Thesis : Experiencescapes - An experience-based approach to the interior design of retail spaces by Nirjari Upadhyay

AN UNDERGRADUATE THESIS FACULTY OF DESIGN CEPT UNIVERSITY,AHMEDABAD

EXPERIENCESCAPES :

EXPERIENCE FOCUSED APPROACH TO INTERIOR DESIGN OF RETAIL SPACES BY NIRJARI UPADHYAY UI1215 GUIDED BY MRS. RUCHI MEHTA

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Declaration This work contains no material which has been accepted for the award of any other Degree or Diploma in any University or other institutions and to the best of my knowledge does not contain any material previously published or written by another person except where due reference has been made in the text. I consent to this copy of thesis, when in the library of CEPT Library, being available on loan and photocopying.

Student Name & Code No: NIRJARI UPADHYAY UI1215

Date: 26.11.2020

Signature of student:

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FACULTY OF DESIGN Student Name & Code

Thesis Title

NIRJARI UPADHYAY UI1215 Experiencescapes: Experience focused approach to Interior Design of Retail Spaces

APPROVAL The following study is hereby approved as a creditable work on the approved subject carried out and presented in the manner, sufficiently satisfactory to warrant its acceptance as a pre-requisite to the degree of Bachelor of Interior Design for which it has been submitted. It is to be understood that by this approval, the undersigned does not endorse or approve the statements made, opinions expressed or conclusion drawn therein, but approves the study only for the purpose for which it has been submitted and satisfies him/her to the requirements laid down in the academic programme.

Mrs. RUCHI MEHTA

Name & Signature of the Guide

WWW.CEPT.AC.IN

Dean, Faculty of Design

T +91 79 26302470 F +91 79 26302075

KASTURBHAI LALBHAI CAMPUS UNIVERSITY ROAD, NAVRANGPURA AHMEDABAD 380009. GUJARAT, INDIA

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ACKNOWLEDGEMENT Foremost, I would like to express my sincere gratitude to my guide Mrs. Ruchi Mehta for her continuous support during my thesis and research, for her patience, motivation, enthusiasm and immense knowledge. I could not have imagined having a better advisor and mentor for my research. I would also like to extend my thanks to Krishna ma’am for giving us the perfect foundation for growth at SID, KP sir and Amal sir for imparting extensive knowledge throughout the course of my 5 years at FD. KD sir and Chandra ma’am have been the best support at the backend. Naandi ma’am, without your constant support and encouragement in the past few years, finishing the course at CEPT would just have remained a dream. I would also like to thank you for introducing me to Nishmin ma’am, my counsellor and confidant. Nishmin ma’am, thankyou for all the comfort and pieces of advice, they have not only helped me do better at college but shaped me into a better human being. Mom and Dad, you have been my pillars of strength throughout this course and I would not have made it if it weren’t for your warmth, love and care even sitting miles away. Lots of love to Swar for always being the perfect entertainer during the most challenging times and motivating me to work during my last days of thesis. No words could explain the respect and love I have for Dada and Nani for being my backbones always, Heta for always being my cheerleader and my SOS during any emergencies, Mama and mami for believing in me and Adi for being the best support during the lockdown. There are few people I want to specially thank for being there for me throughout this entire course of five years that was no less than a roller coaster ride. Mudi, Saurabh, Veli,Jay bhai you have all my heart. This wouldn’t have been possible without all four of you. Being one call away, you all listened to me rant about anything and everything and held me your shoulders for crying and partied with me in my joys. Last but definitely not the least, a note of thanks for my batch 2015, for giving me thousands of memories to cherish, for all the fun during night outs, for the last minute helps and continuous support. My gangs, Lights.Camera.Action and Chaman Chintus for being my home away from home. Charvi thankyou for checking up on me during the past few months and encouraging me to finish this. Shivam and Urvashi thankyou for all the help with the thesis. Dedicated to maa and paa….

CONTENTS

i Abstract ii Introduction iii Aim and Objectives iv Scope and Limitations v Research Methodology 1. Experiencescapes: An Introduction 1.1 Introduction 1.2 Experience of space and experience in space 1.3 Relevance of experience in experiencescapes 1.4 The phenomena of experience 1.5 Challenge of subjectivity 1.6 Space making elements as a stimulus 1.7 Significance of experiencescapes in retail spaces 1.8 Summary 2. Experiencescapes: The Design Approach for Retail Spaces 2.1 Three phased process in retail experiencescapes 2.2 Customer journey 2.3 Types of experiences 2.4 Coded language in retail spaces 2.5 Summary 3.Case Studies 3.1 Methodology of case studies 3.2 Criteria of selection 3.3 Nike, NYC 3.4 Adidas, NYC 3.5 Puma, NYC 3.6 Analysis and inferences 4.Conclusion 4.1 Conclusion 4.2 Future scope of research 4.3 Bibliography and appendix

ABSTRACT Experiencescapes are physical environments that are designed to generate experiences to the people visiting the space. Experiences are of two types : one that are generated without any physical stimulus and the second are the ones that require an external stimulus to be generated. This study focuses on the later one where space acts as an external stimulus for experience generation. The challenge however lies in the subjectivity of these experiences as experiences are intangible and cannot be quantified. In the recent past there has been a shift in the paradigm from what was materialistic to what is more experiential. Research shows that people are now ready to invest into experiences more than owning things. This shift has been quite fast and it is difficult for brands to suddenly change the way they retail according to the requirements of their customers. This is creating an experience gap: the difference between the promise and the reality. This gap affects the loyalty of the customers which directly affects the sales. This widely proves that the viable future to design for a space is not around managing the message but managing the experience. Hence, brick-and-mortar stores today focus on imparting experiences and gaining trust from their visitors rather than focusing on retail as they know that the retail can be done through various online mediums. This implies that

there is a change in the way the stores look today as there has to be things beyond product display and cash counters. Various spatial factors work in combination to generate experiences such that the customer journey through the store contributes to the macroexperience and ultimately to the image of the brand. This research aims at understanding the experience-focused approach to design of retail spaces. There are three objectives. Firstly, to understand experiences and its generation. Secondly, to derive a framework for designing experiencescapes in retail stores and finally, to evaluate the proposed framework through related case studies. The framework derived is evaluated on stores of the same segment located in the same city and on flagship stores and hence lay down certain constants for an apt analysis. The study concludes on the factors of three phases of experience generation that contribute to the macro-experience and establishes the importance of spatial factors such as lighting, ambience, display elements,etc that act as a catalyst for experience generation at different intervals in the customer journey.

KEYWORDS Experience, retail, customer journey, subjectivity, perception, brand building, experience elements

INTRODUCTION As interior designers dealing in design of physical environments, the experience generated through the ambience is one of the major concerns as such experiences guide the behaviour of people. Be it a sense of peace or spurt of energy; be it a sense of happiness or inspiration, design plays an important role. Design thus becomes a tool where various elements act as a catalyst to generate such experiences and this experience focused approach to interior design is the premise of this study. Experiences generated in designed physical environments have become particularly important in the recent years as the global competitive economy is demanding it. Brands dealing with consumers are particularly interested in generation of such experiences that allow people to differentiate themselves from each other and mould the behaviour of their consumers. The word “Experiencescapes” has thus become popular in recent years in retail and hospitality sector as more and more Brands have become aware of this potential of design. The term refers to the experience focused approach to Interior Design of such branded physical environments. The challenge however lies in the “subjectivity” of experiences generated as every consumer comes into the space with a different set of intentions and expectations. What may inspire someone may discourage others and what may appeal to someone might not to others. Thus, this in-depth study is carried out to understand

the role played by spatial elements as well as subjective parameters arising from varied demographic and psychographic segmentation of the expected audience. The study is carried out to understand the phenomenon of experience generation in designed physical environments and analyze the role played by spatial elements.

SIGNIFICANCE OF STUDY This thesis will help in giving light to experience based approach to retail design. It will guide design students and professionals into better understanding of the process that brands and interior designers together undergo in order to create experiential stores. This study will highlight various factors that help in generating a desired experience that leads to a certain perception of a brand. This understanding can help in design processes as well as in experience generation for modern day retail environments.

AIM To derive an experience-based approach to interior design of retail spaces.

OBJECTIVE • To establish the importance of designing experiences in modern day retail spaces • To understand the phenomena of experience generation in a space • To derive a framework for designing experiences in retail spaces • To find the relation between customer experience, interior design and brand identity • To understand the customer journey in a retail space and the factors that contribute to it.

SCOPE & LIMITATIONS • The research is limited to the study of experience generation in retail spaces • The study looks at experience generation in retail spaces and is analysed through case studies of flagship stores. • The study analyses retail spaces through the lens of experiences and its generation through spatial elements. • It is a qualitative study and doesn’t measure experience on a quantitative basis • The study does not focus indepth of the construction aspects of a retail space

RESEARCH QUESTIONS 1. How is experience generated in a space? 2. What is the role of spatial elements in experience generation in a space? 3. What is experience-focused approach to interior design of retail spaces? 4. Even though experiences are subjective, how do interior designers design experiences in retail stores? 5. How do micro-experiences in a retail store contribute to brand building? 6. How do engaging spaces contribute to experience generation? 7. What are the different types of experiences in a retail store? 8. How do multiple micro-experiences create a cumulative macroexperience in a retail store? 9. How do experiences contribute to brand image creation?

RESEARCH METHODOLOGY

Introduction to experiencescapes

Experience generation in a space

Experiencescapes in retail spaces

Key parameters in retail spaces

• •

three phased process space making elements as a stimulus

•

importance of experiences in retail stores in the modern economy influence of experience on shopping behaviour

•

Customer journey

relevance of experience in experiencescapes importance of experience generation in interior spaces

coded language in retail spaces ( relevance of storefronts, lighting, visual merchandising,etc.)

relevance of the three phased process of experience in the journey of customers in the retail space.

Case studies

concluding the experience-focused approach to design of retail environments

• • •

Nike, NYC Adidas, NYC Puma,NYC

• •

Analysis and inferences future scope of research

This research follows a qualitative casestudy based approach. It is divided into three parts. Stage 1: The first part addresses experiences in experiencescapes. Their importance in modern times and in design of retail spaces Stage 2: The second part defines the spatial factors that act as a stimulus for experience generation in retail spaces and derives a framework of a customer journey through a retail space. Stage 3 : The framework is then analysed through case studies of three flagship stores and then the research is concluded with defining the experience -focused approach to design of retail spaces based on the inferences and the derived theory.

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EXPERIENCESCAPES : An introduction

1.1 Introduction 1.2 Experience of space and experience in space 1.3 Relevance of experience in experiencescapes 1.4 The phenomena of experience 1.5 Challenge of subjectivity 1.6 Space making elements as a stimulus 1.7 Significance of experiencescapes in retail spaces 1.8 Summary

1.1 Introduction Experiencescapes are the physical environments that are designed to generate specific experiences in the minds of people through the ambience of the spaces. Experiences are personal, subjectively perceived, intangible and continuously occurring everywhere around us. It is such a phenomenon that completely lives in the mind of individuals and is very difficult to be quantified. They are not limited to a specific space and can occur in an endless array of environments. For example, It is phenomenal how without touching a material we become aware whether it is hard or soft. It is through experiences that we perceive the world. Every object not only has its physical presence but it also has a psychological existence which is very subjective. Two factors can vividly define experiences: its subjectivity and its ability to occur in spaces through spatial stimulus. While the subjectivity cannot be completely changed, experiences can be manipulated through cognitive, social and sensorial processes that can help frame them. Designers can thus generate experiences in spaces through spatial factors to help narrow the subjectivity.

Experience factors

Subjectivity of perception

spatial stimulus Fig 1.1 Factors of experience

1.2 Experience of space and experience in spaces There is vast difference between experience of space and experience in space. Experience of space is the experience generated when an object is kept in an environment and what a human perceives from it. It can be just a cactus in the centre of the desert or a vast field of tulips. We percieve experience of space with relation to an object. When multiple spatial elements together contribute to generate an experience in a physical environment, it is called experience in space. Space in a designer’s dictionary consists of a three-dimensional bounded environment. The nature of interaction between the human and the space may be for a fraction of time but spaces do have the power to affect the mood of people. As mentioned earlier, experiences are subjective and if we consider a frame of view as a constant, then the state of the beholder and the point of view are variables and thus result in the subjectivity of the perception. We percieve experience in space when the object itself is part of the experience. Such environments where experiences are strategically designed for consumption are called experiencescapes. Experiencescapes are spatially planned and created through materials around us.

1.3 Relevance of experience in experiencescapes Interior designing is not just limited to creating spaces that are aesthetically pleasing. It is about problem solving, designing spaces that are functionally appropriate and visually appealing. In recent times, one more dimension has been added to this spectrum. Designers are now required to act as facilitators of experience in the spaces they design. There is a demand for adding value to the space through experiences that can be generated through spatial elements. Hence it is vital for designers to create Experiencescapes in modern times.

1.4 The phenomena of experience 1.4.1 Experience generation For an experience to occur, there has to be a human to percieve it and an object or space to generate the perception. An experience is thus a result of an interaction between a subject and an object. In the case of this study, the object is the space and the subject is the visitor in the

subject

object

Space

Humans

Envelope

Fig 1.4.1 Experience generation 22

Atmosphere

motion

Perception of space

orientation

position Fig 1.4.2 Factors of perception of space

space. The volume of the space, the sounds, the visuals, the materials, all contribute to the experience of the space. 1.4.1.1 Subject The Subject is the human body present in the space. The perception of space if created based on the analysis of our senses. The orientation of the body, position, and motion all contribute to the perception. This perception influences the way we react and behave. The factors influencing the perception of space are : •Orientation: The way we see the subject differs our perception of the space. Whether we look at it from the human height, from the view of an ant, or from the angle of the bird, all these result in different perceptions of the space. • Position: The position from where we view the space is vital in the perception. Whether we see it from up close or see it from far all result in different perceptions. • Motion: The speed in which we move around the space also affects our perception. 1.4.1.2 Object The object is the space the subject is placed in. It consists of two factors : the envelope and the atmosphere. The envelope is the physical environment and the atmosphere is the intangible aspects of the space. The subject will see the envelope and feel

the atmosphere. The interaction between the subject and the object which is the space results in a dialogue (triger of senses) that leads to generation of experience. The types of experiences will be explained in the chapters further.

subject

object

Trigger of senses

dialogue

Experience

Space

Humans

Envelope

Atmosphere

Fig 1.4.3 Experience generation

1.4.2 The 3 phased process Experiences are present in two formats: micro and macro experiences. Micro-experiences are small episodes across the three phases. The three phases comprise of a cumulative macro-experience. An experience is coined micro/ macro based on the view point from which you look at the experience. A macro-experience consists of three phases: anticipation phase, participation phase and a reflection phase. In each of these phases, there are multiple interactions that happen in serial manner between the participant and the elements of the experience. When a participant

ANTICIPATION

PARTICIPATION

REFLECTION Fig 1.4.4 Phases of experience

comes in contact with the element of experience there is a co-creation and subjectivity to perception as each participant comes with a pre-conceived notion based on their past experiences. The resultant co-creation is labelled “perceived results” that consists of thoughts, emotions etc.

Fig 1.4.5 Foundational experience components

Based on the above-mentioned explanation this is the following definition of experience: Experience is a unique interactional phenomenon resulting from conscious awareness and reflective interpretation of experience elements that is sustained by a participant, culminating in personally perceived results and memories. (Rossman, Duerden; Pine, 2019) Based on the explanation above here is an example of the multi-phased experience. When a customer decides to visit a store, the decision is based on a pre-conceived notion of word of mouth, social media interactions and touchpoints designed by the brand

across all means. One would also check reviews regarding the brand and the store online. This is part of the anticipation phase. The phase changes to a participation one the moment you reach the parking lot of the store. From the parking experience, to the storefront, to visiting the store, to viewing the products and the checkout experience, these all comprise of the participation phase. This is the phase where you begin to connect with the elements of the experience. Each time you visit the store, there might be a different experience. It is then in the reflection phase where you interact with the services that product you bought has to offer and the experiences related to it. It is based on the reflection phase that a perceived result is generated which directly affects whether you will return to the store again or not. The cycle ends if you decide not to visit again. Designing experiences thus requires an enormous amount of background study, testing and prototyping to check whether the experience has come across the same way to the customer as intended by the experience designer. Thus, experience design is the process of intentionally orchestrating experience elements to provide opportunities for participants to co-create and sustain interactions that lead to results desired by the participant and the designer. Experiences are complex and ever present, but to create

experiences that truly stand out and produce intended results, someone must intervene in a purposeful way. (Rossman, Duerden; Pine, 2019)

1.5 Challenge of subjectivity The subjective nature of experience also involves a phenomenon called selective perception. It is defined as what amongst a given composition appeals to the viewer. Apart from that the perception from a particular experience can also have its roots in the prior experiences of the person and can result in the decisions of the future experiences as well. For example, when a person in the past has experienced a narrow space and felt suffocated there, the next time they see such a space, they might already perceive it as a space they might feel the same way again. Significance and associations are varied. Thus, what may be intended by the designer may not be perceived in the same way by the person viewing the space even though the space is the constant here.

1.6 Space making elements as a stimulus Space acts as an activator between human beings and experiences. When one remembers a space they visited in the past, they tend to remember how they felt in the space more than the elements present in the space. Interiors and architecture play a huge role in our daily lives and is beyond the play of forms and elements. Although spaces are designed for specific functions and usages, they are recollected only through the feeling that it generated be it happy or sad, warm or cold.

Experience is a resultant of cognition where space acts as a stimuli. When we enter a space and move within, the elements in the space stimulate our receptor organs and upon reaching the brain it results into cognition. Thus the space making elements play a major role in influencing the behaviour of the person. A stimulus is any form of energy capable of exciting the nervous system and a receptor can be defined as a specialized nerve ending capable of responding to energy. Under most circumstances, we are under influence of multiple stimuli. Simulation is different from sensation as for a sensation to occur there needs to be a stimulation that is registered. There is various stimulus: 1. Visual: It is the form of stimulus that is resultant of what receipts to the eye. It analyses form and colour in the presence of light. 2. Auditory: It is the form of stimulus that travels in the air and receipts to the ears. Frequency of the sound waves determine the pitch of the sound. This stimulus has the capacity to attract attention. 3. Smell and taste: This stimulus receipts to the nostrils and tongue. It is in form of gases and other vapour like substances. Taste stimulus is considered to be the least efficient space stimulus. 4. Thermal: The receptor organ in the case of thermal stimulus is the skin. It determines warmth

Types of stimulus

Visual

Auditory

Smell and taste

Thermal

Tactile

Kinaesthetic Fig 1.6.1 Types of stimulus

and coldness. It depends on the temperature of the object in contact or the surrounding. 5. Tactile: This stimulus is the resultant of touch. The surface of an object or a surrounding is the stimulus. 6. Kinaesthetic: Any sorts of movement in the surrounding is a kinaesthetic stimulus. At any point of time multiple stimuli occur in the space and hence it critically depends on what appeals the most to the viewer in the space. We often happen to attend to the stimulus which we tend to recognize.

1.7 Significance of Experiencescapes in retail spaces In the past decades, the economy has shifted from what was driven by harvesting commodities, to an industrial one where the economy ran on manufacturing goods, to a servicebased economy where delivering services was the principal purpose to the current economy where experience over-powers the economic activity. Today’s economy runs based on the experiences one offers. Consumers do not just want products; they desire experiences that the product facilitates. In essence, people are willing to pay an extra amount for a product if it is providing a unique experience. Interior architecture plays a vital role in modern retail environments. It not only affects the experiences of the customer but also becomes a defining factor for the brand and ultimately the customers’ buying decision. There is broad connection between the interior

architecture, user experience and the brand identity. When aligned perfectly, these three together prove to create an overall positive perception of the brand. In the past few years, due to the increase in online retail, there has been a huge shift in the paradigm of brick and mortar stores. Today, stores are not just about products, display and cash counter. In this new landscape, the aim is to initiate and catalyse long term emotional bonds through experiences in the store which will then lead to brand loyalty. Stores today don’t focus on retail but on experience as products can be sold through omnichannels available in the markets. Thus, retail designers today aim to create experiencescapes that help the brands differentiate themselves from others. Retail experiencescapes are then different than traditional retail spaces in the following ways : 1. They create experiences

immersive

Retail experiencescapes offer more than products, they immerse the visitor and showcase how the brand is different. These stores are designed and curated strategically and emphasis is purely on imparting experiences. eg : Casper Sleeping mattresses allowed their visitors to rent their sleeping pods for 25 dollars an hour where they can sleep and experience what it feels like to sleep on their mattress with their pillow and bedsheet.

Figure 1.7.1 Casper dreamery, New York

2.The main aim is engagement and not sales The purpose of these experience based stores is not to achieve their target but to indulge the visitor into their products and engage them into it.If successfully done, these spaces can turn the decisions of the visitors and influence their behaviours. 3. Stimulate environment

Figure 1.7.2 Lush cosmetics store, London

senses

Retail experiencescapes are different from any other stores as they engage all the senses of humans which are pivotal in generating experiences. Touching a product can generate a relationship between the product and the visitor and increase their willingness to buy it. eg : Apple stores started bringing in the idea of showcasing their laptops open to be touched , felt and used so that it attracts the visitor’s attention. Another good example is Lush cosmetics , the sales people are ever-ready to help you try out the bath bombs and soaps in their sinks in the store. 4. Retail experiencescapes beyond expectations

Figure 1.7.3 Gentel monster store,Seoul

the

are

Humans have been hard-wired over years regarding the art of retailing. They expect certain things in the store be it the product display or the cash counter. things fresh while some retailers are creating spaces that do not even look or function like stores. Retail experiencescapes are however bound to create a ‘wow’ factor to the visitors. eg : Gentle Monster- an eyewear brand in South Korea has a store that looks and functions like an art gallery along

with selling optical. 5. Retail experiencescapes have spaces that encourage co-creation and socialization These stores have spaces where people can interact as a community, co-create and ideate. They help in generating the image of the brand. eg : Nike’s SOHO Flagship store. The store lets customers play in the basketball court, try soccer and attend live broadcasts of sports . In contrast to designing spaces that focus on the traditional tools of retailing. design process of retail experiencescapes is diverse and not based on a single ideology. Some ideas are based on the product, some on the target audience, some on the brand ideology and some just based on the idea of generating a ‘third-place’ for its customers.

1.8 Summary Designing experiences is the need of the hour. Experiences can be generated through multiple external stimulus and is a resultant of the interaction between the subject and the object. Based on the two formats of experiences, macro-experiences consist of three phases, each consisting of multiple microexperiences in its own. With the advancement technology and introduction

in of

Figure 1.7.4 Nike Soho,NYC

omni-channel retail, physical stores have to change the design of the store in order to attract customers. This can be done only through designing retail experiencescapes that are holistic and cohesive in nature and give a sense of individuality to both the brand as well as the customer experiencing it.

2 34

EXPERIENCESCAPES :

The design approach for retail spaces

2.1 Three phased process in retail experiencescapes 2.2 Customer journey 2.3 Types of experiences 2.4 Coded language in retail spaces 2.5 Summary

The previous chapter explains the importance of experiences and their relevance in the world of retail. It also established how experiences are generated and the three phased process. This chapter further adds to the topic by establishing few factors that contribute to experience generation in a retail environment. It also talks about the importance of keeping the entire customer journey in mind while designing and lays down a framework for designers to work upon.

2.1 Three phased process in retail experiencescapes The previous chapter mentions the three phases of macro-experiences. Now, lets look upon the same with respect to retail stores and derive the factors that contribute beyond spatial elements. 2.1.1 Anticipation phase When a customer decides to visit a particular store, the anticipation phase begins. The factors that contribute to this phase are : • • • • •

Knowledge Intention Expectation Past experiences Brand association touchpoints

and

This is the most subjective phase out of all three because it is very difficult to assume what the customer has in mind before entering the store. What the brands can control is very less. They can only try to generate

their image by providing touchpoints (advertisements, endorsements, websites, social media,etc). 2.1.2 Participation phase The participation phase begins the moment the customer reaches the entrance of the store. From the parking experience, to the storefront, to the journey inside the store and the exit, all constitute of this phase. The customer journey plays a major role in generating experiences and influencing behaviours. Various factors contribute to the experience. These factors are further discussed in the chapter. 2.1.3 Reflection phase The reflection phase begins when the customer exits the store and they interact with the product purchased or reflect upon the experiences they went through in the store. The influence of the participation phase directly controls the reflection phase and the decision of the customer. If the customer is not satisfied with the experiences in the store, they may choose to never return and even influence other’s decisions.

ANTICIPATION

• Knowledge regarding the brand • Past experiences • Brand touchpoints ( advertisements, website, social media • Intention of the customer to visit the store ( task oriented, experience oriented, social oriented) • Decision to visit the store or not

Brand Technology Humans

PARTICIPATION

• customer journey • customer-experiencescape interaction • point of purchase • first impression • Spatial factors • purchase decision • staff-customer interaction • customer-customer interaction • personalization and customization

Envelope Atmosphere

• • • •

REFLECTION Experience

Fig 2.1.1 Phases of experience and retail components

customer-product interaction experience recall value re-visit decision post-purchase services

2.2 Customer journey Designers cannot control experiences in its entirety as customers have varied perceptions, emotions and expectations before they enter the store. Interior architecture can however act as a catalyst in experience generation by instigating clues and stimuli in the retail setting. In order to provide a holistic and cohesive experience, the series of experiences need to be in sync and harmony with each other such that they do not look aloof. Defining the customer journey can thus lead to a better understanding of what can be done where. Mapping customer journey can be done using putting oneself into the shoes of the customer. Imagining experiences from their perspective can help narrow down the subjectivity of the experiences. 2.2.1 The first impression As with any new place, the first introduction makes a huge impact on the customer. In the case of retail stores, the storefront, window display and parking services are the first impressions. Having a positive output to this can result in a good result as certain section of the audience are very quick with their decisions. Creative and innovative window displays, appealing storefronts play a pivotal role in attracting the customer to the experiencescape. 2.2.2 The welcome Once convinced to enter the store, the welcome acts as a next cue in the series of experiences. The way the staff

greets the customer, the fragrances, the cone of vision at the entrance influence the customer’s decision of movement throughout the store. This pre- product interaction can make or break the perception and purchase decision and hence needs to be designed carefully. 2.2.3 Movement through the store There needs to guidelines or clues for the customer to navigate through the store. Signages are important for a hassle-free experience in the store. It purely depends on the concept and vision of the store to keep a single path movement or free moving layout of the store but the goal should be to encourage the customer to explore the entire store. 2.2.4 Experience clues It is now in the movement of the store where experiential clues can be planted for consumption. From sensorial experiences to social ones, cognitive to pragmatic, there are a wide range of experiences one can choose from. The decision of the experience should purely depend on what the brand’s ideology and their vision for the store. Incorporating and combining mutliple categories of spaces can result in a wider audience reach. 2.2.5 Point of purchase This purely depends on the customers whether they want to purchase any product or service but the point of purchase needs to be as attractive as it can be to influence

the customer’s decision. 2.2.6 The exit The exit needs to be smooth in order to end the participation phase of the customer with a positive impact. Based on the experience of customer in the store or of the product, the customer can choose to re-visit the store or not. The journey continues if the customer becomes a loyal ambassador of the brand but the circle ends if they choose not to visit again. 2.2.7 Revisiting the store The experiencescape also needs to be designed for the customer who is visiting again. There should be a sense of amusement for the customer each time they visit the store. There could be temporary elements in the store that can change at equal intervals to attract loyal customers.

2.3 Types of experiences: Experiences are categorized in the following experiential modules: 2.3.1 Sensorial experience

Fig 2.3.1 Samsung embrace, Milan

Five senses of a human being are at the very basis of his perceiving the environment and thus impact his behaviour. Engaging these five senses create environmental stimuli which influences the perception and behaviour of a customer, in a retail space. Strong sensorial components like dashing colours, soothing sounds or feel of a fabric make the experience memorable as well as long lasting. Sensorial elements not only lead to pleasure and beauty but they also help

differentiate between brands and add value to the brand theme.

Types of Experiences

2.3.2 Emotional experience “The best and most beautiful things in the world cannot be seen or even touched. They must be felt with the heart” ― Helen Keller Emotions drive consumer behaviour and that is why a retail space has to be designed in a way that the emotional experience is pleasing and exceeds the expectations of the consumer. Subtle elements are used to enhance the emotional experience of the customer like surprise elements, participative elements, pleasing elements etc. Retail design plays with such emotional aspects e.g. creating a kid play area in a branded garment store, setting up a café in Westside and so on. 2.3.3 Cognitive experience Emotional experience and Cognitive experience are two wheels of the chariot of a retail space. None of them can alone drive consumer decision making or lead to concluding to sale. Retail design has to therefore take care of rational elements like providing right and to the point information, eco-system for easy evaluation of options and engaging the intellect of the customer, finally leading to decision making. The pleasure and arousal created by sensorial and emotional experience converts into sale if cognitive experience is engaging.

Sensorial

Emotional

Cognitive

Social

Pragmatic Fig 2.3.2 Types of experiences

2.3.4 Social experience

Fig 2.3.3 Apple store, Regent street, London Social experience

Social experience is key for retailers as customers like to discriminate themselves. Retailers need to have service experiences in form of social interactions like meeting people, involving in brand community and having choices. Distinctive theme is also part of relation experience as it differentiates customer in terms of unique brand consumer. Relational experience refers to connect between customer- customer as well as customer – employee. A customer fan club is an example of Customercustomer relationship. Act experience is generated by creating a relationship between lifestyle and design. Branded experience creates experiential values to alter lifestyle. Motivational and emotional experiences lead to sense of pleasure which in turn modifies the lifestyle. 2.3.5. Pragmatic Experience Pragmatic or Act experience puts customers in action. In this experience, customer is encouraged to get involved and targeted to change his behaviour / habit in favour of the offering. It covers 3 categories viz Physical body experience, Lifestyle and Interact.

2.4 Coded language in retail spaces Interior design of retail spaces is not just limited to product display and the point of purchase. Various other factors contribute to give a holistic experience. In each space there is a combination of factors.

2.4.1 Storefront Storefronts act as the first impression to the store. They are the first touchpoint in the experiencescape. It attracts the customers that never planned to visit the store and just happened to pass by it. Storefronts usually consist of the store’s Logo and name with window displays that showcase the product and gives a gist of what the store has to offer. It often ends up being the make or break element for customers to decide whether to enter to the store or not. This initial impression plays a major role in the perception of the brand image on the visitor.

Fig 2.4.1 Nike storefront, NYC

2.4.2 Entrance Entrances are the next touchpoint in the experiencescape after the storefront. They generally set the base and tone of the atmosphere inside the store. The cone of vision upon entering the store is what the entrance consists of. Usually brands intend to keep its most popular products or installations that give a recall of the brand to help the visitor associate with the space.

Fig 2.4.2 Adidas store, NYC entrance

2.4.3 Lighting Lighting plays a major role in designing the experiencescape. It sets the mood, generates an ambience and creates a sense of place. It is the act of enhancing a space. It acts to the visual experience of the space. It has the potential to influence the customer’s perception of the overall space and hence the brand. Lighting is also used to showcase the products and attract

Fig 2.4.3 Nike store,Seattle lighting

the customers to certain areas and products. 2.4.4 Product Display

Fig 2.4.4 Camper store, Madrid product display

Display of products plays a major role in the generating experiences in the retail environment. It consists of various factors : • Density of display : The number of products displayed affects the way the customer percieves the brand, the lesser the products, higher is the value of the product. • Product segmentation : The way the products have been segmented affects ease of shopping for the customer. • Display element : The element that houses the product adds to the feel of the space. 2.4.5 Ambience Ambience plays a crucial role in setting the mood of the store. Sensorial effects come into play through ambience. The music, the fragrance they all add to the overall experience of the store. This is what makes the customer feel happy or sad, energetic or lazy.

Fig 2.4.5 Nike store, Paris ambiance

2.4.6 Visual merchandising It is the art of displaying merchandise in a manner that appeals to the customer. This is where the designers are supposed to combine all the other spatial elements of the store and make them look holistic such that it merges to look a single entity. 2.4.7 Material palette Materials give a feel to the entire space and bring harmony the environment

visually. They appeal to the viusal and tactile stimulus and create perceptions of the space. The type of material used in the space says alot about the brand, if the brand uses natural materials it could mean it is sustainable, if it uses industrial materials it could give another image. The surface of the material also adds to the overall experience of the store. 2.4.8 Environmental Graphics Environmental graphics play the role of giving information regarding the brand to its customers. It adds another layer to the experience of the brand perception. It appeals to the visual stimulus and shows the customers the ideology and distinct features of the brand.

Fig 2.4.6 Nike store, Paris, environmental graphics

2.4.9 Installations Installations act like a cherry on top to the macro-experience of the store. Various types of installations can be incorporated in the store. From abstract ones regarding the product, to window displays, to installations that attract customers, ones that are interactive and can generate distinct experiences in store, there is a lot the designers can experiment with in the store using installations. They act as a defining factor for stores even of the same brand.

Fig 2.4.7 Adidas store,London, installation

2.5 Summary This chapter lays down important factors that affect the experience of the customer in a retail space. From understanding the customer journey to the spatial factors that contribute to experience generation, this chapter establishes a framework for experiencebased approach to design of retail spaces.

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CASE STUDIES 3.1 Case study methodology 3.2 Nike,NYC 3.3 Adidas,NYC 3.4 Puma,NYC 3.5 Analysis and inferences

CASE STUDY METHODOLOGY

Introduction to the brand

• • • •

founder brand association touchpoints positioning

Target audience

•

demographic segmentation psychographic segmentation

•

About the store

Customer journey

Contribution of spatial elements in the macroexperience

• • • •

location facts and figures size designer

•

Three phases and the experience generated at each touchpoint in the journey

• •

understanding how each factor adds up to the overall experience The macro-experience percieved

SELECTION CRITERIA The case studies have been selected based on the following factors: 1. It should be a flagship store. 2. Location is a constant and hence stores have been chosen accordingly. Considering the fact that New York is known as the retail mecca, stores present in New York have been selected. 3. Segment of retail is also a constant and in the case of this research shoebased brands have been chosen. 4. The stores chosen are Nike, Adidas and Puma. Eventhough Puma is not amongst the top three sportswear brands, the store has been chosen as the brand is trying to elevate itself to the level of Nike and Adidas. 5. The three brands have been chosen while keeping in mind that they have a similar target audience. 6. Considering the current worldwide situation and the pandemic, stores have been chosed based on the data available online and hence the study is completely secondary. CONSTANTS : Location, segment, target audience. VARIABLE : size of store, experience elements. The stores will be then comparatively analysed based on how successful they have been in creating an overall macroexperience for the customer through spatial factors.

3.1.1ABOUT THE BRAND

Fig 3.1.1 Nike co-founder Bill Bowerman

Fig 3.1.2 Nike co-founder Phill Knight

Formerly known as Blue Ribbon Sports Inc., Nike was found in 1964 by Bill Bowerman and Phill Knight. It is an American multinational brand that sells footwear, apparel, accessories and sports equipment. Nike opened its first retail outlet in 1966. The tagline of the brand is “Just Do It”.

Fig 3.1.3 Nike logo’s “swoosh”

Greek mythology coined Nike as the “Winged Goddess of Victory”. The swoosh in the logo symbolises the sound of speed, power, movement and motivation.

Nike is one of the leaders in terms of providing sportwear for famous sportsperson around the world. This not only helps in reaching out to a wider audience due to the popularity of the celebrities, but it also provides trust to its audience regarding the quality and performance of its products. Fig 3.1.4 Nike endorsements

Nike alots a lot of its time and money into marketing its products using the innovation that it product atheres to. The brand is all about innovation and providing comfort to its audience through their products.

Fig 3.1.5 Nike Advertisements

Nike creates a huge brand recall value through its taglines in commercials and advertisements. It adds diverse target audiences into its ads to generate loyal ambassadors of the brand.

Fig 3.1.6 Nike Advertisements

Nike has truly entered the world of omni-channel retail through its app. It not only makes it easier for its audience to shop sitting at home but the brand has also designed its stores where the customers can utilize the app for ease of shopping. Fig 3.1.7 Nike Plus app

3.1.2 TARGET AUDIENCE Demographic segmentation Nike targets people from age of 1540. However, the brand does have products for kids but their main focus is on the youth. Nike caters to both men and women equally. It recently increased its product line in the women category with the increase in the participation of women in the world of sports. Although Nike does not segment based on race, caste and ethnicity, its products do divide people based on their income due to its product pricing.

Psychographic segmentation Nike bases itself as a brand that caters to all atheletes and for Nike, an athelete is anyone that has a body. Nike’s product line also includes equipments for gym enthusiasts, shoes and sportswear for all sports and its focus is more on fitness related products than on lifestyle ones.

3.1.3 ABOUT THE STORE

Fig 3.1.8 Nike house of innovation 000, New York

Sitting right in the heart of New York City and in the centre of the retail mecca of the world, Nike’s 5th avenue flagship store is a world in its own. The store is known as the ‘ House of Innovation 000’ which is a new addition to its array of stores around the world. The store opened its doors in 2018 spanning 68,000 sq ft across six floors. The store has it all, from the brand’s entire product range to expert studio for personal styling to customization area for its products. The store is not just a retail destination but also an attraction for people to visit and experience. The store is better experienced with the brand’s app Nike Plus. The design of the store blurs the difference between physical and digital retail.

Fig 3.1.9 Floor-wise division of Nike store

Nike Expert Studio

Sneaker lab

Men apparel

Women + Kids

Nike by You Maker space

Speed shop + Nike Arena

3.1.4 CUSTOMER JOURNEY

ANTICIPATION PHASE Based on the brand touchpoints mentioned earlier, the brand is percieved as the go-to store for all things sports. People consider it as a high-end brand for sportswear and shoes. Nike has always been advertising itself as a brand of innovation and using cuttingedge technology in its products, and hence people percieve it as a brand that caters to their fitness needs. So, when a customer thinks about going to the Nike store, they expect the store to cater to all their sports related requirements. They also expect to have a premium experience in the store due to the high price of its products. With the name ‘ House of Innovation 000’ and its location, customers think of the store as something that is beyond retail of its products but a tourist destination in its own.

PARTICIPATION PHASE

Fig 3.1.10 Storefront

STOREFRONT The storefront consists of a dynamic facade which is a metaphor to the motion of a runner in stride. The angle of the lines in the glass is same as the angle of the iconic swoosh in the brand’s logo. The glass is supported by a framework of exposed steel. The storefront is a combination of transparency, reflection and distortion. The storefront acts as a sigh of relief amongst the concrete jungle around it. The glass acts as an elements that teases the visitors by showing parts of the store but not in its entirety. The tagline on the topmost floor acts as a way for customers passing by to associate with the brand without reading the name of the store. The storefront acts a visual stimuli in generating the first micro-experience of the store.

Fig 3.1.11 Entrance

ENTRANCE With the same angle as that of the swoosh at 23 degrees, the glass facade lifts from the ground to create a void that creates an entrance vestibule. The entrance is quite small in height compared to the facade. Hence, it generates an experience of feeling small in front of a huge space thus creating a sense of grandeur and premiumness of the store.

Fig 3.1.12 Speedshop area

SPEED SHOP The speed shop acts as way for fast purchase for the shoppers that just want to buy what they require. Right at the floor of the entrance, the speed shop also houses the reserve and pick up locker area where customers can reserve their products through the app and pick up from the store.The speed shop adds to the ease of shopping for the customers that know what they want to buy and cater to the task oriented audience.

Fig 3.1.13 Nike arena

NIKE ARENA The Nike arena is a no-product area in the store. It is a large customization area where visitors can customize their products by changing colours of laces, the iconic swoosh, or the sneaker itself. The arena acts as an area for seasonal storytelling. It generates the experience of co-creation and personalization.

Fig 3.1.14 The installation - ‘The Beacon’

THE BEACON The beacon is a 3-storey high installation that consists of 29 video screens, 36 audio speakers. It is a spage age inspired installation that is in sync with Nike’s idea of innovation. The screens showcase the historic moments in the field of sports. The installation acts as a break from the product filled areas, it appeals to the visual and auditory stimulus and generates cognitive experiences which reflect the brand ideology.

Fig 3.1.15 Women apparel area

WOMEN’S APPARELS Level 2 of the store houses the women’s apparels. With all things white around the focus is on the colour of the products. The grid like patterns in the background merge with the display elements generating a sense of harmony in the space.

Fig 3.1.16 the Sneaker lab

SNEAKER LAB The sneaker lab pays homeage to the world of sneakers. It is probably the largest space where the highest number of nike sneakers have been displayed. The white background highlights the sneakers. The products are displayed in such a way with each sneaker displayed singularly generating the sense of high value to the product. This area acts as a cross between museum display and fashion boutique. Each product has been provided a distinctive pedestial and lighting.

Fig 3.1.17 Men apparel area

MEN’S APPAREL The men’s apparel area is quite in sync with that of the women’s apparel one. The grids are a prominent motif throughout the store. This gives a sense of equality and gives a perception of visual harmony to the visitor.

Fig 3.1.18 Fitting room

FITTING ROOMS The fitting rooms on each floor of the store house switches where the customer can change the lighting of the room based on the setting they want. The settings range from yoga to selfie to athletic giving the customer to check the products in different ambiant lighting and check out their looks.

Fig 3.1.19 Nike expert studio on level 5

NIKE EXPERT STUDIO Nike expert studio on the top-most floor is a place for customers to interact with trainers and recieve advice on various products and equipments. Customers can book appointments from the app or at the store and avail this experience. This gives a very personal touch to the overall experience of the store and gives a sense of individuality to the brand’s perception.

REFLECTION PHASE The overall image that the store gives is that of a culturally progressive and inspirational space. The spaces are diverse and different but they are percieved as one and holistic. The store design is kinetic, exploratory,engaging, prioritizes individuality and persoanlization. The design align’s perfectly with the brand’s ideology of being daring and diverse. Overall, the store caters to a wide audience with different intentions, expectations and cultural backgroungs. It also aptly categorizes its floors based on the intention of the customer. Speed shop for the task oriented customers, entertainment areas as well as aspirational avenues.

3.1.5 Experience Elements Storefront

The storefront acts as a perfect contrast in the spaces around it. Located right on the corner of the 5th Avenue, the store gets the opportunity to have a wider view point to all the people passing by. Fig 3.1.20 Nike store,NYC storefront Entrance

Upon entry the store showcases mannequins in pedestials wearing jerseys of various endorsements that the brand does. This adds another layer of information and association to the customer

Fig 3.1.21 Store entrance Ambiance

The ambiance is all things technology. It space speaks of energy and activates the same into the customers. There is music that adds to the experience. Each floor has a different vibe to it. Fig 3.1.22 Ambiance of the store Lighting

The store experiments with lighting. Each floor has a unique lighting strategy.

Fig 3.1.23 Lighting in the store.

Experience avenues

The store provides various avenues for customization and personalization. Along with that the store also contains spaces where the brand ideology is explained and visually demonstrated. Fig 3.1.24 Nike by You Product Display

Products have been displayed individually in unique ways throughout the store such that they look premium and specially curated for the customer.

Fig 3.1.25 Product display Visual merchandizing

Various visual cues help customers navigate through the store and enhance the experience

Fig 3.1.26 Visual merchandising Material palette

The colours used are generally black and white in the background to highlight the products. Grids are a common visual across the floors.

Fig 3.1.27 Material used in the store

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3.2.1 ABOUT THE BRAND

Fig 3.2.1 Adidas founder Adolf Dassler

Known as Dassler Brothers Shoe Factory prior to 1949, Adolf Dassler, a German cobler found Adidas which is the largest sportswear manufacturer in Europe and the second largest in the world. The tagline for the brand is “ Adidas is all in” .

Fig 3.2.2 Adidas logo

The three stripped logo represents a mountain, a metaphor for challenges and goals that need to be overcomed.

Adidas uses brand endorsements as its main marketing strategy to reach out to its target audience. It also collaborates with celebrities that do not belong to sports to show that the brand does not just cater to sports but to lifestyle as well.

Fig 3.2.3 Adidas endorsements

The advertisements of adidas use its tagline and encourages its audience to engage in the world of sports and fitness.

Fig 3.2.4 Adidas Advertisements

Adidas also uses advertisements to show its presence in the market for a long time and how the brand is committed to sportswear manufacturing and its advancement in designs in the recent years.

Fig 3.2.5 Adidas Advertisements

Adidas remains in contact with its customers even through websites and social media and thus catering to a wider section of its target audience.

Fig 3.2.6 Adidas website

3.2.2 TARGET AUDIENCE Demographic segmentation Adidas caters to the youth aged between 15 and 40 years. Its main target audience is atheletes and sportspersons. However, the brand does position itself as an amalgamation of lifestyle and atheletic wear brand. The brand caters to both men and women although their products and segmentation are more focused on men. The brand positions itself as a high-priced segment and thus caters to a very small yet significant section of the audience.

Psychographic segmentation Adidas has positioned itself as a brand for all things sport in a classic and atheletic way. Its focus is thus more on atheletes and the products they require in order to improve their performance on-field.

3.2.3 ABOUT THE STORE

Fig 3.2.7 Adidas flagship store, New York

At the cross of 5th avenue and 56th street, lies the Adidas flagship store in New York. This store is its largest in the world where all of its products are showcased. The store is a space made by creators for creators. It is based on the concept of high school stadiums. The store spans 45,000 sq ft across four floors. Designed by Gensler, the store opened its doors in 2016. Based on the stadium concept, the store considers New York as field of play and the store as the stadium where the atheletes can return and access all their behind the scene requirements.

Adidas originals + Miadidas Studio + Kids

Women + The track

Launch Zone

Men + Turf + Print shop

Fig 3.2.8 Floor-wise division of Adidas store

3.2.4 CUSTOMER JOURNEY

ANTICIPATION PHASE Being the largest Adidas store in the world, this store attracts alot of eyeballs and hence customers expect that the store will be beyond and above its other stores. The customers thus expect a ‘wow’ factor from the store. Based on the brand touchpoints, the store is expected to house all the products that any sportsperson would require. The store is expected to be able to cater to all the needs of its customers in the sports segment. Customers would expect a premium yet classic look and feel to the store which is in sync with the brand’s image.

PARTICIPATION PHASE

Fig 3.2.9 Storefront

STOREFRONT The storefront consists of a glass facade that gives a sense of transparency to the store and blurs to inside -outside relationship. The glass facade also allows the customers to look at the metaphoric field of play; New York from the pavillion inside the store. The storefront creates a sense of curiosity amongst the customers as the name and logo is not quite eye-catching and hence attracts customers into visiting and looking what is inside.

Fig 3.2.10 Entrance

ENTRANCE In sync with the stadium concept, the entrance is just like the one while entering the stadium’s pavillion. Ambient lighting without any brand recall element creates a space which is beyond the brand and allows the customer to create a perception of its own without letting the past experiences affect their perception.

Fig 3.2.11 The stadium seating

STADIUM SEATING Upon entering the store, the path leads to the stadium seating which acts as a space for customer-customer interaction and thus, planting cues for social experiences. The stadium seating broadcasts live matches which help build the store as a community gathering space and attracting more customers.

Fig 3.2.12 Launch zone

LAUNCH ZONE Coming out of the tunnel leads directly to the launch zone, a temporary space for launching new products and displays. The lighting above directly gives the relation to sports with the element being the basketball court. The launch zone acts as a runway for showcasing new things that the store has to offer right at the entrance.

Fig 3.2.13 Miadidas studio

MIADIDAS STUDIO Miadidas studio is a personalization and customization space which helps generate a sense of individuality to the customer’s experience in the store. This space is also an area for social interaction especially of the one between the customer and the staff.

Fig 3.2.14 Sneaker display

SNEAKER DISPLAY Adding to the classic vibe, there are no fancy display elements for the products . This space makes the browsing between the products easy and hassle-free for the customer. The concrete background acts as a perfect backdrop for showcasing the variety of products and hence highlighting them without adding any other element in the space.

Fig 3.2.15 Test track

TEST TRACK The store adds another layer of customer-product interaction in the space by allocating spaces where the customer can try and check the product in the exact environment as that of the one they are going to use the product in. The test track is one for atheletic runners allowing them to evaluate how the product performs.

Fig 3.2.16 The turf

THE TURF The turf is a space that contains various equipments where the customers can try and check their products. It gives the customer a sense of satisfactiion and influences their purchase decision as the uncertainity of the product is narrowed due to the trial already being done in the exact field of play.

Fig 3.2.17 The instagram zone

THE INSTAGRAM ZONE Catering to the trends and the requirement of the youth to capture the places they go, the store has a designated space for its visitors to take pictures which helps them reach a wider audience.

Fig 3.2.18 Cash counter area

POINT OF PURCHASE The cash counter is also in sync with the concept of the store, adding to the enrtire vibe of the place. The overhead elements, the lighting fixtures all contribute to the high school stadium look.

REFLECTION PHASE The store reflects the culture of sports through the lens of highschool. It succeeds in generating a wow factor in terms of the concept and how it has been translated into the space. The store will thus not only be a space for customers to visit for purchase but also one to visit as a tourist. The social spaces act as a catalyst for inviting customers again and again and thus generating loyalty to the store. These experiences which are beyond the one in interaction with the product can have an everlasting impact on the customer and the one they will cherish and recall.

3.2.5 Experience Elements Storefront

The storefront is a just a spatial barrier and does not hinder the view of the visitors passing by.

Fig 3.2.19 Adidas flagship store,NYC storefront Entrance

The wide-to narrow entrance of the space adds to the entire experience of the stadium and make the customer feel as a sportsperson and thus inspire them to be atheletic.

Fig 3.2.20 Store entrance Ambiance

The ambiance of the store is purely in sync with the stadium vibe especially with the lights and music.

Fig 3.2.21 Ambiance of the store Lighting

The store is all out with its lighting giving a flood light like feeling to the space. The lights are all of the same colour; white. The designer has also experimented using neon lights to showcase sports areas such as the basketball ground. Fig 3.2.22 Lighting in the store.

Experience avenues

The products have been displayed in a subtle yet classic way. The display is perceieved as if the shoes have been stuck on the wall.

Fig 3.2.24 Product display Visual merchandizing

Visual merchandizing of the store is in harmony with the concept and adds to the macroexperience of the store.

Fig 3.2.25 Visual merchandising Material palette

The materials used are exposed concrete and CMU walls. The fencing and benches are of metal. The idea has been to give the space a raw look.

Fig 3.2.26 exposed concrete flooring.

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3.3.1 ABOUT THE BRAND

Fig 3.3.1 Puma founder Rudolf Dassler

After a fall in his partnership with his brother, Rudolf Dassler found Puma in 1948. Puma is a German sportswear brand that designs and manufactures casual footwear, apparels and accessories. The tagline of the brand is “Forever Faster”.

Fig 3.3.2 Puma logo

The logo shows a leaping puma also known as the cougar, which is famous for being active day and night and jumping high. The logo aptly symbolises the brand’s ideology.

Puma uses brand endorsements as its marketing strategy to reach out to its target audience. The brand aims to reach in line with that of Nike and Adidas.

Fig 3.3.3 Puma endorsements

The advertisements of Puma are generally funky and attractive just like their products.

Fig 3.3.4 Puma Advertisements

Puma generally uses people in motion as icon for advertisement to show the relation of the running cougar.

Fig 3.3.5 Puma Advertisements

Puma remains in contact with its customers even through websites and social media and thus catering to a wider section of its target audience.

Fig 3.3.6 Puma website

3.3.2 TARGET AUDIENCE Demographic segmentation Puma targets people from age of 15-40. However, the brand does have products for kids but their main focus is on the youth. Puma caters to both men and women equally. However its main focus seems to be on men. Puma lies in the affordable segment and thus has a wider target audience to address.

Psychographic segmentation Puma bases itself as a brand that caters to the ‘atheleisure’ segment of the youth. With its product line that seems a mix of casual and sports it promotes that the brand’s customers can wear the clothes and shoes beyond fitness and sports.

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3.3.3 ABOUT THE STORE

Fig 3.3.7 Puma flagship store , New York

Located in centre of Manhattan, the Puma flagship store is an attempt by the brand to reach out to its North American target audience and be in competition with Nike and Adidas. Smaller in size compared to the other two stores, this store spans 18,000 sq ft across two floors.

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Women + Kids + Accessories

Men + Sports + Lifestyle + Customization area + Birch coffee

Fig 3.3.8 Floor-wise division of Puma store

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3.3.4 CUSTOMER JOURNEY

ANTICIPATION PHASE Based on the brand touchpoints mentioned earlier, the brand is percieved as a mix of leisure and sports. People consider it as a brand for sportswear and shoes that can be worn even casually. The brand gives a stylistic approach to the world of sportswear. Being the first flagship store in North America, the store attracts people beyond the ones who actually want to buy something. So, the customer expects something new in the space.

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PARTICIPATION PHASE

Fig 3.3.9 Storefront

STOREFRONT The storefront showcases the brand’s logo loud and clear that can be seen from far away as well creating an image that says that the brand has established itself in the city. The storefront motif has bee inspired from the sole of the Puma shoes.

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Fig 3.3.10 Entrance

ENTRANCE Upon entering the space, the store welcomes the customer with an installation of a huge shoe and its laces that not only act as a association for the brand but also a ‘selfie’ space for the tourists. The red colour acts as symbol for loud and bright perception of the brand.

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Fig 3.3.11 Skill cube

SKILL CUBE The skill cube is a space where the customers can test the products in the backdrop of the San Siro Stadium in Milan. The skill cube also contains visuals where famous sportsplayers guide the customer into doing certain excercises and tricks that help them understand the performance of the product in its actual environment.

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Fig 3.3.12 Racing car simulator

MOTORCAR SIMULATOR Taking a journey through New York while sitting on the simulator, this space acts as an exciting and entertaining place for people to interact and play. Such spaces are different not because they have a technology in it but because they generate experiences that one would remember. This simulator for example encourages the customer to try on the suite and get a feel of actually being a racer something that they would rarely get a chance to do otherwise.

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Fig 3.3.13 Basketball video game area

BASKETBALL AREA This space is another experience for customers to enjoy. The basketballs kept contain handprints of various basketball players that have endorsed the brand. The fencing at the back gives a very natural sports look to the space.

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Fig 3.3.14 Products area

PRODUCTS AREA The products area seems to be the least impressive amongst all. It showcases the products in a regular way with no wow factor. The materials used do not work in harmony and disconnect the customer from the space and its experiences.

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Fig 3.3.15 Cafe space

BIRCH COFFEE Upon reaching the first floor, the free-standing coffee bar acts as a mixed-use space that helps generate dialogues between customers. It helps the customers to taka break from all things sports and divert their minds into something different.

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Fig 3.3.16 Customization area

CUSTOMIZATION AREA The customization area houses workshops for people to design their own merchandise, customize Puma products and print personalized t-shirts. It acts as a space for co-creation and community interaction.

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REFLECTION PHASE The overall image that the store gives is that of a stylistic and space that promotes atheliesure. The store design is a fusion of lifestyle and sport which is in sync with its products that aim to blur the line between streetwear and sports. Overall, the store caters to a wide audience with different intentions, expectations and cultural backgrounds. The store aptly segments the space based on the type of sport to create a hastle-free shopping journey.

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3.3.5 Experience Elements

Storefront

The storefront aptly symbolises the brand and even the facade has a history to it.

Fig 3.3.17 Puma flagship store,NYC storefront Entrance

The huge sneaker at the centre upon entrance acts as pause point for customers to interact with before starting their shopping journey.

Fig 3.3.18 Store entrance

Ambiance

The ambiance is somewhere a mix of two worlds and does not provide a holistic look.

Fig 3.3.19 Ambiance of the store Lighting

The store consists of ambiant lights with focus lights only on the products.

Fig 3.3.20 Lighting in the store.

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Experience avenues

The display elements seem to be too simple for a flagship store and does not provide a very positive experience.

Fig 3.3.22 Product display

Visual merchandizing

The overall ambience fails to generate any specific perception of the space.

Fig 3.3.23 movement cues Material palette

The store has a very subtle colour and material scheme.

Fig 3.3.24 Store flooring

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3.5 ANALYSIS AND INFERENCES Phase of experience

Anticipation

Participation

Reflection

Nike, NYC

Adidas, NYC

Subject : all humans willing to enter the world of sports, highincome

Subject : Atheletes and sportspersons, highincome

Type of experience : Cognitive and pragmatic

Stimulus : No

Object : envelope and atmosphere of the store

Type of experience : sensorial,Cognitive, emotional and social

Type of experience : Cognitive, Pragmatic and social

Stimulus : Visual, Auditory, Kinaesthetic

Stimulus : Visual, Auditory, Tactile

Dialogue leads to macroexperience percieved as innovative, culturally progressive and atheletic

Dialogue leads to macroexperience percieved as sincere and classic atheleticisim

Type of experience Cognitive and prgmatic

Stimulus : No

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Puma, NYC

Discussion

Subject : Atheletes and sportspersons, moderate income. Type of experience : Cognitive and pragmatic

In order to narrow the subjectivity, brands need to design spaces and their touchpoints in harmony with their ideology. They need to understand their target audience and create touchpoints based on their requirements and likes.

Stimulus : No

Object : envelope and atmosphere of the store Type of experience : Cognitive, Pragmatic and social and Sensorial

Spatial stimulus takes the front-seat in this phase. The experiences perceived completely depend upon the type and external stimulus. The experiences in the space need to be along with the product display and not a different entity.

Stimulus : Visual, Auditory, Tactile , Taste and smell

Dialogue leads to macroexperience percieved as Stylistic and atheleisurism. Type of experience Cognitive and prgmatic

The result of the macro-experience comes when the reflection phase ends and this phase can highly influence the end behaviour and perception. Hence, all three phases need to be planned and each phase plays a pivotal role in the macro-experience

Stimulus : No

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• Adidas is ahead in terms of store design as the store looks holistic and all spatial elements work hand-in-hand with each other. The type of materials used compliment the stadium concept and give an overall cohesive experience. • Puma wins in terms of integrating experience elements along with the product such that they seem to be a part of the display strategy and not another function in itself. • In terms of product segmentation , Puma leads as the the segmentation is based on the type of sport which makes the navigation of space easier. • Nike tops in the area of edutainment and imparting experiences beyond the products. The installations give information to the customer regarding the history of the brand their design process. The brand’s focus is more towards what the customer would like to do and instills elements of cocreation in the space. • In terms of lighting, Adidas is the winner as even the elements speak sports. No element is left unturned to give teh sport and stadium vibe to the visitor.

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4 PAGE DIVIDER CONCLUSION

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CONCLUSION 4.1 CONCLUSION 4.2 FUTURE SCOPE OF RESEARCH 4.3 BIBLIOGRAPHY AND APPENDIX

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CONCLUSION The world of experiencescapes is a one that consists of spaces that ignite our cognitive and emotional characters of the mind. These spaces influence our behaviours based on what we percieve from it. This perception is however subjective due to our past experiences, the ability of our mind to co-relate, our knowledge and expectations from a space. The space acts as an external stimulus which appeals to our senses. Experience generation is a three phased process. Designers need to cater to each of these phases in order to create a holistic experience. The macro-experience is a result of mutliple micro-experiences. Each of these micr-experiences are generated as a result of the interaction of the participant with an experience element. In the premise of this study, experience elements are the spatial elements that contribute to the experience of the space. Due to the shift in the paradigm of the retail economy, experiences are becoming vital for brands to differentiate themselves from one another in order to attract customers to visit the store and feel, touch and try the product that can result in elevating the brand value in the mind of the customers and hence lead to the loyalty. These retail experiences thus need to be specially curated for the target audience based on their

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demographic and psychographic segmentations that the brand caters to. This curation can be achieved by laying down the intended customer journey of the store and designing microexperiences at intervals that contribute to the macro-experience of the store. Spatial stimulus thus comes into the scenario. The role of designers thus becomes vital in the design of the spatial elements. The aim should then be to design experiences in such a way that the subjectivity can be narrowed and people percieve exactly what the brand wants them to percieve. Thus elements like the storefront, lighting, ambience, visual merchandising, product display and experience avenues in the store play a pivotal role in experience generation. The case studies evaluated in the study infer that for a brand to attract customers to the store, it needs to be beyond product displays and is required to have spaces where the customer can interact with the product, customize and personalize their experience. The experience are required to be in harmony with the product display and not just an added space to the store layout. These experiences need to cater to the emotional and sensorial aspects of the customer thus giving them a memory to cherish and recall even after they exit the space. This experience-focused approach to design of experiencescapesin retail environments can ultimately result in increased sales which is the entire aim of brands.

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FUTURE SCOPE OF RESEARCH Experiencescapes have become an important part of modern day retail design. Now that people are willing to invest more onto experiences rather than materialistic things, it is vital for designers to adapt to this new concept of experiential retail. This proves to be a challenge for designers to come up with different kind of experiences everytime to generate the “wow” factor and differentiate spaces from one another. Hence, the future scope of research could be identifying various ways in wich designers can design experiencescapes while still keeping the brand image constant across stores. In these trying times of worldwide pandemic of COVID-19, various precautions and safety measures are required while visiting public spaces. The uncertainity of the span of such pandemics can totally shift the way we retail today. Touch and smell are two important catalysts for experiences. It is quite amusing to imagine spaces where one cannot touch, feel and try the product, especially in the case of sportswear and other apparels. This can bring about a huge shift in the way stores will be designed in future and this post-pandemic experiencescape design could be a possible scope for future research.

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BIBLIOGRAPHY PUBLISHED BOOKS • Norman, D. A. (2013). The design of everyday things. Cambridge, MA: MIT Press. • O’Dell, T., &amp; Billing, P. (2010). Experiencescapes: Tourism, culture and economy. Frederiksberg: Copenhagen Business School Press. • Pine, B. J., &amp; Gilmour, J. H. (n.d.). The experience economy: Work is theatre &amp; every business a stage. Boston, MA: Harvard Business School Press. • Rossman, J. R., Duerden, M. D., &amp; Pine, B. J. (2019). Designing experiences. New York: Columbia University Press. • O’Dell, T., &amp; Billing, P. (2010). Experiencescapes: Tourism, culture and economy. Frederiksberg: Copenhagen Business School Press. UNPUBLISHED THESIS • Abhari, M. (spring 2014). More-than-store: Expanding the Experience of Retail Phenomenon (Unpublished master’s thesis). School of Architecture University of Hawai‘i. • Pradhan, P. (2019). Motorcycle showroom design : Role of spatial elements in experience generation (Unpublished master’s thesis). Faculty of Design, CEPT University. • Shah, R. (2000). Experience as time in space : Relevance of the fourth dimension (Unpublished master’s thesis). Faculty of Design, CEPT University. RESEARCH PAPERS AND JOURNALS • Blazquez, M., Boardman, R., &amp; Xu, L. (2019). International flagship stores: An exploration of store atmospherics and their influence on purchase behaviourMarta Blazquez. Int. J. Business and Globalisation, 22(1). • JAHN, S., NIEROBISCH, T., TOPOROWSKI, W., &amp; DANNEWALD, T. (n.d.). Selling the Extraordinary in Experiential Retail Stores. CONSUMER RESPONSE TO THE EVOLVING RETAILING LANDSCAPE. • Pallasmaa, J. (2019). Design for Sensory Reality: From Visuality to Existential Experience. Architectural Design, 89(6), 22-27. doi:10.1002/ad.2496

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• Petermans, A., &amp; Cleempoel, K. V. (2009). Retail Design and the Experience Economy: Where Are We (Going)? Design Principles and Practices: An International Journal—Annual Review, 3(1), 171-182. doi:10.18848/1833-1874/cgp/v03i01/37604 • Pullman, M. E., &amp; Gross, M. A. (2004). Ability of Experience Design Elements to Elicit Emotions and Loyalty Behaviors. Decision Sciences, 35(3), 551-578. doi:10.1111/j.0011-7315.2004.02611.x • Soltani, S., &amp; Kirci, N. (2019). Phenomenology and Space in Architecture: Experience, Sensation and Meaning Saeid Soltani1Saeid Soltani. International Journal of Architectural Engineering Technology, 6(1).

ONLINE SOURCES • Adidas Flagship, NYC. (n.d.). Retrieved November 20, 2020, from https:// echochamber.com/article/adidas-flagship-nyc/ • Adidas NYC: Projects. (n.d.). Retrieved November 20, 2020, from https:// www.gensler.com/projects/adidas-nyc • Adidas Store in New York - 565 5th Ave: Adidas.co.uk. (n.d.). Retrieved November 20, 2020, from https://www.adidas.com/us/stores/new_york/ adidas_brand_flagship_new_york,_5th_ave_US470125 • Adidas, Nike & Puma - The Top Clubs Of Each Brand In 2020-21. (2020, November 06). Retrieved November 20, 2020, from https://www. footyheadlines.com/2020/06/adidas-nike-puma-top-clubs-of-each.html • Ashley, S. (n.d.). How to Create Experiential Retail Spaces (on a Reasonable Budget). Retrieved November 25, 2020, from https://www. prismtechgraphics.com/blog/experiential-retail • Binlot, A. (2018, December 21). Best Retail Experience Of 2018: Nike House Of Innovation 000. Retrieved November 20, 2020, from https://www.forbes. com/sites/abinlot/2018/12/21/best-retail-experience-of-2018-nike-houseof-innovation-000/ • Brands: Puma opens new flagship in New York. (n.d.). Retrieved November 25, 2020, from https://www.sportswear-international.com/news/stories/ Brands-Puma-opens-new-flagship-in-New-York-14858 • 9. Ciment, S. (2019, August 29). Puma’s massive new flagship store has

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giant shoes, video games, and a virtual soccer field. We visited and saw why sales are soaring. Retrieved November 20, 2020, from https://www. businessinsider.com/puma-opens-new-flagship-store-fifth-ave-in-newyork-2019-8 • Engle, E. (2019, August 28). A Look Inside PUMA’s 18,000 Square Foot Fifth Avenue Flagship Store. Retrieved November 20, 2020, from https:// hypebeast.com/2019/8/puma-fifth-avenue-new-york-flagship-store-insidelook • Experience design: A definition. (n.d.). Retrieved November 25, 2020, from https://www.foolproof.co.uk/journal/experience-design-a-definition/ • Hodge, W., & Writer, K. (2019, August 28). An Inside Look at PUMA’s NYC Flagship Store: See More Here. Retrieved November 20, 2020, from https:// www.highsnobiety.com/p/puma-nyc-flagship-store/ • Levine, D. (2017, January 19). Understanding Experience Design. Retrieved November 25, 2020, from https://uiux.blog/understanding-experiencedesign-13f115037662 • • Ltd, T. (2020, February 01). Spatial Perception and Architecture. Retrieved November 20, 2020, from https://medium.com/studiotmd/spatialperception-and-architecture-4f8ab99eeb41 • Ltd, T. (2020, February 01). Spatial Perception and Architecture. Retrieved November 25, 2020, from https://medium.com/studiotmd/spatialperception-and-architecture-4f8ab99eeb41 • Matousek, M. (2018, February 06). We visited the flagship stores of Nike and Adidas in New York City to see which was better - and the winner was obvious. Retrieved November 20, 2020, from https://www.businessinsider. com/nike-vs-adidas-flagship-store-pictures-details-2018-2 • Nike NYC House of Innovation 000. (n.d.). Retrieved November 20, 2020, from https://www.nike.com/us/en_us/e/cities/nyc/nikenyc_hoi_000 • Nike Opens Nike NYC House of Innovation: The Most Personal and Responsive Sport Retail Experience. (2018, November 14). Retrieved November 20, 2020, from https://www.businesswire.com/news/ home/20181114005859/en/Nike-Opens-Nike-NYC-House-of-InnovationThe-Most-Personal-and-Responsive-Sport-Retail-Experience • Nike’s House of Innovation 000 shows that big data does not equal loss of theatre. (n.d.). Retrieved November 20, 2020, from https://www.frameweb. com/article/nikes-house-of-innovation-000-shows-that-big-data-does-not-

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equal-loss-of-theatre • PUMA Flagship Store. (n.d.). Retrieved November 20, 2020, from https:// seele.com/references/puma-flagship-store • Puma. (2019, August 29). PUMA’s New NYC Flagship Store Seamlessly Integrates Technology, Art, And Music For A One-Of-A-Kind Retail Experience. Retrieved November 20, 2020, from https://www.prnewswire. com/news-releases/pumas-new-nyc-flagship-store-seamlessly-integratestechnology-art-and-music-for-a-one-of-a-kind-retail-experience-300908792. html • Retail Store Layout Design and Planning. (n.d.). Retrieved November 25, 2020, from https://www.smartsheet.com/store-layout • Sagredo, R. (2018, September 24). Adidas NYC / Gensler. Retrieved November 20, 2020, from https://www.archdaily.com/902535/adidas-nycgensler • Salpini, C. (2018, November 15). Inside Nike’s new House of Innovation flagship. Retrieved November 20, 2020, from https://www.retaildive.com/ news/inside-nikes-house-of-innovation-flagship-on-5th-ave/542349/ • Trench, T. (2019, April 23). Retail Case-study: Nike’s House of Innovation. Retrieved November 20, 2020, from https://medium.com/out-of-space/5-4retail-case-study-nikes-house-of-innovation-f315338fce49 • Trotter, C., Cate Trotter Cate Trotter is the Founder and Head of Trends at Insider Trends, & Cate Trotter is the Founder and Head of Trends at Insider Trends. (2020, October 16). • The Rise of Experiential Retail. Retrieved November 20, 2020, from https:// www.lightspeedhq.com/blog/the-rise-of-experiential-retail/ • Verry, P. (2019, September 09). Why Puma’s New Store on NYC’s Fifth Avenue Is a Major Statement for the Brand. Retrieved November 25, 2020, from https://footwearnews.com/2019/business/retail/puma-store-newyork-fifth-avenue-1202822818/ • What is user experience strategy? (n.d.). Retrieved November 25, 2020, from https://www.foolproof.co.uk/journal/what-is-user-experience-strategy

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LIST OF FIGURES Chapter 1 Figure 1.1

By author

Figure 1.4.1

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Figure 1.4.2

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Figure 1.4.3

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Figure 1.4.4

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Figure 1.4.5

Retrieved from Rossman, J. R., Duerden, M. D., &amp; Pine, B. J. (2019). Designing experiences. New York: Columbia University Press.

Figure 1.6.1

By author

Figure 1.7.1, 1.7.2, 1.7.3, 1.7.4 Trotter, C., Cate Trotter Cate Trotter is the Founder and Head of Trends at Insider Trends, &amp; Cate Trotter is the Founder and Head of Trends at Insider Trends. (2020, October 16). The Rise of Experiential Retail. Retrieved November 13, 2020, from https://www.lightspeedhq.com/blog/the-rise-of-experiential-retail/ Chapter 2 Figure 2.1.1

By author

Figure 2.3.1

Abitare, R. (2015, April 01). Samsung – Embrace: Sensorial Experience. Retrieved November 13, 2020, from https:// www.abitare.it/en/milan-design-week/2015/04/01/samsungembrace-sensorial-experience-2/

Figure 2.3.2

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Figure 2.3.3

Apple Regent Street to reopen with new design. (2020, November 06). Retrieved November 13, 2020, from https://www.apple. com/newsroom/2016/10/apple-regent-street-to-reopen-withnew-design/

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Figure 2.4.1 Fixsen, A. (2019, February 07). Nike’s Fifth Avenue Flagship Is a Temple to Shopping in the Digital Age. Retrieved November 13, 2020, from https://www.metropolismag.com/design/nike-houseinnovation-flagship-retail-design/ Figure 2.4.2 Richard, B. (2018, June 01). Go Inside Adidas’ New NYC Flagship Store. Retrieved November 13, 2020, from https://solecollector. com/news/2016/12/inside-adidas-nyc-flagship-store Figure 2.4.3 Redesigned Nike Store Shines in the Emerald City. (2015, July 30). Retrieved November 13, 2020, from https://news.nike.com/news/ redesigned-nike-store-shines-in-the-emerald-city Figure 2.4.4 Alarcón, J. (2013, May 28). 5th Avenue Camper Store / Nendo. Retrieved November 13, 2020, from https://www.archdaily. com/377753/5th-avenue-camper-store-nendo Figure 2.4.5 NIKE VAPORMAX. (2018, March 02). Retrieved November 13, 2020, from http://flyaway.fr/nike-vapormax/ Figure 2.4.6 Retail Design Blog. (n.d.). “ Nike flagship store by Nike &amp; WeShouldDoItAll &amp; Corey Yurkovich, New York City. Retrieved November 25, 2020, from https://retaildesignblog. net/2014/02/02/nike-flagship-store-by-nike-weshoulddoitallnew-york-city/ Figure 2.4.7 Deerupt. (2020, April 27). Retrieved November 13, 2020, from https://studioxag.com/work/deerupt/ Chapter 3 Figure 3.1.1 Bill Bowerman: Nike’s Original Innovator. (2015, September 02). Retrieved November 12, 2020, from https://news.nike.com/news/ bill-bowerman-nike-s-original-innovator Figure 3.1.2 SuperSumoz. (2018, December 06). Making of Nike: Phil Knight’s Leadership Style,Traits and Skills. Retrieved November 12, 2020, from https://supersumoz.blogspot.com/2018/12/making-of-nikephil-knights-leadership.html Figure 3.1.8 Montes, P. (2018, November 15). A Closer Look at Nike’s “House of Innovation 000” NYC Flagship. Retrieved November 5, 2020, from https://hypebeast.com/2018/11/nike-nyc-flagship-house-ofinnovation-000-closer-look-inside-pictures?amp=1

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Figure 3.1.9

By author

Figure 3.1.10- Montes, P. (2018, November 15). A Closer Look at Nike’s “House 3.1.297 of Innovation 000” NYC Flagship. Retrieved November 5, 2020, from https://hypebeast.com/2018/11/nike-nyc-flagship-houseof-innovation-000-closer-look-inside-pictures?amp=1 Figure 3.2.1

Port, S. (2019, August 14). Celebrating 70 Years of adidas. Retrieved November 10, 2020, from https://www.gameplan-a. com/2019/08/celebrating-70-years-of-adidas/

Figure 3.2.33.1.26

Sagredo, R. (2018, September 24). Adidas NYC / Gensler. Retrieved November 16, 2020, from https://www.archdaily.com/902535/ adidas-nyc-gensler

Figure 3.3.1

N, D. (2018). PUMA’s History. Retrieved November 16, 2020, from https://about.puma.com/en/this-is-puma/history

Figure 3.3.83.3.26

Ciment, S. (2019, August 29). Puma’s massive new flagship store has giant shoes, video games, and a virtual soccer field. We visited and saw why sales are soaring. Retrieved November 16, 2020, from https://www.businessinsider.com/puma-opensnew-flagship-store-fifth-ave-in-new-york-2019-8

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LITERATURE REVIEW 01 Retail Design and the Experience Economy: Where Are We (Going)?

By Ann Petermans and Koe nraad Van Cleempoel

The paper introduces one to what exactly are the brands trying to achieve with the inclusion of “creating experiences for customers”. Experience is looked as a means for communicating ideas while seeming to grab in customers at an individual level. It subtly hints into the customer psycho and explains the reasons behind it. The paper has a very complex map wherein it talks about a lot of parameters affecting and influencing the role and importance of ‘experience in retail’. From the past to the current day scenario, it clearly differentiates the vision and expectations of a brand from the service they provide. It points out the advantages of attracting an audience from experience-based retail as it means value creation for the brands, while also alarming the negative impact it can create if the customers are forced to pay for those experiences. It also discusses the influence of technological advances in the field of retail while providing a global perspective. The paper discusses the journey of experiential retail from throughout time. It ties together the different field of interior design, marketing, economy and psychology which all contribute to creating the experiences in store. It focuses on the importance of creating experience for customers and value for the brand. It sums up very nicely how a retail network cannot be seen in isolation but as a holistic approach. (This holistic approach should be applied to all and every kind of designing done for a retail environment.)

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The learning to take forward will be the aspect where the shift from targeting communities to individuals is taken up as a challenge by brands. Experiences differ for each individual and hence diverse experiences could be the step forward in learning about the field. The term experience tends to be interpreted differently by every individual and hence the opportunity is to make the experience rich by bringing in diversity and all senses.

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LITERATURE REVIEW 02 Designing Experiences

By J. Robert Rossman and Mathew D . Duerden

The book gives a deep insight into the world of experience design and derives a framework for experience generation for students and modern-day companies in order to fulfil the needs of today’s customers. The first chapter “Exploring experiences and experience design” gives and introduction to experiences, explains what companies like Netflix, Amazon and Apple have in common. The commonality amongst all three is the fact that these companies are successful into converting customers into loyal ambassadors through the experiences that they provide. The chapter further moves onto explaining the shift in the paradigm of the economy from agrarian, to industrial, to service-based and to the current experience-based economy. Then, it goes on to explaining the major difference between services and experiences. Moving on, the chapter details out the three phases of an experience i.e. anticipation phase, participation phase and reflection phase. It also explains what are micro and macro-experiences. Based on the above-mentioned analogy, the chapter then derives a definition for an experience and then gives an apt example to prove the given theory. The chapter ends with giving a basic introduction to experience design that is further discussed in the rest of the chapters of the book. The chapter of the book gives the right foundation to learning the theory behind experience generation and the importance of experiences in the modern economy. It not only helps designers but also brands to understand the

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value of creating experiences and what tactics are required in order to lure their customers in the era of online retailing. The chapter acts as a base to further develop a framework in order for a designer to help a brand create valuable experiences that would gain a better image as well as loyalty for the brand in front of their customers. The entire chapter acts as a learning in order to set a stage for further research into the idea of experiential retail. Not only does it help in understanding experiences but it also helps in creating an evaluation for case studies; whether the stores today are successful in imparting experiences they intend to or not.

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