Influence of Architecture in Creating Branding and Brand Experiences in the Retail Industry.

Parneet Kaur | 2019

BONAFIDE CERTIFICATE

This Dissertation is submitted by PARNEET KAUR, student of Fourth Year B. Arch. Session 2019-2020, at Sushant School of Art and Architecture, Gurgaon, as partial requirement for the Five Year B. Arch. Degree course of Ansal University, Gurgaon.

Originality of the information and opinion expressed in the Dissertation are of the author and do not reflect those of the guide, the coordinator or the institution.

Signature of the Student:

Signature of Guide

Roll No.: 160BARCHI076

Name: NIRAJA ALDOORI

Name: PARNEET KAUR

Date:

Signature of Coordinator Name: RADHA DAYAL Date

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ACKNOWLEDGEMENTS On the very onset of this paper, I would like to extend my sincere and heartfelt obligation towards the people who have helped me in this endeavour in the past few months. It has been a period of intensive learning for me and I would like to reflect on the people who have supported me and helped me throughout.

First and foremost, I would like to express my sincere gratitude to my guide, Miss Niraja Aldoori, for her constant support and guidance towards my dissertation. Her patience, motivation, enthusiasm and immense knowledge has greatly helped me in writing this paper.

I would also like to thank our coordinator Radha Dayal, for all the useful insights on how to go about the paper and constantly deal with our queries and doubts.

I owe my special thanks to the store authorities of the brands for their insights and being so helpful with the whole process of data collection and understanding.

Finally, I would also like to thank friends and family for their consistent encouragement and wise counsel. I would especially like to thank my parents who have supported me throughout in the site visits and constant force of positivity towards my paper.

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ABSTRACT

Shopping and retail industry are influenced by and talk about the lifestyle, culture and interests of people. The key to the success of this industry is the customer involvement with the store. Branding plays an important role in developing this bond and involvement. Hence, brand development is another important criterion for retail development. But, the rise and advancement in technology has led the people to move towards online shopping thus, reducing the significance of physical stores. This results in a loss of the essence of the activity. The growing industry also gives rise to immense competition among companies selling similar products. The product quality solely is not enough to stand out. To cope up, brands choose to revive the brick and mortar stores that would help in displaying and communicating the products and ideology by creating an experience rich environment. Hence, architecture plays an important role in this industry as it creates design, experience, spatial arrangement and emotions of a given space. The challenge for architects is to find a meaningful concept and ideology and convey it to the customers in terms of experience. Therefore, this research critically analyses the relationship between branding and phenomenology where branding influences the company’s strategy to set principles and formulate its style and target users whereas phenomenology focuses on responding to human emotions and senses in order to strengthen the brand - customer bond. The focus of this research is on the effect that architecture creates in enriching the experience in a retail space. It is an analysis of how brand communication is strategized through design elements that help in creating an atmosphere that awakens the senses of a user. This communication is strategized through design elements in stores. Each element is significant in influencing quality of spatial experience created. Various such parameters have been discussed in this study.

This study further is a comparative analysis of stores of the selected brands to determine the strategies and use of elements in order to create an experiential branded environment. It formulates how brand perception and positioning is dependent on the quality of experience that the store provides.

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LIST OF TABLES/ FIGURES/ ILLUSTRATIONS Fig. 1. From ‘Designing Brand Identity’ (Alina Wheeler 2009, p.17) Fig. 2. From ‘Designing Brand Identity’ (Alina Wheeler 2009, p.12) Fig. 3. From ‘Designing Brand Identity’ (Alina Wheeler 2009, p.10) Fig. 4. From ‘Designing Brand Identity’ (Alina Wheeler 2009, p.19) Fig. 5. From ‘Designing Brand Identity’ (Alina Wheeler 2009, p.14) Fig. 6. From ‘Designing Brand Identity’ (Alina Wheeler 2009, p.121) Fig. 7. Source, Author.

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TABLE OF CONTENTS Bonafide Certificate.......................................................................................................................................i Acknowledgments……………………………………………………………....................................………….ii Abstract ……………...…………………………………......................................................................................iii List of Tables / Figures / Illustrations …………………………………....................………………......iv Table of Contents Chapter 1: Introduction..............................................................................................................................1 1.1 Branding …………..…….............................................................................................................4 1.1.1 Evolution of Branding.….………………………………………………………...5 1.1.2 Growth of Branding in India…………………………………………………...6 1.2 Role of architecture in branding.....................................................................................7 1.2.1 Retail architecture……………………………………………………………….…7 1.2.2 Current trends in Indian Retail………………………………………………..7 1.3 Phenomenology ……………………………………………………………………………………8 Chapter 2: Phenomenology in Branding………………………………………………………................9 2.1 Experience in Retail – Architectural Parameters……………….……………...........11 2.2 Branding Aspects that govern design parameters………………………………….16 Chapter 3: Case Study………………………………………….....................................................................17 3.1 Typology Identification………………………………………………………………………..18 3.2 Brand Identification and observation………………………....…………………………19 Chapter 4: Analysis ...................................................................................................................................30 Chapter 5: Conclusion .............................................................................................................................36

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Chapter 1 Introduction Shopping is an activity that is a basic part of a person’s life. It is done to either fulfill the needs or only for enjoyment. It defines our lifestyle, culture, interests and personality.

Right from the Greek Agoras and the Roman Forums to Indian Bazaars, architecture has played a significant role in fulfilling the demands of the retail industry.

The advancement in technology and World Wide Web, has changed the lifestyle and demands of the millennials resulting in an increase in the online shopping trends. Even though this is easier and more convenient as it helps people to buy required goods sitting in any part of the world, it poses a challenge to the existing physical stores. No matter how good the online platform is, it cannot remotely recreate the essence and experience of the brick and mortar stores. To keep up this spirit of shopping, it is important to revive and reinvent the physical stores. Therefore, it is important to design shopping spaces in a way that they make the users comfortable in the built environment and connects with their image and lifestyle. This experience provides a sense of loyalty, connect and adds value to create a long-lasting impression on the users of the space. It also integrates different communities to the built environments.

The present retail industry being dominated by brands, similar products are sold by various brands. These brands can be similar or different in terms of the product quality, price and quantity. These are the factors that mould the brand value. The stores serve as a medium in communicating the brand worth to the customers. The quality of customer experience in terms of display, emotions, and services is communicated through the concept of phenomenology, which is an important aspect of brand development and success. The trending retail design is about conceptualization of a brand language and to communicate it to the customers through the experiential aspect of architecture and design. It is important to build a brand identity. Retail is designed to express the brand’s values and style in order to keep up with the increasing competition among various brands and to sustain along with the progressing ecommerce. This language is based on the origin, background, evolution or philosophy of the brands. Stores communicate what the brand conveys and therefore, helps in creating an ambience which enhances the shopping experience. The application of

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design elements such as light, circulation, placement, material, colour and sound help in conveying the language and style of the brand. Thus, architecture helps in communicating the identity that the brand carries.

AIM: The aim of this research is to formulate a connection between branding and phenomenology in retail stores. It further aims to understand how the change in the quality of experience in a store stimulates its brand value.

RESEARCH QUESTION: How do the architectural design parameters create an experience in the retail industry and in turn regulate the brand value?

OBJECTIVES: 1.

2.

3.

4.

5.

To define and discuss branding.

To define how architecture is a parameter in branding.

To analyse the retail trends in India.

To define phenomenology and discuss it’s need in the retail sector.

To analyse, understand and observe various architectural parameters that affect the retail design.

6. To analyse branding aspects that govern the architectural parameters.

7. To identify the above parameters and aspects in the stores of selected brands to determine the focal architectural parameter and also analyse the quality of experience.

METHODOLOGY The research aims to formulate a relationship between branding and phenomenology therefore, it has a qualitative approach. The research is done is four phases.

Phase 1: defining and identifying subjects- retail, branding and phenomenology through literature review.

Phase 2: identifying the parameters necessary for design through literature review and primary analysis.

Phase 3: observing the identified parameters through primary case studies.

Phase 4: analysis and conclusion

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PHASE 1

Defining the retail

Define retail

Define branding

trends in India

Define phenomenology

PHASE 2

PHASE 3

Identification of a

Observations

Analysing the need for

significant retail typology

in brands

phenomenology in retail

Identifying design parameters

Selection of brands

in retail design

for primary study

Understanding and identifying factors governing the design parameters PHASE 4

Comparative analysis of observation to determine conclusion

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SCOPE AND LIMITATIONS: 1. SCOPE The scope of this research is to analyse in Delhi and Gurgaon through architectural parameters. It focuses on how architecture translates into brand identity.

2. LIMITATIONS This research does not deal with the marketing strategies, functional and financial parameters. It does not include branding through advertisements, logos or products. Primary research is limited to store design in Delhi and Gurgaon. Brands considered are private brands which have independent retail store in the malls of India. All of them are fashion brands that sell apparel, accessories and footwear for both men and women. The research is limited to the experiential aspects of the interior architecture of the stores. The brand hierarchy is according to the Indian context and market.

1.1

BRANDING

‘A brand is a person’s gut feeling about a product, service, or company.’(Neumeier, 2005). As the Oxford English Dictionary states, ‘the promotion of a particular product or company by means of advertising or distinctive design’ is called branding. A successful brand is the one that can connect with the customer and make its place even in the most crowded market places, ‘As competition creates infinite choices, companies look for ways to connect emotionally with customers, become irreplaceable, and create lifelong relationships. A strong brand stands out in a densely crowded marketplace.

People fall in love with brands, trust them, and believe in their superiority. How a brand is perceived affects its success, regardless of whether it’s a start-up, a non-profit, or a product.’(Wheeler,2009) This says that branding evokes a sense of expectation and awareness among people. It helps in determining the product type and quality. Brands help customers to choose among countless set of choices by communicating the ingrained quality of the products and service. This is displayed by creating a distinct

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image and relationship with the customers. ‘Branding is a disciplined process used to build awareness and extend customer loyalty.’ (Wheeler, 2009) The three Ps of successful branding are – promise, positioning and performance. The promise is to the customers to fulfil their needs and demands. Positioning is how the brand is positioned in the minds of the customers and how it is perceived. The performance of a brand is its ability to fulfil the promises and build trust.

Figure 1. Brand development and strategy. (Wheeler, 2009,p.17)

1.1.1 EVOLUTION OF BRANDING According to the Oxford English Dictionary, branding is understood as ‘the action of marking with a hot iron’, which means that the process of branding can be dated back in the earliest human times by ancestors in caves or by wild men to demarcate their cattle. Since then, the basic idea is to differentiate and create a separate identity amongst all available similar things.

The modern concept of branding started in the late 19th or the early 20th century. It emphasises on a certain aura of sophistication or status on its user. This developed further because the customers were more interested in the functional superiority than the basic product needs. ‘The earliest examples of branding can be traced back as far as the 1880s when logos began to appear on food packages such as Campbell’s soup, Coca Cola and Lyle’s Golden Syrup.’ (Mesher, 2010)It started as a catch-phrase or image related to the product. This became the mode to catch the attention of the common public to create awareness and recognition of the product being sold. This developed as the formulation of ‘brand identity’ during the 1940s where the focus moved from promoting the product to promoting business and function. The 1980s saw the recession and a dip in the profits of the largest manufacturers. This is when the trade started shifting to Asia, with India and China 5

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as their focal markets. These favoured as they provided labour for a fraction of the cost as well as the increasing demands. The focus was now to build the brand essence and not concentrate on the manufacturing processes. Big brand names started flourishing worldwide in the 1990s as these brands invested more in advertising than their product. This strategy helped them flourish while many declined as an aftermath of recession and Wall Street. (Mesher,2010) The role of the brands evolved as : firstly the quality generator, where the aim was functional; then as a badge which had a social impact; as the building block to build an emotional connect with the users; as the medium for display of cultures and lastly as a myth that deals with the ideology and philosophy of the brand.

1.1.2 GROWTH OF BRANDING IN INDIA According to the Times of India, in the year 2019, India has become the 7th most valuable national brand and according to the Indian Brand Equity Fund(IBEF), the Indian retail industry is said to have grown from US$39 billion in 2017 to US$120 billion in 2020. In India, the brick and mortar stores continue to rise with the rise of investment by the international brands. With the retail sector largely being unorganised, brands would need a strategic partner that has the insight into the Indian luxury market. International brands are opening stand-alone brick and mortar stores in India to attract more footfall and create an identity in the country.

(Malviya and Bailay, 2019) India is the fifth largest preferred country in the retail industry around the world. The exponential growth and development of the country attracts top end international brands to set up not only in the metro and capital cities but also tier II and tier III cities. At the same time, India’s improved ranking on the World Bank’s ‘Ease of Doing Business’ ranking has led to a boost in the foreign investment in the country. Growth in the disposable incomes of the middle class is another such factor. The increasing participation of international and national players and celebrities promotes the market growth in the country.

(India and Analysis, 2019) With new awareness and appreciation of high-end goods, the Indian consumers are consistently seeking fashion brands that enable self-expression and Individuality. As per a recent report by The Business of Fashion and McKinsey, over 300 international brands are expected to enter the Indian market and open stores in the next two years. As the second largest market after

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China, India will play a significant role for global fashion brands seeking the next phase of growth. With rising disposable incomes and more avenues available for a novel shopping experience, brands can expect more sales in the country.

1.2

ROLE OF ARCHITECTURE IN BRANDING

1.2.1 RETAIL ARCHITECTURE Retail is the sale and purchase of manufactured goods from a point, directly to the customer in single units or small quantities for his or her purpose. The point where this transaction takes place are physical built spaces known as malls, markets or departmental stores. To run the retail industry efficiently it is important that these spaces are well organised and inviting. Hence, it becomes crucial for architects and designers to design an efficiently functioning physical space. Retail architecture is a specialised creative discipline that involves the design and construction of a given space for retail purposes. It is specialised because of the demands of the customers, the product sold and also the contextual location. Various architectural elements come together to formulate the structure and design of any store.

1.2.2 CURRENT TRENDS IN INDIAN RETAIL STORES The millennials constitute of more than 27% of the world population, forming the largest demographic group in the world. Hence, their lifestyle and demands redefine the trends of the retail industry across the world. Indian demographics constitutes of 34% millennials who have a major contribution in the growth of the economy of the country. Their increasing awareness of brands and spending ability has led to the development of India as a potential market for international brands to set up in India. The exponential growth and development of the country attracts top end international brands to set up not only in the metro and capital cities but also tier II and tier III cities. The increasing participation of international and national players and celebrities promotes the market growth in the country.

Numerous high-end brands seek to set up in India by 2021.

As the internet penetration in the country increases, the younger generations have started drifting from the traditional modes of shopping to e-commerce. Surveys have shown a rapid increase in the percentage growth of online shopping – 3% of

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the total retail revenue in India to 7% by 2021. 47% of the millennials engage more in online shopping due to the convenience and a wider choice of products.

However, physical offline shopping still continues to be dominant. Contrary to the belief that the drift towards online shopping is rapid, it is rather a gradual shift.

This is because the younger generation value the brand experience more than the quality of products. This motivates the brands to revive the hands-on experience of the branded environments. Physical stores not only help in emphasising on the feel of the product and easier decision making but also help in developing customer loyalty and brand communication through their experience rich environments.

(Rls.net.in, 2019)

1.3

PHENOMENOLOGY

In architecture, phenomenology can be defined as the sensory response to a built space. It is the manipulation of space, material, light or shadow in order to create a memorable impact on the human senses.

Architecture is designed to serve the needs of human activities performed within a given space. This creates a relationship between the human senses and the building. Phenomenology adds quality to the rational function of a given space. The experience of the space is ingrained in the memory thereby creating a bond beyond the functional use of the space. Designing an experiential space is an architect’s responsibility. The experience created by the tangible and intangible parameters is abstract and perceived by an individual. It is affected by the context, organised programmatic layout, space distribution and hierarchy and material exploration.

This along with elements such as light, space and form come together to give a unique experience.

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Chapter 2 PHENOMENOLOGY IN BRANDING “Although customers can block out traditional communication messages, they are incapable of blocking out their experience of the environment that they are in.”

(Alec Zaballero, TPG Architecture, New York) As discussed in the previous chapter, modern retail trends focus more on the experience created by the brand than the product quality. Phenomenology in branding is based on the development of brand strategy. This is further communicated through design. The focus of the store design is based on customer experience. Contrary to focusing on advertising and logo design, companies focus on three dimensional projections of the branded environments.

Figure 2. creating brand experience( Wheeler,2009,p.12)

The purpose is to add value, increase loyalty and also create a long-lasting influence on the public. Brand architecture focuses on the representation of the store as a destination where the function and experience intersect, thereby, creating a responsive design that engages every user. The concept of designing has transformed from the ‘perfection of the object to the transformation of the subject’ (Klingmann,2007). This means that ‘the focus of architecture has evolved from an emphasis on “what it had” (function) and “what it does” (program) to “what you feel” (experience) and “who you are” (identity) – the key concept is what is referred to as the “experience economy.”’(Klingmann,2007). Architects as communicators of the brand strategies play an important role in engaging the public in new ways. The experience and satisfaction of a brand is majorly dependent on the architectural elements used in a space. ’Every customer contact provides an opportunity to enhance an emotional

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connection. A good experience generates positive buzz; a bad experience becomes a lost opportunity sabotaging the brand. ‘ (Wheeler,2009).

Figure 3. Brand Image Formation (Wheeler,2009,p.10)

The stores are capable of building a customer – brand relationship. In-store environments have various elements that influence the human emotions and behaviour. The purpose of the store is to attract customers, make them spend more time in the environment and have them return. This is done when the experience in the store promotes memory and desire. The ordinary shopping spaces are designed as memorable experience engaging environments to differentiate them form the other brands. The spatial experience is monitored by differentiating spaces, creating an authentic identity and promoting emotional attachment. (toth, 2015)

Figure 4. Perception of Brand (Wheeler,2009,p.19)

All these parameters are controlled by the brand.

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Figure 5. Brand Positioning (Wheeler,2009,p.14)

2.1 EXPERIENCE IN RETAIL : ARCHITECTURAL PARAMETERS There are several elements responsible for creating the desirable in-store environments. These can be distinguished as tangible (material) and intangible (atmospheric) elements. The physical surroundings such as the fixtures, material used, decorative elements, symbols, the layout and organisation of various functions are the tangible parameters in a store. Whereas, the ambience created in terms of visual, olfactory, tactile and aural experiences are the intangible parameters that make up the desired retail environment. In retail design, visual experience is most important. This means everything in the given three- dimensional space that is observed by the eye is significant in creating a visual experience.

Following are the factors that affect the overall experience of a store.

2.1.1 SPATIAL ARRANGEMENT The interior layout is one of the most important factors in determining the experience and quality of a given space. The interior layout plays an important role in making the transition for the customer from outside to inside seamless. The organisation of the space, from the entrance to the way people navigate and use the area is governed by the layout. This should not encroach on the users; it should not become a conscious part of the overall shopping experience but rather should enhance the quality of the space and the time spent within it.( Mesher,2010)

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The factors that determine the experiential quality of a space are: i. ii. iii. iv. v. vi. vii. viii. ix.

The entrance and exit.

Transition into the store from outside The store grid and size Circulation pattern within the store Ratio of area distribution – display to circulation Percentage and placement of shop windows, cash counters, fitting rooms, back of house and display Access to counters and fitting rooms Access to multiple levels in the store.

Pace of the user

2.1.2 VISUAL CONNECT Visual connect is another important factor that invites the customers to the stores and keeps them engaged inside. It helps in determining the pace of the user. It creates a sense of curiosity or displays all products to invite customers.

The factors determining the experience are: i. ii. iii. iv. v. vi.

The connect from outside the store Shop windows Permeability through shop windows Product visibility on entering the store Display arrangement – wall units, rods hanging, tables etc Width of circulation areas and height of the store for better visual axis.

2.1.3 LIGHTING Lighting is one of the most important elements that helps in creating spatial experience. Store designs primarily focus on the visual experience. The customer is attracted to whatever appeals to the eye. To create this visual connect, designers often experiment with the shade, placement, intensity and colours of lights.

Stores are generally artificially lit. Natural lighting isn’t greatly used as artificial light can be controlled according to the requirement. Also, natural daylight changes throughout the day in terms of its direction and intensity and is affected by the seasons.

At times designers use this effect to enhance products. Artificial lighting is not subject to these changing conditions and can be controlled in a way that natural lighting

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cannot. Lighting is used to entice the customer into the store and pinpoints the products on display.

The retail designer works closely with a lighting designer to create the desired effect for the branded interior. A reflected ceiling plan is drawn to indicate the positioning of light fittings in relation to the displays, products and services. This drawing is really important in terms of setting out the interior space and will contain a key that identifies all of the light fittings as symbols plotted on to the drawing. Retail interiors are lit in a very specific way so that the product is illuminated to the best advantage and so that the journey around the store is highlighted with different layers of brightness and focus. Lighting in a store can be observed in different ways. This when integrates, affects the overall experience of a store.(Mesher,2010) i.

Ambient, Task and Accent lighting: Ambient lighting: The ambient lighting’s task is to highlight walkways and give a general glow to the space.

Task lighting: The task lighting illuminates cash desks, fitting rooms, seated areas and consultation spaces. The task lighting may be in the form of a feature light; a pendant or chandelier to highlight the activity below.

Accent lighting: The shop window plays with the contrast of daylight and artificial light. As the time or season changes, daylight fades and gives way to the artificial illumination. As the customer approaches the store, the window display is strongly lit to focus the eye and draw the customer in. Once inside the store, the accent lighting is focused on the product using a variety of fittings and techniques.

ii.

Placement of the lights in the stores: The experience not only depends on what kind of lighting is used but also on where it is placed. Ceiling, on the walls, in the fixtures or on the ground. The placement responds to how the effect created is perceived to the senses and what kind of a visual effect is created. It also helps in stimulating different kinds of journeys throughout the store.

iii.

How the mannequins, display and circulation treated- focal lighting: Depending on the retail sector, it is important to know what is to be highlighted and which elements have to be focused on. The 13

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mannequins and shop windows for instance are brightly lit so that it draws the attention of the customers. The lighting in the store focuses more on displays or circulation can completely decide the fate of the experience of the store. iv.

Warmth, hue and intensity of the light used. – each shade of light creates a different effect in a given space. Hence, the colour of the light is an important factor in determining the experience of each space in a store; for example, the focal light can be warmer and brighter to attract the attention whereas the ambient light can be dimmer to give the users a direction.

2.1.4 MATERIAL Designers work predominantly with materials, gauging how they look, feel and enhance the interior environment. Various materials are available to create different sets of environments – glass, timber, laminate, vinyl, fabric, paint, stone, marble, concrete, quartz, slate, terrazzo, etc. Not only does the store quality depend on what kind of material is used but it also matters of what the finish of the materials deliver to the overall look and feel of the store. Different properties of a material can arouse different experiences. (Mesher,2010) The factors and properties that affect are: i. ii. iii. iv. v. vi. vii.

The colour palette Reflective or no- reflective property Interaction of the material with the product Contrast or similarity I the materials used on different surfaces of a store- roof, walls and floors Hierarchy of materials as one moves into the store The materials used in the elements and fixtures in the store How all these aspects come together as a composition

2.1.5 STORE ELEMENTS Store elements such as shop windows, facades, display, billing counters, fitting rooms and back of house not only help in determining the layout but also help in improving the quality of the stores. These elements act as separate spaces and each space has its own experience.

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2.1.6 FIXTURES The fixtures used also play a major role in creating a defined experience in a store. The type of partition walls, rods, wall units, tables and couches used speak a lot of the brand value. The way these fixtures are used is important in terms of how they allow or disrupt the permeability of the store and the overall feel that they provide to the store by giving it a bulky or light and airy touch.

2.1.7 SOUND AND CLIMATE The atmosphere of the interior space can be enhanced or let down by factors that may seem beyond the designer’s control, but they are essentially another design consideration in the whole interior scheme. Designing a space for retail focuses on the customer or user and their comfort within the space. The temperature in the store, as well as the sounds in the store, become part of the ambience and therefore the overall experience. Decisions are clearly made when selecting materials regarding their acoustic qualities and how that will impact on the feel of the space. (Mesher,2010)

2.2 BRANDING ASPECTS THAT GOVERN DESIGN PARAMETERS To design any store, it is important to know the basis on which the store has to be designed. Once, the basis of design is fixed, the above stated architectural parameters play an important role in portraying it to the users of the brand. Different brands might have different strategies to design in order to distinguish themselves from the other.

These branding aspects are very specific in each brand unlike the architectural parameters that are applied in all the stores. Hence, the branding aspects that help in determining the designing strategy of a store are: 1. Origin – where the brand originated, the culture and style of the place and people.

2. Target users – users for whom the products are designed. Often brands have a specific set of age groups or target societies that they want their products to cater to.

3. Brand history – how the brand began and evolved over time. Often brand concept and products portray palimpsest.

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4. Brand concept – a specific concept the brand adapts to design the products and spaces that would help in distinguishing it from the others.

5. Brand values – the service or quality and the loyalty that the brand chooses to display and communicate to its customers.

6. Transformation of the brand over time. – brand evolution and how it adapts changes with a changing society and technology.

Figure 6: branding strategies (Wheeler,2009,p.121)

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Chapter 3 CASE STUDY According to the modern branding requirements, focus is on creating a brand experience that is ingrained in the memory and invites the customers to visit again.

Thus, architecture is a touchpoint in the process of strategizing the branding. The aim is to understand and observe how the architectural design parameters respond to the governing strategical branding aspects and help in creating an experiential branded environment in the stores.

3.1

TYPOLOGY SELECTION

Delhi and Gurgaon have a variety of the kinds of goods sold from across the globe. The most significant typologies of retail seen in the malls are: a. b. c. d. e. f. g. h. i. j. k.

Fashion – apparel Footwear Accessories Food Cosmetics and body care Technology Home and lifestyle Departmental Toys Book store Travel

For the study, the retail typology that has the most significant percentage of area occupancy in the malls which in turn would generate maximum revenue has been chosen.

On analyzing the percentage of stores of each typology, apparel and accessories has been chosen as the scope of research.

To analyse the above mentioned, three malls have been chosen to be studied: 1. Ambience Mall, Gurgaon 2. Selectcity Walk, Saket 3. Dlf malls , Vasant Kunj

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Retail Typology

apparel

accessories and footwear

beauty

electronics

sports

home

gift+ toy+books

Figure 7 : average percentage occupancy in a mall (author)

3.2

SELECTION OF BRANDS

Figure 8: brand selection criteria(author)

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3.3

ANALYSIS OF EACH BRAND

1. RELIANCE TRENDS Branding Strategy: The store is designed as a premium brand for the mass market and is one of the leading apparel stores in India. It follows the store within a store concept and sells products which are manufactured both in house and by partner brands.

Figure 8: Reliance Trends, Ambience mall ,Gurgaon plan(author)

SR.

DESIGN

NO.

PARAMTERS

1.

SPATIAL ARRANGEME NT

OBSERVATION i. ii. iii. iv. v. vi. vii. viii.

Anchor store single storey Entrance and exit on 2 ends of the store Billing counter is in the middle of the store.

The fitting rooms are at either ends of the store.

Display area is greater than circulation.

The store follows a square grid The circulation is in two parallel branches.

IMAGES

Fig. 9. display area greater than circulation

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ix.

The circulation width is 1.2 meters wide.

Fig. 10 Display to circulation area

Fig. 11 Circulation path and grid 2.

VISUAL CONNECT

i. ii. iii. iv. v.

Product display right at the entrance.

Lack of buffer transition space No shop windows The glass facade provides visual connect Display: wall units, hanging rods and tables with display both above and below

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the table top making the setting bulky.

Fig. 12. Lack of visual connect due to bulky setting

Fig. 13 Lack of shop windows 3.

LIGHTING

i. ii. iii. iv. v.

Recessed ceiling lighting Lighting only above display. No lighting over circulation area.

Task lighting for mannequins The store has ambient lighting.

Decorative lighting over mannequins.

Fig. 14

Fig. 15 Lighting only over display area

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4.

MATERIALS

i. ii. iii. iv.

v. vi.

The colour palette is white and grey Tiles on the floor and paint on walls and roof False ceiling on display area.

Circulation and display have different coloured matt finish tiles on the floor.

Hanging racks are used as partitions Reflective mirrors on columns to make the space look spacious.

Fig. 16 5.

SOUND AND CLIMATE

i. ii. iii.

6.

ELEMENTS

i.

ii.

No specific odour English music being played for acoustics Warm temperature settings Shop windows are opaque and use image display along with mannequin display Major faรงade area lacks shop windows.

Fig. 17 7.

FIXTURES

i. ii.

Metallic racks Bulky wooden tables and cabinet shelves.

Fig. 18

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Fig. 19 Figure 9-19: Reliance Trends, Ambience mall ,Gurgaon plan(author)

2. PANTALOONS Branding Strategy: Pantaloons is designed as a premium brand for the mass market and is one of the leading apparel stores in India. It follows the store within a store concept and sells products which are manufactured both in house and by partner brands.

Figure 20: Pantaloons, Ambience mall ,Gurgaon plan(author)

DESIGN SR.

OBSERVATION

IMAGES

PARAMTERS

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NO. 1.

SPATIAL ARRANGEMENT

i. ii. iii. iv. v.

vi. vii. viii. ix. x.

Anchor store Double storey Entrance and exit on both levels Stairs for access to the upper level.

Billing counter and fitting rooms close to each other and near the exit.

Display area is greater than circulation.

Circulation paths are 1 mts wide.

It follows a square grid.

The circulation is zig-zag.

1 billing counter and trial room on each floor

Fig. 20 Display to circulation

Fig. 21 Circulation path and grid

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2.

VISUAL

vi.

CONNECT vii. viii. ix. x.

xi.

Product display right at the entrance.

Lack of buffer transition space Shop windows are opaque The mirrors provide visual connect Product display starts as soon as the user reaches the upper level.

The display hriarchy is the wall unit with hanging clothes and table setup on each side of the circulation path.

Fig. 22 Shop front

Fig. 23 Lack of visual connect

Fig. 24 Bulky setting 3.

LIGHTING

vi. vii. viii. ix.

Recessed ceiling lighting Decorative lighting above display Task lighting for mannequins The store has ambient lighting.

Fig. 25

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4.

MATERIALS

vii. viii.

ix. x.

5.

SOUND CLIMATE

AND

iv. v. vi.

6.

ELEMENTS

iii.

iv.

The colour palette is white and teal blue Tiles on the floor and paint on walls and roof jalis used as partitions Reflective mirrors on columns to make the space look spacious.

No specific odour radio channel being played for acoustics Warm temperature settings Shop windows are opaque and use image display along with mannequin display 2 cubicles in one fitting area

Fig. 26 White and blue colour palette.

Fig. 27 Billing counter

Fig. 28 Trial rooms

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Fig. 29 Mannequin display 7.

FIXTURES

i. ii.

Jalis are used as partitions.

Wooden top with metallic leg tables.

Fig. 30 Figure 21-30: Pantaloons, Ambience mall ,Gurgaon plan(author)

3. MARKS AND SPENCERS Branding Strategy: The core brand values of quality, value, service, innovation and trust have consistently remained the cornerstones of the Marks & Spencer proposition. The brand's 'mission' is to make aspirational quality accessible to everyone, through the depth and range of its products. The brand has always added value to the evolution. It is a London based brand. It follows the concept of store

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within a store. They have different lines of apparel and accessories for different occasions and purposes. These are displayed as separate entities in the store with a separate area and mannequin setup for each line.

Figure 31: Marks and Spencer, Ambience mall ,Gurgaon plan(author)

SR.

DESIGN

NO.

PARAMTERS

1.

SPATIAL

OBSERVATION i.

ARRANGEMENT

ii. iii. iv.

IMAGES

Mannequins are displayed at the entrance of the store displaying the new products along with racks carrying the same.

Anchor store.

It is a multilevel store.

Escalators are used to access the upper floor

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v.

vi.

vii. viii. ix.

x.

The billing counter and trial rooms are in the center of the store.

The store has a common entrance and exit on both the levels.

It follows a random grid for display throughout.

The circulation pattern is a loop.

Display to circulation area: display is at the edges and in the center. The circulation area is wider in comparison to the first 2 stores. The store has transition buffer spaces at the entrance as well as on entering the upper level.

The edge display is organized but the central rack display is chaotic.

Fig. 32 Display to circulation

Fig. 33 Circulation path and grid

Fig. 34

Fig. 35

Fig. 36

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2.

VISUAL

i.

CONNECT

ii.

iii.

iv.

v.

vi. vii.

Shop windows cover the entire faรงade and hence nothing inside the store is visible.

On entering the store,the mannequin display creates a sense of curiosity and also gives an idea of the product inside the store.

All coulmns have mirror cladding which allows all corners of the store to be visible.

The store is divided into sub-sections segregating different lines of products.

The display hierarchy is such that all the products are visible from all corners of the store.Wall units and tables are displayed at a distance from each other making all products visible.

Mannequin display in along with every sub-section.

The access to the upper level is in the middle of the store.

Fig. 37 Display heirarchy

Fig. 38

Fig. 39 Mirror display 3.

LIGHTING

i.

ii.

iii.

Accent lighting is used in the shop windows to highlight the latest collections.

Lights on the roof and floor are used to highlight the products displayed in the shop window.

The roof has channel lighting on the store edge to highlight the wall displays. The central roof lights are recessed and

Fig. 40

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iv. v.

4.

MATERIALS

i.

ii. iii.

iv. v.

5.

SOUND CLIMATE

6.

ELEMENTS

AND

i. ii. i.

ii.

iii.

tilted with the focus on the products.

Bigger lights are used to focus on the mannequins.

The circulation spaces are lit by these light channels but have no direct light over them .

Shimmery and glossy material is used in the shop windows to highlight the style of the brand and the collection.

The colour palette is white and light grey.

The cash counter has a digital display of the new collection.

The columns are cladded with reflective mirrors.

All the finishes are matt.

The store has light music .

The temperature is mild.

Wide shop windows running across the faรงade, play an integral role in the store The fitting rooms are well lit and in the same language as the store The billing counter has a digital display to highlight the space.

Fig. 41

Fig. 42 Billing counter

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Fig. 43 Trial rooms

Fig. 44 Shop windows 7.

FIXTURES

i.

Clean and simple wooden racks are used for display in the shop windows. ii.

The shop displaying units recessed into the wall with clean matt metallic lines. iii.

The racks are metallic framework with glass top displaying clean Fig. 45 and simple lines and do not disrupt the visual axis.

Figure 33-45: Marks and Spencer, Ambience mall ,Gurgaon plan(author)

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4. ZARA Branding strategy: The brand strategy is to set the image of the brand as being trendy, hip, high fashion and accessible. Based on the typical demographics of the customers like gender, age and psychographics. Zara blends the ethnicity of the brand as well as its target market in its product offering which match a variety of tastes and settings. It promotes fast fashion and tries to recreate the effect of a highend brand to provide the experience to the middle income groups. The stores are the only means of advertisement for this brand. All advertising is done through displays in the shop windows and hence it becomes an integral part of the store.

Figure 46: Zara, Ambience mall ,Gurgaon plan(author)

SR.

DESIGN

NO

PARAMTERS

OBSERVATION

IMAGES

.

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1.

SPATIAL

i.

ARRANGEMEN T

ii. iii. iv.

v.

vi.

vii.

viii.

ix.

x.

Mannequins are displayed at the entrance of the store displaying the new products along with racks carrying the same.

Anchor store.

It is a multilevel store.

Escalators are used to access the upper floor The billing counter and trial rooms are the further end of the store The store has a common entrance and exit.

It follows a rectangular and regular grid throughout.

The circulation pattern is a loop.

Display to circulation area: display is at the edges and in the center.

The circulation area is wider in comparison to the previous 2 stores.

The store has transition buffer

Fig. 47 Display to circulation

Fig. 48 Circulation path and grid

Fig. 49

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spaces at the entrance as weel as on entering the upper level.

Fig. 50 2.

VISUAL

i.

CONNECT

ii.

iii.

iv.

Shop windows cover the entire faรงade and hence nothing inside the store is visible.

On entering the store,the mannequin display creates a sense of curiosity and also gives an idea of the product inside the store.

All coulmns have mirror cladding which allows all corners of the store to be visible.

The store is divided into sub-sections segregating

Fig. 51

Fig. 52

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v.

vi.

3.

LIGHTING

i.

ii.

iii.

iv.

v.

different lines of products.

The display hierarchy is such that all the products are visible from all corners of the store.

Wall units and tables are displayed at a distance from each other making all products visible.

Accent lighting is used in the shop windows to highlight the latest collections.

Lights on the roof and floor are used to highlight the products displayed in the shop window.

The roof has recessed channel lighting. The lights and tilted and focus on the products.

Bigger lights are used to focus on the mannequins .

The circulation spaces are lit by these light channels but have no

Fig. 53

Fig. 54

Fig. 55

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vi.

direct light over them .

All wall units have lights inside them on all the 4 sides to highlight the products displayed.

Fig. 56

Fig. 57 4.

MATERIALS

i.

ii.

iii.

iv.

v.

The interiors are white, black and grey.

All wall units are white matt and grey glossy.

The flooring is matt finish grey tiles and the ceiling is white paint.

The columns are cladded with reflective mirrors.

The billing counter is I black to

Fig. 58

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demarcate the space.

Fig. 59 5.

SOUND

AND

i.

CLIMATE ii.

6.

ELEMENTS

i.

ii.

iii.

7.

FIXTURES

i.

ii.

iii.

The store has light music .

The temperature is mild.

Wide shop windows running across the faรงade, play an integral role in the store The fitting rooms are well lit and in the same language as the store The billing counter is in black to highlight the space.

Clean and simple metallic racks are used for display in the shop windows.

The shop displaying units are wooden white boards that give a sleek and simple look.

The racks are metallic

Fig. 60

Fig. 61

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framework displaying clean and simple lines and do not disrupt the visual axis.

Figure 47-61: Zara, Ambience mall ,Gurgaon plan(author)

5. TED BAKER Branding Strategy: Ted Baker is a London based luxury fashion brand. It started as a company that sold shirts and did dry cleaning. The brand believes in creating its identity only through physical stores and hence the stores are strongly conceptual. They follow the concept of contextual branding for store designing to connect with the local masses worldwide.

The brand believes in investing more in the store design to attract customers.

There are 3 physical stores in Delhi – Saket and Chanakya and Gurgaon.

Since Gurgaon is know for its traffic, they relate the local context with the origin. i.e. in Gurgaon, traffic relates to tuktuk autos which have a counterpart in London – the taxis. The theme of the store is based on the fusion of autos and cabs.

Similarly, in Saket, it is a fusion of kitchenware (since the area is famous for its restaurants) and cup saucer used by the Queen as the counterpart. In Chanakya, jewellery stores are famous. Therefore the store design is based on crowns and jewels worn by the queen. The entire store theme and detailing is done on the basis of these concepts. From the entrance door to the trial room cubicles; every element in the store display and walls- all are strongly connected to the theme and each element is hand crafted.

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Figure 62: Ted Baker, Ambience mall ,Gurgaon plan(author)

SR.

DESIGN

NO.

PARAMTERS

1.

SPATIAL ARRANGEMENT

OBSERVATION i. ii. iii. iv. v.

vi.

vii.

viii.

Single storey store.

Single entrance and exit.

Circulation is a loop Grid is linear The display is along the edges and a single row in the middle.

The display to circulation area is such that circulation is greater than display.

The door separates the store from the outside.

The billing counter and displays take up a

IMAGES

Fig. 63 Display to circulation

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ix.

x.

xi.

significant area.

The fitting rooms occupy a significant area.

Both the trial room and cash counter are in the middle of the store opposite to each other.

A significant buffer zone acts as a transition space from outside to inside the store.

Fig. 64 Circulation path and grid

Fig. 65

Fig. 66

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Fig. 67 2.

VISUAL

i.

CONNECT

ii.

iii.

iv.

v.

The shop windows display the new collections and are see through. The store is visible from outside.

On entering the store, the elements in the store are more highlighted than the products.

The central display line cuts visual axis to the other end of the store.

Organization only includes wall units and glass cabinets.

Rods and racks are in the front and middle of the store.

The main visual delight of the store is the fitting room

Fig. 68

Fig. 69

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vi.

vii.

3.

LIGHTING

i.

ii.

iii.

iv.

4.

MATERIALS

i.

ii.

iii.

iv.

and the billing couter.

The signages and lighting fixtures also give a significant character to the overall look of the store.

The display of the walls and elements on the shelves catch attention and create curiosity for brand awareness.

Hand crafted lighting fixtures are used to act as accent lighting for display products.

Focal lighting on mannequins and products Focal lighting in the trial rooms Highlighted cash counter.

Wallpaper and fabrics are used on walls Painted and textured affects are created for interactive concept.

Glass and brass is used on walls for diffrenet textures Glass shop window

Fig. 70

Fig. 71

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v.

vi.

The flooring has an interesting pattern The roof is also false ceiling and varies in texture.

Fig. 72

Fig. 73

Fig. 74 5.

SOUND

AND

i.

CLIMATE

Ambient sound

and

odour.

6.

ELEMENTS

i.

The

cash

counter and fitting room area are the main highlights of the store. ii.

The

shop

windows are such

that

they

allow

the store to be

visible

from outside.

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Fig. 75

Fig. 76

Fig. 77

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7.

FIXTURES

i.

Hand crafted fixtures

are

used in all the elements of the store. ii.

Displays showing the blend

of

cultures through cabs and autos are placed

in

various sections

of

the store. iii.

Wall

Fig. 78

installations of a auto- cab hybrid

is

significant. iv.

The

cash

counter has a wall display of autos and cabs. v.

Wall

units

have

maps

and paths. vi.

The decorative elements on the wall are

Fig. 79

also conceptually placed. vii.

The lights in the store in the shapes of traffic cones.

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viii.

The hanging rods

have

tires as the base stand.

Fig. 80

Fig. 81 Figure 64-81: Ted Baker, Ambience mall ,Gurgaon plan(author)

6. GUCCI Branding Strategy: the brand strategy is conceptualised on the ideology of the head designer of the brand. From season concepts, product line to stores, all are designed by the head designer. The current brand trends are to give the store a walk-in wardrobe feel. Hence, all the products are displayed in a way that they are ready to wear.

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Figure 82: Gucci, DLF Emporio mall ,Delhi plan(author)

SR.

DESIGN

NO.

PARAMTERS

1.

SPATIAL ARRANGEMENT

OBSERVATION xii. xiii. xiv. xv. xvi. xvii.

xviii.

IMAGES

Single storey store.

Single entrance and exit.

Circulation is a loop Grid is linear The display is along the edges.

The display to circulation area is such that circulation is greater than display.

The door separates the

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xix.

xx.

xxi.

store from the outside.

The displays take up a significant area.

The fitting rooms occupy a significant area.

A significant buffer zone acts as a transition space from outside to inside the store.

Fig. 83 Display to circulation

Fig. 84 Circulation path and grid 2.

VISUAL

viii.

CONNECT

ix.

x.

xi.

xii.

The shop windows display the new collections and are see through. The store is partially visible from outside.

On entering the store, the store is divided into sub parts where different products are sold.

Organization only includes wall units and glass cabinets.

Rods and racks are at the ends of the store.

The main visual delight of the store display

Fig. 85 Shop front

Fig. 86

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mannequin tables.

Fig. 87

Fig. 88 Visual connect in the store 3.

LIGHTING

v.

vi.

vii.

viii. ix.

Recessed lights in the store to serve as ambient lighting. The corners have focal lights to highlight the displayed products.

Natural light plays an important role in the store as it is used to highlight the clothing line in the store.

Focal lighting on mannequins and products Focal lighting in the trial rooms Highlighted cash counter.

Fig. 90 Use of natural light in the store

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Fig. 91 Combination of white and warm

lights 4.

MATERIALS

vii.

viii. ix.

x.

Wallpaper and fabrics are used on walls Carpet flooring Tinted glass is used on walls for creating a luxurious environment.

The roof is also false ceiling

Fig. 92 Carpet floor, couch, simple metal rods

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Fig. 93 Glass, wallpaper, metal, velvet and vibrant accessory colours are used.

5.

SOUND

AND

i.

CLIMATE

Ambient sound

and

pleasant odour.

6.

ELEMENTS

i.

The

shop

windows cuts the visibility of the store from outside. ii.

The

trial

rooms

and

back of house aren’t visible inside

Fig. 94 Shop windows

the

store. iii.

Recessed cash counter, not from

visible the

store front.

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7.

FIXTURES

i.

Ellipse shaped tables with coloured velvet covers are used to display products.

ii.

Wooden and laminate fixtures

are

used

to

diaply

all Fig. 95

products. iii.

Couches are placed in the store

for

customer comfort.

Fig. 96 Figure 84-96: Gucci, DLF Emporio mall ,Delhi plan(author)

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Chapter 4 ANALYSIS Based on the experiential aspects of the case studies done in the previous chapter, the stores can be divided into three categories: mass market, premium store and luxury stores.

Mass market: Emphasize on the product is more than on creating a store experience. Products available are in large quantities and have to cater to a larger set of people. Hence the area of display is much greater than the negative circulation spaces. Not much attention has been paid on the material and arrangement in the store. It lacks spatial hierarchy in terms of transition from the outside to the store. Regular fixtures and elements are used.

These properties can be observed in Pantaloons and Reliance Trends. Hence, they can be categorised as Mass market brands on the basis of their experiential store quality.

Premium Stores: These stores are the ones that sell their products on the basis of the experience that is created in the stores. For these brands, the experience is a mode to advertise the brand and maintain customer bonds. The products are available in abundance and can be afforded by the upper middle class. The products form a basis to define the experience in the store.

Store layout, pace, lighting, circulation, material choices, fixture and elements of the store are all strategized to highlight the products sold and make them attractive for the customers. The experience draws the customers to the products, therefore, increasing sales. These brands believe in advertising through their stores and hence, shop windows play an important role. Generally, these stores have multiple ranges of products for different occasions and are arranged accordingly for easy of product access in the store. The circulation area is fairly equal to the display area and the store follows a certain grid. These stores make circulation more systematic.

As observed in the case studies, Marks and Spencer and Zara fall under this category.

Luxury stores: Brands that focus more on creating a customer experience through the stores and services over the products they sell are luxury brands. More attention is paid on the look and feel of the stores. The products available are limited and affordable only by the upper class. Therefore, they focus on creating a brand relationship through a unique store experience that is ingrained in the memory of the customers. It is on the

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basis of this bond that these brands sell their products. Attention is paid to each and every detail in the store. The stores have a very strong and concept for brand development. This may or may not reflect in the products sold. The experience created is irrespective of the products. For these brands the branded store experience is the promoting factor for the brand.

This has been observed in the store of Ted Baker and Gucci and hence, they can be classified as luxury stores.

A comparative analysis of the brands : Design parameters Spatial arrangement

Mass market brands The spatial arrangement is such that the display is more than the circulation due to abundance of products.

The circulation is zig-zig to allow shopper to spend more time in the store.

Generally multiple level stores and wide cash counters.

Transition into the store isn’t significant.

Overload of products hence, visual connect is obstructed.

The customer has to scroll through to find the desired product.

Premium brands The proportion of display and circulation is nearly the same.

Transition spaces have latest collection displays. It’s a square grid layout with loop circulation to allow customers to go through the products.

Specific booth for selective lines.

Luxury brands Circulation is more than the display. The stores aren’t overloaded with products.

The arrangement is along the edges and circulation is a loop.

Organised arrangement and the display orientation is such that overlap does not obstruct the visual connect. All products are visible.

Lighting

Only artificial used.

Materials

Not much attention is paid on the finishes.

Generally kept subtle to highlight products.

Only artificial light used. Task lights are used to highlight products.

Materials used are subtle to highlight products.

Sound and climate

No significance given to music played.

Multiple trial rooms, wide cash counters, regular glass façade and abrupt display on entrance.

Ambient music

All the products are on display in such a way that they are not obstructed by anything. Single layer or display hence, all products are visible effortlessly.

Natural light is also used in stores. Artificial lights used are designed conceptually.

Multiple colour schemes and material combinations are used to highlight the store and make it attractive.

Ambient music.

Attention paid to the display windows. The stores are not closed but have a transition

Shop windows are well designed, have doors as barriers and have material change to

Visual connect

Elements

light

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Fixtures

Regular fixtures.

Concept design

No specific concept.

display space leading to the store.

Fixtures used complement the store concept.

Concepts are derived from the product selling strategy

show a transition into the store.

Attention is paid towards all small detailsdisplay elements in the store or on the walls.

Highly conceptoriented stores, create an experience irrespective of the product.

The brands falling under similar categories have similar experiential quality.

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Chapter 5 CONCLUSION

Architecture is an integral part of retail design. It is an intensive field which involves branding and phenomenology as their main aspects. With the change in the perception of a branded space, it is important to incorporate experience in a store that conveys the ideology of the brand to the customers. A successful retail space is the one which attracts the customers into the store and makes the return. The experience should motivate the shopper not only to buy the desired products but also spend enough time to experience the entire store setting. This happens only when the customer is comfortable in the space and finds it worth the time.

In the competitive times, various brands in the industry sell similar products but what makes them stand out is the extra investment and planning of the experiential physical in-store environments. These stores play a vital role is defining an image for the brand as it is the space that gives the customers a hands-on experience of the brand. The quality of experience in a store determines the quality of the brand. The way in which every design element is altered, awakens different sensory and emotional experiences. Some of these elements are tangible whereas some are intangible. Together, they promote an experiential retail environment.

As observed in the case studies, the segregation within the same typology is based on the brand aspects such as affordability and availability but is conveyed to the users through the experience that is incorporated in the stores. This in turn enhances the brand value. Every element of the store- from the shop front to the fitting rooms, have a role in developing this sense of experience that distinguishes one brand from the other. The design parameters remain the same in all the stores, but what makes one different from the other is the way they are used. Every brand has its own focal designing strategy. As studied in this research, brands that intend to display a higher value in terms of service, quality and loyalty, focus more on making the most out of the design parameters.

Every physical in-store environment is designed keeping the design parameters in consideration. But it is the ability of the store design to convey the brand language that defines the value of the brand. Brand value is determined by the quality experiences incorporated in the stores.

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