a lifestyle store jessica morse
table of contents 1: project description: 1 2: historiography: 17 3: case studies: 39 FARMiCiA: 39 zara, rome: 53 h&m, barcelona: 69 zense: 85
4: design + technical criteria:103 5: topical explorations: 119 human behavior: 121 color: 129 marketing + design: 137
6: existing site + context: 147 7: program development: 165 8: building analysis + code: 173 9: research summary: 185 10: bibliography: 193
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projec
ct description
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design lifestyle store introduction Philadelphia is home to approximately 90 different colleges and 368,000 students that are often seeking new places that are fresh, modern, and geared towards their demographic. A design marketplace and lifestyle center is a space that targets all aspects of a specific type of consumer’s life. This consumer will be a young, design-oriented college student. A space geared towards this consumer’s lifestyle will include retail spaces selling clothing, a cafe/bar, and rotating pop-up shops every month that feature local artist’s work.
This type of space is not common yet, but it would provide an environment that young people can go to get inspiration, relax, have fun, and purchase items suited to their lifestyle. A program like this can also fit into larger world context as there are college-age students all around the world who are looking for new and exciting places to go near their schools. Design students could especially use another means to get inspiration that relates to them on a local level, which can also be applied universally.
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design lifestyle store general design goals The goals of this design marketplace and lifestyle center are to create a space that is functional and inspirational throughout all hours of the day. During the afternoon, students would come to visit the local artists and see what they are creating as possible inspiration for what they are doing in school or just for general pleasure. The consumers can also travel throughout the space to the permanent retail spaces and buy unique clothes that are not easily found elsewhere at an inexpensive cost. By nighttime, the students could still be in the lifestyle center enjoying a meal or a drink at the bar where they can hang out with their other friends from school.
The research materials that will be helpful during this project will come from the very few examples of lifestyle centers that exist. Books that explain how these types of spaces are run will be helpful in addition to visiting a close example in Brooklyn, NY. Collecting data about the Greater Philadelphia area demographics relating to college-age students is necessary. Statistics coming directly from college age students would also be helpful in finding out what about this space they would like it to include in order to be useful and fun. Books about retail design and marketing will also be useful because targeting a specific consumer in retail environments is a lot about marketing strategy.
“during the afternoon, students would come to visit the local artists.. they can also travel throughout the space to buy unique clothes at an inexpensive cost.. by nighttime, the students could be enjoying a meal or a drink at the bar� 1.06
design lifestyle store role of the designer
The knowledge of an interior designer will be necessary in designing this type of space and program so that wayfinding and space organization is clear and makes sense for the customer. An interior designer will know what types of architectural features will compliment the displays and what can also be used as temporary displays for the pop-up shops. In addition to the main spaces, the interior designer will know how to include the ancillary spaces in this environment as to not take
away from the main reasons the customers are there. Overall, the main goal of the interior designer is always to make sure the client and users are safe; so this space will be ADA accessible with no hazardous displays or materials. The working environment will be improved in this space because the employees will be able to roam about freely instead of being confined to a small area. In addition to this, the space will provide ample natural light so they can be happier while they are working.
environmental and sustainability objectives Environmental and sustainability issues will impact the design of the design marketplace and lifestyle center through the use of very inexpensive materials to create interesting displays emphasizing their recycled nature. In addition to the use of materials like particleboard in the displays, these materials can also
be used in other forms of decor for nonstructural purposes. A big sustainable goal that the lifestyle center would like to achieve will be the conservation of energy, since it will be a large space that operates during the day and night. Other sustainable considerations will be through the use of things like water recycling programs, skylights, and greenery. 1.07
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design lifestyle store client and users The client of the design marketplace and lifestyle center will be a retail brand that has all of the beliefs that this space is trying to achieve. They will sell their own clothes but also import other unique brands from other countries that students would be interested in buying but do not normally have easy access to. The client’s company also believes in the exposure of local artists and wants to give them a spotlight to be able to sell or bring awareness to their artwork. Lastly, they want to partner with a local restaurateur to be able to serve food throughout the day and night. The client’s objectives will impact the design goals by making sure the space allows for people to move about freely and contain small temporary structures to house the pop-up shops for the local artists. The space will be designed so that the restaurant/bar will most likely be in a separate space or on a mezzanine
level as to keep those special needs separate from the retail needs. The public users of this space are the college age students, but it is also open to whomever, so it could really be any consumer that is interested in design, local artists, local food in a modern and hip environment, and unique clothes that cannot be found elsewhere at an affordable price. The staff users will consist of the local artists who will be rotating out per month, employees that will handle the selling of the clothes to the consumers, staff that runs all aspects of the restaurant/bar, and even staff that helps to set up/ take down the temporary structures for the local artists and change the store decor every so often as necessary.
“the space allows for people to move about freely and contains small temporary pop-up structures” 1.10
design lifestyle store socio-economic conditions
This project will not be associated with a specific income status, but it will aim to be more affordable since the target consumers are college-age students, who often struggle to have money for extras, like clothing and art. The way this will be achieved is by selling the clothing, food, and art for reasonable prices. There will be nightly specials at the bar to draw in more of the college students by the affordable nature of the business. The local artists who will be featured in the space will not be allowed to sell their art for unfair prices and will be selected based on their use of recycled materials, so that the consumers will be paying for the artists’ work and not their use of expensive materials. The design marketplace and lifestyle center as a whole will strive to use lower-cost materials in order to not have to raise their prices in compensation for using higher priced materials. In addition to being cautious about the materials used, the lifestyle center will also be trying to conserve energy to keep costs down and to be as sustainable as possible. 1.11
“the target consumers are college-age students, who often struggle to have money for extras, like clothing and art. the way this will be achieved is by selling the clothing, food, and art for reasonable prices.�
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design lifestyle store demographics
This project is definitely for a specific demographic group that is about age only. The design marketplace and lifestyle center is geared toward both male and female college-age students that does not exclude any race or religion. There will be clothing for the male and female customers, as well as art and products that can be appreciated by both genders. A commonality between the shoppers at this lifestyle center will be an interest in art, design, and a desire to have fun in a modern environment. These considerations will affect the design of my project because the interior of the space will need to reflect a fresh and contemporary aesthetic that this demographic wants to be in. It will also interest this group if, from time to time, the displays and relative design can change and add something new for them to look at and get inspiration from. At the restaurant and bar it will be necessary to include either
a lounge-like environment where college students can come with a large group of friends to hang out and talk. If the space allows for it, another feature that they would enjoy is a dance floor, which could also just be created at night when some of the retail space is no longer open. There will not be a need for Universal Design, but the space should be ADA accessible throughout. Some human behavior considerations that will be thought about include the use of bright colors in small amounts to demonstrate a space that is full of life and young. Correct lighting will be necessary in order to create the right mood in each of the different types of spaces. For example, the retail space will have a different ambiance than the restaurant/bar, which will look even different from day to night. The lifestyle space should include interesting places to sit and talk or just admire the environment/art as it should be a welcoming place to not only shop, but also relax. 1.13
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pictures a: http://www.spaceninety8.com/gorbals/photos b: http://www.wallpapermagazine.cn/design/4 c: http://www.spaceninety8.com/gorbals/photos d: http://www.spaceninety8.com/gorbals/photos e: http://www.spaceninety8.com/gorbals/photos f: http://www.spaceninety8.com/gorbals/photos g: http://www.spaceninety8.com/gorbals/photos h: http://www.anzaq.com/2013/06/super-moon-23rd-june-2013.html i: http://www.spaceninety8.com/gorbals/photos j: http://www.forbes.com.mx/las-mejores-universidades-del-mundo-para-estudiar-economia/ k: http://www.lebow.drexel.edu/academics/programs/undergraduate/ student-life/student-communities/business-learning-community l: http://psbreves.blogspot.com m: http://art.uga.edu/areas-of-study/undergraduate-studies/interior-designbfa/ n: http://www.carolinekamp.com/blog/2013/3/13/indie-of-the-week-14-faoshop o: https://www.pinterest.com/pin/37858453090111242/
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historiography
ancient greece 800 BC-146 BC
b Retail spaces have been around since the beginning of time, some of the earliest recorded in Ancient Greece. In Athens, the introduction of a building type called an “agora” was built. This structure was used for gathering and shopping in the center of every city and town in Greece. 2.19
An agora consisted of long, rectangular buildings that surrounded a central, open courtyard. Inside the building was a “stoa”, or a covered public pathway, which led the townspeople to shops or office spaces. One would find an agora to be built in the classic Greek
“agoras are one of the earliest examples of a marketplace, demonstrating that retail has always been a crucial part of human life� style of architecture, with supporting colonnades in the Doric order and altars displaying shrines to their Gods. The agora was built on a platform so that it could stand out from Athens’ rugged hilltops. Since the Greeks had to build most of their architecture into these mountain ranges, it was helpful that their local material was stone, which aided in the sturdy construction of agoras and fine details that could be carved into it. Daylight was a factor in the nature of the design of agoras, with the stoas providing shade and shelter from winter storms. Men and slaves in Ancient Greece did the shopping at the agora because they could carry the goods.
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As far as socioeconomic class, rich women were never seen in the agora, however, the space was open to all. The goods sold within the stoa were usually more expensive than those outside in the center, which was one of the only design decisions made correlating to economic class. Since agoras are one of the earliest examples of a marketplace, it demonstrates that retail has always been a crucial part of human life and that this type of structure is necessary. With that being said, retail spaces are cross-cultural and can be seen in other early periods as well.
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the roman empire 27 BC- 393 AD
As the Romans often looked to Ancient Greek architecture, they invented their own version of a marketplace that could have been inspired by the agoras in Greece. Emperor Trajan had his own forum, or plaza, in Rome that was known to be a central location for merchants to sell their goods. Trajan’s Forum included a plethora of buildings for different types of activities, but the main retail space is referred to as Trajan’s Market. This archshaped structure was set into the side of a hill in urban context and had multiple stories. It is said that the market was built to accommodate 150 shops and offices. The style of Trajan’s Market displayed the influence of Greek architecture with a stoa-lined piazza and the use of columns.
The Romans included their trademark triumphal arch and a balcony level in the market that had clerestory openings and small windows to allow for daylight. Concrete was a new Roman invention during this time, thus it was used to structurally support the market, as well as brick and marble, which were all local materials. Contrary to the Greeks, it was common for Roman women to shop in the market; only rich women would send their slaves to buy goods for them. The evolution from semiclosed marketplace to a multi-level shopping center had already taken place by 100 AD and continued to progress.
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the middle ages 500-1500 A notable difference from the Ancient time period to The Middle Ages is the permanence of retail spaces. It was common practice for the markets during the years 500-1500 to be temporary and occur only weekly. In the Medieval era, there would be annual fairs that sold imported goods 2.23
and less common items that were not found at the weekly markets. Although there were very few permanent retail spaces, every town had a central market where townspeople could buy food and other necessities. The shops that were of more permanent nature, were the same space as craftsmen’s
workshops, which were often located below their personal residences. Customers were allowed to come in and buy items directly from the skilled laborers in their workspace. The socioeconomic class structure during the Middle Ages was based on money and goods, not land. There were two guilds: the merchants and the craftsmen, which shows the importance of commerce because the people with the most money were princes of trade. Other evidence of the emphasis placed on trade during this time, was the fact that Medieval towns developed where there was means of transportation, like rivers. By the year 1200, towns in Britain were creating more permanent market spaces again. This was called a market cross, which was an octagonal structure on legs for merchants to sell butter and eggs.
The space provided shelter with a roof, but was mostly open to the outside through columns. The market cross building eventually evolved into a market house, which had another storey on top of the same type of arcaded ground floor. This second storey contained spaces for gathering purposes, similar to Trajan’s Market. Commerce and trade increased during the Middle Ages and that was reflected in the way the buildings went from temporary to semipermanent, and eventually back to permanent structures. Another factor that contributed to the increase in trade was due to the population growth. At this point, a trend started to develop where countries tended to look to Italy for influence on retail spaces.
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the renaissance 1300-1600 The Renaissance marked a time period of change, with rapid population growth and the need for supply. This meant the retail structures would be affected by the change in demographics and amount of goods sold. The need for more permanent structures increased dramatically from the Middle Ages, thus the open air markets were modified. Retail spaces during the Renaissance still maintained a certain level of openness to the street, but they included more permanent fixtures like shelving and tables. Street vendors were another newly accepted custom, which reflected the change in attitude towards merchants selling on the street. This meant that spaces were right off of the streets and tended to be small, single vaulted areas that were still sometimes below the craftsmen’s homes. Although vending on the street was accepted, women who sold goods on the street were considered to be deceiving, and it was also believed that if women purchased
items from street vendors, they would be betrayed. Some shops had mezzanine levels that were lit by windows above and others only received daylight through the openness to the street. Since the permanence of retail spaces were new to this generation, some markets would lay out a carpet or rich textile to signify when they were open for business. In Italy, the Roman style was still incorporated in their market spaces with arches and columns to structurally support them, some even starting to include a cellar to accommodate additional storage with low windows. With less temporary markets, came the need for surveillance and control within spaces for selling goods and trading. The new, permanent shops started in large cities’ central squares, and eventually made their way to the smaller towns.
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the enlightenment 1600-1760
i With the Enlightenment came the introduction of the first enclosed shopping malls in the United Kingdom and France. This was a time period of increasing wealth and organized trade; people wanted to go shopping and saw it as a social activity where they could be seen.
The New Exchange shopping gallery was right outside of London in an upand-coming area called The Strand; it opened in 1609 and included 30 stores. It was as much an art gallery as it was a retail space, which allowed for the social activity that people desired. 2.27
“this period saw a growth in large and extravagant centers for shopping and would set an example for what we consider shopping malls today.” Seeming to be influenced by the Greek agora, the New Exchange consisted of two long, colonnaded galleries that surrounded a courtyard. However, these galleries were two stories and broken up into four sections. There was an “inner” and “outer” walk that contained rows of shops behind the building’s stone facade.
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The New Exchange was built in the Gothic style, which carried over from the prominent architecture in the Renaissance. Unlike the common markets in the previous eras, this shopping gallery was aimed specifically at the upper class. Exotic luxury items that could not easily be found elsewhere were sold, as well as unique artworks. The New Exchange went as far as to exclude beggars and required that the noise level be kept to a minimum. This period saw a growth in large and extravagant centers for shopping and would set an example for what we consider shopping malls today.
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industrial revolution 1760-1890
Since the first malls were created in the Enlightenment, naturally the development of individual department stores came next. The Industrial Revolution saw the creation of Paris’ Au Bon Marche in 1850, the first department store with a building designed just for it. However, perhaps the most grand and innovative retail store during this time was Crystal Palace in London. Machinery and glass were some of the most important inventions during the Industrial Revolution, which Joseph Paxton used to their full potential when designing Crystal Palace in 1858. The enormous structure was used to house the World’s Fair of that year, where all of the countries get together to display their new inventions. Crystal Palace was an invention of its own since nobody had ever seen a structure with such
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large glass panes and the use of so much steel. The rectangular-shaped building was located in Hyde Park and was made up from a modular grid, determined by the glass pane size. The interior space was an open, twostorey gallery that ran along the main axis and then had two wings perpendicular on each side. Paxton created his own structural system that supported the 72-foot wide barrel vaulted ceiling covering the central gallery. The rest of the building was supported by cast iron columns and had an overall light but strong frame; this was crucial in the design of Crystal Palace since it was a temporary exhibit. Another design issue that Paxton cleverly solved was the need for some type of cooling and ventilation system, as air conditioning did not exist yet.
He came up with an external canvas cloth that stretched across the roof, in addition to louvres that could open to let the hot air escape from the interior. Since Crystal Palace was supposed to be a gathering of all cultures, everyone was allowed to visit, but the rich got to attend a private opening first with an admission fee.
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Its 990,000 square feet housed 14,000 different exhibitors from around the world. Crystal Palace was a retail legend in many different ways, but it was one of the first examples of grand, yet temporary architecture for exhibitions.
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early 20th c., world war one, + world war two 1900-1940
By this time, architects had all of the means to build extraordinarily large structures and that is exactly what they did. In 1909, London was graced with Selfridges & Co., which marked the beginning of the explosion of department stores as a commercial entity. It was five stories high with three basement levels, a roof terrace, and 100 department stores. Selfridges was one of the earliest examples of steel frame construction in London, even though the architect covered the facade with a classical Beaux-Arts appearance, which quickly became traditional next to the rapidgrowing trend of Modernism. In Germany, large department stores were also developing; Schocken
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Department Store being one of the first noted to include a food court. Schocken was built in 1927 in Stuttgart with a brick and concrete structure. Although the materials used were relatively traditional, the appearance of Schocken was done in a Modern style characterized by the large glass windows. The early 1900s saw a complete change from traditional architecture to a Modernist approach, which was reflected in the use and appearance of commercial retail buildings from this era. This also was the time where big brand names, like Macy’s, were developed and had their own building to sell its merchandise.
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case studies
FARMiCiA
old city, philadelphia, pa overview
as a case study for a design marketplace and lifestyle center because the proposed space will include a modern yet rustic cafe/bar and FARMiCiA serves as a good example for design inspiration and programmatic requirements. Another reason this space was chosen to study is because the original building is historic and was adaptively reused to fit the modern program, without harming the main structure that has always been there. FARMiCiA attracts many different demographics, but could particularly appeal to young college students, since they are the generation that is proving to appreciate sustainability and healthy, fresh foods.
The first precedent that was studied was FARMiCiA, a restaurant in Old City, Philadelphia. The space is approximately 6,000 square feet with one main floor and some storage in the basement level. This building that currently houses FARMiCiA was initially built around 1890 and has been a novelty store and another restaurant called “The Novelty�. DAS Architects redesigned the interior when The Novelty took over the space and was updated with new fixtures, artwork, furniture, and colors when FARMiCiA moved in. Based on the assessments of FARMiCiA, the budget was probably moderate to high for the updating of the space. This restaurant was selected
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FARMiCiA
old city, philadelphia, pa overview
This is relevant to contemporary design issues because more spaces are attempting to use sustainable practices, in addition to more restaurants that serve farm fresh food. The owner of FARMiCiA is a middle-aged man who has a passion for Feng Shui in design and wanted the space to reflect that, promoting vitality, energy, and prosperity. The users of the building range from the staff of the restaurant to the customers that come in to enjoy the food and atmosphere. Common daily activities that take place in FARMiCiA starts with the staff cleaning and preparing the restaurant for the customers, then waiting on them throughout the day and night, ending with a nightly cleaning. Restaurant staff must always be on their feet, running around serving food and drinks, as well as cleaning
and managing the produce. Each day, there are hundreds of customers that come to FARMiCiA; these users will only be in the dining area, bar space, or the restrooms. As the building is a part of the cityscape of Old City, it is set in among many other historic brick buildings. This neighborhood is a lively area with other restaurants and retail spaces allowing for bustling crowds looking for activity. Old City is an area of wealth because of its well-maintained nature and plethora of small businesses. Philadelphia’s climate is seasonal and moderate; as it experiences all four seasons, consisting of snow as well as heat. The bricks of the building provide excellent insulation from all types of weather and temperatures, and the large windows allow maximum daylight for a space that is surrounding by other buildings.
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FARMiCiA
old city, philadelphia, pa design concept and style
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The overarching theme of the design of FARMiCiA is the incorporation of the Feng Shui principles: fire, earth, metal, and stone. Each of the elements is represented throughout the space through colors and finishes. Another design decision the owner made was to use antique lighting fixtures to give the space an “industrial chic� vibe. Sustainability was practiced through keeping all of the original structure and quirky elements like thick, metal mechanical doors that worked with pulley systems that still function. The owner wanted to keep the original tin ceiling, which would have been ruined with the intervention of modern electrical wiring, so that was kept on the outside of the tin ceiling and disguised with panels. Walnut wood makes up the vintage floors of the space that gives it a rustic feel. The exterior facade goes with the interior through the large framed glass windows that look modern, yet have the storefront appeal of the old toy store that once resided
in the space. In certain lighting, one can see into the space from the exterior through these industrial windows, which helps connect the aged brick with other antique features of the interior. FARMiCiA’s spatial organization consists of a mostly open floor plan with ancillary spaces neatly tucked away out of the line of sight of the customers. The circulation and wayfinding of the space is very simple, as the dining areas are all open to one another and the restrooms are tucked away at the back of the restaurant with a straight pathway that leads to them. Storage spaces are nicely hidden behind the bar area, where customers never pass, as well as in the basement level, which customers cannot see the entrance to. The kitchen is also in a location that makes sense at the back of the restaurant next to the restrooms, but separated by a wall and a small vestibule for the restrooms.
FARMiCiA
old city, philadelphia, pa interior design
The predominant materials of the interior space are brick, wood, metal, and the textiles used on the furniture. These finishes are appropriate for the design intent of the building because the goal was for the space to feel “industrial chic”. As previously mentioned, the adaptive reuse of the building meant keeping almost all of the original materials that were derived by the structure and previous functions of the space. This means that the design of FARMiCiA naturally has the industrial look that the owner wanted from the vintage materials and mechanisms in the building; stone and metal were also fitting as they are two elements highlighted in Fung Shuay. The typical furniture required for FARMiCiA’s program are rustic tables with red chairs, some bright red banquette seating, as well as bar stools.
This furniture supports the needs of the users of the space by giving different seating arrangements for the customers to provide a casual solution, a private section, as well as set ups for large groups. Although the sections of seating all flow well together, the different arrangements of dining opportunities all have their own views of the restaurants, which makes the customer’s experience at the restaurant more enjoyable. Color was an important factor in the design of FARMiCiA since Feng Shuay principles depend on certain colors to convey different vibes. For example, green is used throughout the interior to reflect the earth element, as well as red, since it is a sign of prosperity. The color use in the space is successful because there is just enough bright color from the textiles to warm up a space
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FARMiCiA
old city, philadelphia, pa interior design full of industrial materials, but not be overwhelming. Reds and greens give the users of FARMiCiA a feeling like they are at home or on a farm, which is another successful quality because it goes along with the farm fresh food. Daylight is an important factor in the quality of the atmosphere at FARMiCiA, as it provides an uplifting feel throughout the day. At night, artificial lighting is produced from antique pendant lights that emphasize the dining areas, but do not disrupt individual tables. The fixtures were found at antique stores and were meant to look homey and mismatching. Art, decorative elements, and accessories are plentiful in this restaurant, and they all display farm life scenes, flowers, or elements from Feng Shuay. Mirrors are placed with purpose multiple times throughout the space as that is seen as a sign of good luck. These accessories adequately support the psychological needs of the users by making the space feel more homey and personable. 3.47
FARMiCiA
old city, philadelphia, pa post occupancy survey and evaluation
The users of FARMiCiA consider the space to be functional and efficient. They feel that the flow of the open plan makes it much easier to serve the customers directly from the kitchen and check on multiple tables in a short amount of time. It is convenient that the restrooms are at the back of the restaurant but not in the way of any of the spaces the employees need to get to. Another design quality that the users of the restaurant like is how the bar is near the entrance but separate enough from other diners that they do not feel like the noise from the bar is interrupting their dinner. The users of FARMiCiA do not note any flaws in the design of the space.
FARMiCiA is spatially designed well and the material choices are fitting for the atmosphere. It meets quantitative needs by having just enough space that is necessary for a restaurant of that size; there is no crowding or cramping and servers have plenty of room to float in the aisles between the tables. The qualitative characteristics of FARMiCiA make sense for the type of environment the owner wanted to achieve through material and accessory selection. If flaws had to be found in the design of FARMiCiA, there could be a bit more acoustical privacy as well as more lighting above the dining spaces.
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FARMiCiA
old city, philadelphia, pa spaces, rooms, and adjacencies
vestibule- 100 sq. ft. kitchen- 800 sq. ft. dining areas- 3900 sq. ft. bar area- 350 sq. ft. storage- 450 sq. ft. restrooms- 400 sq. ft. total- 6,000 sq. ft.
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zara
rome, italy overview The worldwide retail store, Zara, has a grand scale location in a prime location for shopping in Rome, Italy. It is located in a famous, old building called Palazzo Bocconi, which was built to house the first department store in Rome in 1886. Palazzo Bocconi was renovated in 2011 by Duccio Grassi Architects to become one of the biggest locations of Zara in Europe. There are six floors that total to 5,000 square meters. The budget to create Rome’s new Zara was probably high, based on the amount of glamour the space portrays and the cost to maintain the integrity of the building while doing such major interior renovations. This will impact the design of the lifestyle center because it shows the realistic nature of creating a new space
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within an older, existing building. Zara is justified as a case study because it is a modern retail environment that targets the same general age as the lifestyle and design center. The six floors of Zara all have their own subtleties, but still connect together to create a dynamic space. This case study is also a good choice since it is in an old building, which was preserved in the making of this space. Zara in Rome is relevant to contemporary design issues because most old buildings will need to be reused, and in large cities there are always retail spaces that are being redone to meet the needs of modernity. The owner is a large corporation of chain stores with over 5,000 locations worldwide, but predominantly in Europe.
zara
rome, italy overview The clients are the targeted demographic, which is men and women in their mid-twenties to thirties. Other users include the workers at Zara, who are sales associates and security guards, at this particular location. Daily, weekly, and monthly activities are all the same, where shoppers enter the doors around 11 a.m. every day and can shop amongst the six levels until the evening. The setting of Palazzo Bocconi is urban; on a main road in Rome designated for retail stores and high-end shopping. The neighborhood is a wealthy area, with a few apartments, but mainly commercial shops in old, Italian buildings. Palazzo Bocconi is next to a series of famous buildings where the first department stores were located in Rome, called La Rinascente. The road, Via del Corso, leads to the famous Spanish Steps,
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which is always flooded with people. This makes a perfect environment for people to shop and then rest at the end of the street on the steps; or tourists visiting the steps can go shopping close by. The socio-economic conditions in this area of Rome are plentiful, with many people coming in from all different parts of the world who have money. The locals in this area are of a certain level of wealth as well. Rome is a Mediterranean climate, which creates a hot environment most of the time, with a rainy season each year and a mild winter. The climate affects the way the building was designed through the use of certain materials, which need to insulate the building from the heat outside. Palazzo Bocconi has large windows that take advantage of the ever-present sun in Rome.
zara
rome, italy design concept and style
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The design style of Palazzo Bocconi when it was originally built in 1886 is a Classic Italian style with some new modern materials introduced during the Industrial Revolution, like iron and glass. In addition to iron and glass, the exterior is made up of concrete as well. The building is a symmetrical cube and each facade is divided into thirds. Each third contains a large, arched window with three smaller arched windows above a cornice, followed by three more square windows, topped with a large decorative cornice at the roof line. Between each third of the facade, is a pilaster in the Corinthian order with some rustication at the base. At the top of the building reads a sign “Alle Citta D’Italia�, which means The City of Italy. The much newer interior of this building that is Zara, is of a significantly more modern style than the exterior, although it does not compete with it. The interior space is full of thin, white, iron columns that have decorative elements on them that resemble the Corinthian order on the exterior. It appears that Duccio Grassi
Architects thought very carefully about how they could update this interior space to make it modern for the interests of the clients, without taking away from its original style, it compliments it. At Zara, there are six floors of retail space, each one with a unique design. The organization of the spaces are simple, each floor is open to the one below it and have as much open space for clothing displays as possible. The means of egress are either in the back of the building or to the right side and are stacked on each floor. Zara has monumental escalators that zig-zag up and down on each floor on the far right side of the building. Fire stairs are located at the back of the space, but are not obtrusive to the customers shopping. Elevators are parallel to the escalators on the right side of the space, but are closer to the entrance for easy access for people and supplies. The public spaces dominate the floor plans, with customers allowed to go practically anywhere they wish. Private spaces for storage, workers, and fitting rooms are located at the back of
zara
rome, italy design concept and style the building along with the fire stairs. A continuous wall blocks these private spaces, so it appears to customers that they can see the extents of the store. It is apparent that circulation space has been grouped together for easy access and in order to keep as much space open as possible for shopping. The fact that the circulation is all placed on the right side of the building, allows the customers to move around each floor in a circular motion. Since the center of each floor is open to below, it forces them to be curious what is on the other side, so they get off of the escalator and travel around the space in a circle, where they will find themselves back at the escalator to travel up to the next level. Conveniently, the checkout counters are placed next to the escalators to the left, so shoppers can easily buy items on their way in or out. Palazzo Bocconi’s structural systems consist of the small, iron columns throughout the space, which helps support the large cut outs on each floor.
These can be seen in the below diagrams. The HVAC is exposed on the basement level and is a typical system, it does not consist of any sustainable features. On each of the preceding levels, the HVAC is covered by a drywall ceiling. The visitors are comfortable with the environmental systems in place at Zara, there is always a moderate temperature inside, which is necessary in a Mediterranean climate. Zara does not include any sustainable systems, but was built keeping the integrity of the existing building in mind, which is a sustainable practice. The space was not gutted out and recreated, it was simply modified to create a more dynamic and modern space geared towards today’s customers. All of the original structural systems were kept as well as the floor levels, which was easy to keep as the building was originally designed for a commercial retail space. The interior design of Zara was definitely not an afterthought, each element is custom and creates an awe-inspiring environment. 3.60
zara
rome, italy interior design The predominant materials of the interior of Zara are metal, concrete, and stone. These finishes are appropriate for the design intent of the space because they will hold up against an immense amount of traffic coming in and out of the store daily. Metal, concrete, and stone compliment the exterior of the building as well as allowing for the large open spaces cut in each floor. The use of these finishes is successful for the design intent of the space because they are structurally appropriate, visually appealing, and make sense for the amount of traffic that uses the space. As far as furniture, the bulk of it comes from the stands for clothes and accessories. Each checkout counter is a built-in and custom item, so it acts more as an architectural element than furniture. The lighting fixtures are not supposed to be a statement for how they look, but the effect they give off. Almost all of the lights in Zara are spotlights that target the
clothes and accent some of the architecture. The stands for clothing vary in size, shape, and function. Some are racks to hang clothing that can be moved and interchanged, while other racks are built into the wall. Aligned with the racks on the walls are shelves that are also permanent, but can always have different items placed on them. Stands are placed strategically throughout the space, so that there are aisles in between for shoppers to easily go through them. In addition to moveable and wall-racks, there are racks that are built into the floor, and create their own spaces by having low walls attached to them in the middle of the floor. To create diversity, there are also tables laid out that are built-in as well. These create a visual change and also a place to display products that cannot be hung, like shoes. The color palette of Zara is full of neutrals; white, tan, gray, and black dominate the space, with an emphasis on white.
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zara
rome, italy interior design This is successful because it allows for the clothes to be shown off, since the colors in the space do not compete with the views of the clothes. These colors create a calm environment and have a glamorous feeling without being over the top. It can make one feel like they are shopping in a luxury department store, even though the items are reasonably priced. The natural lighting in Zara is really dynamic because of the perforated metal curtains the architects created to cover the large windows. Since there are small holes in the curtains, from the inside the shoppers can see the cityscape, but from the outside people can only see light coming through the holes. This also creates a light glow throughout the space, since much of the lighting in Zara is from the artificial spotlights. Although there are two different means of lighting in the space, it is not necessary for it to be overly lit,
since the white color palette reflects ample light. Duccio Grassi Architects chose for there to not be many extra decorative elements besides what the architecture and clothing create. This is successful because the open to below spaces are filled with tension cords, which create dynamic, yet subtle interest. Mannequins are dotted throughout Zara that act as clothing displays, but also decorative elements as they are usually clustered together. Since the clothing in the building is displayed in such ways that they can be considered decorative elements, if the architects added other unnecessary items, it would have competed with the overall feeling they wanted to achieve. The slight emphasis on architecture makes this Zara feel glamorous and intriguing, without taking away from the clothing that is being sold.
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zara
rome, italy post occupany survey and evaluation
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The users of Zara in Rome love the overall design of the space; they believe it is very easy to navigate and manage to see all of the hundreds of clothing items in the store. They like the large number signs on each floor to indicate which level they are currently perusing. The users have no problem with any of the materials used in Zara, as they do not hinder the customers in any way, but add visual interest. A weakness in the design seen by the users is the fact that there are no places to stop and rest in such a grand space. With six floors of shopping space and no benches, they wish there were moments where they could sit. All other feedback about Zara was positive, including enjoying the atmosphere and easy wayfinding. Zara is an excellent space functionally, aesthetically, and it is quite unique. The spatial requirements for a commercial retail store are met and exceeded. There is ample space to display and sell clothing and can accommodate the extensive crowds of Rome. I thought it made the most sense to tuck away the ancillary spaces in the back, away from the eyesight of the customers.
Circulation from floor to floor is stacked and organized, while the circulation around each floor is open, yet circular. This makes a lot of sense strategically for marketing purposes, that way the customers can see the maximum amount of clothing. I agree with the users, however, possibly one of the only flaws that Zara has is that there is no place for shoppers to rest for such a vast space. Visually, the space that Duccio Grassi Architects works really well, too. Since the light color palette accentuates the clothing on display, the space is serving its purpose by drawing people towards the items for sale. There is enough visual interest, so customers can admire features like the tension cords connecting all of the floors while they are walking through the space. Lighting needs are met in the space, so shoppers have a bright enough space to see where they are going, without being so light where it hurts their eyes. Overall, I believe the architects created a modern interior space that fits the needs of Zara shoppers, while being cautious of the existing structure and complimenting the Classic style of the exterior.
zara rome, italy spaces, rooms, and adjacencies
3.67
h&m
barcelona, spain overview The original building that H&M Barcelona took over was originally the head office of the company Calatana de Gas. It was designed in the late 1800s in the Bourgeois style of architecture by Domenech Estapa, who opposed the Modernist movement and wanted to build in a more Neoclassical style. Located on the most commercial street of Barcelona, Portal de l’Angel, the H&M building could not have a more perfect location to entice shoppers from all over the world. H&M in Barcelona consists of three floors that total to 20,626 square feet, all designed by Estudio Mariscal in 2008. The architecture firm also had help from other places, like
lighting designers and furniture dealers. This project definitely had a substantial budget with such a large space and the need to maintain the original integrity of the building, while superimposing new interior design. The justification of H&M Barcelona as a case study is because it combines old and new architecture with surprises in the design throughout the interior spaces that allows for different areas to have their own character. H&M is relevant to contemporary design issues because its target audience is young people in large cities and how to keep their interest, visually. Another reason this space is
“h&m in barcelona consists of three floors that total to 20,626 square feet, all designed by estudio mariscal� 3.69
h&m
barcelona, spain overview
a great example of modern design issues is because of the successful way the architects preserved an older building, while adding modern design elements and the two harmonize. H&M would be considered the owner and client of this building; a large retail corporation with many locations all over the world that sells fashionable clothing at low-prices for a younger clientele. The users of this space are the young shoppers that the corporation is targeting, men and women, along with the sales associates and other workers for H&M. Activities at a commercial space of this sort do not vary much, but consist of thousands of shoppers entering and meandering through the
space every day. 22 Portal de l’Angel is the exact address of this building and would be considered downtown Barcelona in the shopping district, which is designated mainly for shopping pedestrians. This area could be considered to have wealth, although the people who shop here range in socio-economic class. Some of the shops could be priced at a more affordable rate, like H&M, while others could be pricier. Regardless of this fact, Portal de l’Angel is a nice area and pleasant to walk and shop through. In Barcelona, the climate is typically hot and humid, which probably propelled the original architects to make the building out of wood and stone.
“thousands of shoppers enter and meander through h&m barcelona every day” 3.72
h&m
barcelona, spain design concept and style With the original style of the H&M building being Neoclassical, the exterior has rustication and arches within the stone. Since it was initially built before people were concerned about price per square foot, the main entrance is grand with a statement staircase that pierces all of the floors, encompassed by a domed atrium. The 2008 renovation added new materials like metal and modern technology, such as LED screens. Now, the overall design style of H&M reflects a combination of old and new, with modern, pop, and contemporary twists. Although the two styles may seem to be opposites of one another, Estudio Mariscal managed to design an interior that still respects the facade and previous design elements that are still present in the space. A dominating feature of the space is the
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central atrium over the grand staircase. Many of the open retail spaces are designed around this staircase location. There are also an abundance of private spaces in H&M, since the architects wanted to create an environment that surprised the shoppers and areas that had different design feelings. The original main three rooms that were directors’ offices of the company were integrated into shopping space and directly show the contrast between the old and new. Features like columns and wooden elements juxtapose the modern, spiraling metal feature that surrounds the old staircase to emphasize the verticality and difference of the two styles. The lower level includes storage for H&M and the most private space of all the floors. Each floor includes a uniquely designed fitting
h&m
barcelona, spain design concept and style room that are placed in more secluded areas. There are many means of egress in this building, with a main staircase, four elevators, a secondary staircase, and fire stairs. The elevators are located at each side of the building and the stairs are mostly towards the middle of the space. It is evident on each floor the difference between open shopping space and the created intimate retail environments. As the floors ascend, they get smaller, with the lower level having the largest area. Check out areas are strategically placed in a central, open location on each floor. Since the means of egress are mainly centrally located, the open spaces are too, and the private areas are off to the sides of the plans. The circulation throughout the space could be considered confusing with all of the different methods. There is not a
clear pathway that a shopper should take, thus, it might be easy to get lost or for one to know if they have seen all of the rooms. Some of the more private shopping areas only have one entrance and exit, which doesn’t necessarily allow for customers to float from room to room. However, this could be the intent of the architects, considering they wanted to design different types of shopping environments within H&M; it also allows for unexpected visuals and surprises. The structural system of the building is emphasized around the central staircase with large cutouts in the floors surrounding it. HVAC is not exposed in this space and is very well hidden considering all of the open elements that the building has. Sustainability was not a main factor in the designing of this building, but the practice of preservation in this fashion can be considered adaptive reuse. 3.76
h&m
barcelona, spain interior design The old materials of H&M Barcelona are wood and stone, while the new ones are aluminum and other metals in addition to organically shaped furniture, sculptural features, and LED screens. These materials are appropriate for the design intent of the building because there is a definitive difference between the old and new and it allows for colorful, sculptural moments to create the unique spaces the architects wanted. Many of the stands for hanging clothes become sculptural elements or appear like furniture. There are modular units created uniquely for H&M and how to display their clothing in different manners. Other units Estudio Mariscal incorporated into the space for clothes were built-in wall displays. Some furniture was included for customers to sit and rest and even enjoy the interesting views that the interior has to enjoy. The architects added a secondary skin over the original interior that could be removed and is neutral colored in black and white. This creates a backdrop for the clothes and emphasizes them instead of the architecture in areas where it is necessary. 3.77
h&m
barcelona, spain interior design Certain rooms have some bright colored accents through furniture and sculptures that create a fun and whimsical environment. The entrance has an explosion of color through the use of LED screens; a modern way of drawing people in from the street, like a virtual shop window. The experience is modern, but tells a story of what used to be there with the old features. A vision in the center is flooded with natural light with new versus old materials and an impactful statement made through spiraling metal emphasizing the staircase. Pops of color in some of the intimate shopping spaces draws people in to wonder what is beyond. Much natural light enters through the domed atrium since only the first level has windows at the front and rear. Artificial lighting is provided by spotlights that are strategically placed to illuminate the displays of clothes. These light fixtures blend in with the ceiling since they are also white. No other artificial lighting is required in the entrance because of how 3.79
much light the LED screens produce on their own. The architects had a sculptor create some pieces to display in H&M in addition to their creation of a new type of icon for the store, which resembles a Picasso style portrait painting. These accessories are placed only in some spaces, as the custom shelving, displays, and architectural
elements provide the building with enough interest. They adequately support the needs of the users without overwhelming the space and relate to one another even though there are areas that are different. The overall feeling of H&M Barcelona is modern with pop twists, while respecting and complimenting the old architecture.
h&m
barcelona, spain evaluation My evaluation of H&M Barcelona is that it is a great space, practically and visually. The architects achieved what they had hoped to by having a large retail space that can entertain the needs of young shoppers. There is enough space to display clothes, shop, and even find new areas to discover in the store with multiple elevators and stairs to get them there. Although there is adequate circulation space, it could be considered confusing and indirect to some, which would be my only complaint about the building.
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h&m
barcelona, spain spaces, rooms, and adjacencies Square Footage per Type of Space: Storage: 1,153 Open Retail: 12, 492 Private Retail: 1,686 Restrooms: 200 Fitting rooms: 1,062 Entrance: 493 Check out areas: 675 Stairs/elevators: 2,865 Total= 20,626
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zense
bangkok, thailand overview
Location: Bangkok, Thailand Architects: Department of Architecture Area: 26,248 sq ft Year: 2012 Zense is a large-scale restaurant, bar, and lounge, whose two stories sit atop a multi-story building in the heart of Bangkok, Thailand. It is owned by Zen Department Store, which resides in all the floors below Zense, including many levels reserved for lifestyle spaces in addition to retail stores. The 2012 Zense is actually a renovation of the restaurant after a horrible fire in 2010 destroyed the first Zense designed by Department of Architecture. The architects decided to revamp the space by using bolder colors as well as enhancing their original concept through stronger articulation
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in the architectural elements. Zense’s construction budget was high, at the equivalent of 2.46 million dollars. This restaurant and lounge serves as a great case study example because it is a part of a lifestyle retail store whose design concept embodies the combination of fashion design, interior design, landscape architecture, and architecture. Since the space is so grand, it is interesting to see how the architects created structural elements of interest that still serve as functions for the restaurant. Zense is relevant to contemporary issues because not only does it incorporate the
zense
bangkok, thailand overview interest of its target users that may be shopping or exercising on the floors below, but it also allows them different types of environments to dine or relax within the same space. According to the owner, Zen Department Store, the local and tourist clients “appreciate good design, the latest fashions, and top-notch creativity”. The owner targets no specific age, but they are often young professionals that visit Zense as well as other stores apart of the Zen lifestyle. At Zense, the daily activities include a sufficient amount of people that come to the lounge or restaurant in the evening to stay for a while
and enjoy the atmosphere as well as fine dining. The multi-story building is set in an urban scene in Bangkok amongst other shopping centers and commercial buildings. This area of Bangkok is wealthy and full of lively places to shop, where locals and tourists go to spend money and enjoy themselves. In this part of Thailand, the climate is tropical wet and dry with an average temperature of 90 degrees Fahrenheit all year long. In response to this, the building that Zense resides in is mostly a glass and steel structure, with an abundance of outdoor space for the restaurant visitors to enjoy.
“the local and tourist clients appreciate good design, the latest fashions, and topnotch creativity” 3.88
zense
bangkok, thailand design concept and style The design style of Zense is contemporary with a futuristic feel on the exterior and interior. Since the devastating fire in 2010, the exterior was also renovated and had a new steel wall with openings added in front of the glass curtain walls. The interior of Zense consists mostly of open space broken up by stairs or architectural elements. Zense’s overall design concept is the representation of a blending of four different fields of design: interior, fashion, landscape, and architecture. Since the top floor restaurant is owned by the department store of the rest of the building, there is a connection between the exterior of the whole building and the interior of Zense. Both have a contemporary feel with an extraordinary use of materials like glass, steel, concrete, and other decorative metals. The exterior incorporates the views of the city skyline by having glass panes 3.89
on all floors around the entirety of the building, while Zense has wide open spaces that sit atop of the building for the same type of views. The floor plans of Zense consist of two floors that total to about 26, 248 square feet. For such a large amount of space for a restaurant, the program includes a variety
of sections for customers to sit. They have the choice of dining inside or outside, going to the areas designated for bar patrons, or even special rooms for VIP customers. Zense has a reflecting pool on its first level where visitors can gather around with incredible views of the Bangkok skyline beyond.
zense
bangkok, thailand design concept and style The organization of these spaces is based upon public and private, where they are mostly grouped together. Spaces that needed to be completely enclosed, like the kitchen, are towards the back of the restaurant, farthest away from the open views of the city. All of the prime areas for customers to sit have been taken advantage of for the majority of the restaurant’s seating, each with a different intriguing architectural element to admire. Adjacencies include the dining spaces near the kitchen, bars, and restrooms, as well as central locations for the stairs and elevators. At Zense, the wayfinding system is not incredibly direct, without signage indicating which part of the restaurant is where. This can be assumed that it was done for visual reasons and that employees of Zense will
be showing most patrons to their seats. Another factor about the circulation of this space is that the architects made the space so that customers have to walk through an elongated, curved vestibule, presumably so that they could appreciate the views and architecture of the space. The structure of Zense is steel framing and columns, notated in the diagram below. All ceilings in this space are exposed and painted black, with decorative and bright pipes representing pleating in clothes that run throughout the space below the ceiling. Since the ceilings are actually exposed, all HVAC can be seen behind these pipes. The architects of Zense did not incorporate any sustainable techniques in such a lavish space. Most materials and furnishings were custom and therefore, costly.
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zense
bangkok, thailand interior design The predominant interior materials and finishes were all selected for their resemblance or connection to the fashion industry. Textiles in houndstooth patterns were used on many of the pillows and tables in Zense, and fabrics were also draped and pleated under the stairs. Another material that one will find is used throughout Zense are these metal pipes that provide architectural interest on the ceilings, as well as to create individual pavilions outdoors that have a feeling of intimacy around customers’ booths. Concrete was used on all the floors and stairs, allowing for an easy transition from interior dining to outdoor lounge spaces. These materials choices are successful because they emulate the fashion industry, while allowing for the architects to be innovative in creating a seamless, modern indoor and outdoor environment.
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Furniture was a significant part of Zense because of the diverse types of spaces for the customers to dine and relax. Alternating styles of chairs with small or large tables are combined with lounge seating with banquette seating, and booth style seating arrangements with
pavilions enclosing them outdoors. Couches line the bar spaces with a plethora of pillows to create a more intimate environment as well as making Zense feel luxurious. The lighting fixtures are custom to match the pleating in the metal pipes on the ceilings.
Color is dotted throughout Zense to add warmth and dynamics in pink and purple tones. Varying shades of these colors can be seen in mostly the fabrics on the furnishings to compliment the neutral tones of the structural materials that dominate most of the space. Black and gray control
Zense in almost all areas, which give the restaurant a sleek appearance that the architects wanted. Since the business is only open at night, the artificial lighting is low to create a mood in the space that reflects the elegance of Zense. In addition to overall lighting, LED panels are included on
zense
bangkok, thailand interior design
“black and gray control zense in almost all areas, which give the restaurant a sleek appearance that the architects wanted� some of the interior walls that glow purple or pink and are reminiscent of a nightclub or lounge. The decorative elements of Zense are mainly architectural or textures from the furnishings that create interest in the space. A statement chandelier is hung below the main staircase and consists of the pleating metals to match the rest of the interior. This is adequate because the experience of Zense is about the architecture, views, and intriguing moments created like the reflecting pond. Since there are no extra accessories, everything relates to the overall design concept of combining fashion with interior design, landscape architecture, and architecture.
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zense
bangkok, thailand evaluation
Zense is a space that exceeds the needs of its users qualitatively and quantitatively. Its positive characteristics are the atmosphere, views, and interest created by the architectural elements. The drawbacks of such a large restaurant is that the customers may have a hard time wayfinding the space on their own. However, this might not be a large problem because most people will probably stay at their table that they are brought to by the hostess. The architects were successful in employing their design concept and using materials and finishes that complete an opulent space for customers who shop at the lifestyle store of Zen.
circulation diagram
structural column diagram
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zense
bangkok, thailand spaces, rooms, and adjacencies square footage per type of space: lobby with elevators: 637 vestibule: 1,461 reception: 480 lounge area: 867 indoor dining area: 4,194 outdoor dining area: 5,643 reflecting pond: 1,446 pavilion: 140 vip room: 296 kitchen: 933
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restrooms: 746 outdoor bar area: 715 outdoor vip zone: 354 indoor vip zone: 527 indoor bar area: 902 steps seating: 582 staff area: 1,042 storage: 3,035 stairs and elevators: 2,248 total= 26,248
sources
content and pictures
zara “Zara Rome / Duccio Grassi Architects” 20 Mar 2011. ArchDaily. Accessed 30 Sep 2014. <http://www.archdaily.com/?p=120947>
h&m “H&M Store in Barcelona / Estudio Mariscal.” ArchDaily. December 22, 2008. Accessed October 1, 2014. http://www.archdaily. com/10512/hm-store-in-barcelona-estudio-mariscal/.
zense “ZENSE: The Rebirth / Department of Architecture.” ArchDaily. April 23, 2013. Accessed October 7, 2014. http://www.archdaily. com/363199/zense-the-rebirth-department-of-architecture/.
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design & tech
hnical criteria
ff+e retail
The requirements of furnishings in a retail environment consist of ideal reaching distances for displays, counter heights for sales transactions, and distances for hanging merchandise cases. Most of the furniture in a retail space can be built-in and often are custom items. Some stores have seating for customers to rest while shopping, but the bulk of requirements are within the display systems and how the store is laid out. Ideally, around any
merchandise display or case is 24 inches of circulation space. The typical customer activity space is 18 inches, which is allotted for next to any hanging displays, walls with merchandise, and sales areas. A display counter should be between 35 and 38 inches from the floor. Clearances get as specific as the vertical heights that should be allowed for hanging clothing on display racks.
restaurant The furniture, finishes, and equipment for restaurants are more extensive than those required for retail spaces. Restaurants need specific clearances in between tables, seats, and at the bar. According to which kind of table and seating arrangement is in place, determines the specific clearances needed.
A bar counter height, for example, is anywhere from 42 to 45 inches from the floor, while a standard dining table height is 31 inches. Typically, three-foot aisles are allotted for traffic flow throughout the restaurant, while two-foot passageways can be acceptable in between two tables. 4.105
ergonomics retail and restaurant In a retail space, ergonomics are considered when any counter or display involves reaching. There needs to be enough comfortable space for people to be able to see the items on display and to reach them on their own. Sales counters should consider ergonomics because it needs to be high enough where the customer and sales associate can comfortably make transactions without having to reach too high or too low, which is generally 35-38 inches from the floor.
Ergonomics are thoroughly considered in a restaurant environment because customers are often seated throughout the entire experience. This means that chairs and tables need to accommodate a comfortable and natural posture of the seated body. Banquette seating is often created so the booth is at a 130 degree angle instead of a straight 90 degree angle, where a forced straight up and down posture would be uncomfortable.
Sustainability in retail environments can be achieved through a variety of methods since this type of space is often flexible. Displays can be made out of reclaimed wood or accessories can even be composed of recycled materials. It is a sustainable technique to adaptively reuse a building, which retail stores can take advantage of since the programmatic requirements are not overwhelming.
â&#x20AC;&#x153;Greenâ&#x20AC;? design can be employed in restaurants through many different techniques like retail spaces; but perhaps the most useful would be energy efficient systems since restaurants require a substantial amount. Restaurants can often be a space where non-sustainable methods are used, but it can definitely be accomplished through smarter choices like recycled materials and energy efficient lighting.
sustainable design
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materials + lighting retail
Materials in a retail environment can be fairly flexible, but since most of the space is purely for circulation, the floor finish is perhaps the most important. This should be a durable, easily cleaned material. Lighting in a retail space will be emphasized on the displays with general lighting everywhere else. Daylight can benefit this type of space, as it makes people feel happy, but it may not allow for as much control as is necessary to highlight the merchandise. restaurant In a restaurant, materiality is highly important, as everything needs to be sanitary and easily cleanable. Depending on the traffic level of a restaurant, the durability of the materials can be slightly flexible. Hard surface materials are often used in restaurants because they are durable and easily cleaned, however, a non-slip flooring material is crucial as most workplace injuries are due to slips and falls.
Stainless steel is common in commercial kitchens because it is sanitary. Lighting is a crucial factor in a space where people are dining because it affects how they feel and their overall experience in the space. Daylight can be beneficial in a space, but other restaurants may try to set a mood by only having low, dim-lit fixtures.
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acousic + visual control retail and restaurant
This type of environment does not require much acoustic control, as many retail spaces are open for customers to mill about as they please. Some retail spaces may include offices, which could be acoustically controlled through wall or ceiling material choice. However, some retail stores like to play music for the shoppers, which can give customers and employees a headache if it is too loud. Therefore, noise levels in retail and restaurant environments should not exceed 86 decibels. Visual control in a retail space is necessary so that customers can have a visual break from
displays of merchandise. This could be achieved by an opening in the space for just circulation or an area to stop and sit. Acoustics are important in a restaurant because the space can very easily become too noisy, where customers will not be able to have conversations with one another, especially when seated near the bar. The acoustical levels can be controlled through the use of screens and even special ceiling materials. Visual control is helpful when defining varying types of seating areas in order to create intimate spaces as well as open bar areas.
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wayfinding + signage retail and restaurant
Signage and wayfinding are crucial in retail spaces because they can appear to be confusing with rows of merchandise. Multistory retail stores require signage so customers can easily find the section they are looking for; often times the floors are defined by a specific department of merchandise. In addition to the necessity of signage, proper circulation in a retail store is a requirement, as customers are navigating the space the whole time they are shopping. This can be aided through the use of contrast between walkways and other flooring materials, as well as ceiling patterns that emphasize the circulation path below. Signage and wayfinding in a restaurant are vastly different compared to retail. Signs are not often used in restaurants because hostesses lead customers to their seats and bar areas are self-defining. Circulation in restaurants should be clearly defined so that employees can easily travel through the space with heavy trays and other items. 4.112
thermal comfort criteria retail and restaurant
Mechanical systems in this type of space should be functional above all; the flexibility of retail spaces allow for these systems to be exposed or concealed. Most shops should be kept at about 68 degrees Fahrenheit in the winter and 73 degrees in the summer. This protects customers from the extremes outdoors, without making the space feel too hot or too cold, which could make them want to shop elsewhere.
Thermal comfort in restaurants is crucial because it is psychologically proven that customers should be slightly cold when they are eating since it will actually make them eat more. The HVAC can be exposed or concealed depending on the aesthetic of the restaurant. In addition to a comfortable temperature in food establishments, the quality of the indoor air should be clear of cooking odors, which can be assured of through proper ventilation systems in the kitchen.
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universal design, ada ,+ code retail and restaurant
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sources
content and pictures Chiara, Joseph De, Julius Panero, and Martin Zelnik. Time-saver Standards for Interior Design and Space Planning. New York: McGraw-Hill, 1991. Fitch, Rodney, and Lance Knobel. Retail Design. New York: Whitney Library of Design, 1990. Nussbaumer, Linda L. Human Factors in the Built Environment.
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5
topical
l explorations
a
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human behavior behavioral norms Human behavior in the built environment refers to how oneâ&#x20AC;&#x2122;s surroundings can affect their emotions, actions, and experience. As the lifestyle storeâ&#x20AC;&#x2122;s projected consumers will mainly be college design students, the specific behavioral traits for that demographic is particularly crucial to study. In addition to the specific needs of people in their early adulthood, there are specific design decisions that can be made in a retail and restaurant environment to improve their overall experience. Most of the customers of the lifestyle store will be considered recreational shoppers, meaning they shop for social activity and pleasure. A space that is designed specifically for this type of consumer will be successful if the patrons feel like their personal beliefs and values align with the design of the store. This retail environment should also arouse their 5.122
interest and curiosity, since this type of shopper seeks entertainment. One tactic that designers can use to entice shoppers is by evoking their senses. The use of color, textures, and aromas can create an overall ambiance that causes a positive reaction by the consumers. Stores that are targeting the college demographic should sell their products at desired margins in order to satisfy the customers. College students most often shop in groups, which has been proven to cause people to spend more money, since they can be influenced by the behavior of other shoppers. If an item appears to be in popular demand, other customers will want to purchase it as well. Some stores decide to keep their displays sparse on purpose, as a marketing tactic to get consumers to buy more of that specific product. Since the students will be shopping
human behavior behavior in a retail environment in groups at the lifestyle store, it will be convenient to include small areas of comfortable seating that will promote social interaction, which can make them stay longer and buy more items. Although there should be areas for relaxation, shoppers do not want to feel crowded, therefore, items should not be displayed too plentifully, where it is overwhelming and the aisles become narrow. If the store has enough space for people to move freely and see the majority of the merchandise in a neat environment, then the shoppers will be able to feel like they can control the situation and are less likely to feel stressed out. Another way for retail spaces to make the customers have an easier time shopping is to create signage to dictate where different departments or merchandise are. Even the window display of a store is a tactic that retailers use to draw in the customers. It has been proven that a window display will be noticed by 46 percent of shoppers if it contains sparkly items, 5.123
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human behavior behavior in a retail environment blinking lights, or reflective surfaces, compared to only 6 percent of shoppers noticing the window without these factors. The human behavior of the customers can be predicted from the moment they step in the door, as it is known that most people take a minute to gather their bearings upon entering a store, because of this, any merchandise presented at the entrance will be ignored. People tend to move in a counter clockwise direction, as well as generally turning to the right. This can affect the way a designer will space plan a store, since most customers like to take the shortest route possible while walking throughout a store. Even knowing that natural human behavior causes people to pick up speed near the registers will impact the types of merchandise that are displayed nearby. Products that are
displayed at eye level will sell more quickly than if they are displayed by peopleâ&#x20AC;&#x2122;s waists. Another sensory stimuli that can add to the ambiance of a store or restaurant environment is the addition of music. This can be a useful tactic if the music is not too loud and is a genre that the majority of the shoppers enjoy. If this is the case, then customers can be subconsciously motivated by the music to make purchases. While the human behavior that needs to be studied for a restaurant can be similar to retail spaces, there are some additional pieces that will improve the dining atmosphere if considered. A restaurant should not only satisfy the needs of the customers, but it should be an enjoyable workplace for the employees, so they can perform their best for the customers. The largest chance a restaurant has at repeat business is if they have
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behavior in a restaurant environment comfortable seating in the dining and waiting areas, a low wait time, quality service and food, as well as an overall pleasing ambiance. Customers go out to eat at a restaurant for many reasons, but one of the biggest is for the environment and wanting to feel a part of that aura. People like to feel a sense of place in a restaurant, with nostalgic features, and something that makes a positive impact on their time out. Natural human behavior is to prefer seats that are against walls, windows, and corners since this makes us feel protected. A restaurant should maximize its space by putting the majority of the seating along these areas. There should also be some sense of privacy, especially between tables that are clustered. The clientele of a restaurant at a lifestyle store are individuals 25 and under, which means they will be more tolerant of a longer wait time, however, there should still be comfortable areas for them to wait or even have a drink. 5.128
color principles
Color sets the tone, it is how we first assess a space or item; which can also describe brand identity. People judged based on color so heavily that if an item is not available in any suitable color choices, the rest of its properties become irrelevant. It is psychologically proven that color is mood altering, therefore, color schemes can send subtle messages. Colors, as well as patterns, that are found in nature tend to have the best reactions with people when used properly in a space. Although there are some properties about color and the human mind that are universal, the significance and symbolism of colors is not uniform throughout the world. Culture is factor in deciding what each color may symbolize for different nations, which should be considered when designing a space that many people and cultures will visit. Blue is generally the most popular hue across different cultures, yellow being the least favorite. Saturation and brightness of a color also affect the way people feel; more of these two qualities in a color are pleasurable.
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color principles Energy will increase with the saturation of a color, like the color of an orange or red apple. However, cool colors, like blue and purple are typically used in spaces where people need to be calm. Therefore, warm colors tend to be used in energetic environments. Each color has a specific mood it is associated with; pink is tranquilizing and reduces anxiety, while red is exciting. Too much of any color can have negative effects though, an over usage of red will over stimulate viewers. If beige or white is used too plentifully in an environment, people can be under stimulated, which causes them to become very emotional. The color wheel in which hues are organized have an effect
on what shades look nice when paired together. For example, complimentary colors like purple and yellow will make a space seem comforting when used next to one another. If these two colors have a large difference in saturation and brightness, it enhances this effect. Hues that are adjacent to one another on the color wheel are relatively calming when used together, like blue and green. Natural human behavior elicits the preference for colors of roughly the same saturation to be used together. In addition to certain colors on the wheel looking nice when used together, these hues can be perceived differently according to those used around it.
â&#x20AC;&#x153;natural human behavior elicits the preference for colors of roughly the same saturation to be used togetherâ&#x20AC;? 5.132
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color in a lifestyle store A retail environment that is mainly used by college students can contain more sophisticated hues, meaning they are a combination of multiple colors, since a poll dictated that Generation Y prefers these shades. Many of these design students may be women, who are proven to be more affected by saturation and brightness. This will mean that spaces in the retail space should not be color washed with one, very saturated shade. Another proven difference between men and women, is that females prefer redder blues, while males tend to like greener blues. It can be helpful to remember this when there are definitive areas for womenâ&#x20AC;&#x2122;s or menâ&#x20AC;&#x2122;s clothing. There are some tricks that are used in store design color choices in order to generate the most profits. The back wall of
a store, or an area with high profit merchandise, is often painted a warm shade since we are naturally drawn toward hues of this nature. Natural wood is a popular choice in immense spaces that need to seem more intimate for the same reason. Colors can either aid or hinder consumers from making purchase decisions swiftly. Cool hues typically allow people to concentrate, therefore, make purchase decisions. However, we do not process information as well in spaces with warm colors, which can be used in areas where impulse purchase products are displayed. Other visual tricks include painting walls warmer and dark colors so that it appears closer to us than it actually is, or using cooler and light shades to make something seem farther away.
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color in a lifestyle store Naturally, we expect certain areas to be different shades, starting with the floor being the darkest color and ending with the lightest on the ceiling. This does not have to always be true, but is typically followed. In restaurants, warm hues are often painted since they make people hungry, but too many will make them over energized. Bright and saturated warm shades will be used in fast food restaurants where the turn over should be fast, but in a restaurant that encourages slow dining, they should not be exhausted. A hue that restaurants should shy away from is blue, as it is an appetite suppressant. Whether it is a retail space or restaurant, exterior signage colors can allude to what kind of space visitors can expect inside and should correlate and prompt curiosity.
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marketing + design lighting
In combination with interior design, marketing strategies are crucial in a retail environment. They can positively influence customers to buy their merchandise and enjoy their experience, therefore, will want to return to the store again. One of the biggest influences on how consumers perceive merchandise and the overall ambiance of a store is lighting. As color has an effect on human behavior, so does lighting. Low light intensities will generate a relaxing space for more intimate conversations, while light levels around 700 lux energize us. A space should not be stressful on the customersâ&#x20AC;&#x2122; eyes, therefore, should have a uniform overall lighting without shadowy spaces. There are different types of lighting that can each be used in a retail environment. Spotlights draw more attention to people and objects, while also 5.138
subdividing and organizing different spaces. Restaurants often use this kind of lighting to designate â&#x20AC;&#x153;territoriesâ&#x20AC;? for the customers. Since lighting also affects human behavior, people desire spaces that emulate natural daylight. The most desirable lighting for people is dappled, which can be mocked indoors through the use of indirect lighting to create random patterns on the floor. Retail stores that include actual daylight through the use of skylights sell more merchandise than those that do not have skylights. This is due to the fact that customers perceive a space with daylight as more clean and spacious. Light can also work with color to impact behavior; warm colors and ample light leads people to be more active and focus on the space itself. A space with cool colors and dimmer
marketing + design lighting
light makes us less active so we can concentrate on mental thoughts and tasks. These two color and lighting extremes are both ideal in order to have customers be in the best mood. It is a preference for retail spaces to have a warmer ambiance. Circulation is crucial in a retail space, thus, it should be differentiated in lighting from the rest of the store. Since displays are often changed and moved around, retail stores need flexibility in lighting. Focal points draw customers inward and also dictates where the most important merchandise is. Lighting can control the way consumers circulate the space; dimly lit areas will make them walk more slowly and focus on items that are under spotlights. Spaces within the store that have brighter lights will lead the shoppers to look at more merchandise, but they may not spend as much time looking at individual items. 5.139
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marketing + design other techniques
In combination with lighting tricks, spaces can be designed a certain way in order to market the merchandise in the best way possible. Positioning of the items on display can make the customers infer importance or desirability of the merchandise. For example, items that are inaccessible in locked cases implies exclusivity. However, most merchandise should be accessible to every customer; less items are sold when they need the assistance of an associate. Displays that have versatility are a necessity, but they should not be overcomplicated or cluttered. Another key point retail stores should use as a marketing
technique of their merchandise is to flatter the customers in the fitting rooms. These should include warm spotlights, soft carpeting, oversized mirrors that are slightly tilted back, and doors instead of curtains. Shapes can denote the way customers should feel or circulate in a space, too, like angular forms create action and efficiency, where curved shapes generate a relaxed feeling. Certain merchandise that a store wants customers to see right away could have V-shapes leading to it, which draws attention faster. Simplicity is a great technique in stores, so consumers can
â&#x20AC;&#x153;most merchandise should be accessible to every customer; less items are sold when they need the assistance of an associateâ&#x20AC;?
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see all of their options and not feel overwhelmed. Clutter will make people frustrated and give up on finding something they are looking for. Urban Outfitters, a clothing store targeted for young adults, has a marketing strategy to employ workers of the same age as the targeted consumer. This has proven to be a successful strategy for the brand because the customers and workers can relate to one another. Fashion stores are known for telling a story with their design and atmospherics. This method helps convince customers of the brand and a consistency within the store. A brand’s story should start in the window display and carry out through the interior space.
Holidays often allow for retailers to market a certain emotion they want the customers to feel, like displaying red roses for Valentine’s Day to prompt the consumer to buy something for their loved ones. People walking on the street are more likely to stop in a retail store if they are drawn in by shiny objects and sweet scents, which is a marketing technique to get more customers in the store. If all a store’s intriguing points are revealed too soon, the customer will know they have seen all the store has to offer and leave. It is best for a store to disperse merchandise and equally interesting design elements throughout for a successful selling environment.
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sources Augustin, Sally. Place Advantage: Applied Psychology for Interior Architecture. Hoboken, NJ: John Wiley & Sons, 2009. Print. Fitch, Rodney, and Lance Knobel. Retail Design. New York: Whitney Library of Design, 1990. Print. Kopec, David Alan. Environmental Psychology for Design. New York: Fairchild, 2012. Print.
pictures
a: http://www.archdaily.com/551370/kleinerdrei-parat/542465e8c07a80c9ea00008a_kleinerdrei-parat_2880pix_shop_k3_6574-jpg/ b: http://www.archdaily.com/398135/mercato-neri-and-hu-design-and-reserch-office/51d5a705b3fc4beae100022a_mercato-neri-hu-design-and-reserch-office_pg393_11jpg/ c: http://www.archdaily.com/539821/euroshop-2014-stand-d-art-design-gruppe/53f57eb1c07a80388e000623_euroshop-2014-stand-d-art-design-gruppe_dart_euroshop2014_lp_ img_4284-jpg/ d: http://www.archdaily.com/553008/saraiva-bookstore-studio-arthur-casas/542cae28c07a80548f000414_saraiva-bookstore-studio-arthur-casas_04-jpg/ e: http://www.archdaily.com/442592/fonda-windsor-techne-architects/5269b28de8e44ee8e1000459_fonda-windsor-techne-architects_portada-jpg/ f: http://www.archdaily.com/511246/le-coiffeur-margaux-keller-design-studio-bertrand-guillon-architecture/5386a2f0c07a80287a000076_le-coiffeur-margaux-keller-design-studio-bertrand-guillon-architecture_lecoiffeur-7-attente_corner-jpg/ g: http://www.archdaily.com/202918/uptown-kids-elliott-associates-architects/063123_002/ h: http://www.archdaily.com/161705/atrium-studio-rhe-2/_mg_8490-2/ i: https://m1.behance.net/rendition/modules/114296763/disp/7ab1d63bbd2c8e5964b3d2e011142731.jpg j: http://www.dezeen.com/2014/10/03/matali-crasset-completes-dessert-themed-commonroom-for-french-culinary-school/
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k: http://www.dezeen.com/tag/shoe-shops/ l: http://www.dezeen.com/2014/04/17/clothing-store-boutique-reykjavik-white-ceramic-tiles-hafstudio/ m: http://www.dezeen.com/2011/12/02/esprit-lighthouse-store-by-reich-und-wamser/ n: http://www.dezeen.com/2014/09/12/aesop-bibliotekstan-stockholm-shop-in-praise-of-shadows/ o: http://www.dezeen.com/2014/03/27/la-scarpa-shoe-shop-elia-nedkov-bulgaria/ p: http://www.archdaily.com/418793/vigoss-textile-showroom-and-design-office-zemberek-design-office/52156932e8e44e4ee300009f_vigoss-textile-showroom-and-design-office-zemberek-design-office__d3_2193and14moreadjust_resize-jpg/
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philadelphia history + population Philadelphia is the fifth largest city in the United States, while also being the economic and cultural center of the Delaware Valley. It is known for an abundance of nuances, but some of the finest being Philadelphiaâ&#x20AC;&#x2122;s richness in arts and culture. Philly has been named the American city with the most outdoor sculptures and murals, in addition to being home to the largest landscaped urban park, Fairmount Park. History is another prevalent part of the city, where much of it has been restored to declare the brilliance that Philadelphia encompasses. This includes Independence Hall, where the Declaration of Independence was signed and is also the home of the Liberty Bell today. Philadelphia is nicknamed the City of Neighborhoods because it has many different areas that each contain their own
intriguing characteristics. Today, sports have a profound impact on the culture in Philadelphia, home to some of the most dedicated sports fans. During the industrial revolution, Philly was an epicenter of these new trades, like railroads, due to an influx of European immigrants. However, the most prevalent industry in this city has been textiles, especially in the 19th century. In 2013, the estimated population of Philadelphia was 1,553,165. This number includes a wide variety of cultures and races, predominately 43.4% Black and 41% White. English is the most frequently spoken language here at 79%, while Spanish is the second most popular at 9%. The socioeconomic conditions of Philadelphia are consistent with other major American cities, where one can notice a shrinking middle class. Forty-seven percent of residents in Philly 6.150
philadelphia characteristics
are lower class, while the middle class has decreased to 30%, and the upper class remaining at a steady 23% for years. Some outstanding features that characterize Philadelphia are its most popular tourist attractions, including the Liberty Bell, City Hall, the Schuylkill River, the Philadelphia Zoo, the Philadelphia Museum of Art, and countless universities. Since this city is known for its abundance of public art, that is one of its most notable features. The average annual temperature in the City of Neighborhoods is 54 degrees, where the mean in January is 30 degrees and in July, 76 degrees. Philadelphia has an average annual rainfall of 41 inches, accumulating at a steady pace throughout the year, but the most usually occurring in July. The wind direction is to the West all year, with an average speed of 9.5 mph.
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philadelphia architecture
The architecture of Philly is a variety of styles in public buildings, but the residential sector is dominated by rowhomes, which are so popular here that they were named after Philadelphia. Rowhouses are characterized by an elongated rectangular shaped building, usually 3 stories, and are attached to all the other neighboring houses. These homes are typically built from bricks or stone and some have a resemblance to the Victorian style. Philadelphia rowhomes were not necessarily influenced by climate, but by plot of land and ease of build. Since the structure was built up and stretched backward, it allowed the planners to line many houses next to one another, as they were the same shape. Working and middle-class people typically resided in this type of home in Philadelphia; they were affordable and located close to factories. The oldest architecture in Philly
dates back to the Colonial times, but Georgian architecture, like Independence Hall, became an extremely popular style in this city for important public buildings. Greek-Revival was another style that was often chosen for Phillyâ&#x20AC;&#x2122;s architecture in the 19th century. In 1932, todayâ&#x20AC;&#x2122;s Center City became home to the first International Style skyscraper, the PSFS Building. The city plan of Philadelphia is known to be the first in America to use the gridiron layout with open, public squares full of greenery where neighborhoods would eventually develop around. The initial plans included wider main streets, narrowing side roads, and even a saved space in the center for a future public building. This plan served as a model for many other cities in the country, as it was the first city plan in the U.S. to provide for long-term urban growth.
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university city characteristics + culture
The neighborhood the site is located within is called University City, which is the eastern most part of West Philadelphia. The University of Pennsylvania helped coin the name University City as a marketing technique to get more teachers to move back to the area. It is also a fitting name because the area is home to multiple institutions, including Penn, Drexel, and University of the Sciences in Philadelphia. The eastern side of University City is full of commercial and institutional spaces, like Penn and Drexel, as well as some medical institutions, scientific research facilities, 30th Street Station, and Cira Centre. The western side is primarily residential, as it is scattered with Victorian and early 20th century rowhomes that coincide with the typical vision of such. Some of the most impressive architecture in University City is located on Pennâ&#x20AC;&#x2122;s campus, from buildings in 6.156
university city characteristics + culture the Gothic-Revival style to work designed by Louis Kahn in the Modern style. The bulk of people residing in University City have low incomes, where 32.5% of these households earn lower than $15,000 per
year. The largest employers in the area are Penn, Penn Health, and CHoP. The cultural makeup of this area is considered to be quite diverse; 42% Black, 35% White, 18% Asian, and 4% Hispanic.
32nd + lancaster avenue characteristics
Lancaster Avenue and 32nd Street, where the site is located, are mostly used for Drexelâ&#x20AC;&#x2122;s campus; therefore, most of the surrounding buildings are for commercial or institutional uses. However, some other buildings along these streets are classified as medium industrial use, as well as mixed commercial and residential. The
site is encompassed by buildings that are as tall as thirteen stories, while others are only two or three levels. Lancaster Avenue and 32nd Street contain multiple styles of architecture, including ClassicRevival, Modernist, and even Brutalist. This area is full of campus life, dotted with trees and mixed-use buildings.
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site zoning + analysis zoning and septa maps
The design of the building should respond to the positive views of 33rd Street, which seems appropriate to hold the main entrance as well. The views of 32nd Street are of other commercial buildings and could serve as an entrance as well. Cuthbert Street lines the back of the site and has views of a park, but is also where the dumpsters are located. The space between the building and the other side of Cuthbert is the narrowest of all the sides of the site. The park has a surrounding fence and trees that separate the view from being as great as it could be. One side of the site, nearest Market Street, contains a pathway that connects around all sides of the building to the main streets. This makes it easy for pedestrians and students to get around and to other places from any side of the
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site. 30th Street Station is within walking distance to the east of the site. 32nd and Cuthbert are both two-way streets, while 33rd Street is a one-way, which should be considered. Parking is available on all streets that surround the building and require payment through the parking kiosks. The building on site is made level through a gradual foundation increase, since the land slightly slopes down on Cuthbert street from 33rd toward 32nd. This is true from Cuthbert toward Market Street as well. The grade difference will not affect accessibility to the building because the sidewalks that surround it are ramped accordingly. Because this building is in a city, there will be noise from traffic that surrounds the site, but Market Street is the busiest and does
site zoning + analysis map and climate chart
not directly impede since there is a cushion from land and another building. The sounds of 30th Street Station are not close enough to affect the site either. Wind is not a huge issue, since a lot of blockage comes from the surrounding multi-story structures. Across the street on 33rd is a building and other parks/fields for
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Drexelâ&#x20AC;&#x2122;s campus use. Sidewalks are lined with some trees, which should be taken advantage of. No outdoor seating exists at this point, but there could be some on the side of the building that contains only a sidewalk and land. 32nd Street could use more trees because there are mostly buildings.
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sources Augustin, Sally. Place Advantage: Applied Psychology for Interior Architecture. Hoboken, NJ: John Wiley & Sons, 2009. Print. Kopec, David Alan. Environmental Psychology for Design. New York: Fairchild, 2012. Print.
pictures
a: http://www.archdaily.com/551370/kleinerdrei-parat/542465e8c07a80c9ea00008a_ kleinerdrei-parat_2880pix_shop_k3_6574-jpg/ b: http://www.archdaily.com/398135/mercato-neri-and-hu-design-and-reserch-office/51d5a705b3fc4beae100022a_mercato-neri-hu-design-and-reserch-office_ pg393_11-jpg/ c: http://www.archdaily.com/539821/euroshop-2014-stand-d-art-design-gruppe/53f57eb1c07a80388e000623_euroshop-2014-stand-d-art-design-gruppe_dart_euroshop2014_ lp_img_4284-jpg/ d: http://www.archdaily.com/553008/saraiva-bookstore-studio-arthur-casas/542cae28c07a80548f000414_saraiva-bookstore-studio-arthur-casas_04-jpg/ e: http://www.archdaily.com/442592/fonda-windsor-techne-architects/5269b28de8e44ee8e1000459_fonda-windsor-techne-architects_portada-jpg/ f: http://www.archdaily.com/511246/le-coiffeur-margaux-keller-design-studio-bertrand-guillon-architecture/5386a2f0c07a80287a000076_le-coiffeur-margaux-keller-design-studio-bertrand-guillon-architecture_lecoiffeur-7-attente_corner-jpg/ g: http://www.archdaily.com/202918/uptown-kids-elliott-associates-architects/063123_002/ h: http://www.archdaily.com/161705/atrium-studio-rhe-2/_mg_8490-2/ i: https://m1.behance.net/rendition/modules/114296763/disp/7ab1d63bbd2c8e5964b3d2e011142731.jpg j: http://www.dezeen.com/2014/10/03/matali-crasset-completes-dessert-themed-commonroom-for-french-culinary-school/
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adjacency + test fit diagrams
public entry artist display area retail area bar
major adjacency major adjacency
kitchen
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lounge space janitor's closet mechanical room electrical room fitting rooms sales counter clothing storage artwork storage food storage alcohol storage restrooms lockers break area manager's office
ces administration offices security office
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philadelphia armory codes + regulations
1. project data: project name: design + lifestyle store address: 3205 Lancaster Avenue, Philadelphia, PA 19104 owner: Drexel University architect: Philip H. Johnson date of completion: 1916 number of stories: 1 total gross sq.ft: 58,363 sq ft exterior finishes: predominately brick with some stone 2. applicable building code info zoning ordinance: Bill No. 110845 fire code: IFC 2009 building code & date: IBC 2009 elevator code: IMC 2009 energy code: IECC 2009 3. zoning code requirements: land use zoning: Commercial Mixed Use max allowable height: 65 ft existing parking spaces: no 4. use group classification: A-2 + M 5. construction classification: type: Assembly + Mercantile fire rated: 1 hour without sprinkler system or 0 with sprinklers
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6. means of egress: gross sq ft: A- 15,489 M- 42,874 sf/occupant: A-Assembly: 15 net M-Mercantile: 60 gross number of occupants: A- 1,032 occupants M- 714 occupants max. exit distance: 250 feet sprinklers: yes exit access travel: 250 feet dead end limit: 50 ft total egress width: 44 inches per corridor = 308 inches number of exits: A- 4 M- 3 7. fire protection requirements: exterior walls load bearing: 1 hour fire walls and party walls: 1 hour fire exit enclosures: 2 hours shafts and elevator hoist ways: 2 hours exit access corridors: 1 hour tenant space separations: 2 hours smoke barriers: assume 30 minutes 8. sanitation: total building occupant count: 1,746 occupants male/female % split: 50% wc male: 4 wc female: 8 urinals male: 4 lavatories male: 4 lavatories female: 4 drinking fountains: 3
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philadelphia armory building limitations +outcomes
9. building limitations: national historic registry: Yes, as of November 14, 1991 health department/food service: food needs to be stored safely within the building Outcomes: The existing building will be utilized to its full potential. There will only be an addition of a mezzanine level on the interior, which will not hinder the existing structure. All of the building will be put to use, including the position of the current bathroom location. Stairs and an elevator will need to be added to access the mezzanine level. The only major change to the exterior facade will be to reopen the original windows on the building, which were closed with bricks years ago. This will greatly improve the indoor air and daylight quality.
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philadelphia armory structural diagrams and floor plan
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sources (COR), International Code Council. International Building Code, 2012. Country Club Hills, IL: International Code Council, 2011. â&#x20AC;&#x153;City of Philadelphia: Codes.â&#x20AC;? City of Philadelphia: Codes. Accessed December 01, 2014. http://www.phila.gov/li/codesandregulations/Pages/codes.aspx.
pictures http://upload.wikimedia.org/wikipedia/commons/6/6e/Lancaster_32nd_Armory%2C_Philadelphia.JPG
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summary The importance of the research done throughout this book has been a crucial first step to designing a lifestyle and design store. It has been necessary to find out the cultural aspects of Philadelphia in order to correctly target the perfect clientele. College-age design students will be the perfect target client for this store and research has shown how many students reside in University City and Philadelphia in general. Other research from chapter one shows that the traffic flow around the site will provide enough business for the lifestyle store, as well as its impeccable location to public transportation. Within chapter two, the history of retail design was explored. Having this knowledge greatly affects the future design process of retail stores because it serves as an example of how this type of space evolved over the years and what has proven to functionally work. With that being said, the case studies were probably the
most important piece of this research puzzle. They not only serve as examples for how to potentially lay out a space, but it enables us to see within an existing program and talk to the users to get their feedback on the functionality of it all, to truly see if it works. Visiting the case studies also allowed for insight into what the daily activities of this type of space might include, even the not-so-pretty, but necessary activities. Often times when designing retail programs, one might forget how important the back of house spaces are, like storage and offices. But these are just as crucial as the floor space for merchandise. Another advantage of visiting case studies was seeing furniture, color, and materiality choices. These can greatly help a space, which will be fundamental to keep in mind throughout the design process. This project would not be able to be as successful without the research for chapter four.
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summary Although this may be a design project, the technical criteria for a retail and restaurant space is a great factor on the overall outcome and whether or not this program can actually work. Minimum clearances between aisles, typical sizes of restaurant tables, and ADA compliant codes will be a constant topic that comes up for this project. This will allow the lifestyle store to function as correctly and safely as possible. The information gathered for chapter five was some of the most intriguing and useful, too. Human behavior factors have an imminent impact on design decisions and that is because design affects the way people feel and behave. Different colors and forms can make people feel varying ways, just like sounds and light can either attract or detract people from a space. This coincides with retail spaces because marketing techniques are often used to help people make purchase decisions, as well as enjoying the atmosphere, which is vital to make customers return to the store.
The research for chapter six brought information about the site location and all surrounding features. It is important to know where the public transit is in relation to the Philadelphia Armory, as well as knowing which sides of the building have positive views in order to take advantage of them when designing. While visiting the site, it became clear that there is even outdoor green space to include an area for relaxing or even eating. Chapter sevenâ&#x20AC;&#x2122;s research will pave the way for the actual program for the lifestyle and design store. This information was gathered from looking at the previous case studies and the actual building size to determine circulation percentages and all of the other square footages necessary per type of space. The program information here will serve as a guideline throughout the forthcoming design process. Like chapter four, the research gathered for chapter eight provides further technical criteria for a retail space that includes a restaurant. Building, fire, and zoning codes are all mandatory when building a real space, so they are paramount to remember.
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conclusions The overall takeaway from the research completed for this project is that this space needs to be lively, contain different zones for the varying types of program, and also have flexibility so that displays and artwork can often change in the retail area. After learning more about lifestyle stores, this space has evolved from a place where students can go to learn about art, to an encompassing hub where design students can shop, learn, eat, and socialize. There will still be rotating popup shops that occur monthly for local artists, but they may not have as prominent of a place as originally thought. They will blend with
the environment, but will still be advertised in order to draw in crowds. These artists will feel as if they are a part of the retail brand, instead of a separate entity. The restaurant and bar will also appear to be on brand. Based on these findings, the starting concepts for this lifestyle store will include sustainable practices by using recycled materials to create the displays that are ever-changing. A conceptual idea for the overall brand could be based on something that young designers are very fond of today, like pictures, fashion, or traveling. â&#x20AC;&#x153;I am seeking. I am striving. I am in it with all my heart.â&#x20AC;? - Vincent van Gogh
This book is dedicated to: Mom, Dad, and Grandma Thank you for everything you have done and always believing in me. A special thank you to those who have helped me throughout this project and continuing to encourage my passion and excitement. Capstone Committee: Alex Messinger, Philadelphia University 610.613.2959 Barbara MacAulay, Philadelphia University macaulayb@philau.edu Julia Porter, URBN 315.723.4436 Rick Marencic, Daroff Design/JCJ Architecture 9.192
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bibliography
sources chapter 2 Artley, Alexandra. The Golden Age of Shop Design: European Shop Interiors, 18801939. New York: Whitney Library of Design, 1976. Print. Day, Clive. A History of Commerce. New York: Longmans, Green, 1922. Print. Dijkman, Jessica. Shaping Medieval Markets: The Organisation of Commodity Markets in Holland, C. 1200-c. 1450. Leiden: Brill, 2011. Print. Grunenberg, Christoph, and Max Hollein. Shopping: A Century of Art and Consumer Culture. Ostfildern-Ruit: Hatje Cantz, 2002. Print. Israel, Lawrence J. Store Planning/design: History, Theory, Process. New York: Wiley, 1994. Print. Welch, Evelyn S. Shopping in the Renaissance: Consumer Cultures in Italy 1400-1600. New Haven: Yale UP, 2005. Print. http://www.buildinghistory.org/buildings/markethalls.shtml http://www.arup.com/home/publications/future_of_retail.aspx http://techcrunch.com/2010/03/08/forrester-forecast-online-retail-sales-will-grow-to250-billion-by-2014/ chapter 3 “Zara Rome / Duccio Grassi Architects” 20 Mar 2011. ArchDaily. Accessed 30 Sep 2014. <http://www.archdaily.com/?p=120947> “H&M Store in Barcelona / Estudio Mariscal.” ArchDaily. December 22, 2008. Accessed October 1, 2014. http://www.archdaily.com/10512/hm-store-in-barcelona-estudio-mariscal/. “ZENSE: The Rebirth / Department of Architecture.” ArchDaily. April 23, 2013. Accessed October 7, 2014. http://www.archdaily.com/363199/zense-the-rebirth-department-of-architecture/. chapter 4 Chiara, Joseph De, Julius Panero, and Martin Zelnik. Time-saver Standards for Interior Design and Space Planning. New York: McGraw-Hill, 1991. Fitch, Rodney, and Lance Knobel. Retail Design. New York: Whitney Library of Design, 1990. Nussbaumer, Linda L. Human Factors in the Built Environment. chapter 5
Augustin, Sally. Place Advantage: Applied Psychology for Interior Architecture. Hoboken, NJ: John Wiley & Sons, 2009. Print. Kopec, David Alan. Environmental Psychology for Design. New York: Fairchild, 2012. Print.
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chapter 6 Augustin, Sally. Place Advantage: Applied Psychology for Interior Architecture. Hoboken, NJ: John Wiley & Sons, 2009. Print. Kopec, David Alan. Environmental Psychology for Design. New York: Fairchild, 2012. Print. chapter 8 (COR), International Code Council. International Building Code, 2012. Country Club Hills, IL: International Code Council, 2011. â&#x20AC;&#x153;City of Philadelphia: Codes.â&#x20AC;? City of Philadelphia: Codes. Accessed December 01, 2014. http://www.phila.gov/li/codesandregulations/Pages/codes.aspx.
pictures chapter 1 http://www.spaceninety8.com/gorbals/photos http://www.wallpapermagazine.cn/design/4 http://www.anzaq.com/2013/06/super-moon-23rd-june-2013.html http://www.forbes.com.mx/las-mejores-universidades-del-mundo-para-estudiar-economia/ http://www.lebow.drexel.edu/academics/programs/undergraduate/student-life/studentcommunities/business-learning-community http://psbreves.blogspot.com http://art.uga.edu/areas-of-study/undergraduate-studies/interior-design-bfa/ http://www.carolinekamp.com/blog/2013/3/13/indie-of-the-week-14-fao-shop https://www.pinterest.com/pin/37858453090111242/ chapter 2 http://waterandpower.org/museum/Early_LA_Buildings%20(1900%20-%201925)_ Page_3x.html www.flickr.com http://homepage.usask.ca/~akkerman/geog346/history.html http://www.iismarchesi.it/sites/default/files/u59/TERZA/basilicaromana.pdf http://gjclarthistory.blogspot.com/2013_01_01_archive.html https://www.behance.net/gallery/5245727/Drawings-watercolors http://lebioda.wordpress.com/2010/07/ http://www.urbansketchers.org/2012_01_27_archive.html http://www.alinariarchives.it/en/search?isPostBack=1 http://oscarreyesi.wordpress.com/category/uncategorized/page/2/ http://imgkid.com/the-crystal-palace-1851.shtml http://pixgood.com/empty-department-store-window.html http://vintagerva.blogspot.com/2011/10/cloverleaf-mall-1970s.html http://departmentstoremuseum.blogspot.com/2011_07_01_archive.html http://www.archilovers.com/projects/66353/starhill-gallery.html http://www.10corsocomo.com chapter 3 “Zara Rome / Duccio Grassi Architects” 20 Mar 2011. ArchDaily. Accessed 30 Sep 2014. <http://www.archdaily.com/?p=120947> “H&M Store in Barcelona / Estudio Mariscal.” ArchDaily. December 22, 2008. Accessed October 1, 2014. http://www.archdaily.com/10512/hm-store-in-barcelona-estudio-mariscal/. 10.197
â&#x20AC;&#x153;ZENSE: The Rebirth / Department of Architecture.â&#x20AC;? ArchDaily. April 23, 2013. Accessed October 7, 2014. http://www.archdaily.com/363199/zense-the-rebirth-department-of-architecture/. chapter 4 Chiara, Joseph De, Julius Panero, and Martin Zelnik. Time-saver Standards for Interior Design and Space Planning. New York: McGraw-Hill, 1991. Fitch, Rodney, and Lance Knobel. Retail Design. New York: Whitney Library of Design, 1990. Nussbaumer, Linda L. Human Factors in the Built Environment. chapter 5
http://www.archdaily.com/551370/kleinerdrei-parat/542465e8c07a80c9ea00008a_kleinerdrei-parat_2880pix_shop_k3_6574-jpg/ http://www.archdaily.com/398135/mercato-neri-and-hu-design-and-reserch-office/51d5a705b3fc4beae100022a_mercato-neri-hu-design-and-reserch-office_pg393_11-jpg/ http://www.archdaily.com/539821/euroshop-2014-stand-d-art-design-gruppe/53f57eb1c07a80388e000623_euroshop-2014-stand-d-art-design-gruppe_dart_euroshop2014_lp_ img_4284-jpg/ http://www.archdaily.com/553008/saraiva-bookstore-studio-arthur-casas/542cae28c07a80548f000414_saraiva-bookstore-studio-arthur-casas_04-jpg/ http://www.archdaily.com/442592/fonda-windsor-techne-architects/5269b28de8e44ee8e1000459_fonda-windsor-techne-architects_portada-jpg/ http://www.archdaily.com/511246/le-coiffeur-margaux-keller-design-studio-bertrand-guillon-architecture/5386a2f0c07a80287a000076_le-coiffeur-margaux-keller-design-studio-bertrand-guillon-architecture_lecoiffeur-7-attente_corner-jpg/ http://www.archdaily.com/202918/uptown-kids-elliott-associates-architects/063123_002/ http://www.archdaily.com/161705/atrium-studio-rhe-2/_mg_8490-2/ https://m1.behance.net/rendition/modules/114296763/disp/7ab1d63bbd2c8e5964b3d2e011142731.jpg http://www.dezeen.com/2014/10/03/matali-crasset-completes-dessert-themed-commonroom-for-french-culinary-school/ http://www.dezeen.com/tag/shoe-shops/ http://www.dezeen.com/2014/04/17/clothing-store-boutique-reykjavik-white-ceramic-tiles-hafstudio/ http://www.dezeen.com/2011/12/02/esprit-lighthouse-store-by-reich-und-wamser/ http://www.dezeen.com/2014/09/12/aesop-bibliotekstan-stockholm-shop-in-praise-of-shadows/ http://www.dezeen.com/2014/03/27/la-scarpa-shoe-shop-elia-nedkov-bulgaria/ c http://www.archdaily.com/418793/vigoss-textile-showroom-and-design-office-zemberek-design-office/52156932e8e44e4ee300009f_vigoss-textile-showroom-and-design-office-zem- b berek-design-office__d3_2193and14moreadjust_resize-jpg/
pictures chapter 6
http://www.archdaily.com/551370/kleinerdrei-parat/542465e8c07a80c9ea00008a_kleinerdrei-parat_2880pix_shop_k3_6574-jpg/ http://www.archdaily.com/398135/mercato-neri-and-hu-design-and-reserch-office/51d5a705b3fc4beae100022a_mercato-neri-hu-design-and-reserch-office_pg393_11-jpg/ http://www.archdaily.com/539821/euroshop-2014-stand-d-art-design-gruppe/53f57eb1c07a80388e000623_euroshop-2014-stand-d-art-design-gruppe_dart_euroshop2014_lp_ img_4284-jpg/ http://www.archdaily.com/553008/saraiva-bookstore-studio-arthur-casas/542cae28c07a80548f000414_saraiva-bookstore-studio-arthur-casas_04-jpg/ http://www.archdaily.com/442592/fonda-windsor-techne-architects/5269b28de8e44ee8e1000459_fonda-windsor-techne-architects_portada-jpg/ http://www.archdaily.com/511246/le-coiffeur-margaux-keller-design-studio-bertrand-guillon-architecture/5386a2f0c07a80287a000076_le-coiffeur-margaux-keller-design-studio-bertrand-guillon-architecture_lecoiffeur-7-attente_corner-jpg/ http://www.archdaily.com/202918/uptown-kids-elliott-associates-architects/063123_002/ http://www.archdaily.com/161705/atrium-studio-rhe-2/_mg_8490-2/ https://m1.behance.net/rendition/modules/114296763/disp/7ab1d63bbd2c8e5964b3d2e011142731.jpg http://www.dezeen.com/2014/10/03/matali-crasset-completes-dessert-themed-commonroom-for-french-culinary-school/
chapter 8
http://upload.wikimedia.org/wikipedia/commons/6/6e/Lancaster_32nd_Armory%2C_Philadelphia.JPG
chapter 9
http://instagram.com/freepeople
chapter 10
http://instagram.com/freepeople
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