1. Store Image ‘The importance of store image is best exemplified by comparing a store to a movie. The customer visiting astoreor a movie theater has certain expectations, If the movie is a mystery, the viewer will expect a crime, a detective seeking a culprit, and a solution. If the movie is a romance, the viewer will expect to see a man and a women who at first may not like each other but are placed in compromising situations that lead them to fall in love. Mysteries and romances are movie genres. If the writers violate the expected form of the genre, thoy will probably disappoint their viewers, For instance, ifthe detective can neversolve the crime because he has overwhelming emotional problems, or if the man meets 4 woman and kills her, the genre of the movie will have changed, Similarly, if a jewelry store appears elegant, subdued, rich in materials and stylo, and somewhat aloofin regard to customer accessibility, the customers will conclude that the jewelry is of good quality and expansive. But if that same store displays cheap costume jewelry, has loud music blaringat theontrance, and has ‘unknowledgeable sales people, the customers’ expectations will be much lower, ‘The art of retail store design is therefore most successful when the image of the store coincides with the price, quality, value, level of service, and uniqueness of ils product and is consistont with its merchandising. packaging, advertising, management, and sales personnel (Figures 1-1a and 1-1b). ‘The store itself sends a message lo its customers. When they see the store for the first time, they automatically and subconsciously register an impression of the store's level of service and quality, as well as the approximate price of the merchandise. The visual cues from which the shoppers make these judgments include the quality of the store's materials, the lighting, the extent of storefront closure, the display fixtures, the signs, the pricing techniques, and, of course, the items for sale. Lesser-quality materials indicate lower-priced merchandise, as docs unshielded, glare-producing lighting. A well-concealed combination of directional and diffused lighting, on the other hand, emphasizes the quality of the merchandise rather than low prices. Even though a store may sell common- place, reasonably priced items, it may convey an impression of fine merchan- dising through its quality lighting and design and reveal the competitive prica of its merchandise only through the prominent display of price tags. A closed storefront with small, distinctive show windows displaying a few uncommon, expensive items indicates high-priced goods inside; a totally open storefront 11. Store Image ‘The importance of store image is best exemplified by comparing a store to a movie. The customer visiting astoreor a movie theater has certain expectations, If the movie is a mystery, the viewer will expect a crime, a detective seeking a culprit, and a solution. If the movie is a romance, the viewer will expect to see a man and a women who at first may not like each other but are placed in compromising situations that lead them to fall in love. Mysteries and romances are movie genres. If the writers violate the expected form of the genre, thoy will probably disappoint their viewers, For instance, ifthe detective can neversolve the crime because he has overwhelming emotional problems, or if the man meets 4 woman and kills her, the genre of the movie will have changed, Similarly, if a jewelry store appears elegant, subdued, rich in materials and stylo, and somewhat aloofin regard to customer accessibility, the customers will conclude that the jewelry is of good quality and expansive. But if that same store displays cheap costume jewelry, has loud music blaringat theontrance, and has ‘unknowledgeable sales people, the customers’ expectations will be much lower, ‘The art of retail store design is therefore most successful when the image of the store coincides with the price, quality, value, level of service, and uniqueness of ils product and is consistont with its merchandising. packaging, advertising, management, and sales personnel (Figures 1-1a and 1-1b). ‘The store itself sends a message lo its customers. When they see the store for the first time, they automatically and subconsciously register an impression of the store's level of service and quality, as well as the approximate price of the merchandise. The visual cues from which the shoppers make these judgments include the quality of the store's materials, the lighting, the extent of storefront closure, the display fixtures, the signs, the pricing techniques, and, of course, the items for sale. Lesser-quality materials indicate lower-priced merchandise, as docs unshielded, glare-producing lighting. A well-concealed combination of directional and diffused lighting, on the other hand, emphasizes the quality of the merchandise rather than low prices. Even though a store may sell common- place, reasonably priced items, it may convey an impression of fine merchan- dising through its quality lighting and design and reveal the competitive prica of its merchandise only through the prominent display of price tags. A closed storefront with small, distinctive show windows displaying a few uncommon, expensive items indicates high-priced goods inside; a totally open storefront 12 Store Image should accu: vice, and (b) uniqueness.of the products for sale.Figure 1-24 The use of a wood floor and tho inherent color of the product create an active, exciting tone for store. (Photo: Karant & Associates, Inc.) presents a casual, less-threatening image and suggests moderate pricing. Inside the store, display techniques offer further visual cues. If the products in the display fixtures appear accessible only with the assistance of a salesperson, the merchandise will seem exclusive and expensive. But if products are displayed on flat, open tables, they will appear common and unprotected. Display win- dows filled with sale signs tell one story; a small, gold-leaf store identification sign on the glass tells another. In short, the way in which merchandise is dis- played tells the shoppers more about thestorethan the merchandise alone could reveal. Unless the shoppers are familiar with the particular items for sale, they will have to ovaluate the merchandise closely, check the price tags, and seek help from the sales staff. The other visual cues, suchas store transparency, signs, and lighting. send a message before the shoppers even enter the store. It is important, therefore, that external design cues be presented accurately. The overall image of the store must attract the glance of shoppers who will be inclined to purchase the kinds of products for sale and induce them to enter. ‘Tone is another part of the store's image, and it may be playful or serious, active or passive, exciting or subdued (Figures 1-2a and 1-2b}. A children's toy store, for example, should be playful in tone, as should an adult “toy store” such asa video equipment store. A rare-book store, on the otherhand, should have a4 Store Image resting display immediately ves the entering customer Figure 1-2b This woman's fashion store has a serious, Figure 1-3 Placing subdued tone. inside the store entranc a psychological “toehald. serious image. A store that is visually stimulating or confusing, with different levels, much written product information, and with all products easily accessi- ble best serves a younger clientele. Older customers expect easy circulation, no change in levels, more service, and # simple, comprehensive presentation of merchandise. If the store design is visually stimulating, it will attract extro- verted shoppers; if the store design is subdued and restrained, it will interest introverted shoppers. Of course, these are generalizations, but a store design is like the front page of a newspaper; some readers are attracted to the clean, restrained, uncluttered appearance of the New York Times, whereas others prefer the more sensational look of a tabloid. Each is designed to reach a certain sogment of the buying population. A store is a sales toal, like television advertising or the well-worn pitch of a door-to-door salesperson. To be effective, the store must induce shoppers to enter and buy. The psychology of selling is a subject well known to promotional and advertising people and should be of interest to the store designer, as knowl- ‘edge of this araa, appliad to store design, can increase sales.‘Store Image 5: A good salesperson avoids intimacy with customers. Tom Hopkins (Hopkins 1982, p. 174) suggests thet a salesperson should make customors entering astare aware of his or her presence and maintain a friendly but limited initial contact. If the salesperson pushesor crowds the customer, the customer willbe more likely to flee the storo than buy. The customer should want to ask for the salesperson's assistance. Similarly, a store design must not psychologically crowd or intimi- date a potential customer. Indeed, people may have a primal fear of venturing, into unknown territory, which shoppers may unconsciously recall when they approach en unfamiliar store. Therefore, itis essential that the store be designed to permitshoppers to determine easy entry and “escape” routes. They should be able to sense the layout of the entire store, ifsmall, or a significant portion ofit, if the store is large. This will make the customers feel secure and may entica them te enter. Open, accessible store design can be achieved by providing transparency—that is, a good view of the inside of the store through the storefront —by maintaining lower display fixtures in the front of the store, so as not to hide the interior of the store; and by not placing a sales clerk behind a counter at the entrance, facing the shopper. This philosophy of design does not automatically preclude using a completely closed front, but it does necessitate using some sales tool other than the storefront, such as advertising or word of mouth, ta make shoppers want to enter. ‘The designer must create a store that encourages shoppers, once inside the stare, to lower their psychological defenses and become interested in the mer- chandise, If the customers are relaxed and interested, they may then ask a salesperson for assistance or take the time to evaluate the product themselves and subsequently make the purchase. A small or moderate-sized store should have an interesting display of morchandise located immediately adjacent to the store side of the entrance. This merchandise may not be something that the shoppers will buy, but the display area should offer them a secure place to browse while they develop an understanding of the remainder of the store. It provides a psychological “tochold” (Figure 1-3). When shoppers feel comfort- able, they will move on to other areas of the store. Larger stores should be designed similarly but may be broken up into departments. When designing larger stores, it is important to create a sense of free access to the various departments. Wide and highly visible aisles encourage shoppers to move easily to their areas of interest (Figure 1-4). ‘The architectural elements that determine image have beon studied and rofined by the most successful merchants, but the rules of imaging ara con- stantly evolving (Schwadel 1989). For example, a battle between two retail giants has bogun: The champion K-Mart is fighting to maintain its position against the challenger Wal-Mart. It has become a battle of image. What is the correct image for a discount retail store? For years, K-Mart has operated a no-frills, low-maintenance store that offers the right price but very little for the eyes. Yet everything from the store logo to the width of the aisles can affect a customer's perception. And perhaps Wal-Mart's wider aisles, recessed lighting. warm colors, carpeting, and uniformed sales people help create an overall imaga of slighty higher quality than do K-Mart's narrow aisles, exposed Tighting cool led floors, and “buttoned-only” sales force (Figures 1-5a-d). TI signers ‘of ‘both thesa stores are attempting to compromise between quay and low price. It appears that a discount store's image may be positively affected by the introduction of upscale design clements. Wal-Mart has apparently tuned into the 1990s shoppers" image of a discount store, whereas the old K-Mart stores may reflect an image defined in the 1970s. In 1990, K-Mart announced a $2.3 billion, five-year construction program which will include modernizing their existing stores and will create a new, more up-scale store image (Identity 1990).Figure 1-4 Wide, well marked aisles in larger storos \ permit shoppers to walk eas- ily to their destinations. i t i i j (Photography: Barry Rustin) onthe x Figure 1-Sa-d The design differences between these two retail gian| ‘but shoppers may favor the slightly upgraded image of Wal-Mart (c) ovar the more traditional discount store look of K-Mart (a).8 Store Image Figure 1-6a,b The Kuppen- heimer stores were oam- Plotely “reimaged" to sup- overall Another image problem was addressed and solved by the Hart marx Corpora- tion in 1982 with the purchase and development of their chain of Kuppen- heimer stores (Gentry 1990). The existing chain of stores was a disorganized assemblage of inconsistent images that were refurbished to create the consistent image of a moderate-priced men's store. The designers used a simple blue awn- ing at each storefront to create a stable first impression for each store of the chain. Then using updated lighting and merchandising techniques, they de- signed a store that implies slightly more expensive products than the actual prices indicate (Figures 1-6a and 1-6b). The entire store design supports the parent firm's marketing strategy. Media advertising dovetails exactly with store design, and consistency from store to store in plan and design is paramount, The stores are neat, uncomplicated, and relatively easy to maintain when properly stocked and displayed. The new Kuppenheimer image balances the look of the stare with the costs of the goods for sale. This delicate balancing act attracts the appropriate customers.and makes them ploased with thoir purchases, a result of consistency in design and shopper expectations.Store image 9) In addition, images change (Settle and Alreck 1989, p. 114). When designer labels such as Bill Blass and Ralph Lauren became popular in the carly 1980s, they were sold only in higher-quality department stores. Thus the owners of such labeled goods had an image of distinctiveness. Eventually, however, these ‘same labels were sold in discount stores, and very quickly the image of the labeled goods fell from exclusive to common. Similar image changes often occur in materials and lighting design. In the past fifty years, glass block and neon have moved from respectable to “tacky” and then returned to respectability. Design- era, therefore, must be aware of the current and future image status of various elements of design. One year's “hot color” or postmodern style may be next year’s Edsel; retail store design is as susceptible to trends as are the products displayed in those stores. ‘Many factorsaffect the complex process of shopping and the development ofa retail store image for shoppers. In hisbook Influence: Howand Why People Agree ‘on Things, Robert Cialdin{ cites several factors that subconsciously influence people to take action: commitment, social proof, authority, reciprocation, liking, and scarcity (Cialdini 1984, p. 13), He theorizes that people use such factors as. shorteuts in decision making. Three of them—commitment, social proof, and authority—can affect store image, design, and operation. ‘Commitment is people’s desire to maintain consistency with previous deeds corchoices. Once they have made a decision, they tend to move ahead automati- cally, convinced that they have made the right choice. Store designers should alsoconsider this factor of commitment. Ifshoppers must make an offortto enter the store, this commitment to spend at least some time inside may persuade them to make a purchase. Therefore, the greater the effort required is, the ‘greater the commitment will be. Enteringa totally open storefront requires little ‘commitment. Shoppers can step inside, look around, and leave easily. Passing through a closed front with swinging doors, however, requires the maximum ‘commitment on the shoppers’ part (Figure 1-7). Of course, any commitment gained by creating a closed storefront may be lost in the smaller number of impulse shoppers who are discouraged by the barrier. The designer thus must decide on the level of commitment appropriate tothat store. The transition area (from outside to inside), which sets the tone of the entrance and the resulting degree of commitment, can be more subtle than a swinging door. The designer may use an open, arched passageway or a dropped soffit with a storefront recess (Figure 1-8). Even subtle transition elements such as these may help establish & commitment to the store in the shopper's mind. Commitment may also be created inside the store. If customers can gain access toa product only with a salesperson’s assistance, their level of commit- ment will be greater than if the item is on open display, so that it can easily be ‘picked up and evaluated. Also, if customers must ask a salesperson for informa- tion about the product, their level of commitment to both the product and the salesperson will be higher, and the chances will be greater that they will buy the product. ‘Social proof is a factor of influence rooted in the maxim “ifeverybody's doing it, itmust be okay.” Aside from word-of-mouth advertising, astorecan convey a message of social proof by attracting people into or in front of the store, When ‘Seeing many people in a store and not knowing whether they are buying prod- ‘ucts or only looking, shoppers are led to believe that the store is attractive (literally) (Figure 1-9). Thus to draw customers, the designer should create areas of interest in the store, such as sale merchandise or special displays, and situate them so that they can be sean from the street or mall. Indeed, astablishing social proof may require the designer to create spaces that appear to be filled ‘with people even if thay are not. Locating display lables at the front of the store,Figure 1-7 As she enters through the swinging door, this woman makes a pay- chological commitment to this store ‘cramping the circulation somewhat, and packing more display than would be dictated by normal functional considerations can make a busy led with shoppers. Ifthe products in this area areon sale, all the better ‘acrowd. If ‘properly designed and merchandised, storefront window displays also draw ‘crowds, which influence other shoppers to enter. Interesting, colorful, even bizarre displays and lighting techniques attract people to the storefront. Authority is another factor that influences people's decisions, People do many things simply because they are directed by an authority figure to do so, and store merchants often rely on this principle to soll their products. High-end items, such as jewelry, artwork, and rare collectibles, are often sold to relatively un- knowledgeable customers by the “expert salesperson” method. Ifthe starerelies ‘on such sales techniques, tha store design should convey an image of authority. ‘Such symbols of authority as the use of luxurious, quality materials, showcases in which products are accessible only through the authority figure, and tradi- tional product-evaluation areas, which provide face-to-face contact between the customer and the expert, enhance the store's apparent authority (Figure 1-10). Similarly, the display of wall certificates and other credentials and the establishment of a special office and possibly a raised chair for the chief expert instill the authority concept in the mind of the shopper.Store Image 11 Figure 1-8 The arch and ‘pediment can be a subtle Storefront transition ele ment. Figure 1-8 The sight of these shoppers may provide “social proof” far other shoppers and persuade them to purchase the store's prod- uct.12 Store Image Figure 1-10 The use of high-quality materials, locked showcases, face-to- faco sales positioning and visible sales experts create an image of authority. other relatively unexplored area of image creation is the use of fragrances to influence shoppers. Alan R. Hirsch, director of the Smell and Taste Resoarch Foundation in Chicago, is a pioneor in the science of olfactory research, and he has found that of all the senses, the sense of smell has the greatest impact on human emotions, or “unconscious consumer motives” as they may be called {Settle and Alreck 1989, p. 33). Because emotions are a strong motivating factor in most purchases, the relationship of odors to store design is important. The brain's limbic system is ite most primitive part and is the source of human emotions. Unlike other senses such as hearing or vision, smells are not subject to translation and interpretation before reaching person's limbic system. Rathet olfactory sensations are received directly by the olfactory nerves and thei connecting fibers in the limbic system. Therefore, people who-smell something may be emotionally affected, even though they may not even be aware of the smell. This makes the use of odors to create emotional effects a poter powerful tool. ‘There are two ways of influencing shoppers with fragrances, conspicuous and subliminal. Conspicuous adors have been used for many years as a form of olfactoral merchandising, The intent is to use @ recognizable smell to evoke a pleasant emotional sensation or memory in the customers (Figure 1-11). Many of these recalled memories are of childhood experiences, such as the smell of coffae brewing in the morning or of bread or pies baking in the oven, One supermarket chain took advantage of this olfactory evoked memory by sprin- kling ground coffee on the floors every morning before the store opened. The entering customers could—but only with a conscious effort —smell the coffes. Similarly, real estate sales people recommend placing a pie in the oven while showing a house, in order to make the house seam mare like a lived-in home. Hirsch identified the following geographic differences among regions in the United States in terms of preferred childhood smell associations: East Coast, fowers;South, fresh air; Midwest, farm animals; and West Coast, barbecue. The smell of baby powder is a universally pleasant childhood smell. Conspicuous smells cause people to relax, and so their use in stores can evoke a particular image or mond. For example, a store selling swimwear may introduce the smell of coconut oil; a candy store may use cotton candy; and a lingerie shop may employ a potpourri fragrance. These smells will reinforce the store's image.ro 1-14 Customers may recall pleasant memo- ries from childhood from the introduction into e store of conspicuous aromas such as that of freshly baked cookies. Store Image ‘Subliminal smells are used in very small quantities and so are virtually undo- tectable by the customer, although women prefer flowery smells and men favor spicy smells, Such fragrances need nat be rolated to the items for sale, These smells may be used merely to relax the customers and induce them tostayin the store longer, thereby increasing the possibility of purchase. The customers are not aware of the reason that they linger—remember, the odor is only sublimi- nally sensed. In the future, the use of subliminal smells to affect custome: purchasing may be commonplace, with differentsmells intraduced taaccommo- date the daily, weekly, or seasonal schedules of different customers (Figure 1-12). Finally, to create a particular store image, the designer must consider the type of purchase and the customers’ reasons for buying it, Some researchers have suggested that all purchases are emotional and that the role of the customer and the salesperson is to justify an emotional decision. Nevertheless, the designer must introduce the proper atmosphere for this justification, Some stores may sell products that are obviously impulse oriented, such as small toys, flowers, and candy. These stores should express a playful attitude. Other stores, like thase selling consumer electronic gadgets, may retain some of this playfulness and excitement in their image but temper it with “expert” sales people who can explain the benefits of the product. or offer extensive written explanations of the features of each product. This approach can make an otherwise impulse. iented purchase seem reasoned. Jewelry, automobile, rare-book, fino-china, art, and similar stores thal sell expensive merchandise should have “authority fig- ure" sales people in separate rooms, and a relatively quict amosphere for the serious contemplation of the purchase. Of course, one person's serious purchase may be another person's impulse purchase. Therefore, the image rules may be different for the sale of fine jowelry at a resort in Monaco versus the same sale at a regional mall in New Jersey: Store designers must be familiar with all the factors that establish a store's image. Retail stores are successful until the cash registerstops ringing, and so the role of the designer is to increase the chances of success by satisfying all the fundamentals of good store design, by creating a correctly imaged store that is functional, services the needs of the owner, enhances the product, and captures the interest of the market.14 Store image Figure 1-12 In the future, subliminal smells may be used ta encourage customers to linger longer and buy more, (Photo: Karant & Associates, Inc.)2. Spatial Organization ‘The retail store has three major design oloments: display areas, service areas, and circulation areas. The relationship or spatial organization of these areas is determined by the same factors that control the layout of any architectural space: the efficient and purposeful accommadation of the space requirements of equipment, products, and people, Unlike most spaces, however, the design of retail stores offers a great deal of freedom from principles or traditions. Whereas other architectural designs, such as those for medical and residential buildings, have many building-code stipulations (light and air requirements, room size, and ceiling heights), retail stores are relatively unregulated. The main area of regulation with regard to overall design concerns egress. Regulations may stipu- late that exit doors swingin the direction of travel, that two pointsof exit (distant from each other) be provided, that aisles be of a cartain width, and soon. And unlike offices or institutions, retail stores are not so controlled by traditions. Indeed, wild flights of design fancy are often welcomed by store owners, land- lords, and customers alike. Construction budgets for retail stores may also per- mit more elaborate designs than do budgets for residential projects, and so the designers of retail stores often are able to create buildings that are both func- tional and exciting, ‘basic space presented to the designer is commonly a rectangle, with the short sides forming the front and rear of the store, Landlords lease storefront space in addition to the total area and, in both street and shopping-mall loca tions, usually try to maintain a balance between the width of the storefront and the total store area. The storefront of a front-to-back store is usually not more than one-fourth to one-third the overall store depth. Thus, a store with a depth of 100 feet has a storefront width of 25 to 33 feet. Corner stores automatically have more frontage in relation to total area, but this is often as mucha curse asa blessing, as storefronts are expensive to construct and it is difficult to display successfully to both the outside and the inside ofthe store. Consequently, partof corner-stare frontage is often designed as a blank wall. Stores selling products that do not require much space, such as jewelry stores, are well suited to corner locations; others that can successfully merchandise much of their product in large storefront displays, such as shoe or optical stores, also are logical candi- dates for a corner location (Figure 2-1), Because rents are always higher for corner spaces, the tenant must consider whether the store will really benefit 15CIRCULATION AREAS Figure 2-1 Corner stores such as this optical shop who can display many products in the expansive s ‘suited to merchants, front. from the added exposure. If not, an incl other stores in a mall) is more appropri The relationship of the areas allocated to display, service, and circulation forms the core of the design of a retail store (Figure 2-2). Unlike other building types, retail stores do not usually separate functional areas by means of walls, except to enclose service and storage areas. Rather, most stores remain as opan 2s possible, ta permit the shoppers to orient themselves from any location, and to see as many items as possible. @ location (a store placed between two: 0. Circulation paths in small stores are usually defined by front-to-back or loop aisles, whereas those in large stores may be more extensive versions of basic grids or loops. Circulation paths should be simple and logical. Because the assembled merchandise usually offers a wide variety of visual experiences, creating a complicated circulation route to provide visual stimulation is unnec- essary. Such routes should, however, be entertaining and provide a logical sequence for buying. Also, merchandise is typically displayed in orderly, effi- clent patterns that dictate simple circulation geometry. Overall, circulation must be clear enough that the shoppers will focus on the displays, not on the aisles. If overly concerned about finding their way through the store without bumping into something, the customers will not be able to concentrate on the merchandise and so will not find anything to buy. According to Joseph Weishar (Weishar 1987, p. 20), tho maximum depth from an aisle to a wall that forms a department is 30 feet. If the depth is greater, it will discourage shoppers from entering. Weishar also recommends avoiding straight aisles that permit views= y} Circulation Areas 17 from the front to the back of the store. Aisles that bend enough to lead the shopper through a seriesof product experiences controlled by the merchandiser are more successful. These techniques always must be balanced with the shop- pers’ need to feal comfortable in the space and not to feel trapped in a maze. ‘Weishar also believes that aisles are not the most desirable place to sell; rathor, quiet, loss-trafficked areas adjacent to aisles provide the best opportunity. ‘The display of merchandise is like a motion picture that requires the viewer, rather than the film, to move. As they pass through the store, the shoppers should feel as comfortable as movie patrons sitting in a theater; their focus of attention should be on the product only. If different floor levels are to be used, the designer must be careful to contro! the access between the levels with stairs ‘or ramps. These vertical transitions should be easy to recognize. It is unwise to ‘design a continuous single- or double-riser stair across the width of the store, as shoppers often move through a store concentrating on the merchandise, and so ‘they may fall or trip over an unmarked change in elevation. Also, if the custom- ‘ers are relaxed and not required to think about their movements, the designer ‘can control them. But if the customers must climb stairs, the shopping experi- ‘ence will end and the different, more commonplace experiance of vertical ‘transport from one floor to another will begin (Figure 2-3). Therefore, we could state that any stair that interruptsthe shopping experience effectively separates the different levels of a multistory retail shop into different shopping experi- ‘ences. Each floor is seen asa new “shop.” Furthermore, asignificant attraction is ‘needed ta persuade customers to walk up or down a flight of stairs. In a men’s store this attraction may be the business suit department, in.a book store it may ‘be the music department, or in any store it may be the discount area. But in any ‘case, itis difficult to continue the first-floor shopping experience to other floors via stairs, The only way that this can be done is by using ramps or escalators, that do not interrupt the customers’ shopping experience. Both stairs, even those ‘with only a small number of risers, and elevators distinetly break the shopping ience. Tha point at which the customers’ shopping experience is ob- structed may be as few as four to five risers, Service Corridor WEE: Circulation Flan [E storetront transition [] service Figure 2-2 The functional areas of a typical store,18 Spatial Organization Figure 2-3 The uso of stairs in a store must be carefully considered, as thoy will interrupt the continuity of the customer's shopping experience. (Photography: Karant & Associates, Inc.) ‘Circulation paths are also the means of emergency egress and so must be the proper width to satisfy building-code requirements. People with physical or visual limitations should also be taken into account. Sufficient aisle space and additional ramps, rather than steps, enable these shoppers to become buyers. People with poor vision appreciate stores with glare-free lightingand aisles that are clearly defined by means of special colors or textures.SERVICE AREAS Figure 2-4 A cash counter Service Areas 19) Service areas can be either work or storage spaces, Examples are cash counters, wrapping counters, offices, storage areas, tailor and repair shops, shipping and receiving areas, washrooms, and kitchens. Service areas are usually designed for maximum efficiency, accessibility, and optimal equipment placement, and they are generally located at the back of the store, as areasclose to the front are too valuable as selling space to be used for service activities. In many stores, delivery access also is at the rear of tha store. Moreover, store owners do not ‘want customers entering privateareas, and so itis best tasegrogate servicaareas to the rear of the store. The location of the cash counter waries depending on the sizeof the stare, the number of employees, and whether the store is self-service (Figure 2-4). Ifthe cash counter is at the front of the store, security controls can be increased. But, if the salesperson and cash counter are the first things that customers see when they enter a store, they may become intimidated. Ifthe cash counter is located at the front, it should be concealed by storefront displays and be oriented to face the store interior. This arrangement, however, requires a relatively wide store- front and presents security problems when only one salesperson ison duty: the salesperson is serving a customer at the rear of the store, the front cash counter will be unprotected and subject to theft. If the store owner decides to put the cash counter in the front, at least two clerks should staff the store, with one person stationed at the front at all timas. Placing the cash counter at the rear of the store eliminates the problem of immediate shopper /salesperson eye contact and puts the cash counterin amore Ld Front Service Corridor Middle Mall Service Corridor Mall Service Corridor20 Spatial Organization DISPLAY AREAS secure location. This is the best arrangement for single-salesperson stores. The designer must be careful, however, to provide this salesperson with an wnob- structed view of the entire store, or security may be compromised, The designer should place high display counters only around the store perimeter and may choose ta install security mirrors or cameras. Finally, the cash counter may be located in the middle of the store. If the store is large and has many employees, the cashier will probably net need to monitor the store for shoplifters or to control access to stockrooms. Tho centralized location of the cash counter also ‘provides good access for shoppers. If it can be accommodated, a wrapping ‘counter that is part of, adjacent to, ot behind the cash counter is desirable. With the wrapping counter close by, the salesperson need not leave the cash counter unattended to wrap merchandise, which also increases security and speeds sales transactions. Sometimes merchandise is displayed on the cash counter to promote impulse sales, but this is a poor design solution for several reasons: Displays on low counters may be closed off by customers standing in front of the counter; displays can physically get in the way of cash transactions; and browsers examining the displays can crowd out customers who wish to pay for ther merchandisa. It thus is usually better to place impulse merchandise near, but not on or in, the cash counter, ‘The offices for small stores are generally located in a back storage room and are limited to a short counter, space for a file cabinet, and some-shelves, Larger stores may have space for full-size offices, which are also usually adjacent ta storage areas or located on a mezzanine. Kitchens for retail store employees are usually spartan, consisting of small counters with space for a coffse machine, a small refrigerator, and possibly a barsink and a small table and chairs. Although the number and size of washrooms depend on local building codes, at least one washroom should be provided as.2 source of water and to eliminate the need for employees te leave the store. In general, public washrooms are not provided in retail stores, even in stores located far from any publicfacilities. The problemsof security and maintenance of public washrooms usually preclude their installa- tion, but some local building codes require that special-sized washrooms be installed for mobility-limited employees. These large washrooms are difficult ta accommodate in. very small stores, and so the tenants of very small stores (800 square foot or less) should find out, before the preliminary design begins, whether this code applies ta them. Display areas are the heart of a retail store. Display is the mechanism that presents the merchandise to the shopper in its most favorable light and that permits the shopper to evaluate and select products for purchase. A display has two elements, product presentation and product evaluation, and the designer must address both. The product-evaluation area Is a space directly in front of the display or adjacent to it where a customer may examine the product, read any pertinent information related to it, or have a salesperson explain its virtues. Sometimes the evaluation is a two-step process, as in the purchase of clothing. First the shoppers are attracted to a feature display of a product, and then thay select a particular item of apparel displayed on a rack. Next, while standing in front of the display rack, the shoppers remove the item for a closer examination of the product's construction, color, material, and detailing. They may select several similar items as possible purchases and then move to the final stage of product evaluation, which requires them to try on the clothes. In front of a triple mirror, the customers appraise their appearance ‘wearing the product, checking for fit and overall image. After trying on a few other items, they make a final selection and goto the cash counter (Figures 2-5a,Figure 2-5a The customer selects the product fram Figure 2-5b Next, he exa the display. 36 the product for oon- id doting, struction, color, material, b, and c}. All products being examined for purchase undorgo this evaluation process, although some items are simple and need no additional space. For instance, shoppers wishing to buy a daily newspaper need to verify only the date, edition, and title of the paper before buying it; they do not need toremave the paper from the display rack. Ifa product-evaluation area is required, it will often take up part of the aisle. ‘The designer should therefore provide sufficient space for shoppers to get past browsers standing in front of a display and to give those people examining the products anough space to de this comfortably. Behavioral studies indicate pea- ple require a zone of space around them te act as a buffer against perceived threats (Eysenck and Eysenck 1983, p. 249). The amount of space needed varies among different people and cultures, but if the product-evaluation space is not large enough to provide psychological protection, some shoppers may become so annoyed by the constant passage of other shoppers through their zone that they will leave the store without buying anything. ‘Tha spatial relationship between the salesperson. and the customer also has eon studied (Eysenck and Eysenck 1983, p. 253). While the salesperson is ‘explaining the virtues of a product, should he or she sit or stand face to face with the customer (maintaining a proper buffer zone, of course) or side by side? Psychologically, the face-to-face relationship is competitive, whereas the sida- by-side relationship is cooperative. Men are often competitive and may view strangers who sit opposite them, such as a salesperson, as a threat, whereas22> Spatial Organization Figure 2-5c Finally, the ‘customer checks for fit and image. women, who may be taught to be more friendly and cooperative, may regard a salesperson in a close side-by-side relationship as uncomfortably friendly. ‘Therefore, to gain a male customer's cooperation, the salesperson should ap- proach him from the side. And to avoid making female custo! ablo, the sales help should approach them from the front. If ay might result in. more face-to-face, service-counter displays in a store selling women's products than would be designed for # similar men’s stare. Robert Cialdini (1984, p. 25) describes the influence principle of contrast and its effect on the location of merchandise in a store. If customers are presented with two itoms, one after the other, their percoption of the second item will be influenced by their memory of the first. For instance, after leaving a darkenad room, if@ person enters a room with average lighting intensity, the second room will appear brighter than ifit had been entored under different conditions. Ellon Langer (1989, p. 39) observed that an object will appear to be lighter in weight if the holder of the object is first asked to lift a very heavy anchor. Accordingly, sales people should show customers more expensive products first, to make other loss expensive, but not inexpensive, products seem more affordable. To apply the principle to the display of similar products, the most expensive items should be located in a prominent position in the store and the least expensive ones elsewhere. The shoppors will see the more expensive items Brst and either purchase them or subsequently see and be pleased with the lower price of the Jess prominently displayed products. Of course, less expensive does not neces- sarily mean less profit. Ifa customer can first be sald.an expensive item, such asaDisplay Areas 23. men’s suit, he may also buy lower-priced accessories because he has already adjusted psychologically to the higher price of the first item. This is the main reason that lower-price, impulse items are displayed near cash counters. Im- pulse items sell easily because they appear inexpensive in relation to the overall expenditure the customer will make. Ideally, merchandise should bo arranged in a waterfall of decreasing prices. The customer should be able to view acces- sory products, displayed in order of decreasing price, as he moves from his main, most expensive purchase to the cash counter. Thus, the $400 suit leads to the $125 sweater, which is followed by the $75 shirt, the $50 tie, and the $10 pair of socks displayed near the cash counter (Figure 2-6). Feature Display 1 Feature Display 2 Morchandise Display 3 5 7 8 8 : s a Purchase Impulse Items. 7 Convenience Items @ Product Evaluation: 5 Outline Figure 2-6 The ideal customer will follow this sequence of events in the ideal store.24> Spatial Organization Figure 2-7 Impulse items should be located next to the cash counter. The retail store stacks three categories of products: staples, convenience items, and impulse items, which differ in each stor ina men's store, suits and shirts are staples, whereas ties, belts, and sweaters are often impulse items. Convenience products frequently are common, low-profit items that can be found in most stores; in a men's store, these might be underwear or socks. Most often, staple items are the items desired by a destination shopper person who enters a store with a specific product in mind. Staples therefore should be placed in the more remote sections of the store so that shoppers must pass all the merchandise to get to the point of their destination. Convenience items may be the intended purchase or may be bought as an. accessory to the staple item, and so they should be located adjacent to the staple items. Impulse or luxury products are not usually a destination purchase but are bought mainly because the customer has entered the store and been impressed with the plays, product, or price of the impulse item. Impulse items thus should be located at the storefront and adjacent to the cash counter (Figure 2-7). Products that are grouped together are regarded as “belonging” together (Set- tle and Alreck 1989, p. 83). Therefore, inexpensive items placed in the midst of ‘expensive products takeon a more valued perception in the shopper’s eyes, and ‘expensive products among inexpensive products lose some of their perceived value. Although the latter makes little sense, the former may be a useful tool. Ifa $300 watch is displayed in the midst of a series of $2,000 watches, it may be perceived asa “real buy." More commonly, however, the designer must take ‘care not to mix differently valued items, so.asto avoid any problems of customer perception. As they pass through the store, the shoppers" experiences should be varied in terms of product types, display techniques, and intensity of lighting. The visual2-6b Display Areas 25 experience is sequential, like # movie, and like a good movie, the store should offer action scenes, thought-provoking scenes, and emotional scenes tied to- gether in a logical sequence (Figures 2-8a and b). Thus, a storefront may be intensely illuminated with colorful displays; the center of the store may be more businesslike, with displays explaining the quality features of the product or pointing out the fifteen different types of this product; and farther along, dis- plays may be museumlike in quality, evoking a fecling of awe.and wender from the shopper. Figure 2~8ab Like a movie, tho visual experience in a store is sequential. This slore presents different “scenes” in a logical soquence. (Design: Eva Maddox Asso- ciotes, Ine.: Phatography: Darwin Davidson}‘26 Spatial Organization Another factor in the design of a store is flexibility of display, which can be divided into two categories; flexibility of store fixtures and flexibility of fixture layout, Because the retail business is constantly changing, flexibility of design is important. Styles and product lines go in and out of fashion in rapid-fire se- quence. In addition, regular shoppers and store staff may become bored with a store that does not alter its displays ly often to create a new look. To allow the store to adapt to new products and styles and make significant display changes, some floxibility must be inherent in the fixture layout. For example, storefront show windows should be designed to use only movable, temporary display fixtures such as chairs or boxes (Figure 2-9), Internal display fixtures ean be placed on hard-surface floors of wood o1 heavy fixtures placed on carpeting will leave an imprint. Or fixtures can be designed to use interchange- able parts, so that they can be used for different products and display tech- niques. Above all, lighting and electrical systoms must permit flexibility, Track lighting and floor- or wall-concealed power boxes allow fixtures to be rearranged freely. Total flexibility may not be necessary or desirable in all stores, but it certainly should be considered, In summary, the designer should create a store that has an interesting and flexible variety of details, images, and tones, yet maintains a cohesive expres- sion of the products sold, their price and quality, and the level of service offered ‘The store layout must direct shoppers along circulation paths that are easy to comprehend and that maximize the exposure of the product in the proper sequence. The following figures illustrate some of the many fine design solu- tions that have been developed to serve the shaping public (Figures 2-10 through 2-17). Figure 2-9 The use of flexible fixturing and photo murals on the wall in this store facilitates adaptation to new product and design trends.Display Areas 27 Figure 2-108 Figure 2-10b28 Spatial Organization Figure 2-10 The Zodiac siore at Chicago's Water Towor Place is designed to catch the shopper’seye and to display the latest in casual footwear. The design contrasts ‘old-world psoudoclassical elements with raw modernity. Above the traditional arch are ceiling baflles that screen unfinished electrical and mechanical systems, Inte- grated with the aesthetic concepts are functional retail design features. The store- front is completely transparent, so as to showeaso both the merchandise and the store itsolf. The suspended light grid with many types of fixtures and attachment ypes offers flexible lighting. To allow for many options in merchandising layout and densities, continuous horizontal wall standards have been placed on all sales area walls, Custom brackota, hangers, ond shelves were created to fit the standards. To merchandise the floor, freestanding metal display forms wore designed to move and be stacked casily to form floxible display platforms. The transition from front toback, which occurs at the cash counter, is simple and efficient. The Zodiac store attempts to strike the proper balance between architecture and merchandise. The design provides a background thal onhances the product and, with the merchandise in place, has the overall visual appeal to attract today’s shopper. (Architect: Green Hilltscher Shapira, Lid.; Photos: Abby Sadin, Sadin Photo Group, Ltd.)Display Areas: 29 CASHIER — STORAGE Figure 2-11 Solomon, Cordwell, Buena & Associates, Inc., designs the Crate & Barrel Housewares and Furnituro Stores all across the country. The design of the ‘stores and storefronts makes the merchandise dominant and the shopping process unavoldable. Nothing gots in the way of the customer's perception of the meschan- dise in these highly successful stores. The photos show the storefront at night and2a1e 2ate Figure 2-12 In this cosmetics store, a horizontal line is continued throughout to provide spatial definition. Intricate detailing is combined with soft incandescent and fluorescent lighting. and crisp, lacquered cabinets display the cosmetics. The store had to meet criteria sot by various cosmetics manufacturers, such as the re- quirement for a low counter for product avaluation, which was achieved with the ‘use of stops and sotbacks integrated into the overall design. (Interior Architectural Design: George Golis, Gelis & Associates, Inc.; Finish material selections: Arlene Semel & Associates; Photos: Jim Norris)Display Areas 3132 Spatial Organization 2A3e Figure 2-13 The design challenge for T. W. Best, an 1,100-square-foot retail space ina train station, was to provide maximum praduct display area and to establish 4 prototypical image for other store lacstions. A variety of product types wore sat off with dramatic colors, forms, finishes, and spatial volumes, taking the traditional newsstand to a naw level of retailing. The organization of the plan accommodates a high volume of shoppers. The angled placement of tha main candy display directs customers into the store and separates traific and product zones. Ceiling banners and beam elements visually articulate pathways from each entrance. The architec- tural framework establishes. modular system with « basic display unit that changes color and finish for each store location. (Design: Eva Maddox Associates, Inc.; Pho- tographyr Jon Miller, Hedrich-Btessing)Display Areas 33 24ab34° Spatial Organization 24a 244b Figure 2-14 This fun and contemporary shop sells cards, notions, and gifts. The store's warehouselike atmosphere is established by the brick walls, diagonal-strip hardwood Mooring, and continuous overhead truss-track lighting, which also serves 5 a perch for stuffed animals. The cards are displayed on vertical wall fixtures rather than waterfall-style gondolas, which. permits shoppers to get closer to the merchandise. Laminated pedestal cubes are grouped noar the store entrance for seasonal displays and may be removed or rearranged. The store lighting is a combi- nation of incandescent track lights and fluorescent lighting with parabolic diffusers (Architects: Trauth Assoctates, Lid: Photography: Barry Rustin)Display Areas 3536 Spatial Organtzation city rata jan-designed foot- ‘mods merchandise, an elegant but Figure 2-15 Avvontura is an exclusive, m wear. To provide the proper backdrop for Uh modern setting {8 used. Rich, traditional I, including Verde Jade marble, textured glass, red maple, and polished brass, furnish a modarn interior sultable for the contemporary styles displayed. Spare, tubular, metal railings and display hard- ware and fixtures are interspersed to enliven the space. Pendant track lighting is used to accommodate the high cailings and as an unadorned design element, All furnishings and display fixtures were custom designed for this space. The store provides an appropriate setting for high-design footwear in an awkwardly config- ured space, Less than 1,000 square-feet in area, the space narrows to 16 foot in width and has interior and exterior storefronts over 18 foot high. The space is adjacent to a main shopping mall entrance. The exterior show window Is next to this entrance, and the interior storefront is first visible when entering the mall. The design intent is to merchandise the entire store. Wall-to-wall glass expanses at both frontages allow full visual access. A decorative metal mezzanine structuré-and stairs domi- e the interior, Designed as an architectural conterpiece, the archetype of library stacks is the design inspiration. The concept is. appropriate, as the platform serves as the storage ares. Visual lightness and transparency were the goal, tempered by stringent San Francisco seismic and fire-resistant requirements. (Architect: Green Hiltscher Shapiro, Ltd.; Photos: Mert Carpenter)Display Areas 37 248b 245638 Spatial Organization TAILOR Figure 2-16 This two-level design for Bigsby & Kruthers is located in a renovated -riso building, The design incorporates different periods and decorative ele- ments to create a warm, traditional setting. The high-ceilinged space is fully and dramatically accented with glass and brass light fixtures. The high-gloss, di wood flooring combined with the soaring mahogany wood cases accents the brightly illuminated merchandise. Vertical transportation from the first to the second floor is provided by an elevator in an illuminated translucent-glass shaft, (Architect; Green Hiltscher Shapiro, Ltd.; Photos: Abby Sadin)Display Areas 3940 Spatial Organization Figure 2-17 The design of this small shop is the result of excellent communication between client and architect. All products had to be displayed prominently yet still be within reach. Over 200 styles of men’s shoes and related items are displayed, and ‘storage Is provided for 1,500 pairs of shoes and boots. The structural column at the ‘entry forms a parti that is repoated throughout the store, providing spatial definition and framing the display and sales areas. (Architect: Green Hiltscher Shapiro, Ltd.; Photos: Karant & Associates, Inc.)Display Areas 4142 3. Product Display Product display is a key elemont of the well-designed retail store, and it is also the area of design that demands the most involvement by the store owner. The store designer must listen carefully to the owner's program requirements and translate them into effective methods of product display. If the product is dis- played woll, it will virtually sol itsolf, and it will also convey to the customers the store's image, scope of goods, concept, price range, and intent. Individual products on display are like individual letters of the alphabet. Alone, they mean little, but when organized into a pattern and made easily identifiable, they tell a story. Just asa person scanninga newspaper headline immediately understands the top story of the day, so a customer scanning a store with a well-designed product display immediately senses the store's essence and meaning (Figure 3-1}. Establishing the correct tone for product displays is important, as it acts.as an automatic screening that directs potential customers into the store and turns away shoppers with no such interest. The store designer's role is to create well-organized display areas that maximize the available selling space, which, given the annually increasing cost of leasing, retailers do not have the luxury of wasting. The designer's ingenuity in creating and organizing displays can be a decisive factor in the store's profitability. Display fixtures, like other elements of the store, must emphasize the item, not detract from it. The customers should be able to understand the product with a minimum of sales assistance. Offering information about the product at the point of display is an excellent idea. The better the customers can under- stand the product, the greater the chances will be that they will buy it. For this reason, it is desirable to have much of the merchandise accessible to the shop- pers as possible. Customers who can see, touch, hear, taste, or smell a product will become more involved and committed toit, Car buyers listen forthe special sound of a well-insulated car door as it closes, Prospective clothes purchasers “feel the material”; briefcase buyers love the smell of new leather. Therefore, displays must be designed from the customers’ point of view, as the first step in the purchasing process is capturing their interest. This is the primary objective of displays. Display fixtures also have the cross-purpase of defeating shoplifters.