Concept as an Approach to Design : A Study of Thematic Retail Environments

C O N C E P T AS

AN

APPROACH

TO

D E S I G N A Study of Thematic Retail Environment

By Gaura Tikku Guided by Amal Shah Undergraduate Thesis Faculty of Design CEPT University

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concept /konsept/ noun

an abstract idea a plan or intention an idea or invention to help sell or publicize a commodity (The Oxford Compact English Dictionary, 1998, p.178)

APPLE STORE, LONDON DESIGNER : FOSTER + PARTNERS The Apple store is a symbiosis of the old and the new. The store is based on the concept of a town square, where the trees also try to incorporate nature inside a heritage building. It is a space for people to collaborate and experience the product in a relaxed atmosphere.

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THESIS PROPOSAL Introduction Abstract Aim Objective Hypothesis Methodology of Study Scope / Limitations

INTRODUCTION Retail has always been a constantly evolving sector. Retail business owners are looking at new and fresh ways to evolve their business. In a world of rising e-commerce, the need of reshaping the brick and mortar store is becoming more and more essential.

In early 2000’s, Apple set a trend by their different approach to retail with a coffee house kind of layout and atmosphere. A cafe-themed store gave a new dimension to the in-store experience, which made a statement to their target audience that Apple as a brand is investing in their retail outlets with the idea of generating a unique experience.

In a lot of contemporary brands, millennials are often the core target audience.

According to a few studies, millennials are prone to an increased sense of brand loyalty. They value a good experience rather than just a good product which basically resulted in brands selling their goods as an idea of a certain lifestyle rather than just the product by itself.

There is a rise in need to create an experience inside the store. This experience builds an engaging in-store atmosphere, both emotionally and sensorially for the customers. For example, in case of Apple, the stores are actually the biggest product for the company and each store also functions as a community rather than just a retail outlet.

Such stores which have an underlying theme to them are termed as Concept Stores. A concept is an abstract idea developed by the designer keeping the context of the program, space, client and brand in mind. What starts as just an idea in the mind of the designer is explored further via supporting imagery, drawings, models etc and finally concluded as an engulfing experience in space.

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ABSTRACT The thesis aims at identifying the role of a concept in retail stores vis-Ă -vis the factors which help in developing a visual perception for such themed spaces.

The approach was to study and analyze the concept stores through the lens of 12 principles of Atmosphere as stated by Peter Zumthor. These principles act as a tool to identify the impact of spatial and visual perception of a concept in store.

This thesis will be a systematic guide in creating and developing a thematic retail environment. The thesis identifies, recognizes and analysis all the possible factors and elements involved in the design process of a concept store, it’s impact and use in the retail sector.

AIM The study aims at finding the impact of themed retail environments by the practice of interior design and identify the factors that enhance the visual perception of concept stores.

OBJECTIVES 1. To establish the role of interior design in the development of the concept into space.

2. To study the effects of applying a theme to the environment of a retail store.

3. To interpret and analyze the 12 properties of Atmosphere by Peter Zumthor in the context of a themed retail environment.

4. To understand and interpret spatial gestures which represent the concept via tangible spatial elements.

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HYPOTHESIS All the factors concerning the layout and design of the shop are developed around the concept, in consistency, to set up a special atmosphere corresponding to the profile of the brand.

METHODOLOGY OF STUDY The FIRST PART of the study gives a basic idea of a concept store, how it started, present scenarios and its role in the realm of retail.

The SECOND PART of the study aims at listing the various elements which can be imbibed in the store as part of the concept.

The THIRD PART gives an introduction to the main framework of the study which was derived from Zumthor’s book on Atmosphere.

The FOURTH part involves studying a few examples of a concept store through the lens of Zumthor’s principles to identify and understand the visual and perceptual cues related to developing a concept store.

The FIFTH and SIXTH part is all about inferring and analyzing the information developed via case studies leading to generating a framework for developing a concept store.

What is being studied?

A holistic overview of driving factors for engaging the concept with the consumer is being studied through the medium of space. By applying Zumthor’s principles of atmosphere, via the lens of a concept, any store can be critically looked at resulting in a clear understanding of the guiding principles that create a strong visual perception in thematic retail environments.

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How does the study proceed?

Peter Zumthor’s 12 principles of atmosphere are extracted into a framework to analyze the impact of these principles in the context of themed retail environment.

Why the study?

By analyzing the degree of impact of each principle, one gets a broader perspective on the functional and aesthetic values of each principle and their impact on the overall visual perception in themed environments.

By applying these principles, the inference can conclude which are the core guiding principles in the concept development and their coherent impact on the consumer.

SCOPE AND LIMITATIONS 1. The thesis consists of case studies that have already been established as a concept store/ thematic retail store by the designer.

2. Case studies shall have the concept as a strong driving force behind its design decisions, as stated by the designer.

3. The thesis will look at the store frontage and the interior spaces only.

4. All stores taken for study will be of similar range of the area.

5. The stores will belong to a similar category in this case, a designer garment store.

6. In order to apply Zumthor’s principles to the premise of study, 12 principles are analyzed and represented through selfdrawn diagrams.

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COLETTE, PARIS Since the store opening in 1997, Colette has become a fashion institution in the French capital. Retailers all over the world have taken inspiration from the curated edit of merchandise and window displays, setting itself apart as the first original concept store.

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THE CONCEPT OF CONCEPT STORES Brief History Current Scenario Theme v/s Concept Examples of concept store Elements of Concept Stores

Concept can be described as an idea or a notion, but in the field of design, it can also be looked as an approach to design.

It starts as an abstract thought which acts as a guideline for the design process throughout the tenure of the project. A concept can be found in the smallest of the details to the biggest design elements in space. Concept evolves as the project grows.

Concept takes an idea to reality, and form to function. It generates a design process; design is a 3D experience of a concept.

Concept is virtual 3D. Any design with a well detailed out concept is a good design, even if the idea behind it is simple.

Design concepts are the designer’s way of responding to the site and the project.

Every project will have its own key issues, themes, requirement and purpose, which can be approached in multiple ways for the same concept. This suggests that every part of the project is stemmed from the concept.

A concept is necessary in a project to provide strong framework and guideline in order to implement the project. It is able to filter out decisions on the basis of its relation to the concept and provide clarity on the design intent.

The inspiration of the concept may arise from site, program, culture/society, technology, movement, emotions and personal influences of the designer. In case of a retail store, the goal of a concept should be to enhance the image, attract new consumers, create a definite USP, generate excitement for the brand, influence service quality and provide effective ways of presenting the merchandise.

The role of a concept in retail is to define the characteristics of the space and its ambiance. It is used as a tool to provide an insight into the brand and the inspiration they want to provide for the lifestyle of their target audience. Not all retail stores are concept stores.

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A concept store has a strong design language and perceptual atmosphere. It falls under the umbrella of a theme that is influencing if not all, then most of its design decisions. A thematic retail environment provides subtle cues for their consumers by the means of spatial elements, graphics, sound, etc.

BRIEF HISTORY As far as we can go back in the history of humanity, from the moment man began to produce goods, the need to display the products for trading came with the notion of exchange of goods.

Today, we find that the practice of display is universal, across all countries and cultures. From the stalls in local Indian markets to the hypermarket shelves of Western countries, the fundamental principle remains the same; expose goods on the flow axis of the passer-by so as to attract their attention, in order to conclude a commercial transaction.

With the appearance of the first shops, the stalls came inside a built space that allowed a selective and permanent presentation of goods. Until the early twentieth century, elaborate store fronts played the leading role in promoting the image of a store.

But it is only around 1919, the gradual disappearance of the decorated facades took place to give greater attention to the faรงade windows.

This happened because of two factors; one, the use of electricity, and the other factor was widening of the sidewalks. It allowed people to wander through the streets lit by shop windows and, to turn shop windows into scenes of everyday life.

10 Corso Como was the first concept store that opened in Milan in the year 1991. It was a store that displayed and sold works of design, fashion, art, culture, cuisine and music. American artist, Kris Ruhs designed the store and its logo.

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10 Corso Como paved the way for a new movement in retail where things were not just about selling the product anymore, it was about creating an environment for purchase.

Colette opened up in Paris after 10 Corso Como which was one of the most popular and iconic thematic stores, of that time.

It opened in the year 1997 and was functioning as one of the premier and iconic place for fashion retail up until 2017.

Colette housed an exhibition space, a book shop and a water bar, which served over 100 brands of bottled water. The store was a French high fashion, street-wear and accessory retailer.

Since then, a lot of notable concept stores have emerged globally, redefining the existing notions of retail. A lot of these stores have created a successful niche for themselves by creating an environment inside the store in sync with their intended target audience.

Stores like 10 Corso Como and Colette started with the idea of concept stores as a place that sells carefully curated selection of products to connect with the right target audience while emphasizing on a certain lifestyle.

They were inspirational spaces that housed several brands under one roof for a specific clientele. Since then, the concept stores have evolved from being a luxurious shopping experience to an innovative shopping space.

Retailers have teamed up with interior designers and architects to create a thematic environment for their consumer base. The idea is not just limited to showcasing a certain lifestyle but to create a unique spatial atmosphere which is aimed at building the curiosity of the consumer.

Retailers have come up with a variety of concepts and themes that act as a guiding principle for the visual aesthetic of the store.

Figure 1: 10 Corso Como

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The end goal is not just the sale of the product but the impression of a brand on the consumer. Over the years, concepts have become more experimental, which led to the creation of lot of innovative spaces and design.

If the principle of display has not changed, it is the sales techniques that are constantly evolving. These techniques, now called “visual merchandising� include everything related to the presentation and sale of products in the store.

It covers the choice of where the product will be sold, the design of store, the quantity of products presented, type of storage or display (shelves, racks, bins, displays, etc) and the nature of the signaling and advertising material at the place of sale.

With time, these techniques have become sophisticated, multiple tactics of attraction and weapons of seduction have been developed in a constantly evolving sector.

However, it seems that in the current times, simply focusing on display techniques and store layout will not suffice. The retail industry can see a shift in the consumer behavior. With more people having access to e-commerce platforms, lesser number of people can be seen visiting a brick and mortar store.

Retailers are constantly struggling with finding new ways to attract consumers in their store. In the era of information overload and easy access to online retail stores in the comfort of their own homes, the consumers are looking for an additional experience in brick and mortar stores.

Figure 2: Colette

The challenge is to arouse the senses of the consumers and provide what an e-commerce store can’t; ambiance and services. The idea of a concept-store evolved around this notion of adding experience and value in the life of a consumer. It is essential to constantly evolve with the times and technology in every sector.

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From the merchandise display to the image of a brand, it is no longer just about buying a product as a necessity but to make people want to buy a product.

The need for expanding the typology of concept stores came from factors like, change in demographics of the consumer, rapid development in the retail industry, development in technology, the need to emphasize on the quality of service, growth of e-commerce and the will to experiment and challenge the traditional methods of retail.

CURRENT SCENARIO IN RETAIL Concept stores are sale areas where the creative architectural and spatial gestures represent the brand. These sale outlets are often unique. These stores can be specific to a brand’s flagship store, or they can be multi-brand stores as well.

Concept stores allow qualitative highlighting and presentation of products.

Visual identity and interior architecture form a coherent and homogeneous relationship with the product. Such spaces bring pleasure intimately linked to the purchase.

The point of sale becomes a medium between the brand and its audience, it is no longer just a place of commerce but a place of inspiration, even healing.

Ambiance, comfort, environment and service are targeted to satisfy a type of customer who becomes an insider to the place that is dedicated to him.

The concept store is a themed sales area.

It is a place of the unexpected, it is open and it is multi-disciplinary. The themed environment transmits its value and affirms a style. It is a consequence of evolution.

The concept store has a tendency to dilate forms to create shock or at least try to challenge and solicit the emotions of the customer. It can amuse the eye, dazzle, strike the imagination and seize the spirit of the buyer.

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The buyer then becomes a spectator rather than just a visitor. The emotions take over.

It is a question of conveying a lifestyle through space.

In addition to the aesthetic and the sensational, the sensory is of paramount importance in the customer-concept store relationship. Such stores therefore go on to conquer all our senses: sight, hearing, touch, smell and sometimes even taste. But above all, they act on our subconscious, which is a place of memory and representation.

The suggested representations permeate the visitor’s mind, forming a memory of the brand while also simultaneously creating an identity for the brand.

The identification and development of the concept of a brand also acts as a sub conscious key to symbolize their target audience while not exactly blatantly stating it out loud. The way Apple stores work is that the stores are built in a way which suggests the lifestyle of a community. A community into technology, effortless management of their work and/or life and on a larger scale, the premium-ness which is established through its stores as well as products.

This also helps in creating a loyal experience-driven customer base. The concept store likes to make its retail space a place called ‘retail-tainment’ an English contraction of retail and entertainment.

The product is no longer the end.

The design of a concept store thus requires a particular sensitivity, almost a visionary talent, to anticipate the desires and dreams of the client, both by the place and the presentations made there.

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FACTORS INFLUENCING CONCEPT

CONCEPT

DRIVERS OF CHANGE IN RETAIL

INSPIRATION

CATEGORIES

GOAL OF CONCEPT

SITE

ANALOGY

ENHANCE IMAGE

CHANGE IN DEMOGRAPHICS

ATTRACT NEW CONSUMERS

CHANGE IN INDUSTRY

CREATE DEFINITE USP

TECHNOLOGY

(comparison based on similarity)

PROGRAM METAPHOR

CULTURE/ SOCIETY

(figurative similarities between two ideas)

TECHNOLOGY

GENERATE EXCITEMENT

EMPHASIS ON SERVICE

EXPERIMENTATION PERSONAL INFLUENCES

EFFECTIVE MERCHANDISE PRESENTATION GROWTH OF E-COMMERCE

MOVEMENT

EMOTIONS

Table 1: Characteristics of concept

INFLUENCE SERVICE QUALITY

THEME V/S CONCEPT Theme and concept are two words that are often confused with each other. There is a key difference between theme and concept.

A theme is a specific idea, subject or setting that is focused on in a a particular piece of work such as novels, essays and spaces.

It is used to create scenes and gestures towards a particular topic or idea.

A concept is an abstract idea or notion which can fall under the umbrella of a theme. It is used as a phenomenon that already exists.

Various concepts can fall under a theme but not the other way round. In terms or interior design, a theme can be a general setting to create a space for that will guide all the design decisions but a concept is a more specific and limited lens to design a space from.

The scope of a concept is limited and defined but theme usually has a larger scope to incorporate in the design of a space. A theme may not be as specific as a concept and can include multiple ideas.

Theme and Concept can often appear confusing as they may be considered same or inter changeable. There is a very basic difference between these two as concept can be looked upon as an abstract idea but a theme is quite specific and may even house multiple concepts under one roof.

In lay man’s terms even a thematic store may be referred to as a concept store in the retail sector. The difference between the two is quite subtle.

The examples in the following segment distinguish the retail store examples on the basis of having a theme or a concept as the decision making tool.

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EXAMPLES OF CONCEPT STORES Some examples of concept or theme based retail spaces are mentioned in this segment in order to show the variety of contemporary themed stores. Examples also mention the theme/concept taken for the store and the primary way of incorporating it spatially.

Figure 3 : In the park by Kooo Architects Concept : Amusement Park A multi-brand shop, with free and relaxed spaces, catering to people across all age groups. The display is irregular, fun and has a lot of variety in terms of shape, size, color and height.

Playful and unique display justifies the theme of the store and makes the space multi-functional.

Figure 4 : Zerezes by Tavares Duayer Concept : Art Gallery An optical store where the concept was followed in the layout and the aesthetic of the store. The neutral walls emphasize the product. The unique product display on the wall is like pixels with the product name and type mentioned on the wall.

Figure 5 : Tanishq by Pompei A.D. Theme : Oasis The concept helped in defining the role nature played in developing a relation between the consumer and jewelry. Both the store and products are inspired from nature. The relaxing environment of the store enrich the senses.

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Figure 6 : T-Magi by WE Architecture Theme : Laboratory The theme of this tea shop allows people to interact with the product.

They can smell, taste, feel, and read about the product. The display feels like a lab where one can see all the different types of tea. The in-store imagery is based on the product itself.

Figure 7 : Library & Coffee Shop by MYCC Theme : A loft in NYC The store caters to various activities and visitors throughout the day. This is only possible because of the flexibility of the store as a response to the theme.

The spaces are minimal and interrelated, and allow variation in usage.

The overall space feels relaxed.

Figure 8 : La Fabrique de Lunettes by Marc Ifrah Architecture Theme : The Era of the 50s The fifty’s theme binds the contemporary brand with the old site.

The stark colors and material help in creating the store atmosphere. A major inspiration behind the store were the paintings of Piet Mondrian.

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Figure 9 : Saraiva Bookstore by Studio Arthur Casas Theme : Public Square and Library The hybrid theme enables the store to be a place of rest as well as concentration. The layout allows the consumer to absorb the space and forget about time. There is a lot of variation in terms of the seating which initiates various types of interactions.

Figure 10 : Sneakerboy Store by March Studio Theme : Underground Train Station The sneaker store redefines the concept of retail. The store has no stock, no sale point and no cash transaction. The consumer only needs a smart phone to make a purchase and the product gets delivered to a specified address. The theme is a response to the rise in the popularity of sneakers in New York’s transport strike in 1960s.

Figure 11 : Papyrus Glass Shop by Archi @mosphere Concept : Art Gallery The optical store provides a unique environment where the display system of the product is key in developing the store’s atmosphere. The display feels like a showcase, giving importance to each product as if looking at an art piece in a gallery and communicating with the staff as if they are discussing the art piece

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Figure 12 : Diageo Concept Store by Four Four Six Concept : Art Gallery An alcoholic beverage store that aims to enhance the in-store experience by showcasing each product equally. The curvilinear display creates movement and differentiates between products.

Figure 13 : Under Armour by Marc Thorpe Design Concept : Temple of Worship From the tunnel of light at the entrance to the massive experience space inside, every part of the store evokes a sense of spirituality. The retail area encourages the consumer to engage with each shrine-like space which showcases the brand and its stories.

Figure 14 : Suneet Varma by Romi Khosla Design Studio Concept : Origami A couture store based on the concept of origami where the idea of space is like folded planes of paper.

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ELEMENTS OF CONCEPT STORES Any space is made up of certain elements that together constitute a space. The role of these elements become all the more important when it comes to developing a themed environment.

The elements that are the building blocks for these themed environments are as follows: i. AMBIANCE Ambiance is the relation of materials, colors, textures, light etc. It acts as a first impression for the store. Consumers do not notice such factors involved in setting the ambiance of the store, to them a wholesome image is registered in their subconscious mind. No concept store can function without the right ambiance.

The two attributes of ambiance are MATERIAL and SENSORIAL. • MATERIAL The color and texture of all the materials used in a space whether natural or treated is an essential part of the ambiance. Even the combination of material is important, as they should gel harmoniously. The color combination as a result of the combination of materials also forms the color scheme of the space. • SENSORIAL The attribute which directly affects the human senses fall under this category.

Light, smell, texture, acoustics (even music) and taste are the sensorial aspects of the space which result in building a certain ambiance for the store. Light also creates space, a sense of identity and emphasis.

Overall they influence the mood and the interaction with space and products in the space.

Figure 15: Material Palette of La Fabrique de Lunettes

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ii. MOVEMENT AND DIRECTIONALITY Movement and Directionality is based on how the human mind can translate the gestures of the space. It is linked to the cues given in the store in order to facilitate navigation. It may be dependent on the elements present in the space, their orientation and layout.

The two attributes of movement and directionality are SPACE PLANNING and CIRCULATION. • SPACE PLANNING Space Planning plays an essential role in the realm of retail. The hierarchy of display, the movement, the experience of a consumer in the store, all relies on a systematic approach to the store layout. Zoning and furniture layout are the main aspects of space planning. It molds the very basis of the spatial experience and hence plays a vital role in themed spaces. It provides guidance, orientation, spatial sequencing and transition between spaces. The proximity and distance between spatial elements is guided by space planning. • CIRCULATION

Figure 16: Space Planning of Saraiva Bookstore

Space planning and way finding influence the circulation of the space. Position of certain visual cues such as the placement of the elevator or the stairs also influence the movement. The circulation can be of two types: vertical and horizontal.

Horizontal is the movement in space parallel to the ground. Vertical movement is perpendicular to the ground, for example, lifts, escalators and stairs.

Figure 17: Circulation of Saraiva Bookstore 27

iii. SPACE DEFINING SURFACES Surfaces create the skeleton of space.

Their presence leads to the consequential stimuli due to the various parameters related to them. They characterize the surrounding and form a narrative for the user. For instance, when designers use a specific material to make the surrounding eco-friendly they would make sure that this thought is forwarded to whoever gets to see or interact with the surface.

That narrative becomes a vital part of the personality of the surface, and consequently the space.

These Space Defining Surfaces can fall under the following attributes: VERTICAL SURFACES, HORIZONTAL SURFACES and OTHERS. • VERTICAL SURFACES Vertical Surfaces in its simplest form is any surface which is perpendicular to the floor or the ground. The vertical plane is commonly used in retail spaces to interact with consumers through the means of signage, mirrors, mannequins, and in some cases even visual merchandising. They can be ceiling-hung or resting on the floor.

• HORIZONTAL SURFACES Horizontal Surface in its simplest form is any surface which is parallel to the floor or the ground. The horizontal plane is commonly used in retail spaces to display their visual merchandise. It acts as a surface for objects to be displayed on. It can also be a platform and includes the floor and the ceiling.

• OTHER SURFACES Surfaces which are neither vertical nor horizontal fall under this category. They can be angular partitions, curvilinear display, or even a combination of vertical and horizontal surfaces. There are infinite possibilities in this category.

Figure 18: Mix of Surfaces as Display System of In the Park

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iv. VISUAL COMMUNICATION Visual Communication is one of the most important elements in the retail space.

They are used to set up visual cues for the brand image, brand identity and the environment of the store. Sometimes the visual cues interact with the consumer even before they enter a store. Their placement, scale and visibility should be carefully considered by the designer. They should not take away the attention from the main intention of retail space, which is to sell the product. Visual Communication is also used by designers to enhance the theme of the store and support the brand as well as the store imagery.

The two main attributes of Visual Communication are: ARTWORK and BRANDING. • ARTWORK Artwork can be motifs, posters, photographs, paintings, installations, etc. which may or may not fall in the scope of work for an interior architect. But in most cases, the placement, positioning and selection of art work is an important design decision. It can also guide the circulation, hold the product for display, enhance the theme and set the ambiance of space.

It can also be used to make a statement and sell the brand ideology. Sometimes it can act as a visual cue in the mind of the consumer regarding the brand and space. • BRANDING

Figure 19: Branding & Artwork on the Facade of Le Fabrique de Lunettes

Branding usually does not fall under the scope of interior design, but their placement, material, light, etc in space can be decided by the interior designer.

The scope of work can also include the placing of store front signage. Sometimes the designer also plays around with brand identity as a spatial element or turn it into an artwork. Branding includes fonts, invoice design, packaging, signage, logo and store front display.

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v. PRODUCT DESIGN Product Design, although may come under the category of Space Defining Surfaces, falls under a different category by itself due to it’s importance in the field of thematic retail environment. They may be considered as the spine of a retail store as they have the maximum interaction with the products and the consumer. In some instances, furniture used in the store might be bought from a store but in some cases, the furniture is custom made in order to reciprocate the theme.

The two attributes of Product Design are: FURNITURE and VISUAL MERCHANDISING. • FURNITURE Furniture constitutes all the functional aspects of the store. It includes seating, storage, tables, counters, etc. These elements are generally used for the smooth functioning of the store. They also interact with the consumer in the form of place setting.

• VISUAL MERCHANDISING The primary role of a retail space is display and sale of products. This is made possible by the means of Visual Merchandising which may constitute display racks, shelves and even cash counters. Ideally, Visual Merchandising should directly reflect the theme of the store as it is the most primary source of interaction between the space and the consumer. It also depends on the type of product being sold in the store as that would include taking note of product size, product quantity, product placement and their spacing. There can be multiple types of Visual Merchandising in the store.

The display should be ergonomically designed and well accessible to all.

Sometimes, variety in products can be shown by variety in display.

Figure 20: Furniture & Visual Merchandising of In the Park

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ELEMENTS

AMBIENCE

MOVEMENT & DIRECTIONALITY

SPACE DEFINING SURFACES

VISUAL COMMUNICATION

PRODUCT DESIGN

MATERIAL

SPACE PLANNING

HORIZONTAL

ARTWORK

FURNITURE

PATTERN TREATMENT COLORATION

ZONING FURNITURE LAYOUT

SENSORIAL

CIRCULATION

LIGHT SMELL TACTILE/TEXTURE ACOUSTICS/MUSIC

HORIZONTAL VERTICAL (LIFT/ESCALATOR/STAIRS)

FLOORS CEILING DISPLAY PLATFORMS

VERTICAL

WALLS DISPLAY PARTITIONS PERFORATIONS STORE FRONTAGE

MOTIFS POSTERS PHOTOGRAPHS INSTALLATIONS

BRANDING

FONTS INVOICE PACKAGING LOGO/SIGNAGE STORE FRONT SIGNAGE

TABLES SEATING STORAGE

VISUAL

MERCHANDISING

DISPLAY RACKS DISPLAY ELEMENTS CASH COUNTER

OTHERS

Table 2: Elements of concept stores

A summary of all the elements which form a thematic retail environment are summarized in a tabular form. All the spatial aspects of a thematic store are broadly categorized and broken down into 5 main elements followed by their sub elements. This table can be used as a guideline to identify all the elements which contribute to space making and theme setting. This list is by no means finite and can change as the world of retail evolves.

The main purpose of this table is to analyze if these elements are responding to the theme and creating a certain perceptual atmosphere or just there as a functional attribute of the space.

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SABYASACHI, MUMBAI DESIGNER : SABYASACHI The concept of creating a palace like store came into the mind of the designer who wanted to create an experience inside the space. The consumer should experience the space before the clothes. The whole store has an extravagant, royal feel to it which is intimidating and sets the mood of an old-world charm.

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PETER ZUMTHOR: ATMOSPHERE Introduction Principles of Atmosphere Importance of Principles Application of Principles

This thesis derives its framework of analysis from PETER ZUMTHOR’S book ATMOSPHERE, which becomes an important foundation for the study.

The book talks about 12 principles that consolidate to form the environment’s personality and the perception of the atmosphere.

INTRODUCTION In his book, Zumthor talks about the relationship between the built and its environment. He emphasizes on the sensory aspect of architecture and space.

The notion of the perceived environment is defined by some basic principles for an ideal balance between space and place.

He keeps in mind the way people perceive space.

It is a process of personal observation and thinking about people, their behavior and their interaction with space. He specifies quite explicitly the ways and means of creating spatial atmosphere. The atmosphere created should be rhythmic and coherent both with space and the client.

The author mentions 9 principles contributing to atmosphere-making as usually practiced by him and his firm, but adds 3 more principles which he personally feels should be included as they tie up the atmosphere. Overall the 12 principles of atmosphere are considered as a lens to view thematic retail spaces from, which create a certain perceived atmosphere inside the space.

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PRINCIPLES OF ATMOSPHERE i. BODY OF ARCHITECTURE

ii. MATERIAL COMPATIBILITY

It is the anatomy of built space. The exterior spaces are the membrane and inside it as each component comes together, a space is formed.

The body of architecture can be looked upon as the skeleton of the shell that plays a major role in defining the spaces. This is the first response to the site which then further influences the presence of the rest of the spatial elements.

The presence and interaction of various materials inside the space leads to material compatibility. The usage of appropriate material is essential in transforming the idea into reality. Color, weight and texture of the material also lends character to the space. The interaction between two or more materials gives rise to a unique composition. The possibilities are endless with even a single material and its role in creating an impact on the user.

Illustration 1: Body of Architecture

Illustration 2: Material Compatibility

Figure 21: Heydar Aliyev Center by Zaha Hadid

Figure 23: Lotte Amoje by Karim Rashid

Figure 22: Brick House by iStudio Architecture

Figure 24: Copper House by Studio Mumbai 35

iii. SOUND OF SPACE

iv. TEMPERATURE OF SPACE

Comfort and familiarity, even if not physically, but psychologically, could establish a connect between the user and the space. Interiors, just like instruments, collect, amplify and transmit sound. The shape of the room (Body of Architecture) and the material composition (Material Compatibility) also affect the sound creation. A familiar sound reassures the consumer, allowing them to establish association with memory. Music can also be a factor in the sound of a space.

It is not just the physical temperature of the space but also the perceptive temperature given by the character of each material used. Each space responds to it’s surrounding in a unique way guided by the reaction to material composition.

For example, the use of dark wood instantly makes the perceived temperature warmer and cozier. Although perceived temperature is subjective in nature, a lot of spaces are built around the established notions of temperature or they tend to form new notions in some rare instances.

Illustration 3: Sound of Space

Illustration 4: Temperature of Space

Figure 25: Therme Vals by Peter Zumthor

Figure 27: Lunuganga Garden Estate by Geoffrey Bawa

Figure 26: Matrimandir by Roger Anger

Figure 28: India Habitat Center by Joseph Allen Stein 36

v. SURROUNDING OBJECTS

vi. BETWEEN COMPOSURE & SEDUCTION

Surrounding objects is basically the relation between objects and the elements of space adding personality and influencing the movement in space.

They can be objects, display elements, partitions, or a combination of such space making elements.

This principle determines if the interior space directs the consumer, seduces them or just allows them to saunter. The ability to influence the movement of a consumer by making one want to stay or draw the consumer to a particular space is what composure and seduction emphasizes on. Creating a journey of discovery the moment a consumer walks into the store comes down to the designer of the space.

The space creates should be self-drifting and allow the consumer to get seduced by the space.

Surrounding objects define the setting of the space, interaction between spaces and how people respond to the space.

Illustration 5: Surrounding Objects

Illustration 6: Between Composure and Seduction

Figure 29: Farnsworth House by Ludwig Mies van der Rohe

Figure 31: Changi Airport by Moshe Safdie

Figure 30: Toit by The Busride Design Studio

Figure 32: Aura Spa by Khosla Associates 37

vii. TENSION BETWEEN INTERIOR AND EXTERIOR Thresholds that deceive the eye create a balance between interior and exterior. A transition between indoors and outdoors should create a sense of mystery and excite the senses of the consumer.

Zumthor describes interior as a private space and the exterior as the public space.

It is a signal to mark the entry but also separate the outside world from the inside.

viii. LEVELS OF INTIMACY Levels of intimacy comes down to the proximity and distances between objects and elements. Size, dimension, scale and placement also influence this principle.

Some spaces allow one to breathe while others intimidate. It can also be looked upon as how a building speaks to the consumer. Its speech is due to the form of the built space. Some are too grand and intimidating while some are more relaxed and cozy. Different levels of intimacy evoke different emotions. Levels of intimacy is also the sequencing of the spaces.

Illustration 7: Tension between Interior and Exterior

Illustration 8: Levels of Intimacy

Figure 33: Apple Park Visitor Center by Norman Foster

Fig 35: Tianjin Binhai Library by MVRDV

Figure 34: Sangath by B.V. Doshi

Figure 36: Chandigarh High Court by Le Corbusier 38

ix. THE LIGHT OF THINGS

x. ARCHITECTURE AS SURROUNDINGS

The light, shadow and the surface quality puts themselves into enhancing the spatial quality. Zumthor describes it as hollowing out dark spaces from the mass which allows the light to seep in. Nature of shadows, quality of light, appearances of surfaces of objects in light, and its reflections, all contribute to the formation of a certain mood within the space. There is no space without light. It can be as theatric as one wants or as functional and basic when required. Light creates emphasis and guides the eye.

Architecture does not get a context without its surroundings. The built becomes a part of the setting. It becomes a part of people’s lives, the identity of an area and the neighborhood it is a part of.

Sometimes it can also become a landmark.

Illustration 9: The Light of Things

Illustration 10: Architecture as Surroundings

Figure 37: Church of Light by Tandao Ando

Figure 39: Danish Maritime Museum by Bjarke Ingels Group

Figure 38: Loft 38 by Khosla Associates

Figure 40: Amdavad ni Gufa by B.V. Doshi

The location also determines the identity of the place which gets created by the surrounding stores and neighborhoods.

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xi. THE BEAUTIFUL FORM

xii. COHERENCE

A form of space can affect the smallest of the objects to large scale spatial elements.

The form is a direct translation of the theme in space. It can be inspired by the theme or can be a response to the site. It can be aesthetic, functional, or both. It has the ability to tie the entire theme together.

Coherence is the idea of all things coming together as one. It is the whole space finding itself on its own and becoming what it is set out to be. More than a principle of atmosphere, it can be looked upon as a conclusion of the perceptual atmosphere.

The thematic environment should be a free inviting space permeating people to explore it by generating curiosity and creating memories.

Illustration 11: The Beautiful Form

Illustration 12: Coherence

When a space becomes coherent, it is impossible to remove a single element without destroying the whole.

A thematic space is almost like a piece of art. It should move the consumer by the means of its silent but perceptual language.

Figure 41: Guggenheim Museum by Frank Lloyd Wright

Figure 42: Indigo Deli by Sameep Padora and Associates

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APPLICATION OF PRINCIPLES : PILOT CASE STUDY In order to test the application of the principles on any thematic interior space, a pilot case study was performed. The pilot case study determines if the framework is reliable to study any thematic space and whether or not the concept is being perceived through the framework.

The criteria for selecting a pilot study was to take a ‘non-retail’ commercial space which has a theme to it as specified by its designer.

The project taken for the pilot case study is Toit, a famous Bangalore-based brewery that opened up a branch in Lower Parel, Mumbai. The history of the brand was brought in to the space by the theme of the project. The Busride Design Studio was the design team for Toit.

The space is an ode to Southern Indian and its Chettinad Houses. The site was once a mill in the Lower Parel area. i. BODY OF ARCHITECTURE The Body of Architecture, in this particular case, forms the entire backbone of the theme. The old-abandoned mill already had a lot of excavated areas and multiple levels due to the previous occupant of the mill. The design team took forward the existing site conditions by creating multiple levels throughout the brewpub, which created an interesting layout and circulation. By replacing the older roof with glass fitted mangalore tiles, ample amount of north light entered the space.

This instantly brought in a lot of daylight in a checkerboard pattern. The daylight coming in the space was the first response to the site by the design team.

A courtyard like space also gets formed in the center which is an important element of every Chettinad House.

Figure 43: Body of Architecture (Toit) 41

ii. MATERIAL COMPATIBILITY The materials used were kept strictly in accordance with the theme. The material palette of the space played the biggest role in putting the theme across to visitors. The use of bright yellow colored ocher (natural clay earthy pigment), terracotta, bricks and smoke-grey IPS is homage to the houses in southern India. The overall color scheme of the space is very earthy and warm. The original brick walls on the site have been retained. The texture of concrete, wood, and ocher together creates a soothing and refreshing ambiance. Potted plants add a little greenery in the space. The variation in material of flooring is used to highlight the various types of seating in the pub. iii. SOUND OF SPACE The music played in the pub is the primary influence on the Sound of Space. There is variation in the type of music being played which is linked to the time of day. The music in the afternoon is softer and played on a lower, softer volume to facilitate conversation. As the evening progresses the music changes to more upbeat tracks on a higher volume.

The change in music genre and its volume is subtle and gradual, but it directly influences the mood of the people in the pub. It shifts from being relaxed and chatty under the glorious daylight to more upbeat and festive as the evening progresses.

However, the music is not related to the theme at all. The western music contradicts the ethnic theme due to the brand image which ultimately caters to a young urban crowd.

Figure 44: Material Compatibility (Toit)

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iv. TEMPERATURE OF SPACE The perceptive temperature of the space is homely and warm. Sunlight filtering in during the daytime makes the space laid back and relaxed. As the dusk approaches, artificial lights and peppy music changes the mood of the space. The laid back ambiance turns into a festive atmosphere.

Smaller, cozier booths make conversations more intimate.

The Temperature of Space is a direct outcome of the combination of Body of Architecture, Material Compatibility and Surrounding Objects. The space is able to resonate the ambiance of a Chettinad House. v. SURROUNDING OBJECTS The central design aspect of the pub was the presence of multiple levels across the space which not only created interesting vantage points all across but also seamlessly integrated circulation and services of the pub. The topography ensured that all the areas were distinct yet connected with each other.

The distinct topography is able to create a courtyard in the center of the pub which is an important feature in houses of southern India. Chettinad houses also play with levels and the hierarchy of spaces.

The courtyard is usually a level down than the surrounding areas which has also been integrated in Toit.

There is a fine mix of traditional and contemporary furniture in the space. There are three types of seating options based on their usage; the bar counter type, the table with sofa type and the standard table with chair type. This allows a diverse range of people and groups to efficiently use the space.

Figure 45: Surrounding Objects (Toit)

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vi. BETWEEN COMPOSURE & SEDUCTION The topography creates a unique journey for every visitor the moment they enter the pub. The steps playfully navigate people within the space and also provide privacy between the booths.

The step like formations tease the vision, hiding some areas while revealing some which appeals to the curiosity of the visitor. The seating has been seamlessly integrated with the topography.

Figure 46: Between Composure & Seduction (Toit)

vii. TENSION BETWEEN INTERIOR & EXTERIOR The existing facade wall divides the interior and exterior. The windows on the facade wall give a sneak peek of the space to anyone standing outside the pub. Making changes in the facade was not possible due to site constraints, which made the exterior part of the pub to merge with the surrounding buildings.

Very less impact is created on the visitor to make him want to enter the space.

The only part of the facade that responds to the theme is the slight raised platform that one has to climb to enter through the door. Chettinad Houses have a raised veranda as an entry space as a gathering area for the guests near the gate.

Figure 47: Tension between Interior & Exterior (Toit)

viii. LEVELS OF INTIMACY Varying levels, steps, and their repetition creates an eccentric idea of navigation.

Such repetitive, overwhelming gestures give a feel of the unnatural and abnormal.

All the spaces are interconnected via singular topography.

Levels also help in differentiating the seating typology. The seating is cozier and near to each other in proximity, separated by levels.

Figure 48: Levels of Intimacy (Toit)

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The bar is kept at one end of the pub reducing the attention towards it. The lesser emphasis creates a more relaxed ambiance instead of the usual rushed energetic atmosphere generally associated with pubs. ix. THE LIGHT OF THINGS

Figure 49: Light of Things (Toit)

The Light of Things was the primary response to the site. The glass fitted mangalore tiles opened up the north light. Allowing natural light in the pub reciprocated to the theme via Body of Architecture. Natural light allows the consumer to feel relaxed and homely. In Chettinad houses, a lot of light enters in the space via courtyards.

As the dusk approaches, the matte black ceiling lights and wall hung lamps are lit up which provide a warm yellow light to the space.

Several accent lights are present throughout the pub, hidden in small nooks and corners. Not only they add to the ambiance of the space but also provide perceptual navigation.

Figure 50: Light of Things (Toit)

x. ARCHITECTURE AS SURROUNDINGS While the location of the pub is quite important, it does not play any role in the theme. The theme was a consequence of the brand heritage. Lower Parel is a prime commercial area frequented by a young crowd. The area houses a lot of restaurants and bars making it an ideal spot for the brand. xi. THE BEAUTIFUL FORM

Figure 51: The Beautiful Form (Toit)

The lines and forms in the space are clean and minimal. Zig-zag lines are repeating throughout the space creating a sense of play and mystery. They create platforms and courtyards which is a common feature of south Indian homes. It can be seen as a contemporary version of the theme as interpreted by designer.

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xii. COHERENCE Some principles of atmosphere are strongly influenced by the theme while some are a consequence of the space or brand image.

Some principles are interlinked with each other while some principles are dependent on others.

Body of Architecture

Light of Things

Material Compatibility

Surrounding Objects

Temperature of Space

Beautiful Form

Levels of Intimacy

Composure & Seduction

Sound of Space

B/w Interior & Exterior

Architecture as Surroundings

Decreasing order of translation of theme by the principles.

Body of Architecture and Light of Things are inter-dependent.

Temperature of Space depends on Body of Architecture, Material Compatibility & Surrounding Objects.

Surrounding Objects depends on Body of Architecture.

Body of Architecture and Light of Things are interlinked.

Levels of Intimacy depends on Surrounding Objects.

Surrounding Objects and The Beautiful Form are inter-dependent.

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CRITICAL INFERENCES The 12 Principles of Atmosphere can be extracted into a framework to analyze the space that seeks to create a strong perceptual atmosphere. The main role of any thematic environment is to create a strong perceptual atmosphere.

Sometimes the principles are interdependent on each other or can be influenced by each other. In some cases the principles may not be a consequence of the theme and rather get influenced by site, client or simply exist because of a functional requirement.

The principles can be developed into a framework by analyzing the elements of the space specific to the category of the project. For example, a thematic retail store can be studied by combining the Elements of Concept Stores (Table 2) with Zumthor’s Principles of Atmosphere (Chapter 3) to critically look at all the possible tangible and intangible aspects needed to create a thematic retail environment.

The degree of importance of each principle will vary in every project depending on the decisions taken by the design team in translating the theme into the space.

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BALENCIAGA, PARIS DESIGNER : GONZALEZ HAASE A factory-warehouse themed store results in a monochromatic, functional space which gives a bold contrast to the colorful aesthetic of the brand. The overall impact of the store is minimalistic and avant-garde.

04

CASE STUDY I : GAURAV GUPTA Store & Design Concept Analysis via Principles Perceptual Atmosphere

CASE STUDY II : RAHUL MISHRA Store & Design Concept Analysis via Principles Perceptual Atmosphere

CASE STUDIES Two primary case studies have been done to test the Principles of Atmosphere

by Peter Zumthor on thematic retail environments. By molding the framework in the context of retail, the role and scope of interior design can be established when it comes to developing a perceptual atmosphere.

By using Zumthor’s principles, the case studies will identify what are the principles that contribute strongly to the thematic environments.

By looking at each principle individually, the impact of each of them are analyzed, both functionally and aesthetically.

These readings can vary depending on the case study but it will give a broader perspective on the impact of interior design in developing and enhancing the perceptual atmosphere of space.

The framework in chapter 3 has been carefully molded to analyze retail environments specifically and its scope and limitations as well.

The table on the right is the framework for the case studies.

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BODY OF ARCHITECTURE

Body of Architecture in the context of thematic retail plays a major role in determining the general framework and architecture of the store. All the architectural elements basically create the base for the space planning. Body of Architecture is either on site or created by the architect as a response to theme & site.

MATERIAL COMPABILITY

Material Compatibility in thematic stores is essential in creating the perceptual atmosphere due to the color, texture and usage of the material. They set the base of the theme and is a part of all spatial elements. The material palette of any store is important in creating an ambiance in-store.

SOUND OF SPACE

In thematic retail, Sound of Space primaily gets influenced by the kind of music that is played in the store. The genre of music is vital to theme building. Even low murmur of store employees or the sound of footsteps on the carpet or the way the voice gets resonated in the store, any big or small auditory cue adds to the perception.

TEMPERATURE OF SPACE

The main contributing factor in developing a Temperature of Space is the material used in the store. The color, weight and texture of all the materials combined form the perceptual temperature of the store which impacts the mood of consumers the second they enter the store.

SURROUNDING

Surrounding Objects form the spaces inside the store. They can be partitions, display shelves, furniture, racks, curtains, carpets, cash counter, changing area etc. The Surrounding Objects are a result of space planning and the store layout. They influence movement, visual merchandising and the interaction in the store.

COMPOSURE & SEDUCTION

Composure and Seduction in the contect of thematic retail is solely the ability to create a journey of mystery and discovery for a consumer the moment they set foot inside. It is also the ability to draw a consumer inside the store just by the facade. It also includes the basic factors for circulation like stairs, escalators, lifts etc and their placement.

OBJECTS

TENSION B/W INTERIOR & EXTERIOR

Tension between Interior & Exterior can also be looked upon as the facade and the window display of the store. It should set a statement about the brand identity and the products. It is the first interaction of the consumer with the store before they step inside.

The facade should generate excitement and curiousity but also convey brand image.

LEVELS OF INTIMACY

Levels of Intimacy in thematic retail is all about creating an impact. It can be achieved through the factors like scale, proximity, size and placement of the Surrounding Objects.

The sequencing of spaces in store is also a part of creating Levels of Intimacy. Levels of Intimacy evoke emotions about perception of the space.

LIGHT OF THINGS

Light of Things is essential in retail in general. But in thematic retail, it produces a sense of mystery, evokes an emotion, creates ambiance and also highlights the product. It can be used to direct movement or to simply create an impact. The color and texture of the material also get impacted by the Light of Things.

ARCH. AS

Architecture as Surroundings is important in the realm of retail as its location should sync with the target audience of the brand. While it may not always play a vital role in theme setting, sometimes the neighborhood of the store can influence the theme of the space. The area, its culture and people can direct the theme and its representation.

BEAUTIFUL FORM

The Beautiful Form is the boldest and the most obvious repercussion of any thematic store. It catches the eye easily and is a direct medium for understanding the theme for the consumer. The form of Body of Architecture and Surrounding Objects is a literal translation of the theme and what the theme stands for.

COHERENCE

Coherence can be looked upon as the conclusion of the theme. When all the 11 principles of atmosphere come together successfully, the perceptual atmosphere comes together as a whole. A thematic store is only successful if it is able to convey the theme of the space to the consumer as a part of the brand imagery and also generate a unique in-store experience for them.

SURROUNDINGS

Table 3: Framework of analysis for the case studies

CASE STUDY I : GAURAV GUPTA, STUDIO LOTUS STORE & DESIGN CONCEPT Gaurav Gupta is a celebrated Indian fashion designer. He is well known for creating garments with lines, structure and movement. His concept to execution is based on out of the box ideas which is quite visible in his body of work.

Illustration 13: Store Layout

Gaurav Gupta collaborated with Studio Lotus for his store in New Delhi. The brief was to create a space which was an embodiment of his designs.

The main goal was to signify the duality in the space because of two very distinct collections by the designer; ready to wear line and couture line. The entire store was expressed as a captivating experience meant to engross whoever steps inside the store. The basic color scheme of the store is kept as monochrome to highlight the garments. The store is an ideal surrounding for the fantasy that the designer is trying to sell through it’s garments.

Illustration 14: Isometric View

Even though the space is very limited the two main curvilinear walls makes one meander across the store constantly creating a sense of intrigue and indulgence.

The main impact of the concept was used to create a sense of drama and rawness clearly echoing the aesthetics of the designer.

Figure 52: Store interior view

Figure 53: Store interior view 52

ANALYSIS VIA PRINCIPLES i. BODY OF ARCHITECTURE

Illustration 15: Body of Architecture

The Body of Architecture does not contribute much to the perceived atmosphere of the space. The rectangular space is confined to the format of a store located in a shopping mall. The central curvilinear partition walls pave the way for the very basis of the store functioning.

The central partition walls were the first response to the site.

The walls form a guiding path for the consumers to lead them to the visual merchandising and the trial area. The central walls along with the existing store walls act as a background for the display of the products. The ceiling houses all the services. The main role of the given site is functional and does not respond much to theme.

Illustration 16: Body of Architecture

Figure 54: Central curvilinear walls

Figure 55: Interior elements respond to the curvilinear walls 53

ii. MATERIAL COMPATIBILITY The walls, panels and cash counter are made up of cast concrete, furniture and artifacts in mild steel and leather, the racks and mirrors on the right side of the store are made up of iron and the ceiling suspended display is again made of hand forged iron.

The materials in the store have a rough finish to them. The color palette is monochrome, making the surfaces a neutral backdrop for emphasizing the products. In the overall gray concrete space the accent material, a dull gold color coating on the racks, is used to highlight the visual merchandising. The material and its usage depicts rawness and creates drama in the space. Materials and their usage is explored as a design element.

Figure 56: Material of furniture elements

iii. SOUND OF SPACE The auditory atmosphere in-store is silent, calm and mysterious. Light comforting music is played in-store which does not really distract the mind from the space.

One can also hear the low rumble of the shoppers and the store staff assisting them.

Figure 57: Material of display rack and mirror

iv. TEMPERATURE OF SPACE Due to the extensive use of concrete and gray upholstery in the store, the color gray imparts a cool and composed feel to the space. In areas where wrought iron is used (door and the mirrors) the imagery is mysterious and dramatic creating a perfect contrast to the concrete. This creates mystery and curiosity even when a consumer just walks by the store. The structural and elaborate clothes against rough finish concrete walls sell the idea of a fantasy.

Figure 58: Ceiling-hung hangars

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v. SURROUNDING OBJECTS The Surrounding Objects make the space.

It comes directly via space planning. In the store the surrounding objects are directly impacting the way a consumer moves inside the space. The moment you enter, the curvilinear walls form smaller spaces and settings to show the visual merchandising.

Illustration 17: Surrounding Objects

Figure 59: Visual Merchandising

Each section will have the ceiling suspended hangar or the rack, a full length mirror, spot lights and some type of art work, either a sculpture or a poster.

The circular cast concrete changing room consists of 3 mirrors and a gray curtain which adds a sense of privacy. The whole trial area consists of an elaborate seating, some racks, a sculpture, some posters, general spot lights, and a table near the seating. The trial area follows the same material palette and design language as the rest of the store.

The visual merchandising follows the curvature of the walls. All the furniture elements follow the same monochromatic curvilinear design language as the partition walls. The visual merchandising on the right is different than display on the left. From the racks to the type of mirrors used there is an obvious change in setting as one moves from the left side of the store to the right. This was done deliberately to differentiate between the two different collections by the designer.

The cash counter gets seamlessly merged with the space by responding to the curvilinear partition walls by its similar form, almost looking like a piece of sculpture.

The ceiling is left bare and untreated which gives a clear view of the structure and services. Even though the ceiling is bare, the lines are clean and minimal, which does not draw attention of the consumer on the roof. The ceiling does not follow the same design language as the rest of the store.

Figure 60: Trial room seating

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vi. BETWEEN COMPOSURE & SEDUCTION Upon entry, the curvilinear partition walls create a sense of play and mystery in the store. It hides the complete right side of the store from the consumer, encouraging them to explore the store.

When there is a slight gap between two curvilinear walls, the consumer gets a quick peek into the other side of the space, elevating the mystery of the store.

Its form is not only vital in creating movement but also in creating space settings. After completing the left side of the store, the consumer has to take a u-turn to experience the right side, which houses a different collection.

Illustration 18: Between Composure & Seduction

Figure 61: Circulation in store

Figure 62: Spaces created by the curvilinear walls 56

vii. TENSION BETWEEN INTERIOR & EXTERIOR The curvilinear wall act as a facade for the store and as a background for the brand logo and the mannequins. On some occasions it also acts as a background for sale signage. Apart from that, the wall manages to hide all the visual merchandise that is in the store continuing with the whole essence of creating mystery and intrigue for the consumers. The wall also acts as a threshold between the mall passageway and the store in a bold, obvious manner.

There is a swinging door at the left side in the shape of two swans merging together.

The door looks more like a sculpture which gets seamlessly integrated into the space without becoming too obvious. The consumer barely even notices that the swan sculpture is in-fact, a door!

Illustration 19: Tension between Interior and Exterior

Figure 63: Store Facade

Figure 64: Sculpture-like doors 57

viii. LEVELS OF INTIMACY Due to the size constraints of the space, most of the spatial elements are linear and vertical. The curvilinear partition walls appear to float in space due to it’s raised proximity with the ground.

The walls effectively double up the display area on either ends. The ceiling hung hangars fall just high enough to make the interactions with the product easier.

The overall space is cozy and intimidating due to the proximity of the Surrounding Objects with each other and their form.

Illustration 20: Levels of Intimacy

1

2 3

5

4

Illustration 21: Levels of privacy in space increasing from 1-5

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ix. THE LIGHT OF THINGS The facade is lit up using recessed white ceiling lights and a few spot lights.

The light inside the store is constant throughout. The multi-directional spot lights cover the entire space in a bright white light. Even the trial area has the same type of lights.

Although they provide a good amount of light to highlight the product, the lack of variation in lighting fails to respond to the theme. The only response to light in the space is purely functional and lacks in creating any sense of drama or evoke any emotion in the consumer.

Illustration 22: Light of Things

Figure 65: Spot lights in the store

Figure 66: Lights in trial area 59

x. ARCHITECTURE AS SURROUNDINGS The location of the store is vital in terms of the target audience the brand caters to. The mall which the store is located in houses a lot of contemporary Indian and western designer brands making it an ideal location for Gaurav Gupta.

However, in terms of the theme, the location has no influence or correlation with the space and its perceptual atmosphere. xi. THE BEAUTIFUL FORM The Beautiful Form plays a major role in terms of responding and translating the theme into the space. From the swan door, to curvilinear partition walls, furniture, to display racks and hangars, form is important in all spatial elements. It creates a unique experience and is used in the most obvious way to get the theme across to the consumer.

The various forms create a sense of drama and fantasy in space. These forms are an embodiment of the clothes made by the designer, with free flowing forms and sculpture-like garments The form is an expression of both the brand and the theme.

Every detail is well thought out in terms of its aesthetic and function. These unique forms are not restricting the size constraints of the store, rather utilizing the space is a much more efficient manner. In this case specifically, the function follows the form. xii. COHERENCE The principles Body of Architecture, Sound of Space, Light of Things and Architecture as Surroundings, seem to not be influenced by the theme of the store. Rest of the principles are successful in translating the theme spatially.

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Material Compatibility is dependent on the Surrounding Objects and The Beautiful Form.

Temperature of Space is dependent on Material Compatibility, Surrounding Objects, Levels of Intimacy and, The Beautiful Form.

Surrounding Objects is dependent on Body of Architecture, Material Compatibility, Between Composure and Seduction, Levels of Intimacy and, The Beautiful Form.

Between Composure and Seduction is dependent on Surrounding Objects, Levels of Intimacy and, The Beautiful Form.

Tension between Interior and Exterior is dependent on Surrounding Objects and The Beautiful Form.

Levels of Intimacy is dependent on Body of Architecture, Surrounding Objects,Between Composure and Seduction, and The Beautiful Form.

Light of Things is dependent on Material Compatibility and Surrounding Objects.

The Beautiful Form is dependent on Body Of Architecture, Material Compatibility, and Surrounding Objects

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CASE STUDY II : RAHUL MISHRA, OPEN TO SKY ARCHITECTS

STORE & DESIGN CONCEPT Rahul Mishra is a Delhi based Indian fashion designer. His designs cater to both national and international clientele. His designs are all about handwoven fabric with intricate embroidery and construction.

Considering the location of the store, the designer wanted to create a similar experience in-store that was an addition to the inherent sense of revelation that is synonymous with the locale of Kala Ghoda.

The area has a diverse mix of spaces, from institutional to commercial. Basically the design brief was to get inspired from the vibrant locality that is Kala Ghoda and its marriage between the old architecture with contemporary culture.

Illustration 23: Store Layout

The design team also proposed the idea of creating the space like an art gallery that would comfortably allow the designers ethnic and western collections to merge seamlessly. Thus between the client and the design team, a dual themed store was created, a store that was meant to look like an art gallery but also capture the essence of Kala Ghoda.

Illustration 24: Store Isometric

Figure 67: Store interior view

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ANALYSIS VIA PRINCIPLES

i. BODY OF ARCHITECTURE

Illustration 25: Body of Architecture

The Body of Architecture has a direct impact with the theme of the space and its zoning. The 1600 sq ft space is located in a very old building in one of the most premier locations in the city. The space had a good depth but was narrow on the width, which did not allow a lot of natural sunlight. Four openings were made on the facade wall, 3 were display windows and one acted as the main door. These openings allowed a full view of the store from the outside.

The existing metal framed structure was kept as it is. Due to the low-height ceiling, a false ceiling could not be added. Instead the grey stone ceiling and the steel beams throughout the store were painted white to merge with the surroundings.

The mezzanine loft-like space was converted into an atelier. The existing slab was partly broken to visually connect the mezzanine with the rest of the store.

Illustration 26: Body of Architecture

Figure 68: Store facade

Figure 69: Store interior view

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ii. MATERIAL COMPATIBILITY The monochromatic space makes it look like an art gallery. The neutral walls act as a perfect background to highlight each garment individually. The polish cement floors compliment the neutral walls. The brass strip inlay in the flooring adds subtle accents to the space.

Exposed metal grid ceiling with metal frames housing the services are merged into the space by painting them all white. A lot of brass accents can be seen throughout the store in the form of wall-hung hangars for visual merchandise, display racks and even on door handles. The feature wall at the back of the store is artificially lit with frosted glass concealing some plants. This gives the feeling of space getting naturally lit from the outside. The partially visible plant silhouettes create a sense of mystery and makes one want to explore the space while adding greenery and life in the store. iii. SOUND OF SPACE

Figure 70: Cash counter

The auditory atmosphere in-store is silent, calm and mysterious. Contemporary Indian instrumental music can be heard playing softly in the background which is the perfect blend between the heritage site and the contemporary interiors. The music also binds the ethnic and the modern line of garments by the designer and evokes the feeling of being in an art gallery iv. TEMPERATURE OF SPACE

Figure 71: Trial area on the ground floor

The perceptual temperature of the store appears to be cool and relaxed.

Monochromatic interiors with clean lines, and minimal spaces make the consumers feel welcomed and comfortable in the space, enabling them to explore the garments freely.

Small details like the gota rug and velvet chairs add richness to the space. Seashell door knobs reflect back to the city of Mumbai. The overall ambiance is relaxed and minimal with subtle hints of luxury.

Figure 72: Mezzanine area 64

v. SURROUNDING OBJECTS Most of the Surrounding Objects are attached to the wall, giving a lot of circulation area in the space. The wall mounted brass hangars are the primary source of visual merchandise in the store.

The clothes hung on these racks are kept at a distance from each other so as to highlight each garment like a work of art.

Stand-alone racks with wooden base are also present throughout the store. These two display elements along with the mannequins are the only source of visual merchandising in the store.

This allows a fluid and flexible positioning of the products and the overall layout of the space. A similar display language is followed in the mezzanine area.

Illustration 27: Surrounding Objects

Huge brass framed mirrors are present in certain parts of the store. The cash counter is located right near the entrance. There is some seating provided at the back end of the store near the frosted glass wall.

The meandering layout of the space forms smaller clusters at certain parts of the store. There is an informal trial area on the ground floor and a more elaborate one at the mezzanine.

Figure 73: Display system with wall attached hangars

The mezzanine is a comfortable plush space for exclusive interaction between the client and the designer. The seating is more elaborate and comfortable with a lot of space for hanging the garments for trial. Movable partitions with black painted frame provide privacy to the mezzanine from the ground floor.

The ground floor is primarily meant for browsing while the loft-like mezzanine is for trial and discussions for a more exclusive clientele.

Overall the ambiance is not over powering, giving ample attention to the product, very similar to the thought behind an art gallery.

Figure 74: Movable partitions giving a view of mezzanine 65

vi.

BETWEEN SEDUCTION

COMPOSURE

AND

The entry to the stores is marked by a huge welcoming minimal space with a reception table/cash counter. The name of the designer is just behind the counter and all the garments are on the wallattached hangers. By keeping the products along the wall, the space opens up, and a meandering pathway is created for the consumers.

The recessed floor lights and the interconnected hangers acts as subtle cues and instantly guide the consumer within the space. The frosted glass wall at the back of the store also creates an element of mystery.

Illustration 28: Between Composure and Seduction

At the back of store, a trial room is marked by the use of curtains, a plush beige carpet and a stool. The curtain rod merges with the hangars because of the same finish and materiality.

The openness of the store allows to the consumers to peacefully explore the garments like observing a piece of art. The staircase at the back of the store marks the presence of another part of the store upstairs.

Figure 75: Frosted glass wall at the end of the store

Figure 76: Trial area on ground floor

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vii. TENSION BETWEEN INTERIOR AND EXTERIOR The facade wall was given four openings in the form of three windows and one entry door. This was the first response to the site by the design team. This not only allowed a full view of the store from the outside but also opened up the space to a lot of natural light during the daytime which was lacking before. The transparency of the facade tries to integrate a seamless transition between the outside and the inside.

Illustration 29: Tension between Interior and Exterior

Some perforated jalis have been used to decorate the facade wall and the name of the designer and the brand is mention on top. Some plants are also kept on the left side of the facade. The mannequins wearing the latest collection are displayed on these huge windows. The facade wall has the same finish as the walls on the inside.

Overall the store of the store front is consistent with the rest of the store.

However, it does not relate or respond to the dual theme in any manner.

Figure 77: Store facade and window display

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viii. LEVELS OF INTIMACY Due to the space planning and the placement of the visual merchandising in the store, the space is minimal and apt for free circulation. The wall attached hangars along with the free standing racks form smaller settings which differentiates one collection from the others. The mirrors are full length and rested against the walls.

The free flowing, flexible layout is clearly inspired from the space planning in art galleries and also the meandering lanes of Kala Ghoda. In terms of the hierarchy of the spaces, the privacy increases as one goes deeper into the store. The loft is the most private of the retail space followed by the store office which is only accessed by the employees.

5

2 3

4

1

Illustration 30: Levels of privacy in space increasing from 1-5

Illustration 30: Levels of Intimacy

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ix. LIGHT OF THINGS Opening up the store to allow more natural light in was the first response of the design team with regards to the site.

The facade was perforated and three shop windows were added along with the main entry door. This allowed plenty of daylight to enter the store.

Furthermore, artificial lights were installed behind the frosted glass wall to make it seem like daylight was entering the back of the store as well. There are three types of artificial lights in the space. One is the tube light suspended above the reception counter, second is the suspended ceiling light used for ambient lighting and third is the focused pin lighting to highlight the products. The lights are hanging via series of thin metal frames running parallel to the metal beams on the ceiling.

Figure 78: Display windows along the facade wall

Illustration 31: Light of Things

The aim for lighting up the store was to keep the light quality as close to daylight as possible. Element of lighting does seem to be inspired by the character of light in art galleries; with general illumination in circulatory areas and focused illumination on the products.

Figure 79: Artificial lights behind frosted glass wall 69

x. ARCHITECTURE AS SURROUNDINGS The Architecture as Surroundings played the biggest role in shaping up the theme for the client. The client wanted the store to be an extension of the eclectic neighborhood that is Kala Ghoda. The design also celebrates, enhances and works around the site constraints attached to a 70 year old building in a heritage neighborhood.

The corners of the store are inspired by the narrow lanes of Kala Ghoda which the designer wanted the consumers to discover while browsing through the couture pieces. The neighborhood is full of high-end designer stores and commercial buildings making it an ideal location for the brand. xi. THE BEAUTIFUL FORM The overall aesthetic of the store is minimal with clean lines throughout the space. There is nothing excessive or overwhelming in the space. Complete attention of the consumer is directed towards the garments which are hung on wall mounted brass hangars. There is a sense of lightness to the space which is also enhanced by inculcating nature and daylight in the store. The minimal form is inspired by contemporary art galleries and their visual aesthetic. xii. COHERENCE All the principles of atmosphere except Tension between Interior and Exterior are able to translate the dual theme into the space.

Body of Architecture is dependent on Architecture as Surroundings.

Material Compatibility is dependent on Body of Architecture and Surrounding Objects.

Temperature of Space is dependent on 70

Material Compatibility, Surrounding Objects, and The Beautiful Form.

Surrounding Objects is dependent on Body of Architecture and The Beautiful Form.

Between Composure and Seduction is dependent on Material Compatibility, Surrounding Objects, Light of Things, Architecture as Surroundings, and The Beautiful Form.

Tension between Interior and Exterior is dependent on Body of Architecture and Light of Things The Beautiful Form is dependent on Body or Architecture and Surrounding Objects.

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CHANEL, NEW YORK DESIGNER : PETER MARINO The store is inspired by the feel of a neighborhood in New York and its spirit.

The overall color scheme is black and white and the spaces are divided based on the products.

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INFERENCES & ANALYSIS Gaurav Gupta Rahul Mishra

INFERENCES : GAURAV GUPTA, STUDIO LOTUS

DECREASING ORDER OF TRANSLATION OF THEME BY THE PRINCIPLES

Beautiful Form

Surrounding Objects

Material Compatibility

Composure & Seduction

B/w Interior & Exterior

Levels of Intimacy

Temperature of Space

Body of Architecture

Light of Things

Sound of Space

Architecture as Surroundings

INTER-DEPENDENCY BETWEEN PRINCIPLES

Surrounding Objects and The Beautiful Form are inter-dependent.

Material Compatibility depends on Surrounding Objects.

Temperature of Space depends on Material Compatibility, Surrounding Objects, Levels of Intimacy, and The Beautiful Form.

Surrounding Objects depends on Body of Architecture, Material Compatibility, Between Composure and Seduction, and The Beautiful Form

Between Composure and Seduction depends on Surrounding Objects, Levels of Intimacy, and The Beautiful Form

Tension between Interior and Exterior depends on Surrounding Objects and The Beautiful Form.

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Levels of Intimacy depends on Body of Architecture, Surrounding Objects, Between Composure and Seduction, and The Beautiful Form

Light of Things depends on Material Compatibility and Surrounding Objects.

The Beautiful Form depends on Body of Architecture, Material Compatibility, and Surrounding Objects.

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CO-RELATION BETWEEN THE PRINCIPLES WITH ELEMENTS OF CONCEPT STORES

AMBIANCE

MOVT & DIRECTIONALITY

SPACE DEFINING SURFACES

VISUAL COMMUNICATION

Table 4: Co-relation between Principles of Atmosphere and Elements of concept stores for Gaurav Gupta

PRODUCT DESIGN

ANALYSIS : GAURAV GUPTA, STUDIO LOTUS Surrounding Objects and The Beautiful Form are the two most important principles in this particular case study. They influence the rest of the principles. They are also inter-dependent and co-related to each other. They are influencing all the elements of concept stores as well (Table 4).

The four principles which did not get translated according to the theme could have been to improve the perceptual atmosphere of the space. Material Compatibility, Surrounding Objects, Between Composure and Seduction, Levels of Intimacy, and The Beautiful Form contributed the most to enhance the perceptual atmosphere of the store.

In terms of Elements of Concept Stores, Space Defining Surfaces are creating the maximum impact on the perceptual atmosphere, followed by Ambiance due to the interaction of these elements with maximum principles of atmosphere.

The principles of Surrounding Objects and The Beautiful Form are influencing and interacting with all five elements of concept stores followed by Composure and Seduction.

The designer was able to understand not only the brand identity but also the products from their level of conceptualization to implementation. The store captured the vision of the designer and the essence of his garments. The theme was inspired from the product itself. Translation of theme was carried out in all elements of space from Visual Merchandising to Space Defining Surfaces.

The design was able to set the store apart from all the ones in vicinity with its unconventional approach to retail space.

The store with its facade, layout and design became a strong visual identity for the brand and the designer, Gaurav Gupta.

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INFERENCES : RAHUL MISHRA, OPEN TO SKY ARCHITECTS

DECREASING ORDER OF TRANSLATION OF THEME BY THE PRINCIPLES

Architecture as Surroundings

Light of Things

Body of Architecture

Surrounding Objects

Material Compatibility

Levels of Intimacy

Composure & Seduction

Beautiful Form

Temperature of Space

Sound of Space

B/w Interior & Exterior

INTER-DEPENDENCY BETWEEN PRINCIPLES

Surrounding Objects and The Beautiful Form are inter-dependent.

Material Compatibility depends on Surrounding Objects.

Temperature of Space depends on Material Compatibility, Surrounding Objects, Levels of Intimacy, and The Beautiful Form.

Surrounding Objects depends on Body of Architecture, Material Compatibility, Between Composure and Seduction, and The Beautiful Form

Between Composure and Seduction depends on Surrounding Objects, Levels of Intimacy, and The Beautiful Form

Tension between Interior and Exterior depends on Surrounding Objects and The Beautiful Form.

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Levels of Intimacy depends on Body of Architecture, Surrounding Objects, Between Composure and Seduction, and The Beautiful Form

Light of Things depends on Material Compatibility and Surrounding Objects.

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CO-RELATION BETWEEN THE PRINCIPLES WITH ELEMENTS OF CONCEPT STORES

AMBIANCE

MOVT & DIRECTIONALITY

SPACE DEFINING SURFACES

VISUAL COMMUNICATION

Table 5: Co-relation between Principles of Atmosphere and Elements of concept stores for Rahul Mishra

PRODUCT DESIGN

ANALYSIS : RAHUL MISHRA, OPEN TO SKY ARCHITECTS Architecture as Surroundings and Light of Things are the two most important principles in this particular case study.

They influence the rest of the principles.

They are also influencing all the elements of concept stores as well along with Body of Architecture and Surrounding Objects (Table 5).

Tension between Interior and Exterior did not get translated according to the theme, to improve the perceptual atmosphere of the space. Body of Architecture, Material Compatibility, Surrounding Objects, Levels of Intimacy, Light of Things and Architecture as Surroundings contributed the most to enhance the perceptual atmosphere of the store.

In terms of Elements of Concept Stores, Ambiance is creating the maximum impact on the perceptual atmosphere followed by Space Defining Surfaces and Product Design due to the interaction of these elements with maximum principles of atmosphere. The principles of Body of Architecture, Surrounding Objects, The Light of Things and The Beautiful Form are influencing and interacting with all five elements of concept stores.

The space designer added anther theme to the one proposed by the client, making it a dual-themed store. The purpose of second theme (art gallery) was to highlight the products, while the one proposed by client (Kala Ghoda) influenced the layout and movement in the space. Design and placement of Visual Merchandising enhanced the essence of an art gallery inside the store.

The minimalistic approach to store by the designer put the product on the foreground. The spatial implementation of the brand by the design team provided a relaxed yet luxurious ambiance for the consumers which was basically reflecting back on the brand and the products.

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EVALUATION OF CASES STUDIES After looking at one secondary and two primary case studies through Zumthor’s principles, the inference drawn is the fact that certain visual and spatial cues enhance the perceptual atmosphere of a retail space. Framework of the case studies critically measured the impact of design decisions and their translation in space.

The 12 Principles of Atmosphere (Table 3) can broadly relate and interact with Elements of Concept Stores (Table 2). The theme was quite apparent and dominant in most aspects of space in the case studies. The spaces echoed the concept through Ambiance, Movement and Directionality, Space Defining Surfaces, Visual Communication and Product Design.

In order to achieve a balance between aesthetics and functionality in a retail space, the design needs to respond to all the 5 Elements in perfect harmony. In the case studies conducted, the strongest elements turned out to be Ambiance and Space Defining Surfaces, in terms of creating a strong perceptual atmosphere for consumer in the store.

Ambiance creates the atmosphere of the space. All the material and color used in the store acts as a visual cue for the consumers with regards to the theme. It plays with human senses and creates a certain perceptual atmosphere in the mind of a consumer. Ambiance plays a leading role in attracting a consumer in the store.

Even the tiniest of design decisions is vital in creating the appropriate ambiance for the brand. A space designer is essential in determining and then establishing what the ambiance of a store should be like.

In case of Gaurav Gupta, aim of the ambiance was to provide a dramatic, mysterious experience which was achieved by the designer with the help of material, its usage, and its treatment.

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In Rahul Mishra’s store, aim of the ambiance was to provide a minimal yet luxurious feeling to the consumer. The material and its usage did not over power the products in order to draw greater emphasis towards the garments which went perfectly with the idea of creating a space inspired from an art gallery.

Movement and Directionality plays an important role in both the case studies Space Planning of the store enables the designer to plan how all the spaces will unfold in the store which in turn will guide the circulation for each consumer.

In Gaurav Gupta, the walls were creating a firm and rigid path for the consumers.

The entry was from the left side of the store, leading to the right side. The rigid movement enabled a smaller sized store to successfully distinguish between two different collections under the same brand. Positioning the cash counter at the end of the journey ensured that the consumers get to experience all the visual merchandising the store had to offer.

In Rahul Mishra, the movement is not as rigid or fixed. All the products are given equal emphasis and the trajectory of consumers circulation and movement is completely based on them. The wall attached display allows the consumer to simple wander around in the store as if they are browsing in a gallery. The space planning divides the store into smaller nooks and corners which makes it easier to differentiate between various collections of the designer. The flexible layout also enables the store to try out several permutations and combinations of display systems with the help of standalone racks. The staircase at the end is a visual cue informing the consumers that a part of the store is also present on the floor above. The space planning and circulation respond to the dual theme in its purest essence.

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Space Defining Surfaces is also an important Element when it comes to defining a thematic environment in a retail space. They basically form the anatomy of a store with elements like floor, ceiling, walls, partitions, facades, perforations, etc.

In all the case studies done so far, Space Defining Surfaces have proven to have the maximum impact on developing a perceptual atmosphere for the brand.

The horizontal, vertical and other space defining surfaces are a consequence of space planning and also assist in circulation within a space. They also help in zoning and segregation of spaces.

In Gaurav Gupta, the Space Defining Surfaces are the most important Element of the store. The entire store is based on and reacts to the curvilinear partition walls which in turn affects the visual merchandising, movement, circulation, and space planning. It sets the tone of the entire journey in the store for all consumers. In a very small store, the Space Defining Surfaces managed to get the maximum out of the space in terms of the layout while translating the theme as well.

In Rahul Mishra, the Space Defining Surfaces are used as a background for the display. The surfaces are mostly what existed on the site as it is. This minimal use of surfaces led to a more open and free space which made the entire journey of each consumer completely independent.

In terms of Visual Communication, both the brands are high end designer stores which did not have a lot of in-store branding cues.

In Gaurav Gupta, apart from the sign at the store front, there were no spatial branding tools. A lot of artwork was part of Visual Communication through the means of sculptures and posters. The artwork made a huge impact on the perceptual atmosphere of the store and acted as visual cues for the dramatic imagery required as per the theme.

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In Rahul Mishra, the store lacked Visual Communication cues. The theme ensured that the product itself was considered as artwork with its minimalistic approach.

Apart from the designers name both inside the store and on the facade, there was no other source of Visual Communication.

Product Design is the primary source of interaction between the product and the consumer. It should be kept in space keeping the theme in mind. Product Design helps in creating spaces inside a store, provide display for the products, assist in navigation, and also help towards smooth functioning of a store. It keeps the functionality of a retail space alive.

In case of Gaurav Gupta, the Product Design seemed to be completely customized based on theme of the store. It contributed the most in terms of creating a visual impact on the consumers. Even functional elements like trial area, cash counter and seating were completely translating the idea of a fantasy in the space.

In Rahul Mishra, the design aesthetic is completely opposite to that of Gaurav Gupta. The furniture and display elements are completely minimal with clean lines and a touch of luxury. The Product Design is complimenting the brand and the space while not over-powering the product. The material palette of the products bring out the aesthetic of the space.

To conclude, a coherent mix of these Elements of Concept Store, imbibing the Principles of Atmosphere is a balanced recipe for creating a thematic retail environment. It takes the concept as an approach to design holistically keeping all tangible and intangible aspects of spatial atmosphere in mind. Not all elements may be given equal emphasis in every project but that decision rests in the hand of the space designer. A successful design is the one where all the Elements bind together as one where changing even one of them will impact the rest along with the perceptual atmosphere of the space.

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LE MILL, MUMBAI DESIGNER : ASHIESH SHAH Le Mill is one of the first luxury concept stores to open up in India. The store is selling the idea of a lifestyle in an industrial setting. The store houses retail area, bookstore, cafe, exhibition space, home decor, flower shop and furniture.

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CONCLUSION & FUTURE SCOPE

CONCLUSION All the major decisions concerning the design and functioning of a thematic retail environment are influenced by the concept to establish the theme in the eye of the consumer. The case study and the inferences clearly show the spatial elements and the Principles of Atmosphere which have a higher impact on visual perception and the ones which don’t necessarily contribute to the theme.

Elements of concept store (Table 2) combine with Zumthor’s Principles of Atmosphere to translate the theme, spatially. More the combined function and aesthetic value of Principles, greater the translation of the theme in the space and its influence of the consumers.

On a larger level, concept stores have changed the way people look at, and deal with retail. Stores should not just be about selling products but more importantly, creating an experience in-store for the target audience.

In some cases, the primary aim of the thematic retail stores may not even be the sale of products, but the development of the brand identity for the appropriate target audience. The end goal is not just limited to selling the product but also to establish the lifestyle and the image promoted by the brand for its consumer base.

In the era of e-commerce, brick and mortar stores strive to provide what an on-line platform cant, such as user experience, ambiance, and interaction with the brand representatives.

Designers are being hired to create thematic imagery in the store. In the field of Interior Design, the designers had to reunderstand the working of retail space.

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The layout and the store design are not limited to being functional anymore.

Creating space-settings that will click with consumers and lure them in the store should be the target of the space designers.

This can only happen if extensive research on the brand is done by the designer.

Designers play the intermediating role between retailers and consumers by making the space match with brand objectives and customer expectations.

Thematic environments are like a physical form of a magazine. Just like magazines, they show a certain imagery and lifestyle to cater to a specific set of target audience.

Designers have the ability to change moods, impact movement and interactions and create a sub-conscious brand image.

Theme acts as a procedural guideline for store implementation. Thematic retail environments provide the basis of setting the first impression of a brand. If the theme does not justify the brand, it may not create the ideal perceptual atmosphere to facilitate the sale of products.

The theme should not hinder the sale of products, rather enhance the experience for the consumer, while making the act of purchase more efficient. It should not interfere with convenience of the consumer, their shopping time and the overall efficiency of the store, to increase the probability of purchase.

For optimal and wholesome exposure to the theme, secondary areas like the trial room should also reflect the theme and the design language of the space.

Generally, consumers do not consciously notice the theme of the space. Their subconscious minds register the perceptual atmosphere and hence influence their mood.

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The most obvious visual cues should reflect the theme successfully because often secondary and intangible cues go unregistered by the consumer. Their perceptual impact is slightly less than visual cues such as window display, visual merchandising and environmental graphics.

Since the whole point of creating a thematic retail store is to influence the perceptual atmosphere of the space, the theme should ideally cater to the brand ideology, brand reach and appropriate target audience.

The translation to theme for an affordable brand’s store cannot be the same as a luxury brand. The theme may or may not be the same, however its spatial expression should compliment each brand individually.

The role of the designer is to ensure that the interpretation of the same theme for one brand on a site cannot be the same as for a different brand. The designer should have an explicit understanding of the brand, ideologies, target audience, marketing strategies and the products.

If the design of way finding system and environmental graphics fall under the scope of work of the interior designer, then such elements of the space should be coherent with the perceptual atmosphere.

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BRAND

SITE

THEME

Illustration 32: Relation between Brand, Site and Theme makes a thematic retail environment.

As mentioned in Chapter 1, Apple changed the way people looked at retail. It influenced the way consumers interacted in-store. The space changed from being a retail store to a community hub for its consumer base. It made retailers re think their retail strategy and influenced the in-store experience globally. The trend of creating experiences while shopping was the contemporary way of looking at retail, both by the brand and the designer.

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FUTURE SCOPE Concept stores have been pivotal in redefining the practice of retail. As more and more brands are experimenting with the idea of selling a product, the generic notions of retail are slowly fading away.

Slowly but surely, retailers globally are focusing on constantly evolving their branded environments . This ideology is leading to a more experiential and experimental format of a store, where conventional methods of visual merchandising, design of the store, location of site, etc are a thing of the past.

Such growth and development in retail sector is leading to a rapid change in how consumers see and respond to a brand.

Consumers are opening up to the idea of experiential retail and are willing to invest their time, money and energy in such spaces.

The future of experiential retail is exciting because it will lead to a complete change in the conventional format of a retail store.

Technology is also being involved and experimented with in retail spaces. Many retailers are adapting to the phenomena of cashless transactions as well, which may lead to a change in the role of a cash counter in a store.

Also, the importance of in-store services is seeing a rise to facilitate a transaction because personal assistance and instore services are major factors that the consumer cannot get on an e-commerce platform.

A lot of brands are focusing on the idea of creating an experience center. This means the future of retail will be more about experiencing and testing a product inperson but the sale of product will be online.

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For interior designers and architects, it has become all the more important to keep pace with the evolving business of retail and its current trends, in order to experiment with and innovate spatially.

The product will become secondary and the store will become more about experiencing the space rather than just the sale of product.

Designers will have to keep in pace with all the advances in technology so as to incorporate it in retail stores. Experimenting with materials and finding new techniques to express the material in, is also a trend that will carry on for some time.

The rise in thematic retail environments will blur the lines between retail and other industries. The trend of mixing two typologies of spaces under one roof is on a rise. Incorporating a library with a retail store or a cafe inside a store are just some of the examples that are popular in this category.

Retail-tainment is another aspect that will most likely gain popularity in the near future. The fusion of retail and entertainment will be able to provide a unique shopping experience to the consumer.

Interaction between the product and the consumer is also constantly evolving.

Retailers and designers are finding new, interactive, and innovative methods of visual merchandising. Since visual merchandising is the most primary element of retail, designers are experimenting with display systems and making the whole experience of exploring the product unique.

Thematic retail environment is the future of retail industry and retailers along with designers are constantly redefining the essence of retail.

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BIBLIOGRAPHY & APPENDIX Bibliography List of Figures Glossary Review Feedback

BIBLIOGRAPHY PUBLISHED BOOKS Kremer, E. k. (2009). concept store. France: Eyrolls.

Leydecker, S. (2013). Designing Interior Architecture. Switzerland: Birkhauser.

Mesher, L. (2010). Basics of Interior Design. Switzerland: AVA Publishing.

Tate, A. (1986). Interior Design in the Twentieth Century. New York: Harper & Raw Publishers.

Zumthor, P. (2006). Atmospheres. Switzerland: Birkhauser.

PUBLISHED ARTICLES Aboiron, J., & Aubin, J. (2016). Influence of Store Atmosphere on the Shopper’s Behavior: The Case of Yves Rocher. Retrieved from https://www.researchgate.net/ publication/320808690_Influence_of_Store_Atmosphere_on_the_Shopper’s_Behavior_ The_Case_of_Yves_Rocher James, D., & Blakemore, R. (2008). A Conceptual Framework for the Interior Design of Retail Environments. Retrieved from https://onlinelibrary.wiley.com/doi/ abs/10.1111/j.1939-1668.1978.tb00278.x Munster, M. (2018). Intention vs. Perception of Designed Atmospheres in Fashion Stores.

Retrieved from https://www.researchgate.net/publication/325553385_Intention_vs_ Perception_of_Designed_Atmospheres_in_Fashion_Stores Singh, P., & Katiyar, N. (2014). Retail Shoppability: The Impact Of Store Atmospherics & Store Layout On Consumer Buying Patterns. Retrieved from https://www.researchgate. net/publication/305640376_Retail_Shoppability_The_Impact_Of_Store_Atmospherics_ Store_Layout_On_Consumer_Buying_Patterns Van Oosterwyck, D. (2018). Experiential Qualities in Architecture. Retrieved from https:// www.academia.edu/38326824/Experiential_qualities_in_architecture.pdf

UNPUBLISHED THESIS Bundela, R. (2012). Retail environment design : understanding the making of the retail environment with respect to context and concept., undergraduate thesis guided by Sanjay Agarwal, CEPT University, Ahmedabad

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Lavsi, M. (2013). Understanding the contribution of store space planning on customer behaviour creating an optimal experience., undergraduate thesis guided by Niraj Shah, CEPT University, Ahmedabad Parikh, K. (2011). Retail experience and its manifestation : an enquiry into the elements contributing to the retail shopping experince and it’s perceptual influences on customers, undergraduate thesis guided by Mathew Jacob, CEPT University, Ahmedabad Singh, M. (2018). Patterns in interior design : an inquiry into generation processes and properties of patterns in interior elements, undergraduate thesis guided by Kireet Patel, CEPT University, Ahmedabad

ONLINE SOURCES Beautiful Homes. (2019, February 7). Like his fashion, Rahul Mishra’s new Mumbai store is all about the details. Retrieved from https://www.beautifulhomes.com/homeinspirations/spaces-we-love/like-his-fashion-rahul-mishras-new-mumbai-store-is-allabout-the-details.html Chakraborty , S. (2018, November 29). A statement in spatial transparency. Retrieved from http://www.retail4growth.com/projects/a-statement-in-spatial-transparency-4092 Difference Between Concept and Theme. (2016, February 17). Retrieved from https:// www.differencebetween.com/difference-between-concept-and-vs-theme/ GoodHomes Magazine India. (2018, May 10). Lush refuge in the city. Retrieved from https://www.goodhomes.co.in/home-and-design-trends/architecture/lush-refuge-inthe-city-5721-7.html Kelkar, G. (2019, January 16). Gaurav Gupta’s Delhi store serves up a flamboyant palette.

Retrieved from https://www.architecturaldigest.in/content/photos-of-gaurav-guptasnew-store-in-delhi/#s-cust0 Surrealism : Gaurav Gupta - churnesign. (n.d.). Retrieved from http://cargocollective.com/ dheenkla/Surrealism-gaurav-Gupta Vogue Images. (2019, May 21). Take a walk inside Rahul Mishra’s spanking new Mumbai flagship | VOGUE India. Retrieved from https://www.vogue.in/content/take-a-walkinside-rahul-mishras-spanking-new-mumbai-flagship

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LIST OF FIGURES Figure 1

10 Corso Como风格特色. (n.d.). [Photograph]. Retrieved from https://m.vogue.com. cn/invogue/news_1553630575b329dc.html

Figure 2

The Coveteur. (2014). 10 Clothing Stores Worth Traveling For [Photograph].

Retrieved from https://www.cntraveler.com/galleries/2014-10-23/10-clothingstores-worth-traveling-for

Figure 3

Caballero, P. (2019). In the Park / kooo architects [Photograph]. Retrieved from https://www.archdaily.com/911990/kooo-in-the-park-kooo-architects?ad_ source=search&ad_medium=search_result_projects

Figure 4

Caballero, P. (2019b). Zerezes / Tavares Duayer Arquitetura [Photograph]. Retrieved from https://www.archdaily.com/900879/zerezes-tavares-duayer-arquitetura?ad_ source=search&ad_medium=search_result_all

Figure 5

Amber , P. (2009). Tanishq retail store / Pompei A.D [Photograph]. Retrieved from https://www.archdaily.com/10992/tanishq-retail-store-pompei-ad?ad_ source=search&ad_medium=search_result_all

Figure 6

Saieh, N. (2010). T-Magi / WE architecture [Photograph]. Retrieved from https:// www.archdaily.com/45591/t-magi-we-architecture?ad_source=search&ad_ medium=search_result_all

Figure 7

Rosenberg, A. (2011b). Library And Coffee Shop / MYCC [Photograph]. Retrieved from https://www.archdaily.com/111559/library-and-coffee-shop-mycc?ad_ source=search&ad_medium=search_result_all

Figure 8

Jett, M. (2011). La Fabrique de Lunettes / Marc Ifrah Architecture [Photograph].

Retrieved from https://www.archdaily.com/168422/la-fabrique-de-lunettes-marcifrah-architecture?ad_source=search&ad_medium=search_result_all

Figure 9

Aguilar, C. (2014). Saraiva Bookstore / Studio Arthur Casas [Photograph]. Retrieved from https://www.archdaily.com/553008/saraiva-bookstore-studio-arthurcasas?ad_source=search&ad_medium=search_result_all

Figure 10

Valenzuela, K. (2014b). Sneakerboy Store / March Studio [Photograph]. Retrieved from https://www.archdaily.com/515415/sneakerboy-store-march-studio?ad_ source=search&ad_medium=search_result_all

Figure 11

Valenzuela, K. (2014b). PAPYRUS Glasses Shop / Archi@Mosphere [Photograph].

Retrieved from https://www.archdaily.com/465222/papyrus-glasses-shop-archiat-mosphere?ad_source=search&ad_medium=search_result_all

Figure 12

Saieh, N. (2013). Diageo Concept Store / Fourfoursixsix [Photograph]. Retrieved from https://www.archdaily.com/332210/diageo-concept-store-fourfoursixsix?ad_ source=search&ad_medium=search_result_all

Figure 13

Aguilar, C. (2013). Under Armour / Marc Thorpe Design [Photograph]. Retrieved from https://www.archdaily.com/459537/under-armour-marc-thorpe-design?ad_ source=search&ad_medium=search_result_all

Figure 14

Romi Khosla Design Studios, Saurabh Pandey · Suneet Varma Store. (n.d.).

[Photograph]. Retrieved from https://divisare.com/projects/130603-romi-khosladesign-studios-saurabh-pandey-suneet-varma-store

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Figure 15

Jett, M. (2011). La Fabrique de Lunettes / Marc Ifrah Architecture [Photograph].

Retrieved from https://www.archdaily.com/168422/la-fabrique-de-lunettes-marcifrah-architecture?ad_source=search&ad_medium=search_result_all

Figure 16

Aguilar, C. (2014). Saraiva Bookstore / Studio Arthur Casas [Photograph]. Retrieved from https://www.archdaily.com/553008/saraiva-bookstore-studio-arthurcasas?ad_source=search&ad_medium=search_result_all

Figure 17

Aguilar, C. (2014). Saraiva Bookstore / Studio Arthur Casas [Photograph]. Retrieved from https://www.archdaily.com/553008/saraiva-bookstore-studio-arthurcasas?ad_source=search&ad_medium=search_result_all

Figure 18

Caballero, P. (2019). In the Park / kooo architects [Photograph]. Retrieved from https://www.archdaily.com/911990/kooo-in-the-park-kooo-architects?ad_ source=search&ad_medium=search_result_projects

Figure 19

Jett, M. (2011). La Fabrique de Lunettes / Marc Ifrah Architecture [Photograph].

Retrieved from https://www.archdaily.com/168422/la-fabrique-de-lunettes-marcifrah-architecture?ad_source=search&ad_medium=search_result_all

Figure 20

Caballero, P. (2019). In the Park / kooo architects [Photograph]. Retrieved from https://www.archdaily.com/911990/kooo-in-the-park-kooo-architects?ad_ source=search&ad_medium=search_result_projects

Figure 21

Diego Hernández. (2013). Heydar Aliyev Center / Zaha Hadid Architects [Photograph]. Retrieved from https://www.archdaily.com/448774/heydar-aliyevcenter-zaha-hadid-architects

Figure 22

Valenzuela, K. (2019). Brick House / iStudio architecture [Photograph]. Retrieved from https://www.archdaily.com/599780/brick-house-istudio-architecture

Figure 23

Daniel Sánchez. (2013). Lotte Amoje, Food Capital / Karim Rashid [Photograph].

Retrieved from https://www.archdaily.com/401880/lotte-amoje-food-capitalkarim-rashid

Figure 24

Schelde, J. (2016). Glass reviews the latest show by Studio Mumbai – In between the Sun and the Moon [Photograph]. Retrieved from https://www.theglassmagazine. com/glass-reviews-show-by-studio-mumbai-in-between-the-sun-and-themoon/

Figure 25

References - Atzwanger AG. (n.d.). [Photograph]. Retrieved from http://www. atzwanger.net/en/references/

Figure 26

Bahga, S. (2017). A Modern Temple For All Religions: Roger Anger-designed Matrimandir In Auroville [Photograph]. Retrieved from https://worldarchitecture. org/articles/cvcep/a_modern_temple_for_all_religions_roger_angerdesigned_ matrimandir_in_auroville.html

Figure 27

Lunaganga Garden near Bentota. (n.d.). [Photograph]. Retrieved from http://www. lanka-excursions-holidays.com/lunuganga.html

Figure 28

File:Indian Habitat Centre , New Delhi.jpg - Wikimedia Commons. (2016).

[Photograph]. Retrieved from https://commons.wikimedia.org/wiki/File:Indian_ Habitat_Centre_,_New_Delhi.jpg

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Figure 29

History: The Surprisingly Emotional Modernism Of The Farnsworth House -The Chicagoist. (2017). [Photograph]. Retrieved from https://chicagoist. com/2017/07/28/history_the_surprisingly_emotional.php

Figure 30

Je browser bijwerken | Facebook. (n.d.). [Photograph]. Retrieved from https://www. facebook.com/unsupportedbrowser

Figure 31

WIRED Staff. (2017). How to Fit the World’s Biggest Indoor Waterfall in an Airport [Photograph]. Retrieved from https://www.wired.com/2016/09/fit-worlds-biggestindoor-waterfall-airport/

Figure 32

Rosenberg, A. (2011). Aura Spa at the Park Hotel / Khosla Associates [Photograph].

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Figure 33

https://www.apple.com/#organization. (2019). Apple Park Visitor Center opens to the public [Photograph]. Retrieved from https://www.apple.com/newsroom/2017/11/ apple-park-visitor-center-opens-to-the-public/

Figure 34

AD Staff. (2018). BV Doshi Special | Iwan Baan photographs the architect’s most iconic architecture [Photograph]. Retrieved from https://www.architecturaldigest. in/content/bv-doshi-iconic-architecture-iwan-baan/

Figure 35

Quintal, B. (2017). Tianjin Binhai Library / MVRDV + Tianjin Urban Planning and Design Institute [Photograph]. Retrieved from https://www.archdaily.com/882819/ tianjin-binhai-library-mvrdv-plus-tianjin-urban-planning-and-design-institute

Figure 36

Chandigarh: The original smart city - Business Standard - Diwan Manna. (n.d.). [Photograph]. Retrieved from http://www.diwanmanna.com/blog/post/ chandigarh-the-original-smart-city-business-standard

Figure 37

Miguel Hernández on Twitter. (n.d.). [Photograph]. Retrieved from https://twitter. com/berzelius11/status/1112389650205888513

Figure 38

Valenzuela, K. (2014). Loft 38 / Khosla Associates [Photograph]. Retrieved from https://www.archdaily.com/476456/loft-38-khosla-associates

Figure 39

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Figure 40

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Figure 41

Exhibitions. (2019). [Photograph]. Retrieved from https://www.guggenheim.org/ exhibitions

Figure 42

Indigo Deli by Sameep Padora and Associates - Parametric Architecture. (2018).

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Figures 43 to 51

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Figures 52, 53, 56, 57 59, 60, 61, 62, 63, 64, 65 and 66 : photographed by author

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Figures 54, 55 and 58

Gaurav Gupta | Studio Lotus. (2012). [Photograph]. Retrieved from https://www. archilovers.com/projects/61274/gaurav-gupta.html

Figures 67 to 79

Provided by Open to Sky Architects

Chapter 1 title page

Morby, A. (2017). Apple unveils tree-filled Regent Street store by Foster + Partners [Photograph]. Retrieved from https://www.dezeen.com/2016/10/13/apple-storefoster-partners-architecture-retail-interiors-regent-street-london-uk/

Chapter 2 title page

colette concept 213 rue saint honorĂŠ 75001 paris. (n.d.). [Photograph]. Retrieved from https://www.aulalike.com/product_info.php?c=colette%20concept%20 213%20rue%20saint%20honor%C3%A9%2075001%20paris

Chapter 3 title page

On the Grid. (2018). Sabyasachi [Photograph]. Retrieved from https://onthegrid. city/mumbai/fort/sabyasachi

Chapter 4 title page

400 Bad Request. (n.d.). [Photograph]. Retrieved from http://www.davidcardelus. com/retail

Chapter 5 title page

3 design ideas to borrow from the new Le Mill store - Elle India. (2019). [Photograph].

Retrieved from https://elle.in/article/3-design-ideas-to-borrow-from-the-new-lemill-store/

Note : All illustrations and tables are made by the author.

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GLOSSARY Brand a type of product manufactured by a particular company under a particular name Brick and Mortar Store physical presence of an organization or business in a building or other structure Concept an abstract idea Consumer a person who purchases goods and services for personal use E-commerce commercial transactions conducted electronically on the Internet Retail Store a business enterprise whose primary source of selling comes from retailing Retail-tainment a commercially-designed experience intended to combine entertainment and retailing Store Front the facade of a shop Target Audience a particular group at which a product is aimed Theme theme can be an underlying topic of a discussion or a recurring idea in an artistic work U.S.P. a feature or characteristic of a product, service, etc. that distinguishes it from others of a similar nature and makes it more appealing Visual Merchandising use and manipulation of attractive sales displays and retail floor plans to engage customers and boost sales activity Visual Perception the ability to interpret the surrounding environment Window Display a window in a shop displaying items for sale or otherwise designed to attract customers to the store

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REVIEW FEEDBACK REVIEW 1 (AUGUST 6, 2019) • Don’t define the objective, define your study.

• Concept: emphasis on design decisions.

• Concept as an abstract then into reality, then takes form of function. But when we will study the process will reverse.

• Current parameters are only tools for calculations. Parameters should be for concept.

• READ: a chapter on CONCEPT from the book Interior Design in 20th Century.

Reflections • Categorized elements of a defined thematic retail environment.

• Defined various parameters for case study and categorized them.

• Took a sample case study to find the larger level of decision making factors which are governed by the practice of interior design.

• Developed methodology of analyzing retail spaces with the virtue of a concept.

• Theorized the larger level of impact of stores with surrounding and context.

REVIEW 2 (SEPTEMBER 10, 2019) • • • • • •

Clarify the difference between a concept and a theme.

Mention the role of millennial as target audience and how they value experience.

How does concept add experiential and perceptional value?

Add an existing theory to the study. The theory should act as a base for the study.

Look at the surfaces holistically; zoomed out.

Overlap your Surface Elements with an existing theory.

Reflections • Added the existing theory of Atmosphere by Peter Zumthor.

• Developed the method for application of theory.

• Developed a method of diagramming.

REVIEW 3 (OCTOBER 15, 2019) • • • •

Evaluate not enhance the principles by Zumthor.

Tweak his study in the context of retail.

Understand how the principles can fit under Retail as a tool for evaluation.

Add non-retail examples under the 12 Principles of Atmosphere.

Reflections • Pilot case study (Toit) done to validate the framework for any thematic setting.

• Extracted Zumthor’s principles in the context of retail specifically.

• Added non retail examples for the principles of atmosphere to understand them holistically.

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