Fashion Home
Leisure And
Entertainment
11

FOOD
 Food Retail: It is a huge industry which has café, restaurant, coffee
shops, and supermarkets. The product displays are more like a
street market and old market hall with the produce stacked high,
colour of food and packaging are mainly for attracting sales. The
layout of the aisles are mainly to push the customer towards a
particular direction.
 Market Stalls: These are constructed from simple frames to allow
flexibility, disassembly, and storage. Each stall is like a little shop
with owning overhead creating an interior space and sheltering
goods from the elements. They are functional and they allow to
display at table height, with container or food piled high from
textile. Here, it is the produce that sells rather than the design of
the display.
12

• Market Halls: The market halls have seen a re-emergence in the
recent years and it is now for tourists destination. These are places
for finding specialists, high quality ingredients, arts and crafts,
textile and fashion. The layout of the market halls are based on
rows of permanent shop accommodation overlooking a central
open market space for pitching standards.
• Supermarkets: The rise of the supermarkets came down in the year
1920s.the food here tends to be cheap and easily accessible and
readily available, and does not depend on seasons to grow. This
convenience helps to sustain our modern life style, long working
hours, under the move of women away from the home into a
working place. Supermarkets are now a destination for all types of
retail coming together under one roof. It is very organised and
easy to navigate. Fruits and vegetables are grouped together and
today this kind of market is an essential need.
13

FASHION
Fashion has an important influence on the retail sector. Fashion retail
had the birth as a department store concept in Britain and later in the
year 1850 it was carried to Paris. In Paris, shopping was an experience.
The world of fashion in ever changing fashion stores demand interior
that will appeal to the appropriate markets. Fashion retail can be
broken down into three areas– Premium Fashion Label, Boutiques, and
the Mass Consumed Fashion Label.
• Premium Fashion Label: There are numerous displays in the field of
fashion retail wherein from the year 1980s innovative retail spaces
started up. Minimalist stores came to the forefront and these
spaces were very well-crafted and detailed, referred to as white
boxes in which clothing could be displayed like pieces of art.
Today we can see a different type of space which has emerged
with the influence of computer packages.
14

• Boutiques: Rise of the boutique
as a small independent retailer
began in the late 1960s after
the Second World War. These
revolutionary shops in UK were
called Bazaar, and it was more
attractive to the youth culture
which took place in the 1960s.
15
• Mass Consumed Fashion: It is dominated with chain store and they
take the reference from premium fashion brand in items of clothing
collection and interior. They are frequently changed to evolve
with the customer expectation. Because of this high level of
activity, the interior finish in these stores become easily tired and
dated. The interiors for these spaces have to be designed
competitive in style because here price is the key to success.
The interiors over here were small and were individually designed
to suit the types of clothing and accessories in today‘s time. The
boutique has become more of a custom made on a speciality
pieces store more like for a premium market place. The clientele
today consists of wealthy and elite.

HOMEWARE
Britain became, in the early 1960s, a hub for bringing a diverse range of
inexpensive lifestyle products to the high street. The store named as the
‗habitat‘ came up in Britain to be recognised for the cookware
products. The same concept then entered in Japan in the year 1982
and was a huge success.
• Furniture: The biggest innovation in furniture design was in the year
1940 by the Swedish designer Gillis Lundgren. This further was the
concept store developed by IKEA. This idea was opened in
Sweden in 1956 to promote cheap mass produced furniture and
homeware that was easily accessible . The main concept was the
flat pack furniture designed by the designers as it became easy to
store and assemble.
16

 Sport: Retail spaces within the sports sector are spaces in the
product and are exhibition like in the way that the participation
moves around the spaces and interacts with the displays. The
graphic language is prominent throughout and a theme
demonstrating youth and physicality encapsulates the brand
message. Example: Nike, Reebok, etc.
17
LEISURE AND ENTERTAINMENT
The leisure and entertainment sector has grown significantly in the last
years. An outing to a cinema, museum or theatre will each give an
opportunity to buy into the experience through a shop, bar, or café.
The leisure sector includes sports as an activity or an apparel;
technology-- audio and gaming sound; travel-- modes of transport,
and travel agency; finance– the services of banks and building
societies. Banks are now abandoning the high street and going online.

18
 Technology:
 Travel:
 Finance: The banks are these have days collaborated with coffee
shops.

VISUAL MERCHANDISING
A successful retailing business requires that a distinct and consistent
image be created in the customer‘s mind that permeates all product
and service offerings. Visual merchandising creates that positive
customer image that leads to successful sales. It communicates the
store‘s image, and reinforces the store‘s advertising efforts,
encouraging impulse purchase by the customer. Visual merchandising
is second only to effective customer relations.
Visual merchandising can be defined as everything the customer sees,
both exterior and interior, that creates a positive image of a business
and results in attention, interest, desire and action on the part of the
customer. A store should have an inviting appearance that makes the
customer feel comfortable and eager to buy.
Greater effort must be spent on merchandise displays that make it
easier for the customer to find and purchase the items they want or
need, in order to save money spent on staff.
Exterior and interior presentation should be coordinated with the other
using the store‘s overall theme. It is necessary to continually determine
what the customer sees. This evaluation from the customer‘s
perspective should start on the exterior and work completely through
the interior of the store.
20

EXTERIOR PRESENTATION
The quality of a store front is a major determinant for a customer,
particularly a new customer, and should not be underestimated. The
exterior appearance of one store, a block of businesses or a cluster,
silently announce what customers can expect inside. Good exterior
visual merchandising attracts attention, creates interest and
invites the customer into the business. The exterior presentation can
offer a conservative, progressive, lavish or discount image to the
customer.
EXTERIOR SIGNS
A sign is a first impression of a store. In less than ten seconds the sign
must attract attention, tell who the business is and what it has to sell.
Off-premise signs provide information and direction. The lettering should
be large enough to read from 200 feet, which is the distance required
to stop a car traveling 40 miles per hour. Signs with 8-inch letters can be
read from a distance up to 250 feet. A car traveling 55 miles per hour
needs about 400 feet to stop. A sign requires 12-inch lettering to be
read at that distance.
22
A sign‘s design conveys a
great deal about the
business inside. A stark design
and limited materials may
suggest discount prices and
no frills, elegant and
expensive sign materials may
suggest luxury goods, etc.

Design and logo should be unique, noticeable and readable. Size,
shape, materials, lettering, height, placement and structure are to be
considered. Simple, brief, well-designed, well-lettered and easy-to-
read signs will convey a feeling of welcome. One or two key words
should be prioritized. A clean, clear
message will have more impact.
A shabby or dilapidated sign implies a
lack of concern with the business image,
and a sloppy, poorly managed business.
Signs should be well maintained.
A store‘s sign is its signature. It should be
personal, original and continuously
recognizable to the public to create an
image that is consistent.
MARQUEES
This special type of sign is used to
display the name of a store. A
marquee on some older
buildings is a permanent canopy
projecting over an entrance that
provides protection from the
elements. Marquee provides an
opportunity to showcase
seasonal displays or special
promotional banners.
23

BANNERS
Banners are used increasingly as an inexpensive but colorful, eye-
catching means of promotion. Changing the banners frequently will
make consumers think exciting changes are taking place, and be
drawn into the store.
Banners can be hung from
flagpoles, buildings or hung flat
against the exterior. Old banners
should not be overused because
shoppers will stop noticing them.
The design concept used on the
banners will be more effective if
the colors and graphics are
carried throughout the store, and
newspaper ads.
AWNINGS
Awnings provide the customer with protection from weather and
makes viewing the window display more pleasant as it reduces heat,
cuts down on glare and reflection, and prevents fading of the
merchandise from exposure to the sun.
24

New back-lit awning systems are popular. Other names for these may
include electric awnings, interior lit canopy signs, and back-lit
conventional awnings. Modern-looking awnings are used on new as
well as older buildings and are usually bright and attractive, especially
at night.
A variety of styles exist such as concave, convex, long dome, square
and coop style. Most are interior lit with an egg crate type bottom. The
illuminated awning fabric is a translucent vinyl that comes in a wide
variety of colors. The store name is incorporated into it with a
translucent (vinyl) film.
WALKS AND ENTRIES
Approximately 75 percent of first time
customers remember a store‘s entrance,
which provides the first and last view of the
store‘s interior.
A properly designed canopy or porch not
only protects the customer in bad weather,
and adds to the aesthetics of the building. It
is necessary to blend or be consistent with
the architecture of the building and with the
entryway.
25

A cluttered entryway causes
shoppers to indefinitely postpone
entering a store, while an
attractive, well designed
entrance is inviting to the
customer.
LANDSCAPING
Landscaping should lead the customer‘s eye to the focal point using
color and texture to provide contrast and harmony. Landscaping can
also screen undesirable sights. The essence of good landscaping is
simplicity; simple landscape designs that are easy to maintain.
Planters, flower boxes and plants
add to the general appearance,
regardless of what type of
merchandise is being sold. Plants
(especially flowering bedding
plants) enhance the overall look
of the store.
26
Planters placed below and in front of a display window actually
strengthen the display by adding greater depth to the setting. Real
flowers and plants are recommended.

Well designed and sturdy benches can
be a part of the landscape and may
encourage customers to stay longer.
Aesthetically designed and strategically
located garbage receptacles for
customer should be preferred.
WINDOW DISPLAYS
Store‘s window displays are the information link to the potential
customer. Window displays are as important, as advertising.
Window displays should attract attention, create interest and invite
people into the store to purchase goods. But too much merchandise
into a window, may lead to customers finding it difficult to determine
the message. It is especially important to frequently change window
displays so that no customers lose interest. New displays indicate that
new, up-to-date merchandise is available.
Window lights should be strong enough to overcome the reflections
from outside objects, such as parked cars and buildings. At night,
additional lights can make the window area look larger.
Window displays are more successful when a
dominate theme is carried throughout the
display. Window displays should be in
harmony with the entire surroundings; the
building facade, street, people and their
perceptions, color harmony, lighting and
viewing angle are some aspects that need to
be considered.
27

INTERIOR PRESENTATION
STORE LAYOUT
The clearer the store layout appears to the customer, the less sales
staff are necessary, as the customer will find what he is looking for or is
incited to make a purchase by special displays.
Merchandise which should appeal to a large number of customers is
positioned in the centre or front of the retail space and is clearly visible.
Stairs and lifts present a barrier, so top-selling merchandise should be
displayed on the groundfloor. The busiest areas are the store entrance,
pathways and areas to the customer‘s right. Less frequented areas are
middle aisles, areas to the customer‘s left and upper and lower floors.
Entrance zones and POS zones should be generously sized to avoid
constriction. The main pathways should be approximately 1.5 – 2 m
wide, side aisles at least 0.8 m.
An in-store guidance system helps the
customer find his way round the store.
Depending on the size/layout of the
store, the pathway should ideally be
designed as a loop or a succession of
loops. Customers can thus discover all
the areas of the store.
When furnishing the store – particularly
the right-hand side of the pathway
and the rear wall – it is important that
the customer has a good overall view
of the retail space.
The pathway is designed as a loop or
a series of loops depending on the
size of the store.
29

TYPES OF PLANS
Layouts and dimensions
There are two basic planning guidelines for laying out a retail sales floor:
1. Use 100% of the space allocated
2. Do not sacrifice function for esthetics.
Successful plans combine both to the fullest. Six basic plans can help
the designer to carry the, out. These are certainly not the plans that
can be developed, but they form the foundation on which other can
be created.
The six basic plan types are:
1.Straight
2.Pathway
3.Diagonal
4.Curved
5.Varied
6.Geometric
30
Straight Plan
The straight plan is a conventional
form of layout that utilizes walls
and projections to create smaller
space. It is an economical plan to
execute and can be adapted to
any type of store.

31
Pathway Plan
Applicable to virtually any type of
store, the pathway plan is
particularly suited to larger stores
over 5,000 square feet and on one
level. The plan, a good
architectural organizer, and gets
shoppers smoothly from the front
to the rear of the store.
Diagonal Plan
For self-service stores, a diagonal
plan is optimal. The cashier is in a
central location, with sight lines to
all areas of space. Soft goods
stores, including drug and food
stores, the diagonal plan proves
to be advantageous.
Curved Plan
For boutiques, salons, or other
high-quality stores, the curved
plan creates an inviting, special
environment for the customer. It
has a relatively higher
construction cost.

32
Varied Plan
For products that require back up
merchandise to be immediately
adjacent, the varied plan is highly
functional. It is a variation of the
straight line plan with sufficient
square footage.
Geometric Plan
The designer creates forms with shapes
derived from shows, racks, or gondolas
in a geometric plan. This plan is the most
exotic of the six plans.

ARENA PRINCIPLE
This display technique ensures that the entire product range is visible
rom the front mid-floor area close to the entrance right through to the
back wall. The customer‘s field of vision is structured into different layers
within the store – from the front/low area (mid-floor) to the back/ceiling
height area (back wall). Displays according to the arena principle can
be used in shop-in-shops, large stores and in department stores. If the
arena principle is respected, the customer can spot the product ranges
displayed at each level, right to the back of the store, from the main
pathway. It gives the customer a good overview and draws him into
the store.
Layers of the Arena Principle.
Layers within the store interior:
• Height of furniture directly next to the
main pathway: 1.00 to 1.20 meters.
• Height of furniture in the centre: 1.40
to 1.60 meters.
• Back wall elements: up to 2.60
meters in height.
Table displays and tiered tables are
ideal for displaying folded and
standing items at the front of the store.
People generally find table very inviting
and they serve as a focal attraction for
assorted product displays and
decorative elements.
33

Stands and gondolas for hanging and, in some cases, folded
merchandise are used in the centre of the store. They can also be used
selectively for promotional displays in addition to tables.
The back wall display is also visible above medium height stands and
gondolas. The top zone is ideal for informative and decorative
elements with a long range effect, It provides information on the type
of merchandise on display there and entices customers to the rear of
the store.
34

WALL DISPLAY STRUCTURE
Walls in commercial interiors are one of the most important display
areas for the sale of merchandise. They play a decisive role in a store‘s
or brand‘s image. Walls are generally used intensively for display
purposes. Only in the premium segment is a small quantity of
merchandise used to express exclusivity. Back walls should be divided
into zones with individual themes. This creates an overview and
facilitates customer navigation. Shelves and hanging rails at identical
heights express serenity and orderliness, whilst offset heights create
excitement.
1
2
3
1. Top Zone
2. Middle Zone
3. Bottom Zone
The back wall can be divided into
three functional zones:
Top Zone: The top zone is used for
information purposes. As this zone is
visible above mid-floor elements, the
consumer can see what can be found
on the wall or in this department. The
area should therefore be used for
department or brand labelling, for
image/brand photos or decorative
purposes.
Attractive pictures and interesting decorative elements have a
magnetic effect, drawing customers to the distant back wall. Good
lighting in this wall section is, therefore, also particularly important.
35

Middle Zone: The middle zone shows the merchandise theme. The
merchandise display is already identifiable as the consumer
approaches. This is decisive when it comes to inciting consumers to look
and linger. The type, shape, colour and material of the item must be
visible. With textiles, front displays and folded items have a stronger and
more appealing effect than side hanging displays; items are more
easily identifiable and distinguishable in this manner. Identical items (in
different sizes) should be hung one behind the other or placed on top
of each other. It is also essential that items in the middle zone are hung
at an accessible height to guarantee self-service.
Bottom Zone: Large quantities of merchandise can be displayed in the
bottom zone. This zone is often only visible directly in front of the wall
when intensive use is made of the surface. Here the consumer can
choose from different models, versions, sizes and prices. Side hanging
displays are a space-saving option in the textile sector, enabling the
display of a large quantity of merchandise and conveying the
impression of an extensive choice. Varied merchandising techniques
should however be used. Alternating between front and side hanging
displays, between different items and colours demonstrates choice and
variety, inciting curiosity and avoiding boredom.
36

MID – FLOOR
The mid-floor area should be designed to match the style and shape of
the wall units. The merchandise displayed in mid-floor should blend in
perfectly with that of the wall display and the prevailing colours and
theme. Various display units are available to enable effective use of
the mid-floor sales area.Display tables, stand systems and gondolas
are the traditional display units most commonly use in mid-floor.
Table: A table always appears attractive and inviting – a presentation
table is no different. Whether it features a luxury display or low-cost
promotional items: a table rarely goes ignored. Assorted items can be
arranged according to themes. Tables of different sizes or special tiered
tables can create a rich variety of displays. Tiers are ideal for different
sizes, colours or models. Busts and interesting flat displays increase the
customer‘s attention. Presentations on table stands highlight the
merchandise and give it greater exposure.
Tiered Table Standard Table
37

Display Stand: Display stands come in various shapes and sizes. Round
stands can carry large quantities of merchandise but only in side
hanging displays, which reveal little of the style and shape of the
garments. It is therefore mainly reserved for special sale offers or the
latest seasonal goods. Other versions are single stands and bars. These
are simple, straight stands which display garments in one or two
directions. Cross stands or waterfall stands are also available and
present merchandise at a 90° angle in all four directions. Depending on
the stand version, extension arms can be extended in fixed increments
or on a continuous basis. Hanging several identical items side by side in
ascending size order guarantees orderly presentation. Sign holders can
be placed in the centre or on uprights for information or decoration.
Single Stand
Bar Stand Waterfall Stand
Cross Stand
38

Gondola: Gondolas are larger mid-floor units which can carry
merchandise on two or three sides. Wooden or glass partitions are used
to create a better optical separation. Folded items usually feature
alongside front or side-hanging merchandise, so that a complete
theme can be displayed including accessories. Colours are aligned in
horizontal or vertical blocks to create a harmonious overall visual effect.
Gondola units with shelving and hanging options.
The larger the sales floor, the greater the need for a clear layout and
structure in mid-floor. In a small area, a table and a few display stands
suffice and can be adapted to the product range and theme.
However, in a large sales interior with large amounts of display furniture,
it is important that the mid-floor area is well structured. This guarantees
the customer a good overview of the products and ensures he can find
his way easily round the store.
39

DESIGN PRINCIPLES FOR ARCHITECTURE
In the 1950s and 60s, the vertical slotted rail dominated the market of
merchandise display systems: slotted metal rails were built into wooden
panels at specific axis intervals or screwed directly to the wall and
supported hanging frames and shelves (using brackets). This basic,
often rather unattractive but effective means of merchandise display
still exists in a similar form today.
Many innovative, technically perfected systems have been created
since the 1970s with customized design, enabling a range of different
display possibilities. Following are their types, according to specific
architectural design principles:
• Single point support systems
• Horizontal support systems
• Vertical support systems
• Surface support systems
• Structural systems
Single point support systems
Single point support systems provide structure to walls using points.
Merchandise supports are inserted into holders or clipped on to
buttons. They are available for use in wood, plasterboard or glass and
come in round, oval, square and rectangular shapes and numerous
dimensions–for lightweight or heavy items.
40

Horizontal Support Systems
Horizontal lines are the defining design element with these systems.
Differently shaped, closed or open profiles are available—either
embedded or screwed on to the wall (wooden and glass panels)–for
carrying merchandise supports.
Vertical Support Systems
The successors of the original slotted rails are aluminum or metal profiles
with single or double slots, which are embedded in panel (wood, glass
or plasterboard) or used as uprights in front of the wall. The profiles are
used at set intervals or independently of axes.
Surface Support Systems
These display systems combine horizontal, vertical and even single
point solutions on one surface, or systems in which the profiles can be
used both vertically and horizontally with merchandise supports. A grid
system allows use of merchandise supports and decorative elements
anywhere on the surface. This opens up a wide variety of
merchandising possibilities which can be rearranged to match display
concepts and themes.
Structural Systems
Flexible structural systems consist of individual modules which can be
combined into countless structures of all sizes. Wall units, mid-floor
gondolas, shelves, tables, plinths and ceiling-mounted elements can be
created. Individual elements and complete interiors can be designed
with these systems. They come indifferent sizes, for heavy and light-
weight goods and in various finishes.
41

MODES OF DISPLAY
Different modes of display are selected and combined according to
the type of garment, the position on the sales floor and the display
theme. They can create an attractive, varied and exciting overall
merchandise presentation.
Front Display: Front display is an attractive mode of display and has
proved to be the most successful version on the sales floor. The type,
shape and colour of the merchandise are immediately visible, as is the
display theme. New items and bestsellers are noticeable from afar.
Garments are arranged by size from front (small) to back (large) so
that the customer can easily find his size.
Side Hanging Display: Side hanging displays enable the presentation of
large quantities of merchandise. As very little of the garment is visible,
this mode of display requires careful arrangement of sizes and colours
so that the customer can make his mind up quickly. Hanging rails
should not be overloaded and should offer sufficient space to move
merchandise along the rail and look at items.
Folded Display: Folded displays are extremely appealing. Identical
items should be carefully folded and displayed in neat, uniform piles
that are not too high, arranged according to size and colour. Folded
displays are attractive and effective both on wall panels and in mid-
floor, e.g. on tables and plinths. An immaculate, impeccable
presentation is essential.
42

Merchandise Grouping: Merchandise grouping is the basic principle of
all colour, stylistic and thematic displays, with the exception of specialist
stores and store departments. The different items are combined in a
display just as they would be worn. This type of display facilitates the
customer‘s choice by offering combination suggestions and promotes
extra purchases. Merchandise grouping provides the seller with more
time for important, personalized customer care.
Colour Display: Merchandise must be
grouped according to colour whatever
the type of display. This guarantees an
orderly overview of the sales floor.
Colours should be displayed in vertical
blocks, particularly on a rear wall, both
with folded and hanging merchandise.
The customer will be able to see the
available colours from a distance and
locate the one he is looking for. Sizes
can be arranged horizontally.
Display according to colours in a
hosiery department. Colours are
aligned vertically for long –
distance visibility, sizes are
arranged horizontally.
43

DISPLAY DECOR AT POINT OF SALE / CROSS MERCHANDISING
Display décor at the point of sale is an essential aspect of visual
merchandising. This type of sales promotion uses visual incentives to
incite customers to make purchases.
A decorative goods display speaks to the observer and appeals to him
particularly on an emotional level. Purchases are then mainly impulsive,
with little rational thought.
Display decor is now an integral part of visual marketing concepts. It
creates an ultimate eye-catcher when used at a strategic point in the
store, shows the latest trends and acts as an incentive and attracts
customers.
With cross merchandising, related articles from different categories are
displayed alongside each other in a matching display décor.
Everything can be presented on the same display system or side by side
in a sales-boosting display. The consumer‘s attention is drawn to other
interesting articles and new features, encouraging impulse buys.
44

FASCINATION POINTS
Fascination points are striking, individual display and decoration
solutions, positioned at prominent points within stores and are designed
to be visible from a distance. These can be images, display decors or
promotional displays. They are eye-catchers and can also be used to
guide customers in a specific direction if a matching merchandise
display is added to the decor.
Fascination points are logically used at the end of an aisle, at an
intersection between two aisles, as an attraction within or at the
entrance to a department. They should always be highlighted by
additional lighting.
The items visible in the display décor should be available on
merchandise supports nearby; easily accessible to the customer who
does not have to look far to find the goods that have caught his eye.
Fascination points should always offer customers a unique and
surprising visual experience and create an emotional attraction to the
surrounding merchandise, whilst contributing to the store‘s atmosphere.
They provide an immediate stage for merchandise and are the easiest
means of encouraging customers to buy.
They should be redesigned or replaced in line with the frequency of
customer visits, and at least every two weeks.
45

LIGHTING ON MERCHANDISE SUPPORT
Every store needs a professional, balanced lighting concept. It ensures
good overall lighting and creates an attractive, comfortable in-store
ambience. A retail store mostly consists of recessed ceiling downlights
for general lighting and wide flood beams and spotlights for staging
high-quality merchandise.
There is another type of lighting named ―lighting on merchandise
supports‖. Its benefits and advantages are extremely conclusive:
• Optimum lighting on merchandise supports emphasises
merchandising and highlights and valorises goods.
• Lighting in the display system sets trends and enables eye-catching
displays.
• Ceiling lighting can be reduced and this can be taken into account
in the lighting design.
• Shadow zones are avoided.
• More impulse buys are triggered.
46

SIGNAGE
Signage enables in-store navigation; it
should guide customers through
different departments in a large store
and provide information. It goes without
saying that these instructions must be
clear, customer-friendly, easy to read
and perfectly designed. In multi-floor
stores, signs must be positioned in the
store entrance, near the stairs/
escalators and in front of the lift.
47
Signage is not just about printed text. Photos or pictograms can often
be even more effective. Use of lifelike photos is ideal for drawing
attention to specific merchandise themes whatever the size of the
store. Visual attractions convey emotions and communicate
information about the merchandise. Images should match the product
range and core statement, and convey a convincing message.
Floor Map at Ikea Store.
Long-range visibility should always be taken
into account. Use of signs at strategic
points and along the upper part of back
walls guides customers to the merchandise
they are looking for, without needing to ask
sales personnel. Brand logos should
therefore not be spared on back walls.

48
Signs or sign holders can be
replaced by screens or tablets
displaying digital content. They
enable interactive use and can
communicate detailed information
about the brand, product range
and article. This attracts additional
attention.
Signage possibilities are multiple. Their day-to-day handling must be
effortless. Sign holders should be easy to use by sales staff, i.e. for a
quick and simple change-over of posters.
Use of screens and tablets offers a solution which is not just easy to use
but is also attractive and securely designed and installed. Digital
signage, tablets, light boxes or smart frames etc., powered systems can
link online and offline media for perfect in-store communication.

50
PRINCIPLES OF DESIGN
BALANCE
Balance involves the equilibrium and weight of elements between two
sides of a display. Balanced is based on a theory of equals. Two types
of balance include:
1. Traditional or Symmetrical Balance: IT is large on one side and
large on the other. This can be effective where expensive and
quality merchandise is being presented.
2. Informal or Asymmetrical Balance: It creates a flow or rhythm and
a feeling of excitement. The two sides of the display appear to be
of equal weight, but they are not replicas of each other.
Something large can be balanced by several small items or an
expanse of empty space, a bright color or a shot of lights. Several
soft colors in a large space can be balanced by one bright color
because the intensity of the bright color will compensate for its
small size.
Traditional Balance Informal Balance

51
EMPHASIS
Emphasis is the point of initial eye
contact. From this spot all other
eye movements flow. Emphasis is
therefore the formulation of a
focal point, with all else in the
display subordinate.
PROPORTION
Proportion is the ratio of the parts
to the whole display. It is a
comparative relationship of
distances, sizes, amounts, degrees
or parts.
RHYTHM
Rhythm or flow involves the
measurement of organized
movement; a self-contained
movement from object to object,
background to foreground,
and/or side to side.

HARMONY
Harmony is a coordinating
umbrella principle that can cover
and incorporate every other
principle. Harmony is agreement
in feeling and consistency in
mood; that is, the feeling that all
parts of a display relate to each
other and to the whole display .
52

COLOUR
The color combinations of the ceiling, walls, floor covering and the
overall décor affect the atmosphere of a store. Color can change the
shape and add interest to a dull room, and can direct attention
towards a specific object or away from the problem areas. Thus,
people tend to respond to colors in an extensive manner.
Colors must be considered in view of their surroundings, as color can
change dramatically when viewed under different circumstances.
A major concern is choosing a background color used in display areas
and store interiors that will work for a reasonable period of time.
54
Color of
Merchandise
Black
Background
White
Background
Beige
Background
Dark Gray
Background
Yellow
Enhanced in
richness
Lightly duller Warmer Brighter
Red
Far more
brilliant
Darker, purer
Bright, but
less intense
Brighter, but
loses
saturation
Blue
More
luminous
Richer and
darker
A little more
luminous
Brighter
Green
Paler,
sharpened
Deepens in
value
Lighter and
yellowish
Increases
brilliancy
Orange
More
luminous
Darker and
redder
Lighter and
yellowish
Increases
brilliancy
Purple
Loses
strength and
brilliancy
Darker Brighter
Not seen
very well;
dull

1. Consider intensity, value and contrast when developing color
schemes .
a. Be careful when using strong contrast and loud colors.
b. The more intense the color, the smaller the area it should
cover.
c. The more intense the color, the softer the second color
should be. Do not combine two or more strong colors without
changing the value or intensity.
d. Do not paint large areas in strong colors.
2. Match the color scheme to the merchandise on display.
a. Use a neutral color, or one of the main colors of the
merchandise for the floor, walls and background.
b. Use soft tints rather than saturated hues.
3. Associate the value of the merchandise displayed to the selection of
colors in the display.
a. Lower-priced merchandise is generally displayed in a color
scheme of vivid hue .
b. Use a more refined color scheme with the more exclusive
merchandise . Color schemes seen in current fashion are
acceptable.
c. Do not mix high-priced and low-priced merchandise in a
display . Items should be grouped by price and design.
4. Light tints are pleasing to the eye.
a. Light tints seem to deepen the window space, increasing
the window size.
5. Dark shades appear to bring the background to the fore, shortening
the perceived window space.
55

56
6. Colours are labelled as either warm or cool.
a. Warm and cool colours are yellow, orange, red and their
combinations with black and white. All these hues please the
eye, enhance the appearance of the merchandise, and
optically push it to the front of the display.
b. Cool colours are blue and green. These colours are calming,
soothing and balanced. They create the illusion of enlarging
the window.
7. Colour contrasts are welcome, but dangerous.
a. Watch for colour clashes.
b. Be careful about confining strong contrasts to small
accessories.
c. Bold combinations can be very effective if done in good
taste.
8. More than two principal colours can be grouped proportionately in
one display. Greater effort must be made to achieve harmony. Pastels
go well together.

CASE STUDY
You are supposed to design a window display of a product of your
choice.
58
PRODUCT SELECTED FOR WINDOW DISPLAY
The product I selected to a design the window display for, is
Smartphones.
The idea of choosing a smartphone as a product for my window
display is that not much thought is given to its display. As a result, there
are usually no window displays for smartphones, and if there are, they
always consist of posters of celebrities with the product.
My design for the window display is an effort to change the primeval
notion of display for smartphones.

59
Site Location
The shop is located at City Square Mall.
City Square Mall Ajmer is the most famous shopping malls in Ajmer and
a major attractions for locals here. It was the first Mall & Multiplex that
was built in the Ajmer city and was very famous since it’s opening. CSM
Ajmer is a major crowd puller of the city in terms of entertainment and
shopping.
Address:
A Block, Panchsheel Nagar,
Makarwali Road,
Ajmer, Rajasthan 305004

70
FINAL DESIGN
After the entire process of Brainstorming and Idea Generation, the
design I chose for the Window display, is given below:

W I N D O W D I S P L A Y
( F i n a l D e s i g n )
73

1’ 6”
4’ 4”
4’ 2”
10’
3’
13’
12’ 7” 5’ 5”
18’
D E T A I L E D L A Y O U T O F F A C A D E
75
5’ 5”5’ 3’ 1”4’ 6”
Complete Clear Glass on the two
sides. The two glasses are joined
with silicon paste.
9”
9”
1’6”
Door is fixed using
hinges that are
used for frameless
glass doors.
Door is fixed
using hinge to
the flooring.
Telephone is made out of
Foam Blocks. These foam
blocks are used to make
light weight sculptures.
The backdrop is
Closed Backdrop.
It is made from the
Foam Sheets.
The glass used for
the Window Display
is Toughened Glass
of 12mm.
The colours used for
the window display
are Blue and White,
that are taken from
the company’s
logo.
The company’s logo has been
placed right in the center in a
circle of 1 feet diameter.
Principles followed:
• The logo in the center acts as an
Emphasis Point, as it is the only
bright colour used in the display.
• The arrangement of smartphones
follow Radial Balance.
• The entire design also follows the
Principle of Harmony.
The complete depth of the
Window Display is 5’.
To design the window display of a smart café (smartphone store), a large prop of a vintage telephone has been taken. The latest smartphones are then
placed in the prop’s (telephone’s) keys, the latest of all being placed at top, right in the middle.
To place the
smartphones,
mobile holders are
fixed in the circles
(i.e. keys of the
telephone).

THANK YOU
BHAGYASHRI SIMPSON
2nd Year Commercial Design Diploma, NSQF Level 6 (NSDC)
Dezyne E’Cole College, Ajmer
www.dezyneecole.com

Retail Design Portfolio

Recommandé

Recommandé

Contenu connexe

Tendances

Tendances (20)

Similaire à Retail Design Portfolio

Similaire à Retail Design Portfolio (20)

Plus de Bhagyashri Simpson

Plus de Bhagyashri Simpson (9)

Dernier

Dernier (20)

Retail Design Portfolio